23 November Catalogue
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Transcript of 23 November Catalogue
Russian and GreekIcons and Works of Art
Tuesday 23 November 2010
!"#$"%&'(#)*+*,(
CYPRUS HILTON HOTEL
A!"#$%&
Tuesday 23 November 2010
at 8pm (Lots 1-160)
Cyprus Hilton Hotel
Nicosia
V$'($&)
Friday 19 November 9am - 9pm
Saturday 20 November 9am - 9pm
Sunday 21 November 9am - 9pm
Monday 22 November 9am - 9pm
Tuesday 23 November 9am - 6pm
!"#$"%&'(#)*+*,(
!"##$%& % '(&)&#$%&*$+,- % .&$+(/0%1,+-2(%$3/4,+& *#$"##01+
*+,-./0
12/30., 23 4/5635 2010 7/8a
9 8 9:;e3a (</2= 1-160)
>.?3, @2:<A B.<2/0
4.,/C.5
D3:89E3.2:<A0=F ?/,EG </2%9
D520.-E 19 4/5635 9:00 - 21:00
H+66/2E 20 4/5635 9:00 - 21:00
1/C,3:C:0A: 21 4/5635 9:00 - 21:00
D/0:8:<A0., 22 4/5635 9:00 - 21:00
12/30., 23 4/5635 9:00 - 18:00
R566789 89: G;<<= I>?96 89: W?;=6 ?@ A;A
Please note this auction is subject to Important Notices, Conditions of Sale and reserves.
!"#$%&%' ()&*$)&' )$ %+, ,%+ $-./&+) 0#+(+1&%23 2+45$2)+ 0#&)/&0$*, 0#+0&2$))6* ( 7$8)69 :$*',$)&39 & ;25+(&39 <+#4+(, $ %$.8' ,%+ $-./&+))6' 5+%6 &*'=% #'>'#()-= /')-.
Dear friends,We are very pleased to o!er to your attention a catalogue that is prepared for the Russian and Greek Icons and Works of Art exhibition organized by La Parole Divine. Today more and more people are taking notice of icon paintings. "is is not a simple re#ection of a popular fad to be interested in antiquities or to be connoisseur of art. An icon is a combination of spiritual and art activity of humans; it is a symbol of atmosphere in society. By comparing icons of di!erent époques, you may gain more understanding of culture, people’s feelings, happiness and grief."e group of aesthetically sensitive people, who chose the icon as the object of collecting and had material bene$ts for building-up new collections, was expanding slowly. "erefore the recent years will be remembered in the history of collecting and study of icon painting as a new and important period. Several remarkable collections appeared in the short term, and it is truly valuable that collecting has become more open, and that private owners willingly show their treasures at exhibitions and grant access for publications."e study of icons allows us to approach an understanding of spiritual riches, state of mind, beauty and truth of our ancestry. One can obviously see strength of mind, kindness, justice, fairness, self-sacri$ce, wisdom, military valour and mercy when looking at the collection of icons and artefacts presented at the exhibition.It is hard to overestimate such events as the Russian and Greek Icons and Works of Art exhibition. Enhancing the prestige of icon collecting, they promote the strengthening of public interest towards Russian art in whole and especially to Old Russian art.We are so glad that Cyprus, an island with rich history and culture, can also become the central attraction of icon painting connoisseurs. A%er all, people from around the world will come to Cyprus to participate in auction. We wish you a pleasant viewing.Truly yours,Natalia KardashEditor-in-chiefRussian Publishing House VESTNIK KIPRA
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!"ST. GEORGE THE DRAGON-SLAYER
GREEK, 17TH CENTURY
Dressed in a suit of armour comprised of a lamellar kilt, leggings
with gold embroidery and boots, complemented by a shield on
!"#$ %&'($ #!)*%+&,$ -.+$ -$ ,&+$/)0".1$ 2-3&4$ (!&$5"%"(-,64$ 6)*(!'*%$and beardless saint riding a white rearing horse, piercing the head
of the reptile with his spear; a dark hole to the left of the rocky,
barren landscape representing the dragon’s cave; diagonally
above on the golden background, the hand of God emerging from
the skies to bless the saint
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!
#" THE NEW TESTAMENT TRINITY
GREEK, 18TH CENTURY
Christ and God the Father seated on a throne formed by grey
#0",%".1$ 2%)*+#4$ (!&",$ '&&($ ,&#(".1$ ).$ 0!&&%#$ )'$ c,&d$ e)(!$crowned, vested in liturgical garments and himatia, gesturing
in benediction, between them a globus cruciger, the closed
f))g$ ).$ h!,"#(i#$ %-3$ #*11&#(".1$ (!&$ '*%c%5&.($ )'$ (!&$ j&0$Testament, the Holy Spirit as a dove in a double mandorla
hovering above, the inscriptions in Greek majuscule reading,
k$lmnl$opnlh$-.+$qnh$rqsh4$5&-.".14$The Holy Trinity
and One God respectively
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uHJWUGW$ J$ vGI?wUFb$ D$ LJUTHIJNFWZJY$ GKLMNFOJQY$$XHFVWUMDLFOR$ DGWWFVM^\JPJ$ OM$ UHGOF4$ GKHM[GDMOOGP$WFHRPJ$ ZLTKQ\JPJWQ$ GKLMZMPJE$ ;Y$ WUGXR$ XGZGQUWQ$ OM$GIOF[HMNORY$ ZGLFWMYd$ IGLGDR$ TDFONMOR$ ZGHGOMPJ4$ VLMOJ$WLGaFOR$ D$ aFWUF$ KLMIGWLGDFOJQ$ J$ ZMWM^UWQ$ VFHaMDR$ W$ZHFWUGP$ xglobus crucigeryE$ $ zMZHRUMQ$ ZOJIM4$ LFaM\MQ$ OM$ZGLFOQY$uHJWUM$[OMPFOTFU$JWXGLOFOJF$XHGHGNFWUD${GDGIG$zMDFUME$ $CDE$|TY$D$GKHM[F$IGLTKQ$XMHJU$D$VDG@OGP$OJPKFE$7HFNFWZMQ$PM^WZTL_OMQ$OMVXJW_$ILMWJU$ $k$lmnl$opnlh$J$ $ qnh$ rqsh4$ $ NUG$ WGGUDFUWUDFOOG$ XFHFDGVJUWQ$ ZMZ$}]HFWDQUMQ$~HGJbM�$J$}9VJOR@$vGI�E
$"%%%THE ENTHRONED MOTHER OF GOD SURROUNDED BY
OLD AND NEW TESTAMENT FIGURES
MELCHITE, 18TH CENTURY
Holding Christ on her knees, the throne exuberantly carved,
-((&.+&+$e6$�(E$ �)!.$ (!&$f-3("#($ -.+$ (!&$�,)3!&($�%"�-!d$ (!&$ %)0&,$',"&�&$3),(,-6".1$(!&$&53&,),$�(E$h).#(-.(".&$-.+$!"#$5)(!&,$�%&.-$+"#3%-6".1$ (!&$�,*&$h,)##4$/-.g&+$e6$ (!&$&�*&#(,"-.$#-".(#$�&),1&$-.+$�&5&(,")#4$e)(!$*.+&,$ (,"?%)e&+$-,,-.1&5&.(#d$c.&%6$&�&2*(&+$predominantly with complimentary reds and greens on dazzling gold
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vGIGHGVJbM$ DGWWFVMFU$ OM$ KGIMUG$ TZHMSFOOGP$ HF[OGP$ UHGOF$ W$XT`GP$J$XGVOGaJFP$xsuppedaneumy$VFHaM$OM$ZGLFOQY$PLMVFObM$uHJWUME$ 9F$ GZHTaM^U$ $ CDE$ ;GMOO$ BHFWUJUFL_$ J$ ]HGHGZ$;LJQE$ $ A$ bFOUHF4$ D$ OJaOFP$ HQVT$ W$ ZLF@PMPJ$ J[GKHMaFOR$ CDE$HMDOGMXGWUGL_ORF$ JPXFHMUGH$ BGOWUMOUJO$ J$ FIG$ PMU_$ 9LFOM4$GKHFUSJF$ �FWUOG@$ BHFWU$ 7GWXGVFO_E$ ]G$ GKF$ WUGHGOR$ Z$ OJP$XHJPRZM^U$J[Q\OG$DRXGLOFOORF$J$[MZL^NFOORF$D$UHFYNMWUORF$PFVML_GOR$J[GKHMaFOJQ$DWMVOJZGD$ WDE$7FGHIJQ$J$ WDE$|JPJUHJQ$D$VGXGLOQ^\JY$VHTI$VHTIM$[FLFORY$J$ZHMWORY$UGOMY$OM$[GLGUGP$`GOFE$
"
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vGIGPMUFH_$ J[GKHMaFOM$ OM$ DFLJZGLFXOGP4$ TZHMSFOOGP$ D$WUJLF$vMHGZZG4$PHMPGHOGP$UHGOF$ W$XGVOGaJFPE${M$ WJVFOJJ$UHGOM$ DJVFO$ HMWSJUR@$ T[GHMPJ$ DMLJZE$ $ vGIGHGVJbM$ OFaOG$ZMWMFUWQ$ XLFNM$ J$ WUTXOJ$ PLMVFObM$ uHJWUME$ wNFHUMOJQ$ FF$`JITHR$ZMZ$KR$TZM[T^U$OM$UG4$NUG$GOM$�$UHGO4$OM$ZGUGHGP$DGWWFVMFU$ PLMVFOFb4$ NUG$ GVOGDHFPFOOG$ WLTaJU$ MLL^[JF@$OM$ WUHGZJ$ MZM`JWUM$ vGaJF@$�MUFHJ�$ }$ HMVT@WQ4$ JKG$ ~R�$XHFWUGL$:MHQ��$
&"%%%%%%%A PRIVATE ICON OF THE MOTHER OF GOD
ENTHRONED PRESENTED IN A GILTWOOD FRAME
RUSSIAN, 17TH CENTURY
�&-(&+$ ).$ -.$ "53,&##"�&4$5-,e%&$ (!,).&$ 2-,�&+$ ".$ (!&$ e-,)�*&$manner, with an embroidered bolster and a suppedaneum, the
Mother of God gently patting her Son’s shoulder and foot; her
"53)#".1$c1*,&$#*11&#(#$ (!-($ $ #!&$ "#$ (!&$f)6i#$2-(!&+,-4$!&.2&$recalling the verse of the Akathist Hymn “Rejoice, for you are
the King’s throne!”
%0'!#$#%%#)*
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#
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CUDGHZJ$ VJXUJYM$ DRXGLOFOR$ XGVGKOG$ `FWUGONMURP$ MHZMPE$ CLFDM$ D$OFKFWOGP$WFIPFOUF$J[GKHMaFO$CXMW$;PPMOTJL4$XMHQ\J@$WHFVJ$GKLMZGDE$AOJ[T$ WDE$ {JZGLM@$ �GaM@WZJ@$ VFHaJU$ D$ HTZMY$ PFN$ J$ PGVFL_$ bFHZDJE$A$ bFOUHF$ ZGPXG[JbJJ$ W$ HMWXHGWUFHURPJ$ ZHRL_QPJ$ J[GKHMaFO$ �OIFL?uHMOJUFL_4$ OJWXGWRLM^\J@$ KLMIGWLGDFOJFE$ $ 8QVGP$ W$ OJP$ WDE$ ;GMOO$vGIGWLGD$TZM[TFU$OM$UFZWU$ZOJIJ$wUZHGDFOJQE$$A$XHMDG@$WUDGHZF$VJXUJYM$J[GKHMaFO$ uHJWUGW$ }:MH_$ :MHF@�4$ DGWWFVM^\J@$ OM$ KGIMUG$ TKHMOOGP$HF[OGP$ UHGOFE$ ]G$ GKF$ WUGHGOR$ GU$ OFIG$ WUGQU$ vGIGHGVJbM4$ TDFONMOOMQ$ZGHGOG@$ x}:MHJbM$ {FKFWOMQ�y$ J$ CDE$ ;GMOO$ ]HFVUFNME$ ;[RWZMOOG$DRXGLOFOOMQ$ZGPXG[JbJQ$OM$[GLGUGP$`GOFE$
'"%%%%%%%A DIPTYCH WITH THE DEISIS AND FAMILY PATRONS
RUSSIAN, 18TH CENTURY
The panels formed like scalloped arches; the left depicting Christ
�55-.*&%$".$(!&$)3&.$!&-�&.#$-.+$e&%)04$�(E$j"2!)%-#$!)%+".1$a sword and the model of a Church, the Guardian Angel with
&�(&.+&+$0".1#$#"1.".1$ ".$e%&##".1$-.+$�(E$�)!.$ (!&$��-.1&%"#($pointing to the text of the Apocalypse; the right wing showing
h!,"#($�(!&$�".1$)'$�".1#�4$&.(!,).&+4$ $/-.g&+$e6$!"#$�)(!&,4$who is also crowned thus alluding to her role as “Maria Regina”,
-.+$�(E$�)!.$(!&$�),&,*..&,d$3-".(&+$c.&%6$).$1)%+$%&-'!!'(#$#%0'?#)*#;$9;47;7
+?""-%,!""
("ST. PARASKEVA FLANKED BY MINIATURES OF THE
ANASTASIS AND TWO FAMILY PATRONS WITH A
SILVER OKLAD
RUSSIAN, 19TH$h�j����4$������j���$�j������
Against low hills with sparse vegetation, the saint portrayed
frontal with loose hair, extending her arms as she holds a martyr’s
cross and an open scroll; the silver oklad applied with a gilt halo
/%'!#$#!.'/#)*
+1""-%,%""
("!&(&-(4/24$':52./24$):'/2$!"#$,2(2!:&"6$!'$!0&/'*$"'!:(&!&/)4$)$'-(2327)$$."=8$!"4168$+,':('")1&5&*$8wCC;<4$= ?@$A9B4$B�9¡��$w~C¢~C~A¢£~
CDQUMQ$ W$ HMWXT\FOORPJ$ DGLGWMPJ$ XHFVWUMFU$ `HGOUML_OG$OM$ `GOF$ OJ[ZJY$ IGHGZ$ WG$ WZTXG@$ $ HMWUJUFL_OGWU_^E$ A$HMWXHGWUFHURY$ HTZMY$ GOM$ VFHaJU$ ZHFWU$ PTNFOJNFWUDM$ J$HM[DFHOTUR@$ WDJUGZE$CFHFKHQOR@$GZLMV$ TZHMSFO$ [GLGNFORP$OMZLMVORP$OJPKGPE
)"CHRIST OF SMOLENSK WITH A SILVER OKLAD
RUSSIAN, MARK OF IVAN ZUYEV, VOLOGDA, 1823
Standing on an embroidered cushion, looking away from the
viewer, holding the open Gospels in his covered hand, with a
2*(?)*($,-+"-(".1$!-%)4$(!&$("%&+$/)),$,&.+&,&+$".$3&,#3&2("�&4$(!&$e),+&,$ !-55&,&+$0"(!$ #(6%"#&+$ /),-%4$ e&-+&+$ -.+$ #0",%$5)("'#4$(!&$ ".#2,"3(").$ -($ (!&$ e)(()5$ ,&2),+".1�$ “This icon, the image
of our Lord Jesus Christ, was began in the God-established city
of Vologda in year 7163 (1654) on the 23-d day of the month of
October when the memory of the apostle Jacob, the brother of the
!"#$%&''"#$()*%+"%+,-%.-/,%(/%'-0-1#&+-$2%3)$%+,(/%('")%4&/%4#(++-)%
unto the glory of the God-fearing state of the Great Sovereign and
5#()'-%30-6-(%7(8,&(0"9(',:%+,-%7")&#',%";%+,-%4,"0-%<=//(&>
!?'(#$#!!'!#)*
+%,?""-!,&""
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uHJWUGW$ ]MOUGZHMUGH$ XHFVWUMDLFO$ DG$ DFW_$ HGWU4$ WUGQ\JP$OM$ ZHMWOGP$ HMWSJUGP$ XT`FE$ 9IG$ D[ILQV$ GUDFVFO$ D$ WUGHGOT$GU$ WPGUHQ\FIGE$ A$ HTZF4$ XGZHRUG@$ XLM\GP4$ �$ HMWZHRUGF$9DMOIFLJFE$8F[OG@$OMZLMVOG@$OJPK$WJPDGLJ[JHTFU$LTNJ$WLMDRE$;[HMWbGDR@$XGL$XHFVWUMDLFO$D$XFHWXFZUJDFE$]G$ZHMQP$JZGOR$XHGYGVJU$NFZMOOR@4$WUJLJ[GDMOOR@$T[GH$D$DJVF$bDFUGD4$KTWJO$J$ [MDJUZGDE$ {MVXJW_$ DOJ[T4$ [MZL^NFOOMQ$ D$ HMPT4$ WGGK\MFU�$$}{MNM$KRWU_$XJWMUJ$WJQ$JZGOM$GKHM[$7GWXGVM$OMSFIG$;JWTWM$uHJWUM$ D$ KGIG[VMOOGP$ IHMVF$ OM$ AGLGIVF$ D$ LFUG$ >=¦¥$ x=¦§¨y$IGVT$ PFWQbM$ GZUQKHQ$ D$ ¤¥?@$ VFO_$ OM$ XMPQU_$ WDE$ MXGWUGLM$;MZGDM4$ KHMUM$ 7GWXGVOQ$ XG$ XLGUJd$ UGIG$ aF$ VOQ$ J$ OMXJWMWQ$KLMIGNFWUJDRQ$ VFHaMDR$ bMHWUDM$ 7GWTVMHQ$ AFLJZGIG$ BOQ[Q$�LFZWFQ$�JYM@LGDJNM$DWFQ$8GWWJJ$CMPGVFHabM$D$WLMDT�
$%
*"ST. NIL STOLBENSK WITH A PLAN OF THE
MONASTERY HE FOUNDED ON STOLOBNYI ISLAND
IN LAKE SELIGER AND AN IMAGE OF THE BAPTISM
OF CHRIST ON THE SKIES
RUSSIAN, 19TH CENTURY
The elderly ascetic in monastic garments, his Great Schema
*.*#*-%%6$ ,&.+&,&+$ ".$ )%"�&?1,&&.4$ !)%+".1$ 3,-6&,$ e&-+#$ -.+$pointing to heavens where two angels reveal the Baptism of
Christ, the scene attended by three cherubs, the lower part of the
2)53)#"(").$)22*3"&+$e6$-$+&(-"%&+$"5-1&$)'$�(E$j"%i#$5).-#(&,64$its garden and fortress in the Volga area
0(#$#//'.#)*
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CDQUG@$ XHFXGVGKOR@$ WUMHFb$ XHFVWUMFU$ D$ PGOMSFWZGP$GKLMNFOJJ$ �$ DFLJZG@$ WYJPF4$ $ DRXGLOFOOG@$ D$ OFGKRNORY$ITWURY$GLJDZGDRY$UGOMYE$A$GVOG@$HTZF$GO$VFHaJU$PGLJUDFOORF$NFUZJ4$ M$ VHTIG@�TZM[TFU$ OM$ OFKFWM$ W$ VDTPQ$ MOIFLMPJ4$QDLQ^\JPJ$ WbFOT$ BHF\FOJQ$ uHJWUGDM$ D$ WGXHGDGaVFOJJ$UHFY$ YFHTDJPGDE$ {JaO^^$ NMWU_$ ZGPXG[JbJJ$ [MOJPMFU$VFUML_OGF$ J[GKHMaFOJF$ GWOGDMOOGIG$CDE${JLGP$PGOMWURHQ4$DZL^NM^\FF$PGOMWURHWZJ@$WMV$J$ZHFXGWU_$OM$KFHFIT$AGLIJE
$$
+"!"#$)'2//$"')/8wCC;<4$=t¨t$IE
CDE$;GMOO?$AGJO$D$XGIHTVOGP$J[GKHMaFOJJ$TWUHFPLQFU$WDG@$D[GH$D$WUGHGOT$GU$PGLQ\FIGWQE$9IG$HTZJ$WZHF\FOR$OM$IHTVJ$J$WaJPM^U$ZGX_F$J$ZHFWUE$wKHM[$DRXGLOFO$D$HFMLJWUJNFWZG@$PMOFHFE$ BHMQ$ VGWXFYGD$ GUVFLMOR$ [GLGUGPE$ ]GDFHY$ OMZJOTU$GIOFOOG?ZHMWOR@$XLM\E${M$GKGHGUF$JZGOR$JPFFUWQ$OMVXJW_�$}]G$ TWFHVJ^$ ~FHWZMIG$ VDGHQOWUDM$ HF[FHDOG@$ HGUR$ ©§$BMHMKJOFHGD$D$IE$~FHFZ$D$=t=t$IGVT$`GHPJHGDMDSF@WQ�E$
+"ST. JOHN THE SOLDIER
����ª�j4$�����$=t¨t
�!&$5"%"(-,6$#-".($3),(,-6&+$e*#(?%&.1(!4$ (*,.".1$!"#$1-�&$-0-6$from the onlooker, crossing his hands on his chest while bearing
a battalion lance and a cross, his features rendered realistically,
(!&$!&5$)'$!"#$e,&-#(3%-(&$".$1)%+4$2)53%&5&.(&+$e6$-$c&,6$,&+$cape; the reverse of the icon inscribed, ?@)%A&'8)"40-$*-B-)+C%";%
+,-%$(0(*-)'-%";%+,-%D-#-8%)"10-B-)%;#"B%+,-%'&#&1()(-#/%#-/-#9-%
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reverse KLKMKN
