Russian Icons

RU S S I A N S I C O N S 1

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London

58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu www.barakatgallery.eu

Seoul

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Los Angeles 941 N La Cienega Blvd Los Angeles CA 90069 +1 310 859 8408 contact@barakatgallery.com www.barakatgallery.com

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CATALOGUE EDITED BY: GIAN PIERO C. G. MILANI CURATED BY: MARIA SERENA PADRICELLI PAINTINGS: FAYEZ BARAKAT

COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS

PUBLISHED BY: HANNA BELLA PUBLISHING 20.08.2021 All rights reserved. No part of this book may be reproduced in any form of electronic or mechanical means including storage by information or retrieval systems without written permission of the authors except in the case of brief quotations embodied in critical articles or reviews.

All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.

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CONTENTS

Masterpieces

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Icons

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Travelling Icons

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Christ The King - PF.6214

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Icons play a crucial role in the worship and culture of Byzantine Christianity. They embody symbolically the presence of God and Saints on this Earth, creating a veritable link between the human and the Eternal.

Icons are a necessary feature of Byzantine architecture, with several of them being displayed in each Church on the screen (iconostasis) separating the nave from the sanctuary. Each Church hosts icons of Christ and of the Virgin Mary, often associated with complex cycles of iconographies representing groups of Saints and the various feasts of the Christian year.

Each Orthodox is also supposed to own a number of icons for their private worship, making these beautiful artefacts a vital component of the daily lives of millions of people.

Russian icons are an interesting class in the wider group of Byzantine iconography.

Stemming originally from the canons of the Palaeologan Renaissance at the core of the Byzantine tradition (Constantinople and Mount Athos in particular), the Russian style incorporates a number of external inputs, especially from the 18th century onwards, when Saint Petersburg attracted artists from all around Europe as one of the main cultural centres of the Old Continent. These artists influenced the style and craft of Russian icon painters, who developed a harmonious and elaborate iconography.

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MASTERPIECES

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Responsible not only for fighting Satan during the warm but he also leads the celestial armies. In Russian iconography, Archangel Michael is most likely to be wearing red.

His head is encircled by a gold halo. In iconographic manners, gold is not considered to be a pigment or a colour, but is likened to light itself. He is depicted as winged and is shown as young, strong and handsome. He wears a coat of mail. His wings are conspicuous and grand. He holds an orb in his hands. It is believed that the orb carried by the archangel belongs to Christ and represents the kingdom of the enthroned Divine King.

Exhibited: ‘Beyond Byzantium,’ New York, 1996.

‘Icons of Russia,’ Chicago, 1995.

Russian Icon of the Archangel Michael - X.0623 Origin: Russia Circa: 17th Century AD to 18th Century AD Dimensions: 76.50” (194.3cm) high x 27.50” (69.9cm) wide £240,000.00

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This icon depicts Saint Stephen, who was known as the protomartyr of Christianity and who is venerated as a saint in the Roman Catholic, Anglican, Lutheran and Eastern Orthodox Churches. He was the first of the seven deacons chosen by the Apostles to minister to the material needs of the community at a time when Christians were moved to sell their properties and bring their money to the Apostles for distribution amongst the poor. Saint Stephen wears a red cloak which is the iconic symbol of Christian martyrdom. His vestments reflect those of a deacon in the early Church. A gold halo encircles his head. In iconographic manners, gold is not considered as a colour or a pigment, but is likened to light itself. Saint Stephen holds what looks like incense in his left hand which indicates his role as deacon as well as a symbol of collective prayers of the faithful offered to god.

Exhibited: ’Beyond Byzantium,’New York,1996 ’Icons of Russia,’Chicago, 1995.

Russian Icon Of Saint Stephen - x.0624 Origin: Russia Circa: 17th Century AD to 18th Century AD Dimensions: 76.50” (194.3cm) high x 27.50” (69.9cm) wide £240,000.00

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St Barbara is depicted with a serene face expression and a radiant halo. The Saint wears a crown with precious stones and a beautiful light blue vest, holds a chalice (representing the Holy Eucharist) with one hand and a scroll with a Cyrillic text. She appears as a young woman of extraordinary beauty with a timeless spiritual calm.

St. Barbara - PF.5298 Origin: St.Petersburg, Russia Circa: 1750 AD to 1900 AD Dimensions: 15.75” (40.0cm) high $25,000.00 15

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The Almighty God Our Father seduces our senses and overwhelms our minds.

