Leonid Sokov Sold at Auction Prices

Sculptor, b. 1941 - d. 2018

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  • Stalin and Marilyn
    Nov. 25, 2025

    Stalin and Marilyn

    Est: £4,000 - £6,000

    Property from a Private Collection Leonid Sokov 1941 - 2018 Stalin and Marylin signed in Latin (lower left) and numbered A.P. 2/5 (lower right) oil, screen print and gold leaf on paper 127 by 97.5 cm, 50 by 38¼ in. Framed: 153.5 by 121 cm, 60½ by 47¾ in.

    Sotheby's
  • Leonid Sokov, Half a Prick
    Nov. 25, 2025

    Leonid Sokov, Half a Prick

    Est: £10,000 - £15,000

    Property from a Private Collection, United States Leonid Sokov 1941 - 2018 Half a Prick signed in Latin SOKOV and dated 1991 steel 132 by 45.5 by 28.5 cm, 52 by 18 by 11¼ in. Executed in 1991.

    Sotheby's
  • LEONID SOKOV (RUSSIAN-AMERICAN 1941-2018)
    Oct. 25, 2025

    LEONID SOKOV (RUSSIAN-AMERICAN 1941-2018)

    Est: $15,000 - $20,000

    LEONID SOKOV (RUSSIAN-AMERICAN 1941-2018) Spermatozoa wrought iron length: 121.7 cm (47 1/2 in.) inscribed with signature PROVENANCE Acquired directly from the artist Roman Tabakman Collection, New Jersey Collection of Albright College, Reading, Pennsylvania Private Collection, New York LOT NOTES Leonid Sokov was a pioneering Russian conceptual artist whose work bridged the cultural and ideological divide between the Soviet and post-Soviet worlds. Born in Tver, Russia, in 1941, Sokov was educated at the Moscow School of Art and Industry (Stroganov Institute), where he developed a grounding in craft and materiality that would later infuse his conceptual practice. Emerging as one of the key figures of the Sots Art movement - the Soviet counterpart to Pop Art - Sokov used irony, humor, and recontextualization to subvert political imagery and everyday symbols of power. The sculpture Spermatozoa, forged in wrought iron, exemplifies Sokov’s wit and his fascination with the intersection of function and metaphor. Designed to double as a doorbell, the work fuses the biological and the mechanical, the intimate and the utilitarian. Its playful form - an undulating, life-generating shape rendered in cold, industrial metal - embodies the artist’s characteristic tension between creation and absurdity. Like much of Sokov’s art, it is both humorous and deeply philosophical, suggesting that even the simplest object can serve as a commentary on human ingenuity, reproduction, and persistence. After emigrating to the United States in 1980, Sokov became a vital voice in the global conversation about art, ideology, and memory. His works have been exhibited internationally, including at the Venice Biennale, the Solomon R. Guggenheim Museum, and the Museum of Modern Art in New York, and are held in major museum and private collections worldwide. Since his passing in 2018, Sokov’s reputation has continued to grow, solidifying his position as one of the most important Russian artists of the 20th century. His practice - spanning sculpture, painting, assemblage, and conceptual object-making - remains a cornerstone of post-Soviet artistic identity, marked by irony, craftsmanship, and a deeply human sense of humor. CONDITION The sculpture is in good condition. No apparent damages or repairs. N.B. Condition reports are available upon request. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

    Shapiro Auctions LLC
  • LEONID SOKOV (RUSSIAN-AMERICAN 1941-2018)
    Oct. 25, 2025

    LEONID SOKOV (RUSSIAN-AMERICAN 1941-2018)