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!,"A RARE REPRESENTATION OF THE RIGHTEOUS
FOURTH CENTURY MARTYR SAINT AGLAIDA OF
ROME
RUSSIAN, 19TH CENTURY
�1-".#($ -$ #)%"+$ 1)%+$ e-2g1,)*.+$ -.+$ /)),$ ,&.+&,&+$ ".$perspective, the saint directing the viewer’s attention to the cross
she is holding, looking upwards, wearing plain garments in
)%"�&?1,&&.$0"(!$ ')%+#$-22&.(*-(&+$ ".$1)%+4$!&,$!-%)$+&c.&+$e6$a double, white rim; the reverse of the icon inscribed “This holy
('")%";%O+2%3*0&($&%4&/%4#(++-)%&)$%10-//-$%")%+,-%P"0J%7"=)+&()%
()%3+,"/%()%+,-%<=//(&)%Q-)"1(+('%O8-+-%";%+,-%O+2%3R"/+0-%3)$#-4%
the First-Called”, with a wax seal bearing the Coat of Arms of
�)*.($�(!)#4$-22),+".1$()$0!"2!$�(E$�(!-.-#")#$-.+$�(E$�"2!-&%$)'$�".-"$/-.g$-.$"5-1&$)'$(!&$�)(!&,$)'$�)+$)'$(!&$�"1./%#$#!0#)*2#/0#$#!1'(#)*#34)567348#9:;#@AB9
+!,(""-/,(""
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reverse KLKMKN
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!!",(&'-(2?&/)&8wCC;<4$]w|];C�{w�$}]wu9~w{wA�4$=t>=$IEuHJWUGW$ XMHJU$ OMV$ IGHG@$ «MDGH$ D$ WJQ^\FP$ GVFQOJJE$ 9IG$`JITHM$ [MZL^NFOM$ D$ VDG@OG@$OJPK4$ WGWUGQ\J@$J[$ ZHMWOGIG4$[DF[VNMUGIG4$ J$ ZHTILGIG4$ [FLFOGIG4$ $ TWFQOOGIG$ $ GKLMZMPJ$ J$[DF[VMPJ4$ ¬LFPFOUGDE$ $ C$ GKFJY$ WUGHGO$ uHJWUM$ GZHTaM^U$XHGHGZJ$;LJQ$J$$�GJWF@$WG$CZHJaMLQPJ$zMZGOME$$~HJ$LTNM4$JWYGVQ\JF$ GU$ UFLM$ uHJWUM$ VGWUJIM^U$ FIG$ TNFOJZGD$ ]FUHM4$;GMOOM$J$;MZGDM4$D$J[TPLFOJJ$XMVM^\JY$OM$[FPL^E$${M$XGLQY$JZGOR$ J[GKHMaFOR$ DGWFP_$ WDQURY$ XGZHGDJUFLF@E$ CLFDM$XGPF\FOR$ GKHM[R$�HYMOIFLM$�JYMJLM4$ FDMOIFLJWUM$�MHZM4$WDE$ ;GMOOM$ ]HFVUFNJ$ J$ 9PJL_QOM?JWXGDFVOJZM4$ FXJWZGXM$BJ[JNFWZGIGE$$CXHMDM$XHFVWUMDLFOR$WDQURF$aFOR$9ZMUFHJOM4$$�MHUM4$9DVGZJQ$J$9LJ[MDFUME$¢VLJOFOORF$`JITHR$OMXJWMOR$W$ KGL_SJP$ J[Q\FWUDGP$ J$ TUGONFOOGWU_^E$ CZMLJWURF$ IGHR$DRXGLOFOR$D$WUJLJ[GDMOOG@$PMOFHFE$
!!"THE TRANSFIGURATION OF CHRIST
����ª�j4$��®��j 4$=t>=
Hovering above the summit of Mount Tabor, Christ clad in
#!"55&,".1$1-,5&.(#4$ -1-".#($-$+)*e%&$1%),64$ (!&$c,#($).&$ ,&+4$radiating, of stellar shape, in addition to a perfectly rounded
).&$ 0"(!$ 2%)*+#$ -.+$ #(-,#4$ /-.g&+$ e6$ (!&$ �,)3!&($ �%"�-!$ ".$supplication and Moses holding the Tablets of the Law; three
e&-5#$',)5$h!,"#(i#$e)+6$+",&2(&+$()0-,+#$®"#$+"#2"3%$�&(&,4$�)!.$ -.+$ �-2)e4$ #(,*2g$ ".$ -5-�&5&.($ ".$ (!&$ '),&1,)*.+d$ &"1!($family patrons represented on the border, to the left all male,
�,2!-.1&%$�"2!-&%4$(!&$��-.1&%"#($�-,g4$�(E$�)!.$(!&$�),&,*..&,$and Emilian the Confessor, Bishop of Kyzikos; to the left, the
female martyrs, Ekaterina, Martha, Evdokia and Elisabeth; the
&%).1-(&+$c1*,&#$3),(,-6&+$".$1,&-($,&c.&5&.(4$(!&$2%"''#$)'$(!&$mountain rendered in a stylised manner, signed and dated on the
%)0&,$,"1!(�$5"8,-+")"9:%HISH."'(#$#(.#)*
+%(,"""-!(,"""
!#"CHRIST EMMANUEL BLESSING TWO GROUPS
OF PRIVATE SAINTS HEADED BY THE APOSTLES
PETER AND PAUL
RUSSIAN, SECOND HALF OF THE 18TH CENTURY
�!",(6?')*,$#-".(#$-,,-.1&+$".$(0)$1,)*3#4$)�&,$')*,$,&1"#(&,#d$(!&$ c,#($ ).&$ #!)0".1$ #&%&2(&+$ �3)#(%$ h!*,2!$ �-(!&,#$-.+$�).-#("2$ #-".(#d$ $ �(#E$ �36,"+).$ -.+$ �)!.$ (!&$ ��-.1&%"#($(,-53%".1$).$(!&$3&,#)."c2-(").$)'$&�"%$".$(!&$'),&1,)*.+4$(!&$second and third tiers including additionally hermit, prince and
5"%"(-,6$#-".(#$-.+$5-,(6,#4$�(E$�,"').$#(-.+".1$)*($0"(!$(!&$e",+$he is holding; the top row reserved for female saints
/('!#$#/"'&#)*
+&,"""-?,"""
!#"!,2!$ )772/=)5@$ $ -52%'!5'"54BA)*$!"4168+$ ,':('")1&5&*$ !$ 2,#$ ,&1('7$ )$,2"5'7$"'$%52"&8wCC;<4$A~w8�<$]w�wA;{�$=t?IG$A9B�
7HTXXM$ J[$ UHJVbMUJ$ NFURHFY$ WDQURY4$ HM[VFLFOOMQ$ OM$ VDM$ HQVM$HMWXGLGaFOM$ D$ NFURHF$ QHTWME$ A$ XFHDGP$ QHTWF�$ MXGWUGLR4$ GUbR$:FHZDJ$ J$ WDQURF$ XHFXGVGKORF4$ DG[ILMDLQFPRF$ CDDE$ MXGWUGLMPJ$]FUHGP$J$]MDLGPE$A$¬UGP$aF$QHTWF$J[GKHMaFOR$CDDE$CXJHJVGO$J$;GMOO$vGIGWLGD4$XGXJHM^\JF$GLJbFUDGHFOJF$CMUMORE$AG$DUGHGP$J$UHFU_FP$QHTWF$HM[LJNJPR$GKHM[R$WDE$ZOQ[F@$vGHJWM$J$7LFKM4$WDE$WUMHbM?GUSFL_OJZM$ wOT`HJQ$ J$ WDQURY$ DGJOGD$ {JZJUR4$ «FGVGHM$CUHMUJLMUM4$WDE$7FGHIJQ$J$WDE$|JPJUHJQE$A$KFLRY$GVFaVMY$J[GKHMaFO$WDQ\FOOGPTNFOJZ$ uMHLMPXJ@E$ «JITHM$ WDQ\FOOGPTNFOJZM$~HJ`GOM4$ VFHaM\FIG$ KFLT^$ XUJbT$ D$ HTZF4$ XHJZGDRDMFU$ Z$ WFKF$D[GH$ WDGF@$ OFXGWHFVWUDFOOGWU_^E$A$ NFUDFHUGP$ QHTWF$ JZGOGXJWFb$J[GKHM[JL$WDQURY$aFO4$WHFVJ$ZGUGHRY$PGaOG$T[OMU_$WDE$AMHDMHT4$WDE$ �MHJ^$ 9IJXFUWZT^4$ M$ UMZaF$ WDQ\FOOGPTNFOJb$ 9ZMUFHJOT4$;TLJMOJ^$J$~MUJMOTE
$)
!$"THE MONASTIC ST. SERGIUS OF RADONEZH WITH
A SILVER-GILT OKLAD
����ª�j$ x��h°y4$ �����i�$ ����$ �E�E$ ªj$h��ª��ªh4$=t ¦
The elderly saint with grey hair and a beard, looking straight
at the beholder with a calm yet pensive expression, gesturing
in benediction and holding a closed scroll; the border of the
#"%�&,?1"%($ )g%-+$ ())%&+$0"(!$ ,&2*,,".1$ #(6%"#&+$ 3-((&,.#$ -.+$ -$5-(2!".1$2*(?)*($!-%)/(#$#%/#)*
+0,"""-&,"""
!$"!"#$,(&,#$!&(%)*$(2.'/&?!:)*$$!&(&-(4/6*$':52.@$,'3'5'12$8wCC;<$x�wCBA�y4$B�9¡�w$��C~98�$}�E$CE�4$=t ¦$IE
]HFXGVGKOR@$ WUMHFb$ W$ WFVRPJ$ DGLGWMPJ$ J$ KGHGVG@$WXGZG@OG$J$[MVTPNJDG$D[JHMFU$OM$PGLQ\FIGWQ4$OJWXGWRLMQ$WDGF$KLMIGWLGDFOJFE$A$HTZMY$GO$VFHaJU$WDFHOTUR@$WDJUGZE$]G$ ZHMQP$ WFHFKHQOGIG$ XG[GLGNFOOGIG$ GZLMVM$ XHGYGVJU$HFITLQHOR@$ WUJLJ[GDMOOR@$ GHOMPFOUE$ 7GLGDT$ WDQUGIG$TDFONJDMFU$HF[OG@$OJPKE$
!'"2/%&5+$8(2/)1&5>$8wCC;<4$AE$�;±¢BwA4$= ²¨$IE
AFLJNFWUDFOOMQ$ `JITHM$ MOIFLM4$ WUGQ\FIG$ OM$ ZLTKQ\JYWQ$GKLMZMY4$ ILMDFOWUDTFU$ D$ XHGUHMOWUDF$ JZGORE$ 9IG$ XHMDMQ$HTZM$ XGVOQUM$ Z$ OFKFWMP4$ LFDMQ�WaJPMFU$ PFNE$ ±JHGZG$HMWXHGWUFHURF$ ZHRL_Q$ $ PFHbM^U$ [GLGURPJ$ KLJZMPJd$ OJPK$DRXGLFO$ XHJ$ XGPG\J$ IHMVMbJJE$ uJUGO$ MOIFLM$ TZHMSM^U$ZLMDJ$ xDRUZMOORF$ XGLGWRy$ J$ HMWSJURF$ WMPGbDFUMPJ$ DGHGU$J$ ZHM@$ GVFQOJQE$ �OIFL$ GKFHOTU$ D$ QHZG?[FLFOR@$ IJPMUJ@$xXLM\y4$ TZHMSFOOR@$ $ [GLGNFORPJ$ KGHG[VZMPJE$ $ �JH$VGL_OJ@$WJPDGLJ[JHTFUWQ$VDTPQ$HFZMPJ4$D_^\JPJWQ$DGZHTI$ZMPFOJWUGIG$ GWUHGDM4$ XHGWUTXM^\FIG$ OM$ XFHFVOFP$ XLMOFE$A$ VML_OFP$ LFDGP$ TILT$ DJVOFFUWQ$ IGHGV4$ DRXGLOFOOR@$ D$UFYOJZF$ IHJ[M@LJE$]G$ XHGUJDGXGLGaOT^$ WUGHGOT$ GU$ IGHGVM$DRWQUWQ$ WTHGDRF$ IGHR$ W$ DFHYTSZMPJ$ VFHFD_FDE$ ADFHYT4$ D$GKHMPLFOJJ$JZGOR4$$XGPF\FO$OFWGPR@$GKLMZMPJ$PFVML_GO$WG$CXMWGP$;PPMOTJLGP$D$XGIHTVOGP$J[GKHMaFOJJE$$BHMQ$JZGOR$GHOMPFOUJHGDMOR$W$JPJUMbJF@$¬PMLJ$J$aFPNTIM4$WLTaJDSJY$TZHMSFOJFP$GZLMVGD$UG@$¬XGYJE$A$OJaOFP$XHMDGP$TILT$JZGOR$WUGJU$VMUM$J$XGVXJW_$W$JPFOFP$PMWUFHM�$}AE$�JSTZGD4$= ²¨�
!'"THE GUARDIAN ANGEL
����ª�j4$ E$�ª�®�� 4$= ²¨
�!&$"53)#".1$c1*,&$)'$(!&$�.1&%$#(-.+".1$).$e"%%)0".1$2%)*+#4$his right hand gesturing to the heavens, holding a sword, his long
spread wings terminating in gold accents, wearing a shaded halo, a
chiton with clavus and bejewelled trimmings, complemented by a
bright green himation, his garments shimmering in chrysography;
the earthly realm dominated by two rivers surrounding the rocky
island in the foreground, in the far left the image of a town in
grisaille, and opposite mountains with tall trees; a medallion with
the bust of Christ Emmanuel supported by clouds on the top, the
),.-(&$e),+&,$&5*%-(".1$&.-5&%$-.+$3&-,%?#(*++&+$)g%-+#$)'$(!&$3&,")+d$#"1.&+$-.+$+-(&+$).$(!&$%)0&,$,"1!(�$T2%7(/,=8"9:%HUVW!.#$#!!#)*
+!","""-/","""
$*
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$"
!&"A GOLD PECTORAL CROSS
f�³�j�ªj�$x��f�f��$hj���j�ªj��ª��jy4¦TH – 9TH CENTURY
The four hollow bars of tapering form terminating to spherical
terminals, the top applied with a grooved suspension loop, joined
at the intersection with a brown cabochon glass set in a collar
('(#$#0#)*
+0,"""-&,"""
�,)�&.-.2&��*,2!-#&+$e6$(!&$2*,,&.($)0.&,$',)5$(!&$T2X2%Y&00-#(-/ in New York and
2)5&#$0"(!$-$2&,("c2-(&$)'$-*(!&.("2"(6Ej)(&#�A similar cross was sold at Christie’s; see, @'")/%&)$%3#+-;&'+/%;#"B%+,-%
Z#+,"$"6%["#0$4$�).+).4$¤¦$j)�&5e&,$¤²²>4$%)($¨¤E
!&"3'5'1'*$,&:1'(25>/6*$:(&!1A;z�{~;<$xAwz�w´{w4$Bw{C~�{~;{w]w��y4$¦@?$ @$A9B
]GLRF4$ HMWSJHQ^\JFWQ$ GU$ bFOUHM4$ DFUDJ$ ZHFWUM$[MZMONJDM^UWQ$ ZHTILRPJ$ OMDFHSJQPJE$ CDFHYT$ Z$ OMDFHSJ^$XHJZHFXLFOM$ [GLGUMQ$ XFULQ$ VLQ$ bFXGNZJE$ A$ WHFVGZHFWUJF4$WLGDOG$D$GXHMDT4$XGPF\FO$ZGHJNOFDR@$$ZMKGSGO$J[$WPML_URE
]HGDFOMOW�]HJGKHFUFO$OROFSOJP$DLMVFL_bFP$D$$ E�E$�-%%&,"&#$$D${_^?¡GHZF$J$WGXHGDGaVMFUWQ$WFHUJ`JZMUGP$XGVLJOOGWUJE]HJPFNMOJQ�]GYGaJ@$LGU$KRL$DRWUMDLFO$OM$MTZbJGOF$h!,"#("&i#$ª2).#$-.+$�,(&'-2(#$',)5$(!&$,(!)+)�$°),%+4$�GOVGO4$¤¦$OGQKHQ4$¤²²>$IE4$LGU$¨¤E
!)"THE ADORATION OF THE MAGI
RUSSIAN, 19TH CENTURY
On the top, the guiding star in a circular mandorla directing its
beams towards the swaddled Baby lying in a manger with hay; His
Mother seated on a stool, attentively lifting the drapes to present
!&,$ �).$ ()$ (!&$°"#&$�&.$ ',)5$ (!&$,"&.(d$ (!&$ &%+&#($ )'$ (!,&&4$Melchior, having taken his crown off, kneeling forward to present
(!&$j&0e),.$0"(!$-$2-#g&($)'$1)%+4$c((".1$'),$-$�".1d$e&!".+$(!&$5"++%&?-1&+4$ h-#3-,4$ -.+$ (!&$ 6)*.1&#(4$ f-%(!-#-,4$ ,&2("�&%6$holding urns of frankincense and myrrh, gifts suitable for Christ
".$!"#$'*(*,&$,)%&#$-#$-$®"1!$�,"&#($-.+$�*''&,".1$�&+&&5&,d$$�(E$�)#&3!$()$(!&$,"1!($%&-.".1$).$!"#$#(-''$-.+$3&.#"�&%6$)e#&,�".1$the worship; the event taking place in a porch with masonry,
columns, a coffered ceiling and a marble stairway; the hilly
landscape complemented by golden, impressed skies, the stylised
decoration of the border matched with the haloes of the holy
c1*,$&5*%-(".1$&.-5&%0),g$)'$(!&$3&,")+&!#$#&!#)*
+%","""-%(,"""
!)",':5'/&/)&$"'58"'"$8wCC;<4$= ?@$A9B$
A$ WMPGP$ DFHYT$ WLFDM$ XTUFDGVOMQ$ [DF[VM$ D$ ZHTILGP$ WJQOJJ$WLMDR$ GUKHMWRDMFU$ LTNJ$ OM$PLMVFObM4$ XGDJUGIG$ XFLFOMPJ$ J$LFaM\FIG$D$QWLQY$W$WFOGPE$vGIGPMUFH_$WJVJU$OM$WZMPF@ZF$J$NTU_$XHJXGVOJPMFU$ZHMQ$XGZHRDMLM4$NUGKR$UHJ$DGLYDM$W$AGWUGZM$PGILJ$ XGZLGOJU_WQ$ FF$ WROTE$ CUMHSJ@$ J[$ OJY4$ �FL_YJGH4$WOQD$ ZGHGOT4$ XHFZLGOQFU$ ZGLFOM4$ NUGKR$ XHFXGVOFWUJ$OGDGHGaVFOOGPT$ LMHFb$ W$ [GLGUGP4$ ZMZ$ J$ XGVGKMFU$ :MH^E$$CHFVGDFZ$7MWXMH$J$^OGSM$vML_UM[MH$VFHaMU$VMHR$W$LMVMOGP$J$ WPJHOG@4$ ZGUGHRF$ WJPDGLJNFWZJ$ WGGUDFUWUDT^U$ HGLJ$uHJWUM$ ZMZ$ ]FHDGWDQ\FOOJZM$ J$ WUHMaVT\FIG$ ;WZTXJUFLQE$$CXHMDM$WDE$;GWJ`$$GXJHMFUWQ$OM$XGWGY$J$[MVTPNJDG$D[JHMFU$OM$ DGLYDGDE$ CGKRUJF$ XHGJWYGVJU$ OM$ ZHRL_bF$ W$ PHMPGHOG@$LFWUOJbF@4$ ZMPFOORPJ$ $ ZGLGOOMPJ$ J$ LFXORP$ XGUGLZGPE$uGLPJWUR@$ XF@[Ma$ ZGOUHMWUJHTFU$ W$ TNMWUZGP4$ UJWOFORP$[GLGUGP4$ ZGUGHR@$ WJPDGLJ[JHTFU$ OFKFWME$ CUJLJ[GDMOOR@$GHOMPFOU$XG$ZHMQP$XFHFZLJZMFUWQ$W$T[GHGP$OJPKGD$WDQURY4$JPJUJHTQ$ TZHMSFOJQ4$ DRXGLOFOORF$ J[$ ¬PMLJ4$ YMHMZUFHORF$VLQ$¬XGYJE
$#
!"
!"#
THE MOTHER OF GOD WITH A SILVER-GILT AND
ENAMEL OKLAD
RUSSIAN, MARK OF KHLEBNIKOV WITH THE IMPERIAL
WARRANT, MOSCOW, 1896-1908
The Mother of God in a contrapostal posture, standing on
billowing clouds, looking straight at the beholder while holding
her Son; the Child wrapped solely in a white cloth, moving
agitatedly and extending His arms as if He or wishes to embrace
!"#$ %&#'#()$ !"#$ "*+,#-$ ,.$ !"#$ /01(#-$ (#2(#-#3!#4$ 56$ +17&3,1-$shading around their heads, the saturated colours of the Mother’s
garments forming the only solid feature in the otherwise ethereal
composition; the silver-gilt and polychrome cloisonné enamel
,8+*4$#75#++&-"#4$'&!"$9,'#($514-$ &3$ (,134#+-$*34$:(,--#-$,3$the four corners
!"#$%&%!'%()
*!"+''',!-+'''
Notes:
This image of the Mother of God reproduces the famous fresco by Viktor
Mikhailovich Vasnetsov (1848-1926) from the apse of the Cathedral
of St. Vladimir in Kiev, painted around 1880-90, !"#$%&'. On the wall
painting, the Mother of God is surrounded by colourful cherubs, seraphs
*34$:+,14-)$",'#%#(;$"#($/01(#$&-$!"#$-,+#$#+#7#3!$!"*!$-!*34-$,1!$&3$!"#$entire composition. This imposing image has been copied not only on
painted panels, but more massively in prints, !"#$%&()
!"#
!"#$%&'#(#)#*!+,&-&./)/')0$#1&#"2%*/&.&3#4#2#5#6&!&71%289&<=>>?@;$ ABCDE=$ FBCGH?A=IJ$ >=$ KHJA=E$L=>MJIN?AJ$?ELC<JM=<>A=O=$PI=<J$E=>AIJ;$QRSTUQSVR$WX$$
GYWYZ[\]^_$ `aYb^[c]d[$ e$ fYgdhi$ ^Yj\;$ e$ kYd\^[fYj\dYZ$^[aeY^Y\];$ j\Yl$ d[$ kgmbln`ojl$ Ybg[k[o$ `$ Wglpl$ f^lZY$ d[$a^`\]glX$ I$ ^mk[o$ Yd[$ p]^c`\$Zg[p]dq[$F^`j\[;$ Yb]^dm\YWY$e$ b]gmr$ \k[d_$ `$ eaeYgdYe[ddY$ f^Y\lW`e[rn]WY$ ^mk`$ fY$d[f^[eg]d`r$ k$ jZY\^ln]Zm)$ d`Zbh$ `aYb^[c]ddho$ s`Wm^$Yt]^t]dh$je]\ln`Zjl$kYd\m^YZX$H[jhn]ddh]$\Yd[$Yp]ld`i$GYWY^Yp`qh$ f^`p[r\$ j\[b`g_dYj\_$ us`^dYi$ `$ d]e]jYZYi$kYZfYa`q``X$>]^]b^lddhi$j$fYaYgY\Yi$Ykg[p$j$fYg`o^YZdYi$f]^]WY^Ypt[\Yi$ uZ[g_r;$ mk^[v]d$ qe]\YtdhZ`$ bm\Yd[Z`$ e$Z]p[g_Yd[o$`$k^]j\[Z`$fY$t]\h^]Z$j\Y^Yd[ZX$
L^`Z]t[d`lw$P[ddhi$ Yb^[a$ GYWY^Yp`qh$ eYjf^Y`aeYp`\$ s^]jkm$ e$ [fj`p]$A`]ejkYWY$>YbY^[$jeX$Ig[p`Z`^[$x`ggX$Qy;$ehfYgd]ddmr$Z]cpm$QRRVU$SV$ WX$ `ae]j\dhZ$ ^mjjk`Z$ c`eYf`jq]Z$ I`k\Y^YZ$ E`o[igYe`t]Z$I[jd]qYehZ$ xQRzRUQS{TyX$ H[$ s^]jk]$ GYWYZ[\]^_$ f^]pj\[]\$e$ Yk^mc]d``$ ZdYWYqe]\dho$ Yb^[aYe$ j]^[s`ZYe$ `$ o]^me`ZYe$j^]p`$ kgmbln`ojl$ Ybg[kYeX$ $ C|$ s`Wm^[$ }$ ]p`dj\e]ddhi$ ug]Z]d\$kYZfYa`q``;$ ehp]glrn`ijl$ d[$ u\YZ$ sYd]X$ =b^[a$ GYWYZ[\]^`$ IX$I[jd]qYe[$d]YpdYk^[\dY$kYf`^Ye[gjl$`$eYjf^Y`aeYp`gjl$d]$\Yg_kY$e$c`eYf`j`;$dY$`$e$W^[er^[o$`$g`\YW^[s`lo$*+,,)&(-.