He reverberates the ideal wisdom, compassion and majesty that was based on the current conception of early Christian art. The Church was well aware of the extraordinary capacity of visual images to influence human belief and behaviour. ‘God’ floats against a golden background that has captured the sparks of light from heaven. The glitter and glow, the intensity of expression in the eyes seems to scintillate from an inner source. Imagine the magic of the church space where this icon was once placed, the play of light and shadow from candles glowing, the scent of incense permeating the air, and the softly whispered prayers of those in search of salvation. In such a context one might easily feel our earthbound soul ascending straight to God.

God The Father - PF.4361 Origin: St. Petersburg, Russia Circa: 1800 AD to 1900 AD Dimensions: 44” (111.8cm) high $48,000.00

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This beautiful panel presents the scenes of the Resurrection and Harrow into Hell with scenes from the Stories of Salvation. The frame, decorated with vegetal motifs and geometric patterns, has been painted with minute details alongside with the application of gold leaves (in Byzantine iconography gold is used to symbolise light rather then being a colour), encloses a series of iconographies representing events of the history of Salvation and festivals of the Christian year.

Starting from the first on the top left and moving clockwise, there is the Nativity of the Virgin; The Presentation of the Virgin at the Temple; The Annunciation; The Nativity of Christ; The Baptism of Christ; The Transfiguration of Christ; The Dormition of the Virgin; The Elevation of the Cross; The Hospitality of Abraham; The Ascension of Christ; The Entry into Jerusalem; The Presentation of Christ to the Temple. The central scene bears the typical Russian Icons of the Resurrection and Harrowing of Hell. The Resurrection and Descent into Hell depicts the risen of Jesus Christ from the dead and goes to Hell (precisely from the Hell’s Mouth on the bottom left corner) to save the ancient fathers, as a symbol for salvation for Humanity.

The Resurrection and Harrowing into Hell - PF.5707 Origin: Russia Circa: 18th Century AD to 19th Century AD Dimensions: 14” (35.6cm) high £16,800.00

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This icon is divided in four scenes and has a frame with vegetal and geometric motifs.

Starting from the top left corner and moving clockwise we see: • The Virgin of the Bush, a metaphor for the Virgin Mary why gave birth to a child while retaining her virginity. The Virgin and young Christ are contained within a blue diamond and surrounded by angels. Each corner of this panel bares smaller scenes, such as Moses and the burning bush in the top left and Jacob’s ladder in the bottom right.

• The following panel bears the Hospitality of Abraham scene.

• Underneath it we can find St. Panteleymon the Healer, represented with his spoon and medicine box.

• The last panel bears scenes of the life of Elijah, from the first Book of the Kings in the Old Testament. According to the Holy text, Elijah is in a difficult moment of his life during which he feels abandoned by God. While he was trying to desperately escape through the desert, God gave him food and water and indicated him the correct way.

Quadripartite Icon - PF.5753 Origin: Russia Circa: 18th Century AD to 19th Century AD Dimensions: 15.75” (40.0cm) high £25,000.00

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Russian Icon Depicting Christ Crucifixion - GDC.014 Origin: Russia Circa: 1850 AD to 1910 AD Dimensions: 17” (43.2cm) high x 13.75” (34.9cm) wide

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ICONS

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Depicted with a gold background and a frame with saints and vegetal motifs, this Mother of God is finely painted. The Virgin Mary is shown bust-length, wearing a red maphorion embroidered with golden details. She holds little Jesus Christ with her left hand while with the other shows the way: it points toward Christ, as the source of salvation for humankind.

The Mother of God Iversk - PF.5301 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 12.25” (31.1cm) high x 10” (25.4cm) wide $28,000.00 27

The Birth of Christ - PF.5798 Origin: Russia Circa: 18th Century AD to 19th Century AD Dimensions: 11.25” (28.6cm) high x 13.25” (33.7cm) wide £18,600.00

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Russian Icon Depicting Saint Seraphim - GDC.006 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 8.75” (22.2cm) high x 7” (17.8cm) wide $6,000.00

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Saint Antipas lived during the reign of emperor Domitian in 83 A.D. He was contemporary with the holy Apostles and with divine John the Evangelist, of whom he was a disciple. St. John even called Antipas, “my faithful witness.” Legend states that St. Antipas was consecrated bishop of Pergamum by the holy Apostles, but this is not historically documented. There, he was tortured and executed. During his time of torture, St. Antipas appealed to God to abscond all those who follow him from pain, even a toothache. It is for this reason that today St. Antipas remains the patron saint of toothaches and is believed to be a powerful healer.