    Est: $22,000 - $27,000

    LEONID SOKOV (RUSSIAN-AMERICAN 1941-2018) Skywriting Stalin, 1992 oil on canvas 183 x 76.3 cm (72 x 30 in.) signed and dated on side of stretcher lower right PROVENANCE Acquired directly from the artist Roman Tabakman Collection, New Jersey Collection of Albright College, Reading, Pennsylvania Private Collection, New York LOT NOTES Leonid Sokov was one of the most influential Russian conceptual and postmodern artists of the late 20th century, renowned for his ironic reinterpretations of Soviet ideology, political icons, and cultural memory. Born in Tver, Russia, in 1941, Sokov graduated from the Moscow School of Art and Industry (Stroganov Institute) and became a leading member of the Sots Art movement - the Soviet counterpart to Western Pop Art - alongside Komar and Melamid. This movement used the language of state propaganda to expose its absurdities, contradictions, and aesthetic power. In Skywriting Stalin, Sokov distills his trademark humor and conceptual clarity into a deceptively simple image. Against a vast expanse of sky, a figure - tiny and resolute - appears to inscribe Stalin’s name in wispy clouds. The scene combines irony with poignancy: the totalitarian image is literally written into, and dissipating within, the boundless atmosphere. Through this minimalist composition, Sokov meditates on the fragility of historical myth, the impermanence of ideology, and the artist’s own role as both witness and subversive chronicler of power. Emigrating to the United States in 1980, Sokov brought his distinctly Russian sensibility to the international stage. His works were exhibited widely, including in the Venice Biennale, the Solomon R. Guggenheim Museum, and the Museum of Modern Art, New York, and are held in major institutional and private collections worldwide. At the time of his passing in 2018, Sokov was increasingly recognized as one of the defining figures of 20th-century Russian art, a bridge between Soviet and global contemporary art. His legacy endures in his ability to transform the language of ideology into that of wit, memory, and enduring artistic insight. CONDITION The painting is in good condition, thin tiny scuffing lines lower right, no other visible issues to report. N.B. Condition reports are available upon request. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

    Shapiro Auctions LLC
  • LEONID SOKOV (1941 - 2018) Shirt
    Jul. 24, 2025

    LEONID SOKOV (1941 - 2018) Shirt

    Est: €2,000 - €3,000

    LEONID SOKOV (1941 - 2018) Shirt signed in Cyrillic ‘L Sokov’ (lower left) and dated ‘1973’ (lower right), stamped ‘Collection Bergman’ (on the reverse) wood 38.4 x 24.4 cm executed in 1973 Leonid Petrovich Sokov was a Russian nonconformist artist and sculptor. He graduated from the Stroganov Institute (now the Moscow School of Art and Industry) in 1969 and emigrated to the United States in 1980, settling in New York City. Sokov is associated with the Sots Art movement and is known for combining elements of Socialist Realism and Pop Art. Sokov represented Russia at the Venice Biennale in 2001 and participated in the Gwangju Biennale in 2004. Major retrospectives of his work were held at the Moscow Museum of Modern Art (2012), the Zimmerli Art Museum (2013), and the State Tretyakov Gallery (2016). Upon the buyer's request, we are pleased to provide a general condition report for the Lot described above. However, as we are not professional conservators or restorers, we strongly advise prospective buyers to conduct their own inspection or consult a specialist or restorer of their choice for a comprehensive professional assessment. Any condition descriptions provided in the catalogue or through any correspondence are for guidance only and should not be considered a substitute for a firsthand evaluation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD 'AS IS' IN ACCORDANCE WITH THE GENERAL TERMS AND CONDITIONS OF SALE PUBLISHED IN THE CATALOGUE.

    Hermitage Fine Art
  • Leonid Sokov wood with electric motor titled Idol
    Jul. 16, 2025

    Leonid Sokov wood with electric motor titled Idol

    Est: $300 - $500

    Leonid Sokov (Soviet Russian/American 1941-2018), wood with electric motor titled Idol, top of head - 69" h. Provenance: Maxim Dlugy. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov two works Still Life On The Stool and Disappointed Thumb
    Jul. 16, 2025

    Leonid Sokov two works Still Life On The Stool and Disappointed Thumb

    Est: $400 - $600

    Leonid Sokov (Soviet Russian/American 1941-2018), two works to include an oil on plywood Still Life On The Stool, 1994, signed and dated lower right and an oil on sheet metal on plywood with wood Disappointed Thumb, signed and dated on lower left side 1995, 42" x 23". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Mausoleum with Broken Soviet
    Jul. 16, 2025

    Leonid Sokov Mausoleum with Broken Soviet

    Est: $300 - $500

    Leonid Sokov (Soviet Russian/American 1941-2018), painted wood and plaster Mausoleum with Broken Soviet, signed on base, 17 1/2" x 24". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Noses
    Jul. 16, 2025