!"#$%&( +,,)&(!"#$%&' +,,)&'
&$
&&
!*"THE MOTHER OF GOD GLYKOFILOUSA
h����j4$=¦TH CENTURY
The Child wearing a chiton and an himation with intense
chrsysography, revealing his bare leg as he reclines in his
Mother’s arms, holding a closed scroll with both hands and
stretching his neck to reach his Mother’s cheek; the Mother of
God leaning forward to meet her Son while turning her sad gaze
away from the viewer; her green headdress and matching robe
covered by a deep red maphorion, its drapery shaped by brighter
shades, with gold decoration on the shoulders, forehead and
hems; executed traditionally, the facial features accentuated by
c.&$0!"(&$e,*#!#(,)g$).$1)%+$1,)*.+$!.'.#$#!/'/#)*
+(","""-&(,"""
!*"-'%'('.)02$!52.:'5'-32BA24$B8;~4$=¦?@$A9B$
�LMVFOFb$uHJWUGW$GKLMNFO$D$LFIZJ@$YJUGO$J$IJPMUJ@$xXLM\y4$OMXJWMOORF$W$XHJPFOFOJFP$UFYOJZJ$JOUFOWJDOGIG$[GLGNFOJQ$xYHJ[GIHM`JJyE$wVOM$OGaZM$PLMVFObM$GWUMDLFOM$OFXGZHRUG@$XLM\GPE$ uHJWUM$ XGVVFHaJDM^U$ HTZJ$ vGIGHGVJbRd$ GO$WaJPMFU$ WDFHOTUR@$ WDJUGZ$ GKFJPJ$ LMVGOQPJ$ J$ UQOFUWQ$\FZG@$Z$vGIGPMUFHJE$vGIGHGVJbM$OMZLGOQFUWQ$FPT$OMDWUHFNT4$GUDGVQ$WDG@$JWXGLOFOOR@$XFNMLJ$D[GH$GU$[HJUFLQE$9F$[FLFOR@$IGLGDOG@$TKGH$XGZHRU$PM`GHJFP$ILTKGZGIG$ZHMWOGIG$bDFUME$$9IG$ VHMXJHT^\JFWQ$ WZLMVZJ$ GKG[OMNFOR$ XHGKFLMPJ$ J$KGLFF$ WDFULRPJ$ GUUFOZMPJ$ ZHMWOGIGE$]G$ ZHGPZMP$PM`GHJQ$XHGYGVJU$ [GLGUMQ$ KMYHGPME$ {M$ XLFNMY$ J$ D$ GKLMWUJ$ LKM$vGIGHGVJbR$ DRSJUR$ [GLGURF$ [DF[VRE$ ;ZGOM$ DRXGLOFOM$ D$UHMVJbJGOOG@$PMOFHFd$`GO$ GUVFLMO$ [GLGUGPE$�JZJ$ TWJLFOR$UGOZJPJ$XHGKFLMPJE
&'
&(
!+"THE WORSHIP OF THE MOTHER OF GOD
RUSSIAN, 17TH CENTURY
The icon does not depict an individual Bible event; instead, by
using elements from a number of sources it forms a complex image
that celebrates the role of the Mother of God in the incarnation
)'$h!,"#(E$�!&$ 2)53)#"(").$ ),1-."#&+$ -,)*.+$ (!&$ 2&.(,-%$ c1*,&$of the Mother with the Child on her lap, surrounded by a deep
green, ovoid glory, against a mountainous terrain; the upper half
of the icon drawing on the episode of the Nativity, including the
(!,&&$°"#&$�&.$ 3,)2&&+".1$ ',)5$ (!&$ %&'($ ".$ ),+&,$ ()$5&&($ (!&$newborn King, the latter responding by signing in benediction;
an angel on the upper left corner gazing in amazement the open
heavens, and opposite, a second angel announcing the Nativity to
a young Shepherd; the lower part of the image deriving from the
icons of 36(")%\/+()4$0!&,&$-$1,)*3$)'$%+$�&#(-5&.($�,)3!&(#$-,&$/-.g&+$e6$�(#E$h)#5-#$)'$�-"*5-$-.+$�)!.$)'$�-5-#2*#4$both presenting scrolls inscribed with exaltations to the Mother of
�)+d$%-#(%64$(!&$2-�&#$).$(!&$%)0&,$2),.&,#$&.2%)#".1$(0)$c1*,&#$in Limbo seeking salvation looking upwards at the Mother of
God and suggesting the participation of the Underworld in her
-+),-(").d$(!&$"2).$3-".(&+$c.&%6$".$(!&$(63"2-%$#(6%&$)'$(!&$=>(!$century, rendered mostly with shades of red and green on ochre
background
/%#$#/.'(#)*
+!(,"""-/(,"""
!+"('?.&!1"'$ 8()!1'"'$ )$ ,('!52"5&/)&$-'%'('.)068wCC;<4$=>?@$A9B
C^aFU$JZGOR$XGDFWUDTFU$OF$UGL_ZG$G$FVJOGP$OGDG[MDFUOGP$WGKRUJJ4$OG$WGVFHaJU$HQV$HM[OGGKHM[ORY$JZGOGIHM`JNFWZJY$¬LFPFOUGD4$XHGWLMDLQ^\JY$TNMWUJF$vGIGHGVJbR$D$XHGbFWWF$vGIGDGXLG\FOJQ$ uHJWUME$ BGPXG[JbJQ$ GHIMOJ[GDMOM$ DGZHTI$bFOUHML_OG@$ `JITHR$ vGIGPMUFHJ$ W$ PLMVFObFP$ uHJWUGP$OM$ ZGLFOQYE$ wKF$ `JITHR$ [MZL^NFOR$ D$ [FLFOR@$ GDML_OG@$`GHPR$ OJPK4$ DRVFLQ^\J@WQ$ OM$ `GOF$ WZMLJWUGIG$ XF@[MaME$A$DFHYOF@$NMWUJ$ZGPXG[JbJJ$8GaVFWUDM$WLFDM$XHFVWUMDLFOR$UHJ$ XTUFSFWUDT^\JF$ DGLYDM4$ XHJSFVSJF$ XGZLGOJU_WQ$OGDGHGaVFOOGPT$:MH^E$$uHJWUGW$KLMIGWLGDLQU$JY$GUDFUORP$aFWUGPE$�OIFL$D$DFHYOFP$LFDGP$TILT$D$J[TPLFOJJ$WPGUHJU$$OM$HM[DFHWURF$OFKFWME$C$XHGUJDGXGLGaOG@$WUGHGOR$DUGHG@$MOIFL$KLMIGDFWUDTFU$G$HGaVFWUDF$CXMWJUFLQ$PGLGVGPT$XMWUTYTE$$A$OJaOF@$NMWUJ$ZGPXG[JbJJ4$ [MJPWUDGDMOOG@$J[$JZGOGIHM`JJ$GKHM[M$}|GWUG@OG$FWU_�4$$J[GKHMaFOM$IHTXXM$DFUYG[MDFUORY$XHGHGZGD$WG$WDE$BGW_PG@$�M^PWZJP$J$;GMOOGP$|MPMWZJORP$W$ GKFJY$ WUGHGOE$ ;$ UGU4$ J$ VHTIG@$ WDQUG@$ VFHaMU$ WDJUZJ$ W$IJPOMPJ4$ XHGWLMDLQ^\JPJ$ vGIGPMUFH_E$ A$ XF\FHMY$ XG$ GKF$WUGHGOR$JZGOR$J[GKHMaFOR$`JITHR$XGV[FPORY$VTYGD$J[$MVM4$aMaVT\JY$ WXMWFOJQ$ J$ DG[VFDM^\JY$ HTZJ$ XG$ OMXHMDLFOJ^$Z$ vGIGPMUFHJ4$ UFP$ WMPRP$ TZM[RDMQ$ OM$ `MZU$ XHGWLMDLFOJQ$vGIGPMUFHJ$ WHFVJ$ GKJUMUFLF@$±FGLME$ BGPXG[JbJQ4$ J[Q\OG$OMXJWMOOMQ$ D$ UJXJNOG@$ PMOFHF$ =>?IG$ DFZM$ J$ XFHFVMOOMQ$ D$[FLFORY$J$ZHMWORY$UGOMY$$XG$GYHJWUGPT$`GOTE
&)
&*
#,"THE MOTHER OF GOD “HODEGETRIA”
����ª�j4$�����$=¦TH CENTURY
Directing the viewer’s attention towards her Son, the Child
seated on her left forearm, gesturing in benediction and holding
a closed scroll; executed traditionally with deep hues and white
-22&.(#$ -,)*.+$ (!&$ '-2"-%$ '&-(*,$ (!&$ %"1!($ e%*&$ !&-+?2)�&,$complemented by a dark brown maphorion trimmed in gold,
Christ dressed in a luminous, golden chiton
!/'!#$#%1'%#)*
+%!,"""-%(,"""
#,"-'%'721&(>$;'.)%)1()4<$8wCC;<4${����w$=¦?IG$A9B�
vGIGPMUFH_$ OMXHMDLQFU$ D[GH$ PGLQ\FIGWQ$ D$ WUGHGOT$ FF$WROME$ �LMVFOFb$ uHJWUGW$ DGWWFVMFU$ OM$ XHMDGP$ XHFVXLFN_F$vGIGHGVJbR4$OJWXGWRLMQ$KLMIGWLGDFOJF$PGLQ\FPTWQ$J$VFHaM$D$ HTZF$ WDFHOTUR@$ WDJUGZE$ ;ZGOM$ OMXJWMOM$ D$ UHMVJbJGOOG@$PMOFHF$ D$ ILTKGZJY$ UGOMY4$ W$ KFLRPJ$ GaJDZMPJ$ OM$ LJZMYE$${FaOG?IGLTKGF$XGZHRDMLG$OM$IGLGDF$vGIGHGVJbR$GUUFOQFUWQ$UFPOG?ZGHJNOFDRP$PM`GHJFP4$GUVFLMOORP$[GLGUGPE$uHJWUGW$GKLMNFO$D$WJQ^\J@$[GLGUGP$YJUGOE
#!"1(')02$"&18'32"&1/24$8wCC;<4${����w$=>?IG$A9B�
~HJ$ MOIFLM$ DGWWFVM^U$ OM$ UHGOMY$ KF[$ WXJOGZ$ W$ XGVOGaJQPJE$;Y$ IGLGDR$ OMZLGOFOR$ D$ WUGHGOT$ NMS4$ WUGQ\JY$ OM$ WUGLFE$AVMLFZF$ WLFDM$ DJVOFFUWQ$ DRWGZGF$ [VMOJF$ W$ ZGLGOOMPJ4$XGVVFHaJDM^\JPJ$ HFSFUNMURF$ DGHGUME$ C$ XHMDG@$ WUGHGOR$DRWJUWQ$ WZMLJWUMQ$ IGHME$ $ �FaVT$ MOIFLGD$ J[GKHMaFO$ VTK$�MPHFE$~GHaFWUDFOOMQ$ZGPXG[JbJQ$D$OMWR\FOORY$UGOMYE
#!"THE OLD TESTAMENT TRINITY
RUSSIAN, EARLY 17TH CENTURY
Seated on backless thrones with footrests, the Three Angels
leaning forward towards the chalices that lie on the table, to the
far left a tall building, its piers with elaborate capitals supporting
a grid gate, opposite a rocky mount and between them, the oak of
Mamre; executed solemnly with saturated colours
/%'&#$#!.#)*
+%?,"""-!0,"""
&!
##"'-(23$ /&(=:'1"'(/'%'$ !,2!2$ !&(&-(4/6*$':52.$!$,'3'5'1'*$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�4$B�9¡�w$��C~98�$};E$7E�$
�JZ$ uHJWUM$ W$ UGOZJPJ$ NFHUMPJ$ GKHMPLFO$ WDGKGVOG$OJWXMVM^\JPJ$ DGLGWMPJ4$ HM[VFLFOORPJ$ OM$ XHGKGHE$ wO$XHGWUTXMFU$ OM$ `GOF$ XGVVFHaJDMFPGIG$ VDTPQ$ MOIFLMPJ$[FLFOGIG$ XLMUM4$ HMWSJUGIG$ [GLGUGP$ J$ TKHMOOGIG$ XG$ ZHMQP$aFPNTIMPJE$ ;ZGOM$ GXHMDLFOM$ D$ WFHFKHQOR@$ GZLMV$ W$XG[GLGUG@4$ $TZHMSFOOR@$OMZLMVORP$UHFYNMWUORP$OJPKGP$J$DRNFZMOFOORPJ$LJWU_QPJ$XG$ZHMQPE
##"THE MANDYLION WITH A SILVER-GILT OKLAD
����ª�j$ x��h°$ �h®�y4$ ����$ = TH CENTURY,
�����i�$����$ªE�E$ªj$h��ª��ªh
The face of Christ with slender features, framed by parted hair,
falling in locks, imprinted on a green towel embellished with gold
embroidery, the hem with simulated pearls, lifted by two angels;
the silver gilt oklad with ample hammered foliage on the border,
-33%"&+$0"(!$2*(?)*($(,"3-,("(&$!-%)/%'(#$#!.#)*
+.,"""-1,"""
&"
#$"THE MOTHER OF GOD OF THE INVIOLATE MOUNTAIN WITH A SILVER-GILT
OKLAD
RUSSIAN, 18TH CENTURY
A variation of the Hodegetria, her maphorion scattered with clouds, the usual stars on her
forehead and shoulders replaced on this image by busts of angels, the hem adorned with
simulated pearls and inscribed with a prayer, Christ wrapped in an himation, revealing his left
arm and leg, the border of the oklad with foliate scrolls and beaded rims
%%'/#$#1'&#)*
+%,!""-%,?""
#$"-'%'('.)02$ ;%'(2$ /&(=:'!&9/24<$ "$ !&(&-(4/'7$ ':52.&$ !$,'3'5'1'*$8wCC;<4$=t?@$A9B$
|MOOMQ$ JZGOM4$ GUOGWQ\MQWQ$ Z$ J[DGVT$ }wVJIJUHJJ�4$ XHFVWUMDLQFU$ vGIGHGVJbT4$GKLMNFOOT^$D$PM`GHJ@4$HMWSJUR@$GKLMZMPJ$W$MOIFLMPJ$D$PFVML_GOMY�J[GKHMaFOJQY4$[MPFOQ^\JY$ XHJDRNORF$ [DF[VGNZJ4$ WJPDGLJ[JHT^\JF$ OFXGHGNOGWU_$ vGIGPMUFHJE$BHGPZM$PM`GHJQ$HMWSJUM$aFPNTIMPJ4$PFa$HQVMPJ$ZGUGHRY$XHGYGVJU$UFZWU$PGLJUDRE$�LMVFOFb$uHJWUGW$GKFHOTU$D$XLM\4$J[?XGV$ZGUGHGIG$DRKJDM^UWQ$FIG$LFDMQ$HTZM4$OGaZM$J$WUTXOQE$$]G$ZHMQP$GZLMVM$XHGYGVQU$HMWUJUFL_ORF$[MDJUZJ$J$KTWJORE
4(+,%"80&$
]%K^_`ab
#'"STS. JACOB AND ANNA WITH A SILVER-GILT AND
ENAMEL OKLAD IN A CARVED GILTWOOD KYOT
RUSSIAN, 19TH$ h�j����4$ �����i�$ ����$ �E�E$ ªj$CYRILLIC
�(E$ �-2)e4$ ".$ (!&$°&#($ g.)0.$ -#$ �(E$ �-5$ e,".1".1$ !"#$ ,"1!($!-.+$()$!"#$2!&#($-.+$!)%+".1$-$f))g4$�(E$�..-$�)".".1$!&,$!-.+#$".$3,-6&,4$ (!&$ #"%�&,?1"%($)g%-+$2!-#&+$0"(!$-$ %-(("2&$+&#"1.$ (!-($,&.+&,#$(!&$/)),$".$3&,#3&2("�&4$(!&$1-,5&.(#$-.+$!-%)&#$".$,&%"&'4$on a tooled background, the border in the form of an arch with
2!&�*&,&+$2!-53%&�µ$&.-5&%$-.+$'*,(!&,$-33%"&+$0"(!$&5e%-�).#$)'$2%)"#)..µ$&.-5&%d$',-5&+$e6$-$2-,�&+4$1"%($-.+$0))+&.$',-5&4$presented in a glazed kyot with elaborate upper part
!!#$#%.'(#)*2#/&'?#$#/!'!#)*#34)567348#9:;#@AB9
+0,!""-(,!""
#'"!"#$ 2,#$ )2:'"$ )$ ,('('9)02$ 2//2$ !&(&-(4/6*$3'5'9&/6*$ ':52.$ !$ C725>B@$ ,'3'5'9&//6*$:)'1$8wCC;<4$= ?@$A9B4$B�9¡�w$��C~98�$}CE$CE�$
CDE$MXGWUGL$;MZGD$XGVOGWJU$XHMDT^$HTZT$Z$WFHVbT4$M$LFDG@$WaJPMFU$9DMOIFLJFE$ $ CDE$ �OOM$ XHFVWUMDLFOM$ WG$ WLGaFOORPJ$ D$ PGLJUDF$HTZMPJE$ CFHFKHQOR@$ GZLMV$ TZHMSFO$ XG[GLGUG@E$ ]G$ `GOT$ JVTU$NFZMOORF$HFSFUNMURF$T[GHR4$JPJUJHT^\JP$XLJUGNORF$J[HM[bR$OM$XGLT4$DRXGLOFOORF$D$IFGPFUHJNFWZG@$XFHWXFZUJDFE$wVFaVR$J$OJPKR$DRXGLOFOR$D$HFL_F`F$OM$ GOF$WG$SUMPXGDMOORP$T[GHGPE$BHMQ$GZLMVM$DRXGLOFOR$D$DJVF$MHZJ$W$DRFPNMUG@$¬PML_^$WG$DZHMXLFOJQPJ$J[$¬PMLJ$XG$WZMOJE$;ZGOM$GXHMDLFOM$W$HF[OT^4$XG[GLGNFOOT^$VFHFDQOOT^$HMPT$J$DWUMDLFOM$D$GWUFZLFOOR@$ZJGU$W$HF[ORP$OMDFHSJFPE$
&#
#&"A DEISIS INCLUDING TWO PROSTRATED MONASTIC SAINTS WITH A
SILVER-GILT OKLAD
RUSSIAN, 18TH CENTURY
h!,"#($(!&$®"1!$�,"&#($-((",&+$".$%"(*,1"2-%$�&#(5&.(#4$#&-(&+$).$-.$&%-e),-(&%6$2-,�&+$(!,).&4$/-.g&+$e6$!"#$�)(!&,$+,&##&+$".$,&1-%$1-,5&.(#4$-.+$�(E$�)!.$(!&$f-3("#(4$-%%$(!,&&$c1*,&#$crowned, two monastic saints bowing on their knees in the foreground, the oklad matching
lot 23
%%'/#$#?'?#)*
+%,!""-%,?""
#&".&)!)!$!$."=74$,(&,'.'-/67)$"$7'5&/))$3'5'9&/6*$!&(&-(4/6*$':52.$8wCC;<4$=t?@$A9B
CXMW$ AWVFHaJUFL_$ D$ GKHM[F$ ]FHDGWDQ\FOOJZM$ J$ D$ LJUTHIJNFWZGP$ GKLMNFOJJ$UGHaFWUDFOOG$ DGWWFVMFU$ OM$ TKHMOOGP$ XRSOG@$ HF[_KG@$ UHGOFE$ ]G$ GKF$ WUGHGOR$ FPT$XHFVWUGQU$vGIGPMUFH_$D$bMHWZGP$GVFQOJJ$J$WDE$;GMOO$BHFWUJUFL_E$AWF$UHGF$TDFONMOR$ZGHGOMPJE$ |DGF$ $ WDQURY4$ XHJXMVM^\JY$ Z$ UHGOT$ uHJWUM$ D$ PGLFOJJ4$ J[GKHMaFOR$ OM$XFHFVOFP$XLMOFE$wZLMV$JZGOR$XG$GXJWMOJ^$WGDXMVMFU$W$XHFVRVT\JP$LGUGPE
'%
#)"!"#$-52%'"&(/6*$:/43>$25&:!2/.($/&"!:)*$"$7'5)1"&$:'$8()!1=$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�
CDE$ KLMIGDFHOR@$ BOQ[_$ �LFZWMOVH$ {FDWZJ@$ GKHM\MFUWQ$ D$PGLFOJJ$ZG$uHJWUT4$ DG[VFD$HTZJE$wKHM[$uHJWUM$ [MZL^NFO$D$ZHTILR@$OJPKd$GO$XMHJU$OM$GKLMZMY$W$ZOJIG@$9DMOIFLJQ$D$HTZF4$OJWXGWRLMQ$ KLMIGWLGDFOJF$ OM$ ZOQ[QE$ $ CDE$ �LFZWMOVH$ WUGJU$OM$ `GOF$ WZMLJWUGIG$ XF@[MaM$ WG$ WZTVOG@$ HMWUJUFL_OGWU_^E$BOQ[_$J[GKHMaFO$D$bMHWZGP$GVFQOJJ$W$TWFQOOG@$WMPGbDFUMPJ$ZM@PG@E$ 9IG$ VLJOOR@$ XLM\$ HMWSJU$ [GLGURPJ$ [MDJUZMPJ4$DGHGU$GUGHGNFO$IGHOGWUMFPE$AWF$PFLZJF$VFUMLJ$J[GKHMaFOJQ$U\MUFL_OG$ DRXGLOFOR$ W$ KGL_SJP$ J[Q\FWUDGP4$ NUG$ XHJVMFU$ZGPXG[JbJJ$HMDOGPFHOR@$J$TUGONFOOR@$YMHMZUFHE
#)"PRINCE ALEXANDER NEVSKY IN SUPPLICATION TO
CHRIST
����ª�j$x��h°$�h®�y4$����$= TH CENTURY
�!&$�,".2&$#(-.+".1$).$-$,)2g6$%-.+#2-3&$0"(!$#3-,#&$�&1&(-(").4$raising his hands in supplication and looking upwards, where
Christ appears against a circular mandorla on billowing clouds,
holding the Gospels and extending his blessings; the princely
#-".($+,&##&+$".$5-1."c2&.($1-,5&.(#$0"(!$1)%+$-.+$1&5?#(*++&+$bands, his long coat embroidered with gilt scrolls, applied with
an ermine collar; the details of the image executed with great
,&c.&5&.(4$-2!"&�".1$-$3)0&,'*%$6&($e-%-.2&+$-.+$#)3!"#("2-(&+$composition
/%#$#!&'(#)*
+?,"""-%!,"""
'$
#(",'."&!:2$!$)3'-(2?&/)&7$5):2$8()!12�8�9{;<4$= ?@$A9B
]GVDFWZM$GDML_OG@$`GHPR$W$HFMLJWUJNOG$OMXJWMOORP$LJZGP$OM$ `GOF$ W$ HMWYGVQ\JPJWQ$ LTNMPJ$ GXHMDLFOM$ D$ [GLGNFOT^$HMPT4$DDFHYT$TZHMSFOOT^$HF[_KG@$W$YFHTDJPMPJ4$VFHaM\JPJ$ZGHGOT$ OMV$ ZHTILG@$ UMKLJNZG@$ W$ JOJbJMLMPJ$ uHJWUME$ B$DFHYOF@$ NMWUJ$ XHFVPFUM$ XHJZHFXLFOG$ XGVDFWOGF$ ZGL_bGE$COJ[T$HMPM$[MZHFXLFOM$KTLMDZG@$W$VDTPQ$aFPNTaJOMPJE
#("A PENDANT DEPICTING THE FACE OF CHRIST
ARMENIAN, 19TH CENTURY
Of ovoid shape, painted naturalistically on a rayed background,
#&($ ".$ -$ 1"%($ ',-5&4$ "(#$ *33&,$ 3-,($0"(!$ 2*(?)*($ 2!&,*e#$ !)%+".1$a crown above a circular plate chiselled with Christ’s initials, a
hanging loop at the top, the rim fastened at the bottom by a pin
ornamented with two pearls
1#$#&#)*
+%,!""-%,?""