Saint Antipas - PF.5938 Origin: Russia Circa: 18th Century to19th Century AD $4,500.00

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Matthew was working as a tax collector for the Romans in Capernaum when he was called by Jesus to be an apostle (Matt. IX, 9). The authorship of the First Gospel was attested to him from early times. On this lovely icon Matthew is shown writing his famous work, with an angel perched above. Written on the text is a listing of the lineage of Jesus. The delicate, pastel coloration communicates a gentle quality appropriate to a much beloved saint. Broad areas of shading, and the angular folds of the garments is reminiscent of medieval painting. An overlapping of a fold of clothing over the border adds an element of perspective. The artist has managed to create a balance of great tranquillity blended with fervent religious faith, seen particularly in the intensity of the saint’s eyes; who seems to be divinely inspired.

Saint Matthew Inspired by an Angel - PF.4845 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 12.875” (32.7cm) high £7,500.00

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Tradition has it that Anna, wife of Joachim, childless for many years, reached a point in her life just short of despair when she prayed in earnest that God grant her a child. In order to court God’s favor, she promised that, should her wish be fulfilled, she would pledge the child to his holy Temple. God granted her this child, named Mary, and faithful to her word, Anna presented her daughter to the temple and entrusted her care to the high priest Zacharias. This is the scene depicted on this marvellous icon. The infant Mary, bearing a halo foretelling of her divinity, has left the side of her mother and approaches the high priest Zacharias who will serve as her spiritual guide. The young child is caught in a transition between the domestic world of her humble family and the religious structure of the Jewish temple. This temple, suggested by the architectural elements in the background, is the center of Mary’s religious education. By the time she was released to her parents, the saintly Mary was not only a flawless maiden but in her twelve years had acquired the lore and religious fervor of the deepest scholars, something usually denied a female child of those days.

This icon is a stunning document to this vital transition in the life of the Virgin.

Inside the temple, Mary received an education that would ultimately prepare her to become the Mother of God. However, here she is depicted as a little girl, her holiness already apparent to us, who is leaving the security of her family to devote herself to a greater calling: God’s will.

The Presentation of the Virgin - PF.4852 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 12.25” (31.1cm) high x 10.75” (27.3cm) wide $18,600.00

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This exquisite icon is an embodiment of the pictorial tradition of early Russian medieval art. Four Russian saints are positioned in pairs on either side of the Archangel Michael, who holds a cloth with the portrait of Christ. At far left is Saint Theodore with a cross looking in the direction of the angel. Next to him Saint Modest, dressed in a beautiful red robe, holds the Holy book while offering his blessings. He was a patriarch of Jerusalem and regarded as a protector of cattle from disease.

On Michael’s left is the venerable Saint Vasiley also holding the sacred book with both hands. The youthful Saint Laurus looks upon the holy gathering with a slightly quizzical expression, and carries a small cross with his right hand. He is traditionally associated with the Archangel Michael, who taught both he and his brother Florus the art of riding. Interesting perspective is given with a finely painted horse and rider in the foreground as they approach a group of three horses quietly drinking at a pool. This gentle genre scene contrasts beautifully with the “heavenly” scene above, merging the real with the spiritual in a way that is both charming and moving.

Archangel Michael with Four Saints - PF.5199 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 14” (35.6cm) high x 11.75” (29.8cm) wide Medium: Oil on Wood Panel £9,600.00

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This icon is a representation of Christ Pantocrator, the awesome ruler of the universe. He holds a book inscribed in Cyrillic text, probably the Bible, in his left hand, a testament to his redemption. With his right hand, he makes a sign of benediction, blessing us. A large golden halo surrounds his head, evidence of his divinity. Stylistically, much of the painting is derived from earlier Byzantine mosaics and paintings, typical of Orthodox art. This influence can be seen in the linear, angular folds of his drapery and the relative spatial isolation of the image without any elaboration of environment or setting. Most impressive is the intricate, stylized representation of the folds of his garments, directly derived from the Byzantine style.

Precious gemstones have been woven into the cuffs and collar of his robe, revealing his majesty.