    Leonid Sokov Noses

    Est: $400 - $600

    Leonid Sokov (Soviet Russian/American 1941-2018), oil, wood, and string Noses, signed on side and dated 1996, 56" h. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Candy Label
    Jul. 16, 2025

    Leonid Sokov Candy Label

    Est: $200 - $400

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on printed wrapper on birch bark titled Candy Label, signed lower right and dated 1996, 20 1/2" x 11 1/4". Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. Competitive in-house shipping is available for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on fabric/wood Birch
    Jul. 16, 2025

    Leonid Sokov oil on fabric/wood Birch

    Est: $200 - $300

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on fabric/wood, Birch, signed and dated on side of board lower left 1993, on a Russian calico field, 46" x 32". Provenance: Igor Stenmark. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Fuck the Man Who Rounds Up Hooligans
    Jul. 16, 2025

    Leonid Sokov oil on canvas Fuck the Man Who Rounds Up Hooligans

    Est: $400 - $600

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas with wood Fuck The Man Who Rounds Up Hooligans, signed and dated on side of stretcher lower right 1993, 48" x 36". Provenance: Maxim Dlugy. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas M. Larionov's Paint And Stalin's Head
    Jul. 16, 2025

    Leonid Sokov oil on canvas M. Larionov's Paint And Stalin's Head

    Est: $600 - $800

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas M. Larionov's Paint And Stalin's Head, signed and dated on side of stretcher lower right 1995, 46" x 35 1/2". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Lightning
    Jul. 16, 2025

    Leonid Sokov oil on canvas Lightning

    Est: $400 - $700

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Lightning signed lower right and dated 1992, 102" x 71". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism." Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Kremlin With A Question Mark.
    Jul. 16, 2025

    Leonid Sokov oil on canvas Kremlin With A Question Mark.

    Est: $600 - $800

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Kremlin With A Question Mark, signed and dated lower right 1993, 69" x 48". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov, oil on canvas Katusha
    Jul. 16, 2025

    Leonid Sokov, oil on canvas Katusha

    Est: $200 - $260

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Katusha, signed and dated lower right 1993, 46" x 36". Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Hungry Wolf
    Jul. 16, 2025

    Leonid Sokov oil on canvas Hungry Wolf

    Est: $600 - $800

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Hungry Wolf, 1992, signed and dated lower right, 30" x 60". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Russian Lady And Bear On The Russian Flag
    Jul. 16, 2025

    Leonid Sokov oil on canvas Russian Lady And Bear On The Russian Flag

    Est: $600 - $800

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Russian Lady And Bear On The Russian Flag, signed and dated lower right 1995, 36" x 48". Provenance: Mr. and Mrs. John Schwartz. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov large oil on canvas Landscape Levitan and Puskin
    Jul. 16, 2025

    Leonid Sokov large oil on canvas Landscape Levitan and Puskin

    Est: $500 - $1,000

    Leonid Sokov (Soviet Russian/American 1941-2018), large oil on canvas with painted plastic figure Landscape Levitan and Pushkin, signed and dated lower right 1992. Sokov depicts Isaac Levitan's Golden Autumn with Pushkin in contemplation. Ironically, the works of both artists were used as tools of Soviet propaganda to promote nationalism. 66 1/2" x 93". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov large oil on plywood Stalin/David - Underbirch
    Jul. 16, 2025

    Leonid Sokov large oil on plywood Stalin/David - Underbirch

    Est: $800 - $1,200

    Leonid Sokov (Soviet Russian/American 1941-2018), large oil on plywood Stalin/David - Underbirch, signed and dated lower right 1992. Sokov parodies the approved images of Stalin, which were required to be made taller and better looking, 66" x 48". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on velvet Cats
    Jul. 16, 2025

    Leonid Sokov oil on velvet Cats

    Est: $200 - $400

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on velvet Cats, signed and dated on side of stretcher lower right 1995, 36" x 48". Provenance: Mr. and Mrs. John Schwartz. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Stalin with Erosion
    Jul. 16, 2025

    Leonid Sokov Stalin with Erosion

    Est: $300 - $500

    Leonid Sokov (Soviet Russian/American 1941-2018), plaster with patina Stalin with Erosion, signed on base and dated 1990, 20 1/4" h., 6" w., 6 1/2" d. Provenance: Mr. and Mrs. John Schwartz. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Color lithograph Tattoo Man
    Jul. 16, 2025

    Leonid Sokov Color lithograph Tattoo Man

    Est: $100 - $200

    Leonid Sokov (Soviet Russian/American 1941-2018), color lithograph Tattoo Man, 1991, pencil signed, dated, and numbered AP. artist's proof, frame - 32" x 23". Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. Competitive in-house shipping is available for this lot.