'&
#*"!""#$:/43>4$"52.)7)(@$%5&-$)$:/4%)/4$'5>%2$8wCC;<E$=>?@$A9B
CDE$BOQIJOQ$BJFDWZMQ$wL_IM4$JPFOTFPMQ$8MDOGMXGWUGL_OG@4$J[GKHMaFOM$ D$ GZHTaFOJJ$ WDGFIG$ DOTZM$ xAFLJZGIG$ BOQ[Q$ALMVJPJHM$W$LFDG@$WUGHGORy$ $J$XHMDOTZM$x$WDE$BOQ[Q$7LFKM4$W$ XHMDG@$ WUGHGORyE$ AWF$ `JITHR$ TDFONMOR$ ZGHGOMPJ4$DXJWMOORPJ$D$OJPKR4$J$XHFVWUMDLFOR$`HGOUML_OG$D$XGLOR@$HGWU4$ W$ ZHMWORPJ$ ZHFWUMPJ$ xWJPDGLMPJ$ PTNFOJNFWUDMy$ D$HTZMYE$ CDDE$ ZOQ[_Q$ ALMVJPJH$ J$ 7LFK$ XHFVWUM^U$ D$ XRSORY$ZOQaFWZJY$ GVFQOJQY$ $ XFHPFaM^\JYWQ$ ZHMWORY$ J$ WJOJY$GUUFOZGD$ W$ GUGHGNZMPJ4$ TWRXMOORPJ$ WMPGbDFUMPJE$A$ HTZMY$GOJ$ VFHaMU$ PFNJE$ ;Y$ UQaFLRF$ KMHYMUORF$ XLM\J$ KGIMUG$TKHMOR$[GLGUG@$XMHNG@E$�JZJ4$OMXJWMOORF$D$UFPORY4$ILTKGZJY$UGOMY$ J$ WPQINFOR$ XLMD_^$ J$ GaJDZMPJ4$ UJXJNORPJ$ VLQ$ =>?IG$ DFZME$ A$ DFHYOF@$ NMWUJ$ JZGOR$ vGIGPMUFH_$ }zOMPFOJF�$ D$HM[DFHWURY$ OFKFWMY$ KLMIGWLGDLQFU$ UHFY$ ZJFDWZJY$ WDQURY4$`JITHR$ ZGUGHRY$ DRVFLQ^UWQ$ OM$ OFaOG?[FLFOGP$ `GOFE$ {M$DRWGZJY$XGLQY$ZGDNFIM$PFWUMPJ$XHGWUTXMFU$LFDZMWE$$$$
#*"DED#$FGHIJKJL@$MGNH$HOI$NGPQRUSSIAN, 17TH CENTURY
�,".2&##$ %1-$ )'$ �"&�4$ -%#)$ 2-%%&+$ ���*-%$ ()$ (!&$ �3)#(%&#�4$/-.g&+$e6$!&,$1,-.+?#).4$�,".2&$¯%-+"5",$(!&$�,&-(4$ ()$(!&$%&'($-.+$!"#$)0.$#).4$�,".2&$�%&e4$()$(!&$,"1!(d$-%%$3),(,-6&+$',).(-%4$!-%)&+$-.+$2,)0.&+4$e&-,".1$,&+$5-,(6,i#$2,)##&#d$�(#E$¯%-+"5",$and Gleb additionally carrying their swords; dressed in opulent
1-,5&.(#$ )'$ -%(&,.-(&$ ,&+#$ -.+$ 1,&&.#4$ 1-,."#!&+$ 0"(!$ 1&5?embroidered gold bands, their velvet coats richly decorated in
gold brocade; the deep colours of their faces soften with smooth
shading, as was common in the icon painting of the 17th century;
on the upper border, the open heavens revealing the Mother of
God of the Sign blessing the three Kievan saints, on light green
background, the raised border bare to the 0-98&/
/!'!#$#!&'.#)*
+%%,"""-%&,"""
''
'(
#+" THE FOUNDERS OF THE KIEVAN CAVES
KMOHDEPLR@$ DED#$ HOEMOJR$ HOI$ ESPMIMDJR$ JO$SUPPLICATION TO THE MOTHER OF GOD
RUSSIAN, SECOND HALF OF THE 18TH CENTURY
The icon privately commissioned as suggested by the presence
)'$ (!&$ 3-(,).$ �(E$ �&),1&$ ).$ (!&$ e),+&,d$ (!&$�)(!&,$ )'$ �)+$holding her Son seated on a luxurious throne complemented by
-$2*#!").$0"(!$3&-,%?&5*%-(".1$+&2),-(").$-.+$-$suppedaneum,
/-.g&+$ e6$ �(E$ �.(!).6$ -.+$ !"#$ +"#2"3%&4$ �!&)+)#"*#4$ e)(!$displaying scrolls and raising their hands in prayer
/%'(#$#!.#)*
+%,(""-!,(""
#+"-'%'721&(>$ !$ '!/'"21&547)$ :)&"'+,&9&(!:'*$52"(68wCC;<4$A~w8�<$]w�wA;{�$=t?IG$$A9B�
;ZGOM$KRLM$OMXJWMOM$OM$[MZM[4$ZMZ$WLFVTFU$J[$XHJWTUWUDJQ$OM$ LFDGP$ XGLF$ `JITHR$ WDQUJUFLQ$ 7FGHIJQE$ vGIGPMUFH_$ W$CROGP$OM$HTZMY$DGWWFVMFU$OM$HGWZGSOGP$UHGOF$W$XGVOGaJFP4$OM$XGVTSZF4$TZHMSFOOG@$JPJUMbJF@$aFPNTIM4$D$GZHTaFOJJ$XHFXGVGKOGIG$�OUGOJQ$]FNFHWZGIG$J$FIG$TNFOJZM$«FGVGWJQE$wKM$XHFVWUGQ\JY$D$PGLJUDF$WUMHbM$VFHaMU$D$HTZMY$WDJUZJE$;ZGOM$DRXGLOFOM$D$OMWR\FOORY$UGOMYE
$,"."&$ (&3/6&$ .&(&"4//6&$ ):'/6$ !'$ $ !""#-'()!'7$ )$ %5&-'7$ )$ !"#$ '!/'"21&547)$:)&"'+,&9&(!:'%'$ 7'/2!16(4$ !$ 8(27'7$$=!,&/)4$¢B8�;{�4$C989|;{�$= ?IG$A9B�
;ZGOR$J[$WMPSJUM$J[GKHMaM^U�$=y$WDQURY$ZOQ[F@?PTNFOJZGD$vGHJWM$J$7LFKM4$GKLMNFOORY$D$bMHWZJF$GVFQOJQ4$WG$AWFDJVQ\JP$wZGP$D$HM[DFHWURY$OFKFWMY$OMV$OJPJd$¤y$XHFXGVGKORY$�OUGOJQ$J$«FGVGWJQ$]FNFHWZJY4$VFHaM\JY$JZGOT$¢WXFOJQd$OMV$OJPJ$D$OFKFWMY$XMHJU$BJFDG?]FNFHWZMQ$�MDHM4$GWOGDMOOMQ$WDQURPJ$J$XGWDQ\FOOMQ$¢WXFOJ^$vGIGPMUFHJE$]MHMPFUHR$ZMaVG@$JZGOR$D$ZJGUF�$=¥$Y$t4>$WPE
$,"A PAIR OF CARVED WOODEN MINIATURE ICONS
SHOWING STS. BORIS AND GLEB AND THE FOUNDERS
OF THE CAVES MONASTERY WITH THE CATHEDRAL
OF THE DORMITION
UKRAINIAN, MIDDLE OF THE 19TH CENTURY
�-+&$ )'$ e)�0))+4$ (!&$ c,#($ #!)0".1$ (!&$ e%&##&+$ 3,".2&#$ �%&e$-.+$f),"#4$ +,&##&+$ ".$ ,)6-%$ 1-,e#4$�)+i#$�6&$ )'$ �,)�"+&.2&$ ".$(!&$ )3&.$ #g"$ (!&$ #&2).+$ "2).$ ,&3,&#&.(".1$ �(#E$�.(!).6$ -.+$�&)+)#"6$�)".(%6$!)%+".1$-.$"2).$)'$(!&$�),5"(").4$/)-(".1$-e)�&$(!&$�"&�)?�&2!&,#g-6-$�-�,-$�).-#(&,6$0!"2!$(!&6$')*.+&+$-.+$dedicated to the Dormition of the Mother of God
%/#$#?'.#)*2#;>):#3)B4#34)567348#9:;#@AB9# # C!D
+!,(""-/,(""
')
$!"!'-'($!"4168$,(&,'.'-/68$,&9&(!:)8$8wCC;<4$= ?@$A9B
{M$XFHFVOFP$XLMOF$ZGPXG[JbJJ$DRVFLQ^UWQ$`JITHR$WDQURY$DHFPFO$BJFDWZG@$8TWJ�$WDE$BOQ[_$ALMVJPJH$DG[OGWJU$ZHFWU4$FIG$ WROGD_Q$ vGHJW$ J$ 7LFK$ WUGQU$ XG[MVJ$ OFIGE$ ±FWUDJF$DG[ILMDLQ^U$ WDQURF$ XHFXGVGKORF$ �OUGOJ@$ J$ «FGVGWJ@$]FNFHWZJFE$ $zM$OJPJ$WLFVT^U$WDE$XMWURHJ$bFHZDJ$J$PGOMYJE${M$[MVOFP$XLMOF$DJVOFFUWQ$WGKGH$BJFDG?]FNFHWZG@$�MDHR$J$VDM$MOIFLM4$OFWT\JY$JZGOT$¢WXFOJQE$|FZGHMUJDORF$T[GHR$D$GKLMWUJ4$WJPDGLJ[JHT^\F@$OFKFWM4$M$UMZaF$GHOMPFOU4$JVT\J@$XG$ XGLQP4$ JPJUJHT^U$ HMKGUT$ XG$ PFUMLLT4$ YMHMZUFHOT^$ VLQ$UGIG$DHFPFOJE
$!"ALL SAINTS OF KIEV
RUSSIAN, 19TH CENTURY
The foreground showing the founders of Orthodoxy in Kievan
�*#id$ �(E$ ¯%-+"5",$ ,-"#".1$ -$ 2,)##4$ !"#$ #).#$ f),"#$ -.+$ �%&e$standing behind him; at the front the monastic saints Antony and
�!&)+)#"*#d$(!&$/-.g".1$2,)0+#$".2%*+".1$&22%&#"-#("2-%$c1*,&#$-.+$5).g#d$".$(!&$e-2g1,)*.+$(!&$h-(!&+,-%$)'$�&2!&,#g$�-�,-$and above two angels carrying the icon of the Dormition; the
decorative pattern on the skies and border emulating metalwork
of the period
/%'!#$#!&'(#)*
+/,"""-0,"""
'*
$#"METROPOLITANS OF MOSCOW AND ALL RUSSIA:
TJULJHO$ VWXYW+YZ$ [\]$WX^_+W`_ab@$USMEJMD$ VW`_c+W`XWb$AND IONA (1461-1464)
����ª�j4$�����i�$����$�-E�E$ªj$h��ª��ªh4��h°4$1789
The three leaders of the Russian Church holding Gospel Books,
attired in opulently embellished garments, Christ on the upper
3-,($&�(&.+".1$!"#$!-.+#$".$e&.&+"2(").4$(!&$#"%�&,?1"%($)g%-+$0"(!$#*e#(-.("-%$,&3)*##µ$+&2),-(").$".$e-,)�*&$#(6%&$-.+$-33%"&+4$2*(?out haloes
//'(#$#!1#)*
+0,"""-&,"""
$#"7)1(','5)16$7'!:'"!:)&$)$"!&4$(=!)d$!"#$:),()2/$ VWXYW+YZe$ WX^_+W`_ab@$ f'1)*$ VW`_c+$ W`XWb@$)'/2$VW`aW+$W`a`b$8wCC;<4$B�9¡�w$��C~98�$}<E$CE�4$�wCBA�4$=>t $
~HJ$WDQUJUFLQ$8TWWZG@$]HMDGWLMDOG@$:FHZDJ$XHFVWUMDLFOR$DG$ `HGOUML_OGP$ J[GKHMaFOJJE$ BMaVR@$ GKLMNFO$ D$ KGIMUG$TKHMOORF$FXJWZGXWZJF$GVFQOJQ$J$VFHaJU$D$HTZMY$9DMOIFLJFE$A$ DFHYOF@$ NMWUJ$ JZGOR$ XGPF\FOG$ XGQWOGF$ J[GKHMaFOJF$uHJWUM4$ HMWXHGWUFHSFIG$ HTZJ$ D$ KLMIGWLGDLQ^\FP$ aFWUFE$CFHFKHQOR@$ GZLMV$ W$ XG[GLGUG@4$ HF[ORPJ$ OJPKMPJ$ J$GKJL_ORPJ$HFL_F`ORPJ$TZHMSFOJQPJ$D$KMHGNOGP$WUJLFE
$$"A LARGE CALENDAR ICON INCLUDING THE PASSION
gRgGP@$ ESP$ hPHDED$ Mh$ ESP$ POEJLP$ RPHL$ HOI$EIGHTY-THREE PORTRAITS OF THE MOTHER OF
GOD
RUSSIAN, 19TH CENTURY
The Anastasis being the core image of the composition,
surrounded by the Cardinal Ecclesiastical Feasts; the saints and
events celebrated throughout the year represented over four
registers for each month; the periphery of the icon including an
impressive number of portraits of the Mother of God; the complex
iconography rendered meticulously on gold ground
?1#$#."'(#)*
+.,"""-1,"""
$$"-'5>i24$ 7)/&*/24$ ):'/2$ !'$ !0&/27)$!1(2!1&*$ )$ "&5):)7)$ 5)1=(%)9&!:)7)$,(23./):27)@$ )$ !$ YX+jk$ '-(2327)@$,('!52"54BA)7)$-'%'('.)0=$8wCC;<4$= ?@$A9B
CbFOM$CGSFWUDJQ$ DG$�V$ D$ WHFVOJZF$JZGOR$WLTaJU$bFOUHGP$ZGPXG[JbJJE$9F$GZHTaM^U$ZLF@PM$W$GWOGDORPJ$XHM[VOJZMPJ$bFHZGDOGIG$LJUTHIJNFWZGIG$IGVME$]HGNJF$WGKRUJQ$WDQ\FOOG@$JWUGHJJ$ J$ WDQURF4$ XMPQU_$ ZGUGHRY$ WGDFHSMFUWQ$ D$ UFNFOJF$IGVM4$ HMWXGLGaFOR$ D$ NFURHF$ HFIJWUHM4$ WGGUDFUWUDT^\JF$ZMaVGPT$PFWQbT$bFHZGDOGIG$ZMLFOVMHQE$]G$DOFSOF@$WUGHGOF$JZGOT$GKHMPLQ^U$ZLF@PM$W$GKHM[MPJ$vGIGHGVJbRE$CLGaORF$JZGOGIHM`JNFWZJF$ ZGPXG[JbJJ$ U\MUFL_OG$ DRXJWMOR$ XG$[GLGUGPT$`GOTE$
'!
'"
$'"THE ENTRY OF THE MOTHER OF GOD TO THE
TEMPLE
����ª�j$ x��E$ ������f���y4$ �ª����$ �$ �®�$ = TH
CENTURY
�(#E$ �)-2!"5$ -.+$�..-4$ -22)53-."&+$ e6$5-"+#$ -.+$ -.$ &%+&,%6$%-+64$ 3,-6".1$ 0!"%&$ )e#&,�".1$ (!&",$ (!,&&?6&-,$ )%+$ +-*1!(&,$entering the Temple; the girls carrying burning candles, the High
�,"&#($ ".$ 2&,&5)."-%$ �&#(5&.(#4$ (!&$ )(!&,$c1*,&#$0&-,".1$3%-".$robes accentuated in gold, the Mother of God with a radiating
halo; the harmonious composition executed realistically
/%'&#$#/"'.#)*
+!,(""-/,(""
$'"""&.&/)&$-'%'('.)06$"'$8(27$8wCC;<$xC�{B~?]9~98v¢87y4$C989|;{�$= ?IG$A9B�
CDDE$;GMZJP$J$�OOM$D$WGXHGDGaVFOJJ$XHJWLTaOJb$J$XGaJLG@$OMWUMDOJbR$ XHFKRDM^U$ D$ PGLJUDF4$ OMKL^VMQ$ [M$ UFP4$ ZMZ$UHFYLFUOQQ$ vGIGHGVJbM$ DYGVJU$ DG$ uHMPE$ AGWXJUMOOJbR$uHMPM$ VFHaMU$ D$ HTZMY$ IGHQ\JF$ WDFNJ4$ ]FHDGWDQ\FOOJZ$ D$YHMPGDGP$GKLMNFOJJ$DFVFU$vGIGPMUFH_$[M$HTZTE$$AWF$GWUML_ORF$XFHWGOMaJ$GKLFNFOR$D$XHGWURF$GVFaVR$W$$[GLGURPJ$GaJDZMPJE$${JPK$vGIGHGVJbR$JWUGNMFU$WJQOJFE$$7MHPGOJNOMQ$ZGPXG[JbJQ4$DRXGLOFOOMQ$D$HFMLJWUJNFWZG@$PMOFHFE
?c_def:%agbMh:%f%ijKNMf:%f%kMf^_Klf%mnK%N]Kb:%f%o`Lmah%l`MKa%N]Kp%f%aKj%KNq`%N]KbrK2%s%
]Kotb_`-N%u`Mh%^M`iKNd%N]Kbpv%fLK%wl%xKikKah%N]Kp:%f%Nd%kK^_Klfih%yjm2>%z{i`_Kj%WW|HH}H~�
?!(/+-):%Z%$&=*,+-#:%'")/($-#%&)$%()'0()-%J"=#%-&#v%;"#*-+%J"=#%R-"R0-%&)$%J"=#%;&+,-#�/%,"=/-%&)$%
+,-%8()*%4(00%$-/(#-%J"=#%1-&=+J2%O()'-%,-%(/%J"=#%0"#$:%1"4%+"%,(Bv>%z5/&0B%WG|HV}HH�
$&"THE NEW TESTAMENT TRINITY
RUSSIAN, 19TH CENTURY
�!&$3)0&,'*%$c1*,&$)'$(!&$�.2"&.($)'$(!&$�-6#4$#&-(&+$).$2%)*+#4$!"#$'&&($,&#(".1$on a globe that represents the earthly realm, extending His arms in blessing,
the infant Christ on His lap signing in benediction and holding an open Book,
and above Him the Holy Spirit in the form of a dove; in the foreground a red
seraph with extended wings and at the sides four cherubs; the body of the Father
beaming with light on the gold background
/('(#$#/"'.#)*
+/,!""-0,?""