Christ Pantocrator - CK.0328 Origin: Russia Circa: 18th Century AD to 19th Century AD $9,600.00

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Christ The King - PF.6214 Origin: Russia Circa: 1850 AD to 1920 AD Dimensions: 23” (58.4cm) high x 16” (40.6cm) wide $9,000.00

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This scene represents the first moments of Mary’s life. Anna, the Virgin’s mother, reclines in a bed as her handmaidens bring her offerings of bread and water or oil after her labor. In the far right corner, father Joachim is seated calmly watching. This moment is frequently referred to as the Immaculate Conception, the church doctrine that states Mary was born into the world free from sin. At the bottom center, two maids prepare to wash the newborn baby girl. Who might suspect that this meager infant would grow to become the Mother of God? Although a small halo around her head prefigures her divinity. Both Anna and Joachim are haloed as well, revealing their holy nature. This scene, otherwise a seemingly normal nativity, is to the faithful the beginning of the redemption of mankind.

The Nativity of the Virgin - PF.5960 Origin: Russia Circa: 18th Century AD to 19th Century AD Dimensions: 14” (35.6cm) high $12,000.00

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The subject matter, called ‘Our Lady of the Sign’, depicts Mary as the future Mother of God. She stands, crowned by a luminous halo, holding both hands in the air.

An apparition of the Christ child, forming a sign of benediction, covers her torso.

Symbolically, this suggests the Lord is contained within her womb. Aesthetically, the circular frame that surrounds the Christ child echoes the curve of her halo and thus unites the two holy figures. This stunning icon brings the devout that much closer to God through the figure of Mary.

The Mother of God of the Sign - PF.5594 Origin: Russia Circa: 18th Century AD to 19th Century AD Dimensions: 12” (30.5cm) high x 10.25” (26.0cm) wide £9,600.00

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Depictions of the Mother of God alone are quite rare, she if most often represented along with the Christ child. However, in this powerful icon, the Virgin is shown alone holding a text that she points to. This unusual posture is related to a famous Greek Orthodox icon from the twelfth or thirteenth century called the Paraclesis. The influence of this celebrated painting is evident both in the slight tilt of Mary’s head and in the gesture of her right hand. When the two works are compared, one realizes how firmly rooted in tradition icon painters were.

The Mother of God - PF.5984 Origin: Russia Circa: 18th Century AD to 19th Century AD Dimensions: 12.5” (31.8cm) high $6,800.00

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When the side panels of this triptych are closed, the wonders of the interior are concealed. Unlocked and opened, the glorious image of the Virgin Mary is revealed.

A gentle light emanates from around her head, defining her divine nature. The side panels depict scenes of saints aiding the elderly and poor. On the left, an unidentified saint, possibly Zachary, covers an old man with a robe. The old man reverently looks toward the Virgin as he comforts a young man who appears to be ill, holding his hand to his chest. On the right wing, St. Mark guides the gaze of a youthful follower to the central image of Mary. The side panels, when folded, serve to protect the painting for travel while when open they reiterate and reinforce the dominant depiction of Mary. Naturally, the Virgin stares out at us, the viewer. She draws us into the work, and captures our attention. In case our eyes wonder, the scenes in the wings return our focus to their Virgin through the figures’ adoration. Thus as the sick and elderly turn to Mary for guidance and salvation, so do we.

Triptych Featuring the Virgin - PF.5981 Origin: Russia Circa: 19th Century AD Dimensions: 11” (27.9cm) high $8,500.00

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Russian Icon Depicting the Resurrection - GDC.022 Origin: Russia Circa: 1850 AD to 1920 AD Dimensions: 17.5” (44.5cm) high x 14.5” (36.8cm) wide $15,000.00

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Painting of the Entombment - PF.5982 Origin: Russia Circa: 1913 AD Dimensions: 21.5” (54.6cm) high x 15.5” (39.4cm) wide $18,000.00

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Pictured at the top of this stunning icon, Jesus Christ appears from behind a cover of clouds. A brilliant light radiates from his head as represented by his halo and the rays of lines. Christ looks out over a scene of four holy figures standing besides each other.

From left to right, they are: Nadia, St. Olga, St. Pavel, and St. Aleksei. Nadia holds a sign that can be translated as, “God, come so we can love you.” Meanwhile, St. Pavel holds a text that reads, “God is our Saviour.” The luminous gold background shines as if illuminated by the light of heaven itself. These four holy figures can take comfort, as we can as well, that god is hovering above us listening to our prayers.