    Pook & Pook Inc.
  • Leonid Sokov - Springtime
    Jul. 16, 2025

    Leonid Sokov - Springtime

    Est: $80 - $120

    Leonid Sokov (Soviet Russian/American 1941-2018), acrylic on paper Springtime, signed and dated lower right 1992, 38" x 45". Provenance: Mr. and Mrs. John Schwartz. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Skywriting Stalin
    Jul. 16, 2025

    Leonid Sokov oil on canvas Skywriting Stalin

    Est: $600 - $800

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Skywriting Stalin, 1992, signed and dated on side of stretcher lower right, 72" x 30". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov two fabric/Xeroxed image collages on wood panel
    Jul. 16, 2025

    Leonid Sokov two fabric/Xeroxed image collages on wood panel

    Est: $200 - $400

    Leonid Sokov (Soviet Russian/American 1941-2018), two fabric/Xeroxed image collages on wood panel, Untitled, 1993, one signed and dated verso, the other signed and dated on side of board lower left, on a Russian calico field, 36" x 36" and 17" x 48". Provenance: Igor Stenmark. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov fabric/wood/gold leaf Chamomiles With Hammer and Sickle
    Jul. 16, 2025

    Leonid Sokov fabric/wood/gold leaf Chamomiles With Hammer and Sickle

    Est: $200 - $300

    Leonid Sokov (Soviet Russian/American 1941-2018), fabric/wood/gold leaf Chamomiles With Hammer And Sickle, signed and dated on side of board lower left 1993, on a Russian calico field, 46" x 40". Provenance: Igor Stenmark. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov, metal Lenin with wings
    Jul. 16, 2025

    Leonid Sokov, metal Lenin with wings

    Est: $200 - $300

    Leonid Sokov (Soviet Russian/American 1941-2018), metal with bronze patina Lenin With Wings, 1993, signed on base. Lenin was sanctified after death, but in this work Sokov has given him wings reminiscent of Dracula's concealing cloak, 14 1/2" h., 9" w., 12"d. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Lenin Making A Speech From A Malevich Teapot
    Jul. 16, 2025

    Leonid Sokov Lenin Making A Speech From A Malevich Teapot

    Est: $200 - $300

    Leonid Sokov (Soviet Russian/American 1941-2018), cast metal and plaster sculpture Lenin Making A Speech From A Malevich Teapot, signed and dated underneath 1995, 10" h., 9" w., 3 1/2" d. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. Competitive in-house shipping is available for this lot.

    Pook & Pook Inc.
  • Leonid Sokov lead Stalin
    Jul. 16, 2025

    Leonid Sokov lead Stalin

    Est: $400 - $600

    Leonid Sokov (Soviet Russian/American 1941-2018), lead Stalin With the Head of a Philosopher, The Arms of a Worker, In a Soldiers' Great Coat, signed on underside and dated 1994, 17 3/4" h., 6" w., 6 1/2" d. Sokov mocks Stalin and the Soviet regime's efforts to control the population by manipulation and coercion. Provenance: Igor Stenmark. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov marking pen on paper Lenin Drawing
    Jul. 16, 2025

    Leonid Sokov marking pen on paper Lenin Drawing

    Est: $120 - $180

    Leonid Sokov (Soviet Russian/American 1941-2018), marking pen on paper Lenin Drawing, signed and dated lower center 1983, sheet - 24" x 32", frame - 30 1/2" x 42". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov ink drawing Bear On Top Of The USSR
    Jul. 16, 2025

    Leonid Sokov ink drawing Bear On Top Of The USSR

    Est: $160 - $240

    Leonid Sokov (Soviet Russian/American 1941-2018), ink and crayon on paper Bear On Top Of The USSR, signed and dated lower right 1983, 36" x 24". Sokov's bear, symbolic of the Russian people, subverts the Soviet state. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on burlap on linen Prick
    Jul. 16, 2025