$&"1(')02$/'"'32"&1/24$$8wCC;<4$= ?@$A9B
A$ bFOUHF$ ZGPXG[JbJJ$ J[GKHMaFOM$ JWXGLOFOOMQ$ PG\J$ `JITHM$ AFUYGIG$|FO_PJ4$ DGWWFVM^\FIG$ OM$ GKLMZMYE$ 9IG$ OGIJ$ XGZGQUWQ$ OM$ W`FHF4$WJPDGLJ[JHT^\F@$ PJH$ VGL_OJ@$ x[FPL^yE$ wO$ XHGWUJHMFU$ WDGJ$ HTZJ$ D$KLMIGWLGDFOJJE$�LMVFOFb$uHJWUGW$WJVJU$OM$ZGLFOQY$vGIM?wUbM4$OJWXGWRLMQ$GVOG@$ HTZG@$ KLMIGWLGDFOJQ$ J$ VFHaM$ D$ VHTIG@$ HTZF$ GUZHRUT^$ ZOJIT$CDQ\FOOGIG$]JWMOJQE$]GDFHY$IGLGDR$uHJWUM$J[GKHMaFO$|TY$CDQUG@$D$DJVF$IGLTKQE$AOJ[T$OM$XFHFVOFP$XLMOF$XMHJU$GIOFOOR@$WFHM`JP$W$HMWXHGWUHFURPJ$ZHRL_QPJE$ ]G$ KGZMP$ GU$ `JITHR$ AFUYGIG$ |FO_PJ$ DJVOF^UWQ$ $ YFHTDJPRE$«JITHM$vGIM?wUbM$J[LTNMFU$XGUGZJ$WDFUM4$HMWYGVQ\JFWQ$XG$[GLGUGPT$`GOTE
$)"H$ ELJUERgS$ lJES$ ESP$ HOOmOgJHEJMO@$ ESP$NATIVITY AND THE NEW TESTAMENT TRINITY
RUSSIAN, 18TH CENTURY
Illustrated in the centre, against a rocky mount, are three episodes
0!"2!$ ')%%)0&+$ (!&$f",(!$)'$h!,"#(d$®"#$c,#($e-(!$e6$-$5-"+4$ (!&$-..)*.2&5&.($)'$®"#$j-("�"(6$e6$-.$)%+$�!&3!&,+$()$�)#&3!$-.+$(!&$Adoration of the Shepherds; the upper, arched section representing
(!&$ j&0$ �&#(-5&.($ �,"."(6$ #*33),(&+$ e6$ 2%)*+#$ -.+$ c&,6$ ,&+$#&,-3!#d$(!&$/-.g".1$0".1#$"%%*#(,-(".1$".$-.$".(&,"),$#3-2&$(!&$�"#"($of Archangel Gabriel to the Mother of God in order to inform her of
God’s will; the robust angel advancing from the left, the Mother of
God sitting next to a table with a an open Book
!"#$#!0#)*#;$9;47;7
+&,"""-?,"""
$)"!:52.&/>$ !'$ !0&/'*$ -52%'"&A&/)4@$('?.&!1"2$)$'-(23'7$1(')06$/'"'32"&1/'*$8wCC;<4$=t?@$A9B
A$ bFOUHML_OG@$ WUDGHZF$ WZLMVOQ$ OM$ `GOF$ WZMLJWUG@$ IGHR$XHFVWUMDLFOR$UHJ$¬XJ[GVM$J[$WDQ\FOOG@$JWUGHJJ4$DGXLG\M^\JF$WGKRUJQ$ XGWLF$ 8GaVFWUDM$ uHJWUM�$ ZTXMOJF$ PLMVFObM$XHJWLTaOJbF@4$DG[DF\FOJF$G$FIG$HGaVFOJJ$;GWJ`T$XMWUTYGP4$XGZLGOFOJF$ XMWUTYGDE$ AFHYOJ@$ WDGV$ WZLMVOQ$ D$ DJVF$ MHZJ$XHFVWUMDLQFU${GDG[MDFUOT^$~HGJbT4$OFWGPT^$ZLTKMPJ$GKLMZGD$J$ GIOFOORPJ$ WFHM`JPMPJE$ A$ GKFJY$ XHJPRZM^\JY$ WUDGHZMY$J[GKHMaFOM$ WbFOM$ vLMIGDF\FOJQ$ vGIGHGVJbR$ W$ �HYMOIFLGP$7MDHJJLGP4$ DG[DF\M^\JP$ F@$ DGL^$ vGa_^E$ ]LGUOMQ$ `JITHM$MHYMOIFLM$WLFDM$XHJKLJaMFUWQ$Z$vGIGHGVJbF4$ WJVQ\F@$WXHMDM$[M$WUGLGP$W$GUZHRUG@$ZOJIG@$CDQ\FOOGIG$]JWMOJQE$
'#
(%
$("THE MOTHER OF GOD OF TIKHVIN
CENTRAL RUSSIAN, 19TH CENTURY
Christ seated on herforearm, turning towards her in blessing, revealing his
underfoot as he crosses his legs, the Mother of God directing the viewer’s gaze to
!&,$�).$e6$3)".(".1$$-($®"54$(!&$"2).$3-".(&+$5-#(&,%6$".$(!&$=¦th century style,
(!&$!-%)&#$+&c.&+$e6$+&&3$,&+$,"5#$-.+$1)%+$#!-+".1!!#$#%.'0#)*
+%,&""-!,&""
$("-'%'721&(>$1)8")/!:24$:9{~8���{�<$8wCC;<4$= ?@$A9B$
uHJWUGW$ DGWWFVMFU$ OM$ XHFVXLFN_F$ vGIGPMUFHJ4$ GKHM\MQW_$ Z$ OF@$ W$KLMIGWLGDFOJFPE$ 9IG$ OGIJ$ WZHF\FOR4$ WUTXOJ$ GKOMaFORE$ vGIGPMUFH_$TZM[RDMFU$HTZG@$OM$CROM4$OMXHMDLQQ$Z$OFPT$D[ILQV$[HJUFLQE$;ZGOM$PMWUFHWZJ$OMXJWMOM$D$WUJLF$=¦?IG$DFZME${JPKR$GNFHNFOR$ZHMWOG@$ZM@PG@$J$GUUFOFOR$[GLGUGPE
$*"!"#$2,'!1'5$&"2/%&5)!1$5=:2$8wCC;<$x�wCBA�y4$= ?@$A9B
ARWGZJF$ WUHGFOJQ$ OM$ [MVOFP$ XLMOF$ XHFVXGLMIM^U4$ NUG$ VF@WUDJF$ JZGOR$XHGJWYGVJU$D$XGPF\FOJJE$�XGWUGL4$WJVQ\J@$OM$UHGOF$W$XGVOGaJFP4$XJSFU$D$ZOJIF4$LFaM\F@$T$OFIG$OM$ZGLFOQYE${M$WUGLF$WUGJU$NFHOJL_OJbME$]G[MVJ$J[GKHMaFO$ WJPDGL$ 9DMOIFLJWUM$ J[$ ZOJIJ$ wUZHGDFOJQ$ ¶$ ~FLFb4$ VFHaM\J@$GKHM[$ 9DMOIFLJQ4$ WG[VMOJF$ ZGUGHGIG$ F\F$ UGL_ZG$ XHGJWYGVJU$ OM$ XFHFVOFP$XLMOFE$;ZGOM$JWZTWOG$DRXGLOFOM$W$XHFGKLMVMOJFP$ZHMWOG?[FLFORY$UGOGDE$+"
THE ALL-SEEING EYE OF GOD
RUSSIAN, 19TH CENTURY
The innermost of the four large roundels containing Christ Emmanuel and
&5-.-(".1$c&,6$,-6#$()$(!&$')*,$2),.&,#4$(!&$.&�($).&$".2%*+".1$(!&$&6&#$(!-($%))g$at all directions, the third circle showing an image of the Mother of God along
with golden decorative patterns on its periphery, the outer roundel containing
(!,&&$-.1&%#d$c�&$#5-%%&,$-++"(").-%$,".1#$&.2%)#".1$"5-1&#$)'$�),+$�-ee-)(!$-.+$the four Evangelists
!%'?#$#%.'?#)*
+%,!""-%,?""
$+""!&").4A&&$':'8wCC;<4$= ?@$A9B
AOTUHJ$ ZGObFOUHJNFWZJY$ ZHTIGD4$ D$ WMPR@$ bFOUH$ ZGPXG[JbJJ$ XGPF\FO$PFVML_GO$ W$ GKHM[GP$ CXMWM$ ;PPMOTJLM$ W$ JWYGVQ\JPJ$ XG$ NFURHFP$WUGHGOMP$ GIOFOORPJ$ LTNMPJE$ $ �FVML_GO$ WG$ CXMWGP$ [MZL^NFO$ D$ ZHTI$ W$GNMPJ4$ WPGUHQ\JPJ$ DG$ DWFY$ OMXHMDLFOJQYE$ A$ UHFU_FP$ THGDOF$ J[GKHMaFOM$vGIGPMUFH_$D$GZHTaFOJJ$[DF[V$J$VFZGHMUJDORY$T[GHGDE$$AG$DOFSOFP$ZHTIF$XMHQU$ UHJ$ MOIFLME$ A$ XQUJ$ VGXGLOJUFL_ORY$ W`FHMY?PFVML_GOMY$ [MZL^NFOR$J[GKHMaFOJF$7GWXGVM$CMDMG`M$J$WJPDGLR$NFURHFY$FDMOIFLJWUGDE
$*"THE APOSTLE AND EVANGELIST LUKE
����ª�j$x��h°y4$= TH CENTURY
The tall structures in the background suggesting an interior space, the apostle
seated on a backless throne with a suppedaneum, writing in the book supported
).$ !"#$ g.&$ -.$ ".g?3)($ ).$ (!&$ (-e%&$ e6$ !"#$ #"+&4$ e&!".+$ !"#$ -3)2-%63("2$3&,#)."c2-(").4$(!&$�4$!)%+".1$!"#$�)#3&%!&'?#$#!!'/#)*
+!,(""-0,(""
($
',"KOURSKAYA MOTHER OF GOD
����ª�j4$hª�h�$=>²²
The Mother of God of the Sign portrayed in an arched setting;
above her amid clouds, the Lord Sabbaoth in blessing, the
Holy Spirit on His chest; the rest of the panel occupied by
nine prophets in laurel wreaths, each displaying a scroll with
&�-%(-(").#$ ()$ (!&$ �)(!&,$ )'$ �)+d$ (!&$ c1*,&#$ 3-".(&+$ 0"(!$vibrant colours on gold ground
!&'(#$#!!#)*
+%,&""-!,&""
',"-'%'721&(>$:=(!:24$8wCC;<4$wBw�w$=>²²IE$
wKHM[$vGIGPMUFHJ$}zOMPFOJF�$$D$WHFVOJZF$JZGOR$XGPF\FO$D$ WDGVNMUT^$ ZGOWUHTZbJ^E$ {MV$ OJP$ WHFVJ$ GKLMZGD$ D$KLMIGWLGDLQ^\FP$aFWUF$XMHJU$7GWXGV_$CMDMG`$WG$CDQURP$|TYGPE$wWUMDSMQWQ$NMWU_$ZGPXG[JbJJ$[MXGLOFOM$ZLF@PMPJ$W$VFDQU_^$XHGHGZMPJ4$`JITHR$ZGUGHRY$DXJWMOR$D$LMDHGDRF$DFOZJE$ BMaVR@$ J[$ OJY$ VFHaJU$ D$ HTZF$ WDJUGZ$ W$ XGYDMLG@$vGIGHGVJbFE$«JITHR$OMXJWMOR$D$GaJDLFOORY$QHZJY$UGOMY$XG$[GLGUGPT$`GOTE
'!"THE MANDYLION WITH A GILT OKLAD
h�j����$ ����ª�$ x������ �y4$ ��hj�$ ®���$ �$THE 18TH CENTURY
The panel intricate in its simplicity, the slender features of
Christ suggesting a contemplative mood, with dark locks, a
short beard and a prominent tripartite halo, imprinted on a cloth
scattered with foliate scrolls; the brass oklad hammered and
2!-#&+4$0"(!$-$%-,1&$2*(?)*($."5e*#/0#$#!.'!#)*
+/,"""-0,"""
'!"'-(23$!,2!2$/&(=:'1"'(/'%'$"$3'5'9&/'7$':52.&$:9{~8���{�<$ 8wCC;<$ x<8wC��A��y4$ A~w8�<$]w�wA;{�$=t?IG$A9B�
;ZGOM$ WLGaOM$ D$ WDGF@$ XHGWUGUFE$ $ ~GOZJF$ NFHUR$ LJZM$CXMWJUFLQ$ OMDFDM^U$ PGLJUDFOOGF4$ WG[FHbMUFL_OGF$WGWUGQOJFE$ �JZ$ GKHMPLQ^U$ UFPORF$ DGLGWR$ J$ ZGHGUZMQ$KGHGVME$ ~HFYNMWUOR@$ OJPK$ GZHTaMFU$ IGLGDT$ CXMWJUFLQE$$;[GKHMaFOJF$XHGWUTXMFU$OM$XLMUF$W$HMWUJUFL_ORPJ$DJURPJ$T[GHMPJE$;ZGOM$XGPF\FOM$D$LMUTOOR@$GZLMV$W$NFZMOORPJ$T[GHMPJ$J$KGL_SJP$HF[ORP$OJPKGPE
(&
'#"“ELEOUSA” MOTHER OF GOD
GREEK, 18TH CENTURY
�!&$6)*(!'*%$'-2&$)'$ (!&$�)(!&,$)'$�)+$0"(!$#(,"g".14$-%5).+?shaped eyes, commanding the viewer’s attention towards her
Son, the Boy with a fringe and curly hair, looking at His Mother
-.+$#"1.".1$".$e&.&+"2(").4$ (0)$-.1&%#$/)-(".1$).$2%)*+#$3%-2&$-$ 3&-,%?#(*++&+$ 2,)0.$ ).$ !&,$ !&-+d$ (!&$ "5-1&$ &�&2*(&+$ ".$ (!&$traditionally
/.'(#$#!&'(#)*
+!,(""-/,(""
'#"-'%'721&(>$;=7)5&/)&<$789:;<4$=t?@$A9B
£OR@$ LJZ$ vGIGHGVJbR$ W$ J[TPJUFL_ORPJ$ PJOVMLFDJVOG@$`GHPR$ ILM[MPJ4$ WZLGOFO$ ZG$ PLMVFObT$ uHJWUTE$ vGIGPMUFH_$TZM[TFU$ OM$ PLMVFObME$ uHJWUGW$ J[GKHMaFO$ W$ NFLZG@4$OJWXMVM^\F@$ OM$ LGK$ J$ D_^\JPJWQ$ DGLGWMPJE$ wO$ WPGUHJU$OM$ vGIGPMUFH_$ J$ OJWXGWRLMFU$ $ KLMIGWLGDFOJFE$ |DM$ MOIFLM4$XMHQ\JF$ D$ GKLMZMY4$ TDFONJDM^U$ vGIGPMUFH_$ TWFQOOG@$aFPNTIGP$ZGHGOG@E$;ZGOM$DRXGLOFOM$D$UHMVJbJGOOG@$PMOFHFE$$$
'$"A TRIPTYCH WITH THE MOTHER OF GOD OF THE
UNFADING ROSE AND SELECTED PRIVATE SAINTS
�����4$hª�h�$=t²²
The Mother of God crowned, holding a blossoming sceptre,
Christ dressed in liturgical garments and a mitre, blessing and
holding a globus cruciger4$/-.g&+$e6$(0)$1)%+&.$�-,#$2).(-".".1$/)0&,#$-%%*+".1$ ()$ (!&$�&,#&#$)'$ (!&$�g-(!"#()#$®65.d$ (!&$ ,&#($of the triptych showing six images of saints in roundels, the
background with colourful buds and dots in relief; the right hand
of the Mother of God covered with a white metal votive offering
/0'&#$#0?'(#)*#;$9;47;7,#/0'&#$#!0#)*#)5BE;7
+%,(""-!,(""
'$"!:52.&/>$ !$ '-(23'7$ -'%'721&()$;/&="4.2&76*$ 0"&1<$ )$ !$ )3-(2//67)$!"4167)$�����4$wBw�w$=t²²$IE
{M$ JZGOF$ J[GKHMaFOM$ TDFONMOOMQ$ ZGHGOG@$ vGIGPMUFH_$ W$XHGbDFUSJP$ aF[LGPE$ wVOG@$ HTZG@$ GOM$ XHJaJPMFU$ Z$ WFKF$uHJWUM4$ GKLMNFOOGIG$ D$ bFHZGDORF$ GVFQOJQ$ J$ PJUHTE$ wO$KLMIGWLGDLQFU$ PGLQ\FIGWQ$ W$ VFHaMDG@$ xglobus crucigery$ D$HTZFE$$]G$GKF$WUGHGOR$GU$bFOUHM$OMYGVQUWQ$[GLGURF$ZTDSJOR$W$bDFUMPJ�$MLL^[JQ$$OM$WUHGZJ$MZM`JWUM4$XHGWLMDLQ^\FIG$$vGIGPMUFH_E$ $ AOJ[T$ J$ D$ VDTY$ VHTIJY$ WUDGHZMY$ WZLMVOQ$XGPF\FOR$ SFWU_$ PFVML_GOGD$ W$ GKHM[MPJ$ WDQURY$ OM$ `GOF$J[$ ZHMWGNORY$ KTUGOGD$ J$ HFL_F`ORY$ UGNFZE$ $ ]HMDMQ$ HTZM$vGIGHGVJbR$ XHFVWUMDLQFU$ WGKG@$ DGUJDOGF$ J[GKHMaFOJF4$DRXGLOFOOGF$J[$PFUMLLME
('
''":),(!:)*$ !"41)1&5>$ !,)().'/$1()7)f=/1!:)*#$ ):'/2$ "$ !,5'i/'7$3'5'1'7$':52.&789:;<4$=ttt$IE
A[GH$ WDQUGIG$ GKHM\FO$ Z$ OFKFWMPE$ wO$ OJWXGWRLMFU$ [OMZ$KLMIGWLGDFOJQ$ VFHaM$ D$ HTZF$ 9DMOIFLJFE$ CDE$ CXJHJVGO$GKLMNFO$ D$ FXJWZGXWZJF$ GVFQOJQ4$ TZHMSFOORF$ bDFUGNORPJ$KTUGOMPJE$ $9IG$FXJUHMYJL_$HMWSJUM$GHOMPFOUGP$J[$ZHFWUGD$J$HMWUJUFL_ORY$[MDJUZGDE$�JUHM$WXLFUFOM$J[$UHGWUOJZGDRY$XHTU_FDE$«JITHM$ WDQUGIG4$ DRXGLOFOOMQ$ D$ HFL_F`F4$ TDFONMOM$HF[ORP$ OJPKGP$ W$ HMWYGVQ\JPJWQ$ LTNMPJE$ ARWUTXM^\JF$XGLQ$ TZHMSFOR$ SUHJYGGKHM[ORPJ$ XGLGWZMPJE$ �JbG$ WDE$CXJHJVGOM$ OMXJWMOG$ D$ UFPORY4$ WTHGDRY$ UGOMYE$ {M$ GKGHGUF$JZGOR$ JPFFUWQ$ OMVXJW_$ XG?IHFNFWZJ4$ UMZaF$ WGVFHaM\MQ$VMUJHGDZT$JZGOR�$=ttt$IE
]HJPFNMOJQ�CDE$CXJHJVGO$$xGZGLG$¤>²¶¥¨t$IEy$HGVJLWQ$D$�SF$OM$BJXHFE$C$VFUWZJY$LFU$ $ GO$ KRL$ XMWUTYGPE$ ;PFOOG$ XG¬UGPT$ FIG$ NMWUG$ J[GKHMaM^U$ OM$JZGOMY$D$UHGWUOJZGDG@$SMXZFE$CDE$CXJHJVGO$KRL$J[KHMO$FXJWZGXGP$J$TNMWUDGDML$D$]FHDGP$·ZTPFOJNFWZGP$WGKGHF$D$IE${JZFF$x¥¤§y4$$OM$ZGUGHGP$ GO$ VGZM[ML$ UHGJNOGWU_$ vGIM4$ WGDFHSJD$ NTVG$ J$ XGWURVJD$MHJMO$ D$ WXGHFE$ $ A[QD$ D$ HTZJ$ XLJO`T$ xILJOQOR@$ ZJHXJNy4$ GO$XHGVFPGOWUHJHGDML$ ZMZ$ UHJ$ LJbM$ WGFVJOQ^UWQ$ D$ vGIF$ OM$ XHJPFHF$UGIG4$ ZMZ$ UHJ$ WUJYJJ$ xGIGO_4$ DGVM4$ ILJOMy$ $ GKHM[T^U$ GVJO$ XHFVPFUE$wO$ WUJWOTL$ ZJHXJN4$ J$ J[$ OFIG$ PIOGDFOOG$ DRSFL$ DDFHY$ GIGO_4$ DGVM$XGUFZLM$DOJ[4$M$ILJOM$GWUMLMW_$D$HTZMYE$$BGIVM$ WMHMbJOR$ [MYDMUJLJ$ BJXH4$ PG\J$ WDE$ CXJHJVGOM$ KRLJ$XFHFOFWFOR$D$BGOWUMOUJOGXGL_E$BGIVM$D$=¨§¥$IE$XML$BGOWUMOUJOGXGL_4$XGWUHMVMD$GU$UTHGZ4$$PG\J$UM@ZGP$KRLJ$WXHQUMOR$OM$GE$BGH`T4$IVF$GOJ$GWUM^UWQ$J$XG$WF@$VFO_E$CDE$CXJHJVGO$XGNJUMLWQ$ZMZ$XGZHGDJUFL_$ IGHSFNOJZGDE$ $wO$UMZaF$YHMOJUFL_$GE$BGH`T$J$WFP_J$~GLWURYE$$�UG$ZMWMFUWQ$XGWLFVOJY4$UG$D$$AFLJZJ@$BOQ[_$�GWZGDWZJ@$AMWJLJ@$ªª$x=¨¤§¶=¨¦¤y$VMHGDML$�OVHF^$~GLWUGPT$ [GLGUG@$ZHFWU?HFLJZDMHJ@$ W$PG\MPJ$WDQUGIG$CXJHJVGOME$·UGU$ ZHFWU$ XFHFVMDLWQ$ J[$ XGZGLFOJF$ D$ XGZGLFOJF$ WFP_J$ ~GLWURY$J$ YHMOJLWQ$ ILMDG@$ HGVME$A$ VMOOR@$PGPFOU$ GO$ XHJOMVLFaJU$ $ IHM`T${JZGLM^$~GLWUGPT4$XHGaJDM^\FPT$D$AFLJZGKHJUMOJJE$
''"!"#$ %&'()*!$ +!,$ +'&()-*./$ 0)+"*'$ *1$
!(#2)!"*3+/$4)!"$5$+*6)-$7*6-$*865-
GREEK, DATED 1888
Looking upwards to the heavens, signing in benediction and
carrying the Book of Gospels, dressed in Episcopal garments
+&2),-(&+$ 0"(!$ /)0&,?e*+#4$ !"#$ omophorion with crosses and
')%"-(&$#2,)%%#4$0&-,".1$-$!-($5-+&$)'$ ,&&+#4$ (!&$,&%"&'$c1*,&$)'$(!&$ #-".($ 2)53%&5&.(&+$ e6$ -$ 2*(?)*($ ,-6&+$ !-%)4$ ',-5&+$ e6$ -$strigilated raised border; the face executed in sombre colours;
the back of the icon bearing a Greek inscription that pertains its
+&+"2-(").d$+-(&+$=tttE%&'(#$#%%'(#)*
+(,"""-.,"""
j)(&#��(E$�36,"+).$x2-E¤>²¶¥¨ty$0-#$e),.$".$�#!-4$h63,*#E$®&$0-#$),"1".-%%6$-$#!&3!&,+4$!&.2&$(!&$,&&+$!-($!&$-33&-,#$0"(!$).$(!&$"2).#E$�(E$�36,"+).$e&2-5&$(!&$f"#!)3$)'$�,&5"(!)*#E$®&$3-,("2"3-(&+$".$(!&$�",#($�2*5&."2-%$h)*.2"%$ )'$j"2-&-$ x¥¤§y4$0!&,&$ !&$ 3&,'),5&+$ -$5",-2%&$0!"2!$ 3,)�&+$(!&$�,"."(-,"-.$+)2(,".&$-.+$+&'&-(&+$�,"-."#5E$ª.$'-2(4$e6$*#".1$-$3"&2&$of pottery, he demonstrated how it was possible for one entity to consist
)'$ (!,&&$ #(-.+$ -%).&$ &.("("&#$ xc,&4$0-(&,$ -.+$ 2%-6yE$�!&$3)((&,6$ !&$0-#$!)%+".1$ e*,#($ ".()$ /-5&4$ 0-(&,$ +,"33&+$ ).$ (!&$ 1,)*.+4$ -.+$ ).%6$ +*#($,&5-".&+$".$!"#$!-.+E°!&.$ (!&$�,-e#$ ())g$ h63,*#4$ �(E$ �36,"+).i#$ ,&%"2#$ 0&,&$ (,-.#%-(&+$ ()$Constantinople and following the capture of the City by the Ottomans,
(!&6$0&,&$,&5)�&+$()$h),'*4$0!&,&$(!&6$,&5-".$()$(!"#$+-6E�(E$�3,"+).$"#$(!&$3-(,).$)'$(!&$3)((&,#4$(!&$"#%-.+$)'$h),'*$-.+$-%#)4$(!&$�*##"-.$�-5"%6$)'$(!&$�)%#()6#E$�&1-,+".1$(!&$%-((&,4$(!&$�,-.+$�,".2&$)'$�)#2)0$f-#"%$ ªª$ x=¨¤§¶=¨¦¤y$ 3,&#&.(&+$ -$ 1)%+$ 2,)##$ 2).(-".".1$ ,&%"2#$)'$(!&$�-".($()$�.+,&"$�)%#()6E$�!"#$,&%"�*-,6$!-#$e&&.$g&3($e6$(!&$#&."),$member of the Tolstoy family and now, it is with the Count Nikolai
�)%#()6$".$(!&$��E
'&"A PRIVATELY COMMISSIONED ICON WITH THE
ANNUNCIATION AND THE FAMILY PATRONS STS.