Four Saints - PF.5985 Origin: Russia Circa: 19th Century AD Dimensions: 12.25” (31.1cm) high $10,500.00

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Saint Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are confused and historically unconfirmed. According to tradition, he was a native of Patara, formerly a city in the ancient district of Lycia, Asia Minor. Nicholas entered the nearby monastery of Sion and subsequently became archbishop of the metropolitan church in Myra, Lycia. At the end of the 11th century some Italian merchants transported his remains from Myra to Bari, Italy, where his tomb is now a shrine. Legend tells of his surreptitious gifts to the three daughters of a poor man, who, unable to give them dowries, was about to abandon them to prostitution. From this tale has grown the custom of secret gifts on the Eve of Saint Nicholas. Today, he is traditionally associated with modern Christmas celebrations.

Russian Orthodox Icon Depicting St. Nicholas - CK.0588 Origin: Russia Circa: 19th Century AD Dimensions: 7” (17.8cm) high x 5.5” (14.0cm) wide $9,000.00

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The icon is the epitome of symbolism and beauty, using a variety of techniques to glorify the subject matter. Delicately executed on wood panel with oil and gold, this icon depicts the Emperor Theodosius I (346-395AD) of the Byzantine Empire who was significant in the development of the alliance between church and state. Standing alone in an unadorned space, his attire is extremely rich in colour and design, reminiscent of Greek Orthodox and Catholic styles. This richness parallels with the beautiful gold panelling behind him. His pose is also captivating, with his left hand holding a long wooden staff and a piece of white cloth, while his other hand is raised in the religious sign of peace. His pious yet serious expression conveys the message of his dedication to his faith. Enclosed in a classical arch and surrounded by the beauty of gold and architectural design, the icon begins to affect us, not only with its beauty but with its spirituality as well, opening up a new dimension in the world of religious art.

Emperor Theodosius I - PF.4767 Origin: Russia Circa: 19th Century AD Dimensions: 28” (71.1cm) high $14,000.00

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Russian Icon Depicting the finding of the Holy Cross - GDC.011 Origin: Russia Circa: 1850 AD to 1910 AD Dimensions: 19.25” (48.9cm) high x 24” (61.0cm) wide $18,000.00

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Icon - GDC.012 Origin: Russia Dimensions: 26.5” (67.3cm) high x 24” (61.0cm) wide $18,000.00

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The Birth of Jesus Christ - GDC.013 Origin: Russia Dimensions: 14” (35.6cm) high x 21” (53.3cm) wide $18,000.00

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Russian Icon of Christ Pantocrator - PF.5943a Origin: Russia Circa: 19th Century AD Dimensions: 13.75” (34.9cm) high x 12” (30.5cm) wide $19,000.00 59

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When Jesus walked on the earth he chose twelve men to follow closely and learn from him. These men spent about two years traveling with Jesus. They heard his teaching and parables, saw him work miracles, and experienced the wonders of daily life with the Lord. Importantly, these were not learned theologians. Jesus ran into opposition from the religious establishment because he and his apostles often broke the traditional rules. Much of our knowledge of the life of Christ survives in the writings of the apostles who continued his work and spread his faith. Pictured most prominently in this icon are St. Peter, recognized by the key he holds and considered the leader among the twelve, and St. James who can be identified by the sword of the martyr (James was the first of the twelve to be martyred). Next to James is his brother St. John the Evangelist who appears holding a book in his characteristic youthful appearance. To the left of Peter is another prominent apostle, most likely St. Matthew. He holds a rolled scroll that might symbolize his Gospels. The other eight apostles are rendered in a similar aged style with thick grey beards. Only two others stand out for their youth; both flank St. Matthew on the far left. Perhaps one of these is the infamous Judas, who, even though be betrayed Christ, is represented as a holy figure replete with a halo. Christ lived an exemplary life and died to redeem the sins of mankind. Were it not for the writings and actions of his disciples, his story and words might have died with him upon the cross. This gorgeous icon represents those who carried on the legacy of Christ and established the foundation from which his legend has flourished.

The Twelve Apostles - PF.5983 Origin: Russia Circa: 19th Century AD Dimensions: 19.5” (49.5cm) high $11,000.00

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The central panel of this striking icon depicts Christ enthroned flanked by Mary and St. John. All these figures are repeated in the smaller surrounding panels that represent scenes from the life of Christ. The two most prominent of the smaller predella are the Flight into Egypt at the bottom and the Entry into Jerusalem directly above the central panel. The painter has masterfully arranged the composition so that the white horse and donkey from the two scenes echo each other. In the first, Christ is an infant who must flee his homeland for safety in Egypt. In the second, he returns triumphantly to the land of his birth riding along a donkey. These two events serve as effective bookends to the life of Christ. This icon depicts some of the most famous events from the life of Christ in order to remind the viewer of the path he undertook and the choices he made. Gazing upon this stunning painting, we are reminded that righteousness is a constant struggle that permeates every moment of our lives, and the life of Christ as well.