    Leonid Sokov oil on burlap on linen Prick

    Est: $200 - $300

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on burlap on linen Prick, signed and dated on side of stretcher lower right 1985, 32" x 48". Provenance: Maxim Dlugy. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Crow and Coca-Cola
    Jul. 16, 2025

    Leonid Sokov Crow and Coca-Cola

    Est: $200 - $400

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on tin and plywood Crow and Coca-Cola, Solzhenitzyn Is An Asshole Who Returned . . . Who Needs Him . . . signed and dated on side of stretcher upper right 1995, 36" x 24". After official charges of treason against Solzhenitsyn were dropped and the Soviet Union collapsed, Solzhenitsyn returned home. He was treated as a figure of the past, Russia's focus now turned towards Western culture and consumerism. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold

    Pook & Pook Inc.
  • Leonid Sokov birch trunk and forged metal Profile Stalin
    Jul. 16, 2025

    Leonid Sokov birch trunk and forged metal Profile Stalin

    Est: $300 - $500

    Leonid Sokov (Soviet Russian/American 1941-2018), birch trunk and forged metal, Profile Stalin, signed on base and dated 1992, 74" h. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov metal figure of Lenin
    Jul. 16, 2025

    Leonid Sokov metal figure of Lenin

    Est: $200 - $400

    Leonid Sokov (Soviet Russian/American 1941-2018), metal sculpture Lenin With Devil, 1994, a unique casting, signed on base, 9 3/4" h. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. Competitive in-house shipping is available for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Landscape Turner with Stalin and Locomotive
    Jul. 16, 2025

    Leonid Sokov Landscape Turner with Stalin and Locomotive

    Est: $100 - $200

    Leonid Sokov (Soviet Russian/American 1941-2018), printed landscape with painted wood applique, Landscape Turner with Stalin and Locomotive, signed verso, and signed on side and dated '83, 18" x 24". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. Competitive in-house shipping is available for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Van Gogh and Cezanne
    Jul. 16, 2025

    Leonid Sokov oil on canvas Van Gogh and Cezanne

    Est: $600 - $800

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Van Gogh And Cezanne, signed and dated lower right 1996, 37" x 53". Provenance: Alex Boulatov and Svetlana Lensky. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Horse Prezevalskogo
    Jul. 16, 2025

    Leonid Sokov oil on canvas Horse Prezevalskogo

    Est: $800 - $1,200

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas with plaster statue in bronze patina Horse Prezevalskogo, signed and dated on side of stretcher lower right 1994, 28' x 34", overall - 36 1/2" h., 34" w., 3" d. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov acrylic on paper Stalin and Marilyn
    Jul. 16, 2025

    Leonid Sokov acrylic on paper Stalin and Marilyn

    Est: $1,200 - $1,600

    Leonid Sokov (Soviet Russian/American 1941-2008), acrylic and collage with screen print and gold foil on paper Stalin and Marilyn (Lovebirds), signed and dated lower right 1990, Stalin lustfully groping for Marilyn Monroe, who is symbolic of everything Stalin professed to hate, mounted free behind glass, 50" x 38", frame - 53" x 41". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Tatlin's Tower with a Bottle of Stolichnaya
    Jul. 16, 2025

    Leonid Sokov oil on canvas Tatlin's Tower with a Bottle of Stolichnaya

    Est: $500 - $1,000

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Tatlin's Tower with a Bottle of Stolichnaya Vodka, signed lower left and dated 1996, 95" x 61". Tatlin's Tower was a model for an enormous futuristic structure, symbolic of the utopian communist ideals. It became an ironic symbol, never built because the materials and technology required were lacking in early Soviet Russia. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov plaster bust of Lenin
    Jul. 16, 2025

    Leonid Sokov plaster bust of Lenin

    Est: $400 - $600

    Leonid Sokov (Soviet Russian/American 1941-2018), painted plaster bust of Lenin Leader, signed on back and dated 1990. Mikhail Gorbachev's birthmark came to symbolize both him and his leadership. While Gorbachev was committed to Marxist-Leninist ideals, he believed reform was essential for the Soviet State to survive, 16 1/2" h., 10" w., 10" d. Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Vodka
    Jul. 16, 2025