OJgSMGHD@$ESPMIMLP$HOI$IPKPELJMDGREEK, 18TH CENTURY
The Annunciation taking place before a dense architectural setting,
Archangel Gabriel with shaded grey wings, atop clouds, blessing
-.+$!)%+".1$-$#2,)%%$".#2,"e&+$0"(!$!"#$#-%*(-(").4$).$(!&$#g"&#$c&,6$rays directing the Holy Spirit towards the Mother of God; to the left
(!&$)�&,#"�&+$c1*,&$)'$�(E$j"2!)%-#$-.+$e&%)0$(!&$(0)$&�*&#(,"-.$saints on a hilly landscape
0"'(#$#!1#)*
+!,"""-/,"""
'&"):'/2$ -52%'"&A&/)4$ !$ '-(2327)$ !"4168+,':('")1&5&*$/):'524@$f&'.'(2$)$.)7)1()4@$"6,'5/&//24$,'$!,&0)25>/'7=$32:23=$789:;<4$=t?@$A9B
CbFOM$ vLMIGDF\FOJQ$ HM[DGHMNJDMFUWQ$ OM$ `GOF$ XLGUOG@$MHYJUFZUTHOG@$[MWUHG@ZJE$�HYMOIFL$7MDHJJL4$ZHRL_Q$ZGUGHGIG$OMXJWMOR$ D$ HM[ORY$ GUUFOZMY$ WFHGIG4$ WXTWZMFUWQ$ OM$ GKLMZF4$KLMIGWLGDLQQ$vGIGHGVJbT$J$VFHaM$D$HTZF$WDJUGZ$W$XHJDFUWUDJFP$vGIGPMUFHJE$ {FKFWORF$ GIOFOORF$ LTNJ$ OJWXGWRLM^UWQ$$vGIGHGVJbF$ W$ OFKFW$ DPFWUF$ WG$ CDQURP$ |TYGPE$ CLFDM$ WUGJU$WDE$ {JZGLM@$ ¶$ �TVGUDGHFb4$ J[GKHMaFOOR@$ D$ TDFLJNFOOGP$PMWSUMKFE$A$OJaOFP$WFIPFOUF$JZGOR$[MXFNMULFOR$VDM$WDQURY$DWMVOJZM?DGJOM$OM$`GOF$YGLPJWUGIG$XF@[MaME
')"THE GLYKOPHILOUSA MOTHER OF GOD WITH STS.
PARASKEVA AND DEMETRIOS
GREEK, 18TH CENTURY
Floating on clouds, the Mother of God holding her Son with both
hands, the Baby touching her chin and crabbing her maphorion;
e&%)04$ �(E$ �-,-#g&�-$ ,-"#".1$ -$ 5-,(6,i#$ 2,)##4$ -$ �)("�&$ )''&,".1$+&2),-(&+$ 0"(!$ -$ 2,)##$ -.+$ ,)#&((&#$ '-#(&.&+$ )�&,$ !&,$ !-%)4$ �(E$Demetrios in military garments, bearing a spear and supporting a
shield formed like a human face; the frame of the icon inscribed
with a prayer
/?'?#$#!1'(#)*2#01#$#/1'?#)*#34)567348#9:;#<=>*;
+%,?""-!,&""
')"-'%'721&(>$ ;!52.:'5'-32BA24<$ !'$ !""#$,2(2!:&"'*$)$.)7)1()&7789:;<4$=t?@$A9B$
vGIGPMUFH_4$ XMHQ\MQ$ OM$ GKLMZMY4$ XHJaJPMFU$ Z$ WFKF$ CROM$GKFJPJ$HTZMPJE$�LMVFOFb$ZMWMFUWQ$FF$XGVKGHGVZM$J$VFHaJUWQ$HTZG@$ [M$ PM`GHJ@E$ $ AOJ[T$ WUGJU$ WDE$ ]MHMWZFDM$ W$ ZHFWUGP$PTNFOJNFWUDM$ D$ HTZFE$ {MV$ FF$ IGLGDG@4$ $ IVF$ J[GKHMaFO$ OJPK4$OMYGVJUWQ$ DGUJDOGF$ TZHMSFOJF$ W$ ZHFWUGP$ J$ HG[FUZMPJE$ CDE$|JPJUHJ@$ D$ GKLMNFOJJ$ DGJOM$ VFHaJU$ ZGX_F$ J$ \JU$ D$ `GHPF$NFLGDFNFWZGIG$LJbME$]G$XGLQP$JZGOR$XHGYGVJU$UFZWU$PGLJUDRE$
'("8()!1'!@$ -52%'!5'"54BA)*$ %(=,,=$!"4168+,':('")1&5&*$8wCC;<4$=t?@$A9B$
CXMW$AWFVFHaJUFL_$D$XGQWOGP$J[GKHMaFOJJ$ $ WHFVJ$GKLMZGD$XGQDLQFUWQ$D$OFKFWMY$D$DFHYOF@$NMWUJ$ZGPXG[JbJJE$ $wKFJPJ$HTZMPJ$ wO$ KLMIGWLGDLQFU$ WDQURY4$ XHFVWUMDLFOORY$ OJaFE$CHFVJ$OJY$¶$CDE$«FGVGH$CUHMUJLMU$xZHM@OJ@$D$DFHYOFP$LFDGP$HQVTy4$HQVGP$WG$WDE$«FGVGHGP$¶$ OR@$WDE$AGOJ`MUJ@d$D$bFOUHF4$TDFONMOOR@$ FXJWZGXWZG@$ PJUHG@4$ ¶$ WDE$ �F`$ BMUMOWZJ@4$OMXHGUJD$ ZGUGHGIG$ WUGJU$ WDE$ MXE$ ;MZGDE$ CXHMDM$ xW$ WMPGIG$ZHMQy$ J[GKHMaFOM$ WDE$ XHFXE$�MHJQ$9IJXFUWZMQE$]FHFV$ OF@$ D$XFHDGP$HQVT$ ¶$ WDE$�GOIJO$CGUOJZE$ $|LQ$ DWFY$`JITH$ WDQURY$YMHMZUFHOR$$DRUQOTURF$TVLJOFOORF$XHGXGHbJJE$BGPXG[JbJQ$DRXGLOFOM$ D$ HFMLJWUJNFWZG@$ PMOFHF$ OM$ WDFULG?IGLTKGP$`GOFE$ �JZJ$ OMXJWMOR$ XLMD_^E$ |HMXJHT^\JFWQ$ GVFaVR$DR[GLGNFORE
'("CHRIST BLESSING A GROUP OF PRIVATELY
SELECTED SAINTS
RUSSIAN, 18TH CENTURY
�!&$!-%'$c1*,&$)'$h!,"#($�-.()g,-(),$&5&,1".1$',)5$(!&$2%)*+#$).$the upper part of the panel, blessing with both hands the privately
#&%&2(&+$#-".(#$e&%)0d$-5).1$(!&5$-,&4$()$(!&$'-,$%&'($�(E$�!&)+),&$�(,-(&%-(&#$-.+$.&�($()$!"5$(!&$6)*(!'*%$�(E$ )."'-(64$".$(!&$2&.(,&$0&-,".1$(!&$�3"#2)3-%$5"(,&$"#$�(E$�&'$)'$h-(-."-$-.+$.&-,$!"54$(!&$�3)#(%&$�-5$ ()$ (!&$ ,"1!(4$�(E$�-,6$)'$�163($-.+$ ".$ ',).($)'$ !&,4$ �(E$ �).1".*#$ (!&$ �&1")..-",&d$ (!&$ c1*,&#$ )'$ &%).1-(&+$proportions, rendered realistically, the faces built up with soft
shading, the drapery of the colourful vestments accentuated in
gold; on a blue background with a dark border
/%'(#$#!&#)*
+(,"""-.,"""
(*
(!
'*"!"#$%&(2!)7$)'(.2/!:)*$8wCC;<$x]wAw�´�9y4$=t?@$A9B
CDQUG@$ XHFXGVGKOR@$ 7FHMWJP$ J[GKHMaFO$ D$ GVFQOJJ$GLJDZGDGIG$ bDFUM$ J$ D$ UFPOGP$ XLM\FE$ 9IG$ IGLGDT$ GZHTaMFU$[GLGUG@$OJPKE$A$HTZMY$GO$VFHaJU$WDJUGZ$W$XJWMOJFPE$wU$FIG$WXGZG@OGIG$ LJZM$ DFFU$ VGKHGUG@$ J$ WZHGPOGWU_^E$CXMWFOOR@$JP$ LFD$ LFaJU$ T$ OGI$ WDQUGIGE$ 8FZM$ J$ WUHGFOJQ$ PGOMWURHQ4$DJVOF^\JFWQ$DVMLFZF4$GLJbFUDGHQ^U$ $WGKG^$HFZT$;GHVMO$J$PGOMWURH_$D$;FHJYGOF4$IVF$WDQUG@$7FHMWJP$KRL$OMWUGQUFLFPE$$A$ DFHYOFP$ WFIPFOUF4$ WJPDGLJ[JHT^\FP$ OFKFWM4$ XGQDLQFUWQ$uHJWUGW$J$KLMIGWLGDLQFU$WDQUGIGE$$$
'*"ST. GERASIMOS OF JORDAN
����ª�j$x¯���$�ª¯��$���ªjy4$=tTH CENTURY
The Righteous Gerasimos wearing an olive robe, dark cape and
a gold shaded halo, displaying an inscribed scroll, his calm face
expressing kindness and modesty, the lion he had rescued lying
at his feet, the river and monastic complex in the background
,&3,&#&.(".1$(!&$�),+-.$-.+$�&,"2!)4$0!&,&$�(E$�&,-#"5)#$0-#$(!&$abbot, Christ in blessing appearing in the heavens
!&'.#$#!%'&#)*
+/,(""-0,(""
'+"8()!1'!@$ -52%'!5'"54BA)*$ !""#$ )'!)f2@$!1&f2/2@$/):'524@$,('(':2$.2/))52$)$1(&8$'1(':'"$"$,&A)$'%/&//'*$8wCC;<4$=t?@$A9B$
ADFHYT4$XGWFHFVJOF$DFHUJZML_OG@$GWJ$ZGPXG[JbJJ4$XHFVWUMFU$uHJWUGW4$ OFWGPR@$ ZLTKMPJ$ GKLMZGDE$ AOJ[T$ J[GKHMaFO$XHGHGZ$|MOJJL$WG$WDJUZGP4$XGDFWUDT^\JP$G$UHFY$GUHGZMY$D$XF\J$GIOFOOG@�$�OMOJJ4$�[MHJJ$J$�JWMJLFE$AWF$UHJ$GUHGZM4$GUZM[MDSJFWQ$XGZLGOJU_WQ$[GLGUGPT$JVGLT${MDTYGVGOGWGHM$J$ D$ OMZM[MOJF$ KHGSFOORF$ D$ GIOFOOT^$ XF\_4$ $ XGPF\FOR$W$ XHMDG@$ WUGHGOR$ JZGORE$ CLFDM$ J[GKHMaFOR$ WDE$ ;GWJ`4$CUF`MO$J${JZGLM@E$$BGPXG[JbJQ$KRLM$GHIMOJ[GDMOM$WGILMWOG$XGaFLMOJQP$ NMWUOGIG$ [MZM[NJZM$ J$ $ PMWUFHWZJ$ DRXGLOFOME$�JZJ$J$GVFQOJQ$WDQURY$VFUML_OG$J$U\MUFL_OG$XHGHMKGUMORE${MWR\FOORF$UGOM$DRVFLQ^UWQ$OM$[GLGUGP$`GOFE
'+"gSLJDE$QGPDDJON$DED#$nMDPUS@$DEPUSPO@$OJgSMGHD@$THE PROPHET DANIEL AND THE THREE BOYS WHO
WERE MARTYRED IN THE FIERY FURNACE
RUSSIAN, 18TH CENTURY
On the summit of the vertical axis Christ emerging through
#0",%".1$ 2%)*+#4$ +",&2(%6$ e&%)0$ (!&$ �,)3!&($ �-."&%$ !)%+".1$ -$scroll inscribed with the story of Hananiah, Azariah and the holy
Child Mishael, all three, represented to the right, having refused
to worship the golden idol of king Nebuchadnezzar they were
punished by martyring in the Fiery Furnace; portrayed to the left
�(#E$ �)#&3!4$ �(&3!&.$ -.+$ j"2!)%-#d$ (!&$ 2)53)#"(").$ 3,"�-(&%6$2)55"##").&+4$&�&2*(&+$5-#(&,%6$0"(!$c.&$+&(-"%#$).$ (!&$'-2&#$and elaborate rendition of the garments; the saturated colours
standing out against the gold background
/%'/#$#!&'(#)*
+&,(""-?,(""
("
(#
&,"!""#$ '1i&5>/):)$ '/=f()*$ )$ ,&1($ "$':(=?&/))$!"#$!1&f2/2$)$"&18'32"&1/68$!"4168$%=()4@$!27!'/2$)$2")"6$8wCC;<4$=t?@$A9B
|DM$ GUSFL_OJZM$ W$ VLJOORPJ$ WFVRPJ$ DGLGWMPJ$ J$VGWUJIM^\JPJ$ ZGLFO$ KGHGVMPJ$ XHFVWUMDLFOR$ D$ XGQWMY$ J[$LJWU_FD$D$GZHTaFOJJ$WDE$VJMZGOM$CUF`MOM$J$DFUYG[MDFUORY$PTNFOJZGD4$ PGLJUDFOOG$ DG[VFDM^\JY$ HTZJE$ BGPXG[JbJQ$HMWXGLGaFOM$XG$GKGJP$KFHFIMP$HFZJ$W$XFHFZJOTURP$NFHF[$OJY$ VFHFDQOORP$ PGWUGPE$ CbFOT$ GZHTaMFU$ XF@[Ma$ WG$WZTVOG@$HMWUJUFL_OGWU_^d$DVMLFZF$DJVOFF^UWQ$XTWUROORF$IGHRE$zGLGUG@$WJQ^\J@$`GO$WJPDGLJ[JHTFU$OFKFWME
&,"THE HERMITS STS. ONUFRY AND PETER FLANKED
BY ST. STEFAN AND THE OLD TESTAMENT SAINTS
NmLJR@$DHKMO$HOI$HFJFHRUSSIAN, 18TH CENTURY
The two hermits with grey hair and excessively long beards,
their nudity covered by green foliage, joined by the deacon
Stefan and Old Testament martyrs, all extending their hands
in prayer to Christ shown above; by the banks of a river with
a wooden bridge, the surrounding landscape with sparse
vegetation, the distant background with barren mounts, the
skies in gold
/(#$#/"#)*
+/,"""-0,"""
&!"?)1)*/24$):'/2$!""#$:)():2$)$=5)16$8wCC;<4$wBw�w$=t²²$IE
CDDE$ BJHJZ$ J$ ¢LJUM$ xPMU_$ W$ WROGPy$ J[GKHMaFOR$ D$WHFVOJZF$JZGORE$wKM$PGLJUDFOOG$GKHM\M^UWQ$ZG$uHJWUT4$XGQDLQ^\FPTWQ$D$WJQ^\JY$OFKFWMY$D$DFHYOFP$LFDGP$TILT$W$$9DMOIFLJFP$D$HTZMYE$$|DFOMVbMU_$ZLF@P$WG$WbFOMPJ$aJUJQ$J$ PTNFOJNFWUDM$ WDQURY$ GZHTaM^U$ J[GKHMaFOJF$ D$ bFOUHFE$;ZGOM$OMXJWMOM$D$QHZJY$UGOMY$XG$GYHJWUGPT$`GOTE$wVFaVR$XFHWGOMaF@$GKJL_OG$DR[GLGNFORE$
&!"A VITA ICON OF ST. JULITA AND HER SON ST.
KIRIKOS
����ª�j4$hª�h�$=t²²
Mother and son portrayed in the central section, both reaching
out to Christ depicted on the upper left presenting the Gospels,
against a radiating celestial segment; twelve surrounding scenes
providing a visual narrative of the two saints’ martyrdom, painted
with bright colours, the garments with dense chrysography, the
background of the scenes ochre
(0#$#0(#)*
+0,(""-&,(""
�,)�&.-.2&��*,2!-#&+$ e6$ (!&$ 2*,,&.($ )0.&,$ ',)5$ ª2).-#(-#4$ �).+).4$ �&2&5e&,$= ¨E
)%
&#"7'/28$ !$ 5)1=(%)9&!:)7$ ',2825'7$ !$/2.,)!>B$;7)5'!&(.)&<$A9{9~w?B8;~CB�<$±Bw��4$=>?@$A9B$
]HFWUMHFLR@$ PGOMY$ $ D$ $ XHGWUGP$ ZGHJNOFDGP$ GVFQOJJ4$XFHFUQOTUGP$ OM$ UMLJJ$ IHTKG@$ NFHOG@$ DFHFDZG@$ $ xNUG$TZM[RDMFU$ OM$ FIG$ XHJOMVLFaOGWU_$ GVOGPT$ J[$ $ [MXMVORY$PGOMSFWZJY$ GHVFOGDy4$ VFHaJU$ D$ HTZMY$ LJUTHIJNFWZGF$GXMYMLG$ W$ JWYGVQ\JPJ$ GU$ OFIG$ LTNMPJ$ J$ W$ VFDJ[GP$ GHVFOM$x}�JLGWFHVJF�y4$$$[MZL^NFOORP$D$PFVML_GO$DOTUHJ$GXMYMLME$$CLFDM$ J[GKHMaFOR$ WUGLX$ J$ ZHMWOR@$ [MOMDFWE$ «GO$ JZGOR$DR[GLGNFOE$
]HJPFNMOJF�{FWPGUHQ$ OM$ UG4$ NUG$ W^aFU$ VMOOG@$ ZGPXG[JbJJ$ OF$ XHJOMVLFaJU$XHMDGWLMDOG@$ UHMVJbJJ$ JZGOGXJWMOJQ4$ $ PMOFHM$ XJW_PM4$ D$ ZGUGHG@$DRXGLOFOG$ VMOOGF$ XHGJ[DFVFOJF4$ JPFFU$ IHFNFWZJF$ JWUGZJ4$ NUG$ OF$QDLQFUWQ$HFVZGWU_^E$AG$DHFPQ$GZZTXMbJJ$BHJUM$J$VHTIJY$IHFNFWZJY$GWUHGDGD$ DFOFbJMObMPJ$ PFaVT$ VDTPQ$ OMHGVMPJ$ XHGJWYGVJL$JOUFOWJDOR@$WGbJML_OR@$J$ZTL_UTHOR@$GKPFO4$D$UGP$NJWLF$J$D$GKLMWUJ$aJDGXJWJE${M$BHJUF$KRL$GWOGDMO$HQV$[MXMVORY$PGOMSFWZJY$GHVFOGDE$A$ WDQ[J$ W$ ¬UJP$ ZHJUWZJF$ JZGOGXJWbR$ WUHFPJLJW_$ TVGDLFUDGHJU_$HM[OGGKHM[ORF$UHFKGDMOJQ$POGaFWUDM$ZLJFOUGDE$
&#"A BLESSED MONK HOLDING AN ECCLESIASTICAL
FAN INSCRIBED “CARITAS”
¯�j��?h����j4$=>TH CENTURY
�.$ &%+&,%6$5).g$ )'$ -$°&#(&,.$,+&,4$ +,&##&+$ ".$ 3%-".4$ e,)0.$vestments and cowl, tied in the waist with a black rope, carrying
a liturgical, rayed fan proclaiming the Order’s principal virtue,
Charity; a pillar and a red curtain at the left, the rest of the
background in gold
!?'.#$#!!#)*
+0,"""-&,"""
j)(&�Although the subject of this panel does not derive from the Orthodox
(,-+"(").4$"($0-#$&�&2*(&+$-#$#*2!E$�!"#$"#$.)($*."�*&E$�*,".1$(!&$3&,")+$(!-($Crete and other Greek islands were under Venetian rule, they maintained
strong social, cultural and artistic communication with Venice and further,
0"(!$ (!&$°&#(E$ �&�&,-%$°&#(&,.$�).-#("2$,+&,#$0&,&$ &#(-e%"#!&+4$ '),$".#(-.2&4$ ).$h,&(&E$�!&,&'),&4$ (!&$ "2).$3-".(&,#$ -"5&+$ -($ #-("#'6".1$ (!&$+&5-.+#$)'$(!&",$+"�&,#&$2%"&.(&%&E
)$
&$"KHILP$ IPGGH$ gMODMGHoJMOP$ V-'%'721&(>$=1&i&/)&b$!'$!"#$C5&"f&()&7$A9{9~w?B8;~CB�<$±Bw��4$=>?@$A9B$
|MOOGF$ XHGJ[DFVFOJF$ KRLG$ DRXGLOFOG$ VLQ$ NMWUOGIG$[MZM[NJZM$J$GUWRLMFU$Z$FIG$J[L^KLFOORP$JZGOGIHM`JNFWZJP$UFPMPE$ $CLFDM$ ¶$ GKHM[$vGIGPMUFHJ4$ XGL_[GDMDSJ@WQ$ GWGKG@$XGXTLQHOGWU_^$D$¬XGYT$DFOFbJMOWZGIG$IGWXGVWUDM$OM$BHJUFE$|FDM$ XGVVFHaJDMFU$PLMVFObM$uHJWUM$ LFDG@$ HTZG@E$uHJWUGW$OJWXGWRLMFU$ KLMIGWLGDFOJF$ XGLGaJD$ LMVGO_$ OM$ W`FHT4$LFaM\T^$T$OFIG$OM$ZGLFOQYE$$CDE$|FDM$OFaOG$XGVVFHaJDMFU$PLMVFObM4$ ZMWMQW_$ FIG$ OGIJ$ J4$ WPGUHJU$ OM$ [HJUFLQE$ CXHMDM$J[GKHMaFO$ WDE$ 9LFD`FHJ@$ ¶$ XGNJUMFPR@$ D$ 7HFbJJ$ PTNFOJZ$DUGHGIG$ DFZM4$ ZGUGHR@$ WUML$ FXJWZGXGP$8JPME$wO$ GKLMNFO$ D$FXJWZGXWZJF$HJ[R4$D$FIG$HTZMY�9DMOIFLJFE${M$IGLGDF$WDQUGIG$DRKHJUM$ UGO[THME$ $ ]GVGKOG$ vGIGPMUFHJ4$ GO$ WPGUHJU$ OM$[HJUFLQE$ARKFLFOORF$LJZJ$TWJLFOR$XHGKFLMPJE$BHMWORF$UGOM$GVFQOJ@$ NFHFVT^UWQ$ W$ [FLFORPJE$ ·``FZU$ VHMXJHT^\F@WQ$UZMOJ$ VGWUJIMFUWQ$ W$ XGPG\_^$ IHMVMbJJ$ UGOME$ BGPXG[JbJQ$OMXJWMOM$OM$[GLGUGP$`GOF$J$GXHMDLFOM$D$HMPT$KGLFF$XG[VOFIG$XFHJGVME
&$"MADRE DELLA CONSOLAZIONE WITH ST.