Scenes from the Life of Christ - PF.5975 Origin: Russia Circa: 19th Century AD Dimensions: 10” (25.4cm) high $8,500.00

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The aged Simeon had been promised that he would not die before he saw the Messiah. When Mary and Joseph came the temple to offer sacrifices as prescribed in the Law for her purification and to present their first-born to the Lord, Simeon, led by the spirit, also came to the temple. He recognized in Jesus the longed-for Promised One. With reverence, Simeon takes the Child, who smiles at us, into his arms. Mary stands to the left, holding out her arms as if she just let go of her son. Joseph stands behind her gazing pensively at his child. They appear deeply moved by the prophetic words of Simeon, as does the prophetess Anna who stands to the far right. There is almost no elaboration of the temple architecture except for the stone bricks of the floor. Clearly the artist has sought to depict this moving scene inside the golden backdrop of heaven.

The Presentation of the Christ Child in the Temple - PF.5961 Origin: Russia Circa: 19th Century AD Dimensions: 20.25” (51.4cm) high $8,600.00

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Saint Antipas lived during the reign of emperor Domitian in 83 A.D. He was contemporary with the holy Apostles and with divine John the Evangelist, of whom he was a disciple. St. John even called Antipas, “my faithful witness.” Legend states that St. Antipas was consecrated bishop of Pergamum by the holy Apostles, but this is not historically documented. There, he was tortured and executed. During his time of torture, St. Antipas appealed to God to abscond all those who follow him from pain, even a toothache. It is for this reason that today St. Antipas remains the patron saint of toothaches and is believed to be a powerful healer.

Saint Antipas - PF.5938 Origin: Russia Circa: 19th Century AD $4,500.00

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This Icon represents the Mother of God. It is finely painted. The artist has rendered these supernatural figures in a style that is both intimate and personal. While the painter has captured the Virgin and Christ child’s humanity, he has been careful to suggest their divinity. A pale yellow light radiates from around the heads of both figures. The infant Christ holds a wound up scroll in one hand and forms a sign of blessing with the other. The Virgin Mary is shown bust-length, wears sumptuous robes befitting the Mother of God. She is crowned with a jewelled tiara suggesting her role as the Queen of Heaven. She holds little Jesus Christ with her left hand while with the other points to Him. According to the Byzantine Hodegetria, her hand points toward Christ, as the source of salvation for humankind.

The Mother of God - PF.5959 Origin: Russia Circa: 19th Century AD to 20th Century AD Dimensions: 35.75” (90.8cm) high $60,000.00

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T R AV E L L I N G I C O N S

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Russian Brass Travelling Icon of Saint John the Baptist - SP.601 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 4.75” (12.1cm) high x 4.25” (10.8cm) wide Medium: Brass $900.00

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Russian Silver Travelling Icon of the Virgin Mary - SP.600 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 3.75” (9.5cm) high Medium: Silver $900.00

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From these icons Jesus Christ looks upon us as if from heaven. Yet, He also sees us from the human level as well, deep into our hearts, offering His blessings with His right hand. In His left He holds an open book upon which is written, “and the golden hour will come, when the kingdom of kingdoms will rule”. On either side of Christ is the inscription “Lord Theocrator”. Set against a black background covered with delightful foliage, the figure stands out even more vividly. Touches of white add further dimension and serves to direct the eyes to the intense expression of Christ, whose eyes seem both open and shut, appropriate to a nature that was both human and divine.

Section of an Enamelled Brass Traveling Icon of Christ Pantocreator - PF.5243 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 5.25” (13.3cm) high x 5” (12.7cm) wide $1,200.00

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Section of an Enamelled Brass Traveling Icon of Christ Pantocreator - PF.5239 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 6.25” (15.9cm) high x 5.5” (14.0cm) wide $2,400.00

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Enamelled Brass Traveling Icon with scenes from the life of Christ - PF.5185 Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 7.25” (18.4cm) high x 8.25” (21.0cm) wide $4,800.00

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London

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