a russian presentation desk portfolio mounted in silver and enamel, st. petersburg, 1892

the silver cover of the leather portfolio enameled with the armorials of the city of St. Petersburg and the crossed flags of Imperial Russia and the United States, inscribed, "To the Christian Herald Represented by Reverend T. De Witt Talmage D.D. its Editor and Louis Klopsch Proprietor from the City of St. Petersburg, 1892." Contained in original fitted oak case of retailer, Grachev, St. Petersburg

some wear
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Louis Klopsch, the owner of the New York newspaper, The Christian Herald, was instrumental in organizing shipments of American grain to feed the hungry following the drought and harsh winter resulting in what came to be known as the Great Famine of 1891-1892. In reponse Alexander III sent ships to New York and Philadelphia carrying ceremonial messages of thanks and gifts of presentation silver for those who had directly participated in organizing relief efforts. This lot is sold together with a volume published in 1910, Life-Work of Louis Klopsch, by Charles M. Pepper, which describes in detail this Russian Relief Effort of 1892. 

This is one of three important lots related to U.S. relief efforts in this sale. Lot 36, Ivan Aivazovsky's Distributing Supplies and The Relief Ship, were personal gifts from the painter to the Corcoran Gallery of Art in Washington, D.C., which was then widely considered to be the equivalent of a national museum.