ELEFTHERIOS
¯�j��?h����j4$=>TH CENTURY
The icon commissioned privately with the favourite subjects of
the patron; to the left, the ConsolazioneMother of God, an image
particularly popular during the years of Venetian rule, with Christ
seated on her left arm, gesturing in blessing and supporting
an orb, His Mother gently patting His leg while looking at the
e&!)%+&,d$ ()$ (!&$ ,"1!(4$ �(E$ �%&'(!&,")#E$ -$ #&2).+$ 2&.(*,6$5-,(6,$of Greek origin, who became Bishop of Rome, dressed in
Episcopal garments, bearing the Gospels, with tonsured head;
like the Mother of God he also gazes at the onlooker; their faces
emphasised with white brushstrokes, the garments alternating
in red and green, the drapery shaped with graded tones, on gold
ground, with a later frame
!0#$#/!'/#)*2#/"'0#$#/1#)*#34)567348#9:;#<=>*;
+%!,"""-%?,"""
&'"!"#$)'2//$,(&.1&92$B8;~4$=¦?@$A9B$
wKHM[$WDQUGIG$;GMOOM$]HFVUFNJ$DG$`HGOUML_OGP$XGIHTVOGP$J[GKHMaFOJJ$DRXGLOFO$D$ILTKGZJY$UGOMYE$�FHUR$LJZM$WDQUGIG$TWJLFOR$QHZJPJ$XHGKFLMPJ$DGZHTI$ILM[4$KHGDF@4$OGWM4$DFHYOF@$ITKR$J$SFJE$$]HGHGZ$XHFVWUMFU$WG$DWZLGZGNFOORPJ$KGHGVG@$J$DGLGWMPJ4$ZGUGHRF$D_^\JPJWQ$$XHQVQPJ$OJWXMVM^U$FPT$OM$XLFNJE$$CDE$;GMOO$GKLMNFO$D$$PJLGU_$J[$DFHKL^a_F@$SZTHR4$XGDFHY$ ZGUGHG@$ OMZJOTU$ YJUGO$ GLJDZGDGIG$ bDFUME$ {JPK$WDQUGIG$GNFHNFO$ VDG@ORP$ZGOUTHGPE$«GO$ZGPXG[JbJJ$ WJQFU$[GLGUGPE$
&'"ST. JOHN THE FORERUNNER
h����j4$=¦TH CENTURY
�!&$ e*#($ )'$ (!&$ f-3("#(4$ ',).(-%4$ !"#$ /&#!$ ,&.+&,&+$ 0"(!$ +&&3$().$!"#$'&-(*,&#$+&c.&+$e6$e,"1!($!"1!%"1!(#$-,)*.+$(!&$&6$brows, nose, upper lip and neckline; with a beard and dishevelled
hair that falls in curly locks on his shoulders; wearing a raiment of
camel’s skin and an olive himation4$!"#$!-%)$+&c.&+$e6$-$+)*e%&?rim, on gold ground
%&'0#$#%/'/#)*
+%","""-%(,"""
)&
&&"ST. TRYPHON
GREEK, 17TH CENTURY
The youthful saint portrayed frontal, with short dishevelled
hair, wearing a gold chiton and bright red himation, carrying
a martyr’s cross and displaying a sickle, one of the major
agricultural tools used by farmers, gardeners and winegrowers,
of whom he is patron
!%#$#%&#)*
+0,(""-&,(""
&&"!"#$1()f'/$789:;<4$=>?@$A9B
£OGSM$ ~HJ`GO$ J[GKHMaFO$ `HGOUML_OG$ W$ ZGHGUZJPJ4$D[LGYPMNFOORPJ$ DGLGWMPJE$ wO$ GKLMNFO$ D$ [GLGUG@$ YJUGO4$XGDFHY$ZGUGHGIG$OMZJOTU$ZHMWOR@$IJPMUJ@$xXLM\yE$$CDQUG@$VFHaJU$ D$ HTZMY$ PTNFOJNFWZJ@$ ZHFWU$ J$ WFHX�GHTVJF$ VLQ$WFL_WZGYG[Q@WUDFOORY$HMKGU4$ $ JWXGL_[TFPGF$ZHFWU_QOMPJ4$WMVGDOJZMPJ$J$DJOGIHMVMHQPJ4$ZGUGHRP$XGZHGDJUFL_WUDTFU$$WDE$~HJ`GOE
&)"ST. HARALAMBOS
GREEK, 18TH CENTURY
Depicted frontal but looking away from the beholder, his
elderly yet lively features emphasised by dark shading, with
grey hair and a long beard, the collar of his phelonion and his
2*''#$ -+),.&+$0"(!$ &5e,)"+&,&+$ /)0&,?!&-+#$ -.+$ 3&-,%#4$ !"#$golden halo standing out against the dark blue ground
!/#$#%.#)*
+/,!""-0,!""
&)"!"#$82(527,)*$789:;<4$=t?@$A9B
CDQUG@$ XHFVWUMDLFO$`HGOUML_OG$ WG$ D[ILQVGP4$ GUDFVFOORP$D$ WUGHGOT$ GU$ [HJUFLQE$ $ 9IG$ WUMHNFWZJF4$ OG$ D$ UG$aF$ DHFPQ$aJDRF$ NFHUR$ XGVNFHZOTUR$ UFPOG@$ UGOJHGDZG@E$ �JZ$WDQUGIG$ GKHMPLFO$ WFVRPJ$ DGLGWMPJ$ J$ VLJOOG@$ KGHGVG@E$$AGHGU$`FLGOJ$xGKLMNFOJQ$WDQ\FOOJZMy$J$XGHTNJ$TZHMSFOR$DRSJURPJ$ KTUGOMPJ$ bDFUGD$ J$ aFPNTIGPE$ <HZJ@$ [GLGUG@$OJPK$WJQFU$OM$UFPOG?WJOFP$`GOFE
)'
)(
&("0&/1(25>/6&$ !1"'(:)$ ,&(&/'!/'%'$):'/'!12!2$8wCC;<$x�wCBwACB�<$±Bw��y4$wBw�w$=¦²²$IE
;ZGOGWUMW$DRXGLOFO$D$UHJ$HQVME$A$OJaOFP$QHTWF$$J[GKHMaFO$CXMW$ D$ CJLMY4$ DGWWFVM^\J@$ OM$ UHGOF$ W$ J[GIOTUG@$ WXJOZG@$J$ XGVOGaJFP$ D$ GZHTaFOJJ$ YFHTDJPGD4$ DRXGLOFOORY$ D$UFYOJZF$ IHJ[M@LJE$ wKHM[$ CXMWM$ [MZL^NFO$ D$ VDG@OG@$ OJPK�$DOTUHFOOQQ$NMWU_$OJPKM$OMXJWMOM$UFPOG?[FLFORPd$DG$DOFSOJ@$NFURHFYZGOFNOR@$OJPK$DXJWMOR$MXGZMLJXUJNFWZJF$WJPDGLRE$$AG$ DUGHG@$ QHTW$ JZGOGWUMWM$ XGPF\FOR$ GKHM[R$ 8MWXQUJQ$ J$CGSFWUDJQ$DG$�VE$$CbFOM$CGSFWUDJQ$DG$�V$HM[DGHMNJDMFUWQ$OM$`GOF$OFKFWOGIG$WDGVM$D$DJVF$MHZJ4$OM$ZGUGHGP$J[GKHMaFOG$[MUPFOJF$WGLObM$J$ZHGDMDMQ$LTOME$8QVGP$W$LTOG@$J[GKHMaFOM$WZMLM$W$HMWWFLJOG@$XGWFHFVJOFE$A$DFHYOFP$QHTWF$JZGOGWUMWM$XHFVWUMDLFO$ GKHM[$ vGIGPMUFHJ$ }zOMPFOJF�$ OM$ `GOF$TWRXMOOGIG$[DF[VMPJ$OFKM$D$GZHTaFOJJ$DFUYG[MDFUOGIG$bMHQ$|MDJVM$J$bMHQ$CGLGPGOME$wKM$XHGHGZM?bMHQ$VFHaMU$D$HTZMY$WDJUZJ$ W$ XGYDMLG@$ vGIGHGVJbFE$ ¢VLJOFOOMQ$ HMDOGPFHOMQ$ZGPXG[JbJQ4$ W$ U\MUFL_OG$ DRXGLOFOOG@$ XHGXJW_^$ LJZGD$ D$UFPOR@$ UGOMYE$ ;ZGOM$ OMXJWMOM$ D$ ZHMWOG?[FLFORY$ UGOMY$ XG$GWLFXJUFL_OGPT$[GLGUGPT$`GOTE$
&("THE CENTRAL PART OF A PORTABLE ICONOSTASIS
����ª�j$x��h°$�h®�y4$hª�h�$=¦²²
Organised in three tiers, the bottom one portraying Christ the
Saviour in Majesty, his throne with a curved back and a pedestal,
/-.g&+$e6$2!&,*e#4$,&.+&,&+$".$1,"#-"%%&4$-1-".#($-$+)*e%&$1%),64$the inner oval in dark green, the outer of diamond shape with
the Beasts of the Apocalypse on the four corners; the second
,&1"#(&,$ #!)0".1$ (!&$h,*2"c�").$ -.+$ (!&$�.-#(-#"#4$ (!&$ '),5&,$taking place under an arched sky including the darkened sun
and blooded moon in the spandrels, the latter happening before a
split, rocky mountain; the uppermost section of the arrangement
focusing on the central image of the Mother of God of the Sign
-1-".#($ #(-,,6$ #g"&#$ (!-($5-(2!$ (!)#&$ )'$ (!&$h,*2"c�").$ e&%)04$/-.g&+$ e6$ �".1$ �-�"+$ -.+$ !"#$ #).$ �)%)5).4$ e)(!$ +"#3%-6".1$scrolls with exaltations to the Mother of God; the elongated,
balanced composition, rendered meticulously with dark shades
for the faces, greens and reds for the scenes and dazzling gold in
the background
/.'?#$#%?'1#)*
+!","""-/","""
))
&*"(2!,41)&$)3$"&(8/&%'$9)/2$):'/'!12!2$B8;~CB�<$±Bw��4$Bw{9:$=¦?IG$A9B�
|GDGL_OG$ ZHTXOGF4$ TZHMSFOOGF$ [GLGUGP$ 8MWXQUJF4$ DR[RDMFU$DGWYJ\FOJFE$ ]FHFZLMVJOR$ ZHFUM$ TZHMSFOR$ OMZGOFNOJZMPJ$ D$DJVF$ UHJLJWUOJZME$ ¢WRXMOORF$ KJWFHGP$ XGLQ$ VGXGLOFOR$ HF[ORP$GHOMPFOUGPE$ ~FLG$ uHJWUM$ XHJIDGaVFOG$ ZG$ ZHFWUTE$ $ 9IG$ DGLGWR$OJWXMVM^U$ OM$ XLFNJd$ 9IG$ ILMDM$ D$ UFHOGDGP$ DFObF$ [MZL^NFOM$ D$UHFYNMWUR@$OJPKE$$~FLG$uHJWUM$GKFHOTUG$KFLG@$UZMOF@$W$KMYHGPG@E$;[$HMO$WGNJUWQ$ZHGD_d$J[$XHGKGVFOOGIG$KGZM$JWUFZM^U$ZHGD_$J$DGVME$]G$ UMKLJbF$ OMV$ IGLGDG@$uHJWUM$ xtabula ansatay$ DRKJUR$ OMNML_ORF$KTZDR$OMVXJWJ$XG?IHFNFWZJ�$$n¸¹º»¼$½¾¿ÀÁ¾Âº¼$þ¹ÄÅÆ»¼$nºÇȾÂÀÉ$x};JWTW${M[GHF@4$:MH_$;TVF@WZJ@�yE$BHGDMDMQ$LTOM$J$XGUFPOFDSFF$WGLObF$ OMV$ 8MWXQUJFP$ J[GKHMaFOR$ D$ DJVF$ NFLGDFNFWZJY$ LJb$ D$XHG`JL_E$ $ �XGZMLJXUJNFWZJF$ WJPDGLR$ FDMOIFLJWUGD$ XHGYGVQU$ XG$NFURHFP$ WUGHGOMP$ ZHFWUM$ WGILMWOG$ GUHRDZT$ J[$ BOJIJ$ wUZHGDFOJQ$¨E$ >�$ $ };$XFHDGF$aJDGUOGF$ KRLG$ XGVGKOG$ L_DT4$ J$ DUGHGF$aJDGUOGF$XGVGKOG$ UFL_bT4$ J$ UHFU_F$ aJDGUOGF$ JPFLG$ LJbG4$ ZMZ$ NFLGDFZ4$ J$NFUDFHUGF$aJDGUOGF$XGVGKOG$GHLT$LFUQ\FPT�E$BMaVGF$J[$aJDGUORY$GLJbFUDGHQFU$MXGWUGLGD$�MHZM4$�TZT4$�MU`FQ$J$;GMOOME
&*"AN ICONOSTASIS CRUCIFIX
h����j$�h®�4$����$=¦TH CENTURY
�.$"53,&##"�&4$%-,1&$-.+$+-��%".1%6$1"%+&+$h,*2"c�4$(!&$2,)##$e-,#$(&,5".-(".1$()$(,&')"%$c."-%#4$-$e&-+&+$e),+&,$".$,&%"&'$,*..".1$-%).1$the perimeter, complemented by carved and pierced decoration;
the lifeless body of Christ nailed on the cross and suppedaneum,
His loose hair falling on His shoulders, wearing a crown of thorns
together with His tripartite halo, wrapped in a white loin cloth
with tassels, His wounded palms and feet bleeding, water and
e%))+$/)0".1$',)5$®"#$3"&,2&+$#"+&4$(!&$tabula ansata inscribed
".$ �,&&g$ 0"(!$ (!&$ "."("-%#$ )'$ n¸¹º»¼$ ½¾¿ÀÁ¾Âº¼$ þ¹ÄÅÆ»¼$nºÇȾÂÀÉ$ x�&#*#$ (!&$j-�-,&.&4$ �".1$ )'$ (!&$ �&0#yd$ -e)�&4$ (!&$moon in the colour of blood and the darkened sun depicted like
!*5-.$ '-2&#$ ".$ 3,)c%&4$ (!&$�3)2-%63("2$ 3&,#)."c2-(").#$ )'$ (!&$Evangelists portrayed on the terminals, according to the text of
�&�&%-(").$¨�>4$?D,-%�#/+% 0(9()*%'#-&+=#-% #-/-B10-$%&% 0("):% +,-%/-'")$%&)%"6:% +,-% +,(#$%,&$%&% ;&'-% 0(8-% +,&+% ";% &%B&):% &)$% +,-%
;"=#+,% #-/-B10-$% &)% -&*0-% .J()*> representing respectively
�-,g4$�*g&4$�-((!&0$-.+$�)!..!#$#((#)*
+.","""-1","""
)!
)"
&+".&)!)!$C9A98{�<$789:;<4$wBw�w$=t²²$IE
A$ bFOUHF$ J[GKHMaFOM$ TDFLJNFOOMQ$ D$ XHGXGHbJQY$ `JITHM$uHJWUM4$ DGWWFVM^\FIG$ OM$ UHGOF$ W$ ZHMWORPJ$ J$ IGLTKRPJ$XGVTSZMPJ$ J$ W$ XGVOGaJFP4$ $ XFHFZLJZM^\JPWQ$ W$ OJPJ$ XG$bDFUTE$8TZM$uHJWUM$XGVOQUM$D$KLMIGWLGDFOJJd$OM$FIG$ZGLFOQY$LFaJU$ 9DMOIFLJFE$ vGIGHGVJbM$ J$ ;GMOO$ ]HFVUFNM$ WZLGOQ^U$IGLGDR$XG$OMXHMDLFOJ^$Z$CXMWJUFL^$J$DG[VFDM^U$D$PGLJUDF$HTZJE$ �JZJ$ GaJDLFOR$ UGOZJPJ$ XHGKFLMPJE$ «JITHR$ WDQURY$GNFHNFOR$NFUZJP$NFHORP$ZGOUTHGPE$|HMXJHT^\JFWQ$WZLMVZJ$JY$GVFQOJ@$XFHFVMOR$XHJ$XGPG\J$IHMVMbJJ$UGOGDE$«GO$JZGOR$WJQFU$[GLGUGPE$
]HGDFOMOW�$�TZbJGO$h!,"#("&i#4$ $J^OQ$¤²²t4$$OGPFH$MTZbJGOM$>§ ¦4$LGU$=¥¤vJKLJGIHM`JQ�$BMUMLGI$ DRWUMDZJ$�)%+&.$ �"1!(E$�-#(&,3"&2&#$ )'$ (!&$�,($ )'$ (!&$ ª2).$�).".g%"�g$ �*#&*5$ xzGLGUGF$ WJQOJFE$ ±FVFDHR$ JZGOGXJWJ$ D$ PT[FF$BGOJOZLJ@ZyE$�OUDFHXFOE$= tt$IE${GPFH$XG$ZMUMLGIT�$=¥E$
&+"A DEISIS
j��®��j$�����4$hª�h�$=¦²²
�!&$)�&,#"�&+$c1*,&$)'$h!,"#($ ".$ (!&$2&.(,&4$#&-(&+$).$-$ (!,).&$with red and blue cushions and matching suppedaneum, his
hand raised in blessing, supporting the Gospels on his knee, His
�)(!&,$-.+$�)!.$(!&$f-3("#($".2%".".1$(!&",$!&-+#$()0-,+#$®"54$gesturing in supplication; the facial features and expressive hands
-22&.(*-(&+$ e6$0!"(&$ #(,"-(").#4$ (!&$ c1*,&#$ +&3"2(&+$0"(!$ e)%+$outlines, the drapery rendered with stylized graded tones, the
background gold
1"'?#$#(1'/#)*
+.(,"""-1(,"""
�,)�&.-.2&�$�)%+$-($h!,"#("&i#$�).+).4$ $�*.&$¤²²t4$�-%&$>§ ¦4$�)($=¥¤�"(&,-(*,&�$Catalogue of the exhibition Y"0$-)%!(*,+2%7&/+-#R(-'-/%";%+,-%3#+%";%+,-%
Icon,$�).".g%"�g$�*#&*54$x�.(0&,34$= tty4$.)E=¥$
)#
),"-'%'721&(>$;%'(2$/&(=:'!&9/24<$8wCC;<4$A~w8�<$]w�wA;{�$=t?IG$A9B�
vGIGPMUFH_4$ TDFONMOOMQ$ ZGHGOG@4$ OFaOG$ XHJDLFZMFU$ Z$ WFKF$PLMVFObM$ uHJWUM4$ WJVQ\FIG$ T$ OFF$ OM$ ZGLFOQYE$ �LMVFOFb$ZMWMFUWQ$ WZLMVGZ$ FF$ GVFQOJQd$ FIG$ LFDGF$ XLFNG$ J$ OGaZM$GWUMDLFOR$ OFXGZHRURPJE$ $ �JZJ$ OMXJWMOR$ D$ UHMVJbJGOOG@$PMOFHF$D$WTHGDRY$UGOMYE$zGLGUMQ$ZGHGOM$vGIGHGVJbR$GKDFVFOM$NFHORP$ZGOUTHGP$J$TZHMSFOM$JPJUMbJF@$WMPGbDFUGDE
),"MOTHER OF GOD OF THE INVIOLATE MOUNTAIN
RUSSIAN, SECOND HALF OF THE 18TH CENTURY
Christ on her lap, gently enfolding Him with her raised hands, the
Child caressing His mother, His left shoulder and leg uncovered,
the faces painted conventionally in sombre colours, the gold
crown of the Mother of God delineated in black and embellished
by simulated gem decoration
/%'(#$#!&'!#)*
+%.,"""-!!,"""
*%
)!"-'%'721&(>$"52.)7)(!:24$8wCC;<4$wBw�w$=¦²²$IE
CLFVTQ$ UHMVJbJGOOG@$ JZGOGIHM`JJ$ VMOOGIG$ W^aFUM4$vGIGPMUFH_$VFHaJU$uHJWUM$OM$HTZMY4$$TZM[TQ$D$FIG$WUGHGOTE$�LMVFOFb$ GKDJDMFU$ HTZG@$SF^$vGIGHGVJbR$ J$ UQOFUWQ$ Z$ FF$LJbT$\FZG@$ $ ILQVQ$ F@$ D$ ILM[ME$�JZJ$ DRXGLOFOR$ D$ ILTKGZJY$UGOMY4$WGILMWOG$UHMVJbJGOOGPT$WUJL^$JZGOGXJWMOJQE$zHMNZJ$TWJLFOR$ KFLRPJ$ GaJDZMPJE$ {MXJWMOOMQ$ GYHG@4$ UTOJZM$uHJWUM$ W$ $ J[Q\ORPJ$ [GLGURPJ$ KGHG[VZMPJ$ WGNFUMFUWQ$ W$$UFPORP4$GUVFLMOORP$[GLGUG@$KMYHGPG@$J$ZJWUQPJ4$PM`GHJFP$vGIGPMUFHJ4$PFHbM^\JP$[GLGURPJ$[DF[VMPJ$OM$LKT$J$XLFNMYE
)!"THE MOTHER OF GOD OF VLADIMIR
����ª�j4$hª�h�$=¦²²
Depicted in the traditional iconography, holding Christ and
gesturing to Him with her left hand, the Child embracing her and
resting His cheek to her face while looking into her eyes, the faces
executed in deep tones according to the traditional style of icon
painting, the eyes sparkling with white lights, Christ’s orange
tunic with delicate gilt striations, the maphorion of the Mother of
God with gold stars on the forehead and shoulders, trimmed with
a gilt band and tassels
/%'/#$#!&#)*
+!!,"""-!(,"""
*$
*&
)#"-'%'721&(>$-'%'5B-!:24$!$.&)!)!'7$8wCC;<4$=t?@$A9B
¢DFLJNFOOMQ$ D$ PMWSUMKF$ `JITHM$ vGIGHGVJbR$ XHFVWUMFU$ OM$YGLPF$ WG$ WZTVOG@$ HMWUJUFL_OGWU_^E$ vGIGPMUFH_$ VFHaJU$ D$HTZMY$WDJUGZ$W$UFZWUGP$PGLJUDR$J$XHGWUJHMFU$HTZJ$Z$CROTE$A$DFHYOFP$XHMDGP$TILT$WHFVJ$ZLTKQ\JYWQ$GKLMZGD$uHJWUGW$W$9DMOIFLJFP$D$HTZMY$OJWXGWRLMFU$KLMIGWLGDFOJF$PGLQ\JPWQE$�JH$ VGL_OJ@$ WJPDGLJ[JHTFUWQ$ XGVHGKOG4$ D$ PFL_NM@SJY$VFUMLQY4$ J[GKHMaFOORP$ PGOMWURHFP4$ GWOGDMOORP$ BOQ[FP$�OVHFFP$vGIGL^KWZJPE$;WZTWOG$DRXGLOFOOMQ$ZGPXG[JbJQ$D$OMWR\FOORY$ QHZJY$ UGOMYE$ COJ[T$ OM$ XGLQY$ JZGOR$ XGVHGKOG$WGGK\MFUWQ$GK$JWUGHJJ$ WG[VMOJQ$PGOMWURHQ�$ }CJP$GKHM[GP$QDJWQ$ XHFWDQUMQ$ vGIGHGVJbM$ WDQUGPT$ J$ DFLJZGPT$ BOQ[^$�OVHF^$ 7FGHIJFDJNT$ D$ LFUG$ ¦¦¦¦$ x==§ty4$ J^OJ$ D$ =t$ VFO_$OM$ UGP$ WMPGP$PFWUF4$ IVF$ UFXFH_$ DJVJPM$ FWU_$ GWOGDMOOMQ$ JP$KLMIGDFHORP$ BOQ[FP$ MOVHFFP$ 7FGHIJFDJNFP$ vGIGL^KWZJP$KFLGZMPFOOMQ$ bFHZGD_$ HGaVFWUDM$ ]HFWDQURQ$ vGIGHGVJbR4$GU$NFIG$J$vGIGL^KGD$PGOMWURH_$OMNMLG$J$OMJPFOGDMOJF$WFKF$XGLTNJL�E$