    Leonid Sokov oil on canvas Vodka

    Est: $400 - $600

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on canvas Vodka, signed and dated lower right 1997, 71" x 43". Leonid Sokov is recognized as one of the founders of the Sots Art movement of nonconformist artists who rejected the Soviet mandated style of Social Realism. Soko created"Soviet Pop Art" which is seen in the repetition of Pop icons such as the vodka bottle or Coca-Cola can. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on board Saint George
    Jul. 16, 2025

    Leonid Sokov oil on board Saint George

    Est: $500 - $1,000

    Leonid Sokov (Soviet Russian/American 1941-2018), oil on board with applied wood elements St. George, signed lower right and dated '86, 73 3/4" x 96". Saint George is the patron saint of Moscow. Provenance: Yevgeny Klochkov. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov, large oil on canvas Shiskin Landscape And Car
    Jul. 16, 2025

    Leonid Sokov, large oil on canvas Shiskin Landscape And Car

    Est: $800 - $1,200

    Leonid Sokov (Soviet Russian/American 1941-2018), large oil on canvas Shiskin Landscape And Car, signed and dated on side of stretcher lower right 1995, a car drives under the grandeur of Shishkin's clouds, 91" x 67". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov oil on canvas Poetry of V. Chlebnikov On Winter Landscape
    Jul. 16, 2025

    Leonid Sokov oil on canvas Poetry of V. Chlebnikov On Winter Landscape

    Est: $800 - $1,200

    Leonid Sokov (Soviet Russian/American 1941-2018), large oil on canvas Poetry Of V. Chlebnikov On Winter Landscape, with the poem written in the sky You are my song, my dark-blue dream of doves, of winter's drowsy drone, and sleighs that slow and golden go through gray-blue shadows on the snow. - V. Chlebnikov, signed and dated under lower stretcher 1996, 55" x 78". Provenance: Dr. Roman Tabakman. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov Spermatozoids
    Jul. 16, 2025

    Leonid Sokov Spermatozoids

    Est: $200 - $400

    Leonid Sokov (Soviet Russian/American 1941-2018), sheet metal with electric motor Spermatozoids, signed verso and dated 2000, 28 1/8" w. Provenance: Maxim Dlugy. Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
  • Leonid Sokov, oil and gold leaf on plywood
    Jul. 16, 2025

    Leonid Sokov, oil and gold leaf on plywood

    Est: $180 - $220

    Leonid Sokov (Soviet Russian/American 1941-2018), oil and gold leaf on plywood Letatlin And Sickle And Hammer, signed and dated on edge of stretcher 1993, in which an ideology appears to fly in Tatlin's machine, 1993, 48" x 72". Leonid Sokov is recognized as a founding member of Sots Art, a group of nonconforming artists in the 1970s who did not adhere to Soviet Social Realism. The movement risked State censorship to express universal ideas. In what became known as the 1974 Bulldozer Exhibit, his work, along with that of other Sots’ artists, was destroyed by authorities. The exhibit was the first major challenge to the Soviet regime’s attempt to prevent free expression and modern influences in art from disseminating. Alex Rosenberg wrote, “The Soviets failed to understand that these artists were not negating or rejecting Russian values or socialism, but were attempting to express them in a more open and worldly manner incorporating the universal precepts of modernism.” Sots Art satirized the volume of ideology produced by the Soviet regime, much as Pop Art commented on the flood of consumer products under capitalism. Sokov’s approach was to parody Soviet iconography with traditional and folkloric Russian icons. Russian culture was his inspiration. As he put it, “Russian culture for me serves the same function as the landscape did to the landscape painters of the 19th century.” Sokov explored the roots of Russian and Soviet mythologies, as well as the interaction of Russian culture with the ideas of modernism. After emigrating to the United States in 1980, Sokov continued his folkloric storytelling, highlighting the sharp contrast between the value systems of his two nationalities, and, after the fall of the Soviet Union, the sudden immersion of Russian culture in that of the West. Often prescient, Sokov’s work is as relevant today as it was during the Cold War. NO in-house shipping for this lot.

    Pook & Pook Inc.
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