)#"THE BOGOLYUBSKAYA MOTHER OF GOD WITH THE
DEISIS ON THE UPPER BORDER
RUSSIAN, 18TH CENTURY
�!&$)�&,#"�&+$c1*,&$)'$(!&$�)(!&,$)'$�)+$#(-.+".1$).$-$!"%%$0"(!$sparse vegetation, displaying a scroll inscribed with a prayer, with
her hands extended turning towards her Son; the latter depicted
in blessing and carrying the Gospels amidst billowing clouds on
the upper right corner; in the earthly realm, a detailed image of
(!&$5).-#(&,6$ ')*.+&+$ e6$ (!&$ �,".2&$�.+,&"$f)1)%6*e#g64$ (!&$masonry of the walls visible; the composition rendered skilfully,
with saturated, yet bright colours, the inscription on the lower
e),+&,$,&2),+#$(!&$2",2*5#(-.2&#$)'$(!&$5).-#(&,6i#$')*.+-(").�$?D,#"=*,%+,(/%(B&*-%+,-%P"0J%7"+,-#%";%Y"$%&RR-&#-$%+"%+,-%O+2%
Y#&)$%5#()'-%3)$#-(%Y-"#*(-9(',%()%+,-%J-&#%";%����%zHHGI�%")%
the 18th day of June, at the very place where now is visible the
white stone church of the Nativity of the Virgin, founded by the
;&(+,;=0%5#()'-%3)$#-J%Y-"#*(-9(',%�"*"0J=1/8J%,(B/-0;:%$=-%+"%
4,(',%;&'+%+,-%�"*"0J=1"9%B")&/+-#J%#-'-(9-$%(+/%)&B-2>
/('?#$#/"'?#)*
+&,"""-?,"""
*'
)$"."=!1'('//44$):'/2$!$'-(23'7$!"#$/):'524$9=.'1"'(02$)$/&(=:1'"'(/'%'$!,2!2$8wCC;<$x]��9uy4$Bw{9:$=t?IG$A9B�$
{MDFHSJF$ JZGOR$ DRXGLOFOG$ D$ DJVF$ UHFYLGXMWUOG@$ MHZJ4$ZGUGHMQ$ XG$ `GHPF$ XFHFZLJZMFUWQ$ W$ DRWUTXGP$ D$ OJaOF@$NMWUJ$ JZGORE$ C$ LJbFDG@$ WUGHGOR$ OM$ JZGOF$ XHFVWUMDLFO$WDE$ {JZGLM@?�TVGUDGHFb4$ GUDGVQ\J@$ D[ILQV$ GU$ [HJUFLQE$9IG$ UGOZJF$ NFHUR$ J[LTNM^U$ [MVTPNJDGF4$ PGLJUDFOOGF$WGWUGQOJFE$ wO$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$ VFHaM$ D$ HTZF$ZOJIT$ 9DMOIFLJQ$ D$ JWZTWOGP$ [GLGUGP$ GZLMVF4$ TWRXMOOGP$VHMIGbFOORPJ$ ZMPFO_QPJE$ ]G$ `FLGOJ$ WDQUGIG$ XHGYGVJU$UZMOR@$ ZHFWUGGKHM[OR@$ GHOMPFOUd$ FXJUHMYJL_$ TZHMSFOM$$VDTPQ$ KGL_SJPJ$ ZHFWUMPJE$ {M$ GKGHGUOG@$ WUGHGOF$ JZGOR$[MXFNMULFO$ LJZ${FHTZGUDGHOGIG$ CXMWM$ W$ ZGHGUZG@$ KGHGVG@$J$MZZTHMUOG$HM[VFLFOORPJ$XHQVQPJ$DGLGWE$zFLFOGDMUR@$XLMU$XGVVFHaJDM^U$VDM$MOIFLME$wKHM[M$W$GKFJY$WUGHGO$OMXJWMOR$XG$GYHJWUGPT$`GOTE$
)$"A DOUBLE SIDED ICON SHOWING ST. NICHOLAS AND
THE MANDYLION
����ª�j$x�����®y4$����$=tTH CENTURY
The ogee upper part of the panel responding to an inverted stepped
'),5$ -($ (!&$ e)(()5d$ ).&$ #"+&$ 3),(,-6".1$ �(E$ j"2!)%-#4$ (*,.".1$!"#$ &6&#$ -0-6$ ',)5$ (!&$ ).%))g&,4$ !"#$ ,&c.&+$ '-2"-%$ '&-(*,&#$expressing a meditative state of mind, blessing and bearing a
Book of Gospels with an elaborate gold and gemmed cover, his
phellonion with an intriguing cruciform pattern, the omophorion
with two large crosses; the other side, depicting the face of Christ
Not made by Human Hands4$0"(!$-$#!),($e&-,+$-.+$0&%%?1,))5&+$hair, imprinted on a green cloth lifted by two angels, both sides
with ochre background
/"'.#$#%1'.#)*
+%!,"""-%&,"""
*(
)'",('(':$)5)4$"$,=!16/&8wCC;<4$=¦?@$A9B
wKLGZGUJDSJW_$ OM$ XGWGY4$ XGaJLG@$ XHGHGZ$ ;LJQ$ WJVJU$ OM$ZMPOF$T$KFHFIGD$HFZJ$;GHVMOE$8QVGP$W$OJP$DJVOFFUWQ$DYGV$D$XF\FHT4$D$ZGUGHG@$WDQUG@$TZHRDMLWQ4$OMYGVQW_$D$XTWUROFE$A$HTZMY$ XHGHGZ$ WaJPMFU$ WDFHOTUR@$ WDJUGZ$ J$ WPGUHJU$ DDRW_4$OMKL^VMQ$ [M$ NFHORP$ DGHGOGP4$ XHJOGWQ\JP$ FPT$ FVTE$ CFVRF$DGLGWR$ KGHGVMUGIG$ WUMHbM$ [MNFWMOR$ OM[MV4$ $ KFLRF$ GaJDZJ$GKG[OMNM^U$ NFHUR$ FIG$ LJbME$ ]HGHGZ$ GKLMNFO$ D$ WDFULG?[FLFOGF$ GVFQOJF$ J$ UHMVJbJGOOT^$ OMZJVZT4$ XGDFHY$ ZGUGHG@$OMKHGSFO$XLM\$J[$[DFHJORY$SZTHE$CHFVJ$WZMLJWUGIG$WZTXGIG$XF@[MaM$ XHGKJDM^UWQ$ VDM$ HMWUFOJQ4$ $ XGWMaFOORF$ T$ DYGVM$ D$XF\FHTE$$�HYMOIFL$�JYMJL$XGZHGDJUFL_WUDT^\J@$WFPF@WUDT$[MZM[NJZM4$GKLMNFOOR@$D$XRSORF$bFHFPGOJML_ORF$GVFaVR$J$ZHMWOR@$IJPMUJ@$xXLM\y4$XMHJU$OM$GKLMZF$VFHaM$D$HTZMY$XGWGY$J$[FHbMLG$xW`FHTy$W$JPFOFP$uHJWUME$]GLQ$JZGOR$DR[GLGNFORE$
)'"THE PROPHET ELIJAH IN THE DESERT
����ª�j4$=¦TH CENTURY
f6$(!&$e-.g$)'$(!&$,"�&,$�),+-.4$(!&$)%+$3,)3!&($#&-(&+$).$-$,)2g$-($the mouth of the cave where he resided in the wilderness, leaning
on a staff, holding a closed scroll, looking upwards to observe the
black raven which brought him food; his grey hair kept back, with
-$e&-,+4$0!"(&$e,*#!#(,)g&#$+&c.".1$!"#$5-(*,&$'-2&d$-((",&+$".$-$light green robe and a traditional scarf, covered by a mantle made
of animal skin, the rocky landscape barren with only two short
3%-.(#$/-.g".1$(!&$2-�&d$(!&$'-5"%6$3-(,).4$(!&$�*-,+"-.$�.1&%4$standing on clouds, wearing a ceremonial tunic and a bright red
himation, holding a staff and an orb in the name of Christ, the
raised border in gold
/%'/#$#!.#)*
+0","""-(","""
*)
)&"'-(23$!,2!2$/&(=:'1"'(/'%'$8wCC;<4$Bw{9:$=t?IG$A9B�
�JZ$ uHJWUM4$ OMXFNMULFO$ OM$ KFLGP$ XLMUF4$ DFHYOJF$ ZGObR$ZGUGHGIG$ WDJUR$ D$ T[LRE$ A[ILQV$ uHJWUM$ JWXGLOFO$ XFNMLJ$ J$GUDFVFO$ D$ WUGHGOT$ GU$ [HJUFLQE$ 9IG$ OJWXMVM^\JF$ VG$ XLFN$DGLGWR$J$KHMVM$DRXGLOFOR$D$OMWR\FOORY$ZGHJNOFDRY$UGOMYE$$7LM[M4$OGW4$WZLMVZJ$ITK$J$PGNZJ$TSF@$MZbFOUJHGDMOR$ZHMWORPE$~HFYNMWUOR@$ OJPK$ GKDFVFO$ XLMPFOF^\F@$ ZJOGDMH_^4$ZGOUHMWUJHT^\F@$W$UFPOG?[FLFORP$`GOGPE
)&"THE MANDYLION
RUSSIAN, LATE 17TH CENTURY
The face of Christ impressed on white fabric knotted at the upper
corners, looking mournfully away from the viewer, His parted
#!)*%+&,?%&.1(!$!-",$-.+$e&-,+$,&.+&,&+$".$#-(*,-(&+$e,)0.4$(!&$features executed realistically with cinnabar highlights to the
eyes, nose, lips and earlobes, His tripartite halo outlined in a
similar shade, against a dark green background
/%'&#$#!.'/#)*
+?,"""-%!,"""
**
*!
))".&"41>$:)3):!:)8$7=9&/):'"$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�
|FDQU_$ PTNFOJZGD$ BJ[JNFWZJY$ DWFY$ DG[HMWUGD$ x«MDPMWJ@4$«FGIOJV4$ 8T`4$ �OUJXMUH4$ «FGWUJY4$ �HUFPM4$ �MIO4$ «FGVGU4$«MDPMWJ@$ J$ «JLJPGOy$ XHFZLGOQ^U$ ZGLFOM$ D$ PGLJUDF$XFHFV$ GKHM[GP$ {FHTZGUDGHOGIG$ CXMWM4$ XGPF\FOORP$ OMV$UHFYLGXMWUOG@$ MHZG@$ bFHZDJE$ ;Y$ GVFQOJQ$ TZM[RDM^U$ OM$ JY$HM[LJNORF$[MOQUJQ$J$XGLGaFOJF$D$GK\FWUDF�$DGJOR4$IGHGaMOF4$ZHFWU_QOF4$ WDQ\FOOJZJE$ {FWPGUHQ$ OM$ ¬UG$ GKWUGQUFL_WUDG4$DWF$ PTNFOJZJ$ KRLJ$ FVJOR$ D$ DFHF$ DG$ uHJWUM4$ NUG$ XHJDFLG$Z$ JY$ ZM[OJ$ NFHF[$ GKF[ILMDLJDMOJFE$ ;Y$ PTNFOJNFWZJF$DFObR$ XMHQU$ D$ [GLGUGP$ OFKFWOGP$ XHGWUHMOWUDFE$ :FHZGD_4$HMWXGLGaFOOMQ$ OM$ [MVOFP$ XLMOF4$ KRLM$ XG[VOFF$ GWDQ\FOM$ D$IGHGVF$ BJ[JZF$ xD$�MLG@$ �[JJ4$ OM$ XGKFHFa_F$ |MHVMOFLLy$ D$XHMDLFOJF$JPXFHMUGHM$BGOWUMOUJOM$AFLJZGIG$D$XMPQU_$GK$JY$PTNFOJNFWZGP$XGVDJIFE$]G$XGLQP$JZGOR$J[GKHMaFOR$WDQURF?XGZHGDJUFLJ$ [MZM[NJZM�$ WDQUJUFL_$ �GWZGDWZJ@$ �LFZWJ@$J$ WDE$ XHFXE$ 9DVGZJQE$ �JZJ$ WDQURY$ DRXGLOFOR$ W$ KGL_SJP$PMWUFHWUDGP�$ JY$ DRHM[JUFL_ORF$ NFHUR$ DRXGLOFOR$ XHJ$XGPG\J$PQIZG@$UGOJHGDZJE$wVFaVR$WDQURY$$DR[GLGNFORE
))"THE NINE MARTYRS OF KYZIKOS
����ª�j$x��h°$�h®�y4$����$= TH CENTURY
The nine holy Martyrs, Thaumasius, Theognes, Rufus, Antipater,
�!&)#("2!*#4$ �,(&5-#4$ �-1.*#4$ �!&)+)(*#4$ -.+$ �!"%&5).4$ )'$various ages, kneeling to worship the Mandylion hung above
the ogee arch of the Church in the background; their different
apparels suggesting they come from diverse paths of life and
positions in the society; indeed, there were soldiers, countrymen,
city people, and clergy; nonetheless, they shared their faith in
Christ, which eventually led to their decapitation; the crowns of
their martyrdom hovering on the golden skies, the church behind
referring to the one erected for their memory during the reign
of Constantine the Great, in the town of Cyzicus, in Asia Minor
on the coast of the Dardanelles; the patron saints of the icon’s
2)55"##").&,$ -33&-,".1$ ).$ (!&$ e),+&,4$ ()$ (!&$ %&'($ �(E$ �%&g"#$�&(,)3)%"(-.$)'$�)#2)0$-.+$)33)#"(&4$(!&$5).-#("2$�(E$��+)g"-d$the individual faces executed masterly, their distince features
formed by soft shading, the colourful garments heightened in gold
/%'(#$#!(#)*
+(,"""-.,"""
*"
)("('?.&!1"'$8()!1'"'$8wCC;<4$wBw�w$=t²²$IE
{M$ XFHFVOFP$ XLMOF$ J[GKHMaFOG$ XGZLGOOJF$ DGLYDGD$ J$NTVG$ G$ CMLGPJJ$ xJWbFLFOJJ$ DRWGYSF@$ HTZJ$ aFO\JOR4$ OF$DFHJDSF@$D$VFDWUDG$vGIGHGVJbRyE$ADFHYT$JZGOR$[MXFNMULFO$MOIFL4$ DG[VFDM^\J@$ HTZJ$ XG$ OMXHMDLFOJ^$ Z$ XTUFDGVOG@$AJ`LFFPWZG@$ [DF[VFE$ �TU_$ XHMDFF$ VHTIG@$ MOIFL$ DG[DF\MFU$G$ HGaVFOJJ$ uHJWUM$ ^OGPT$ XMWUTYTE$ CUMHFb$ $ D$ XMWUTS_FP$GVFQOJJ$ KFWFVTFU$ WG$ WDE$ ;GWJ`GPE$ uGLPJWUR@$ `GO$ W$XFHFPFaM^\F@WQ$ HMWUJUFL_OGWU_^$ J[GKHMaFO$ XHJ$ XGPG\J$XFHWXFZUJDRE${M$XGLQY$OMXJWMOR$WDQURF$XGZHGDJUFLJ4$WHFVJ$ZGUGHRY$ PGaOG$ T[OMU_$ WDE$ �MHGOME$ wWUML_ORF$ WDQURF$ OF$XGVVM^UWQ$JVFOUJ`JZMbJJ$DDJVT$GUWTUWUDJQ$OMVXJWF@E
)("THE NARRATIVE OF CHRIST’S NATIVITY
����ª�j4$hª�h�$=t²²
In the foreground, the Adoration of the Magi and the miracle of
Salome’s withered hand, on the upper section an angel stretching
out in adoration of the guiding star and to the right announcing
�&#*#i#$e",(!$()$-$6)*.1$#!&3!&,+4$)33)#"(&$-.$&%+&,%6$#!&3!&,+$2).�&6".1$ (!&$ .&0#$ ()$ �)#&3!d$ (!&$ !"%%6$ e-2g1,)*.+$ ,&.+&,&+$in perspective, scattered with vegetation, the border showing
(!,&&$'-5"%6$3-(,).#4$()$(!&$%&'($�(E$�-,).4$(!&$)(!&,#$5"##".1$(!&$identifying inscriptions
/1'/#$#//'.#)*
+(,"""-.,"""
*#
)*"THE MOTHER OF GOD OF KAZAN WITH A SILVER-
NJGE$HOI$POHKPG$MTGHI@$ JO$H$gHLFPI@$NJGE$HOI$GLAZED KYOT
����ª�j4$�����i�$����$�E�E$ ªj$h��ª��ªh4$��h°4$= ²t?=>
�-".(&+$ ,&-%"#("2-%%64$ (!&$ /&#!$ ,&.+&,&+$ 0"(!$ #5))(!$ ().$ (!&$1-,5&.(#$())%&+$0"(!$%&-'6$-.+$+)((&+$3-((&,.#4$(!&$2*(?)*($!-%)&#$0"(!$%-2&+$,"5#4$(!&$.-5&$3%-(&#$".$2!-53%&�µ$&.-5&%!!'!#$#%.'0#)*2#!1'?#$#!(#)*#34)567348#9:;#@AB9
+%,?""-!,&""
)*"):'/2$ -'%'721&(>$ :232/!:24$ "$ 3'5'9&/'7$!&(&-(4/'7$':52.&$!$ C725>B@$ ',(2"5&//24$"$(&3/'*@$32!1&:5&//6*$$:)'18wCC;<4$B�9¡�w$��C~98�$}CE$7E�4$�wCBA�4$= ²t?=>
;ZGOM$ DRXGLOFOM$ D$ HFMLJWUJNOG@$ PMOFHFE$ $ ~FLFWORF$ UGOM$XFHFVMOR$XLMDORPJ$PM[ZMPJE$ $wVFQOJQ$vGIGPMUFHJ$J$uHJWUM$TZHMSFOR$UJWOFORPJ$LJWUDFOORPJ$J$UGNFNORPJ$T[GHMPJE$$;Y$IGLGDR$TDFONMOR$HF[ORPJ$OJPKMPJ$W$MaTHORPJ$ZHMQPJE$;PFOM$vGIGPMUFHJ$ J$ uHJWUM$ [MZL^NFOR$ D$ UMKLJNZJ$ W$ DRFPNMUG@$¬PML_^E
)+"ESP$ UMTLMF@$ ESP$ KMESPL$ Mh$ NMI$ pnMR$ EM$ HGG$lSM$NLJPFPq@$HLgSHONPG$KJgSHPG$HOI$DE#$OJTJEHRUSSIAN, 19TH CENTURY
.$(!&$()34$(!&$�)(!&,$)'$�)+$#3,&-+".1$!&,$�,)(&2(".1$ &"%$-e)�&$the congregation in the Church of Vlachernae where the miracle
occurred, the right compartment portraying the Mother of God and
!&,$�).4$e)(!$2,)0.&+4$)''&,".1$!&%3$()$2,)0+#$)'$-'/"2(&+$3&)3%&d$the lower register depicting the winged Archangel Michael standing
).$2%)*+#$()$(!&$%&'($-.+$�(E$j"g"(-$()$(!&$,"1!(4$-1-".#($"+&.("2-%$1)%+$e-2g1,)*.+#$0"(!$-$,&2*,,".1$+"-5).+$3-((&,.d$(!&$c1*,&#$,&.+&,&+$in bright colours, contained by gilt borders with tooled decoration,
the names inscribed in blue cartouches
/(#$#/"'!#)*
+%,(""-!,(""
)+"):'/2$ !$ $ '-(2327)$ ,':('"2@$ -'%'721&()$;"!&8$ !:'(-4A)8$ (2.'!1><@$ 2(82/%&52$7)82)52$)$7=9&/):2$/):)168wCC;<4$= ?@$A9B
CLFDM$ DDFHYT$ J[GKHMaFOM$ vGIGPMUFH_4$ XHGWUJHM^\MQ$ WDG@$]GZHGD$OMV$GK\JOG@$ALMYFHOWZG@$bFHZDJ4$D$ZGUGHG@$XHGJ[GSLG$NTVFWOGF$ WGKRUJFE$ CXHMDM$ DDFHYT$ XHFVWUMDLFOR$ TDFONMOORF$ZGHGOMPJ$vGIGPMUFH_$W$CROGP4$XGVM^\JF$XGPG\_$J$TUFSFOJF$WUHMaVT\JPE$ A$ OJaOFP$ HQVT$ XGPF\FOR$ J[GKHMaFOJQ$ZHRLMUGIG$ �HYMOIFLM$�JYMJLM4$ XMHQ\FIG$ OM$ GKLMZMY$ xWLFDMy$J$ WDQ\FOOGPTNFOJZM$ {JZJUR$ xWXHMDMy4$ DRXGLOFOORF$ OM$[GLGUGP$`GOF$W$HGPKGDJVORP$GHOMPFOUGPE$«JITHR$OMXJWMOR$D$QHZJY$UGOMY$J$GZHTaFOR$XG[GLGNFOORPJ$XGLQPJ$W$UJWOFORP$GHOMPFOUGPE$;PFOM$[MZL^NFOR$D$IGLTKRF$UMKLJNZJE
!%
(,"THE MONASTIC SAINT SERGIUS
RUSSIAN, 19TH CENTURY
�&3,&#&.(&+$!-%'?%&.1(!4$ %))g".1$ #(,-"1!($ ".()$ (!&$ &6&#$)'$ (!&$beholder, his slender facial features surrounded by grey hair
-.+$ -$ #!),($ e&-,+4$ ()1&(!&,$0"(!$ !"#$ )%"�&?1,&&.$ -#2&("2$ 2-3&$wearing the Great Schema, an indication of his achievement of
(!&$!"1!&#($5).-#("2$1,-+&4$!"#$!-%)$+&c.&+$e6$-$0!"(&$-.+$,&+$rim on gold ground
%.'.#$#%0'!#)*
+%,!""-%,?""
(,"!"#$,(&,#$!&(%)*$(2.'/&?!:)*$8wCC;<4$= ?@$A9B
CDQUG@$ D$ XGQWOGP$ J[GKHMaFOJJ$ WPGUHJU$ XHQPG$ OM$PGLQ\FIGWQE$ 9IG$ J[PGaVFOOR@$ WUHGIJ@$ LJZ$ GKHMPLQ^U$WFVRF$ DGLGWR$ J$ ZGHGUZMQ$ KGHGVME$ wO$ GKLMNFO$ D$ GVFQOJF$DFLJZGWYJPOJZM$ J$ ZLGKTZ?WJPDGL$ FIG$ PGOMSFWZGIG$XGVDJIM$ J$ WUFXFOJ$ WUQaMOJQ$ KLMIGVMUJE$ {JPK$ WDQUGIG4$XHGWUTXM^\J@$ OM$ [GLGUGP$ `GOF4$ [MZL^NFO$ D$ KFLR@$ J$ZHMWOR@$ZGOUTHE
(!"A FEMALE ASCETIC FLANKED BY STS. JOHN THE
BAPTIST AND CHRISTOPHER CYNOCEPHALUS
!"##$%&'()*+,(-.&+"!/
+01( 2314415( 676( 819:;6<( 96( =3;>1?2:=86( @76;A'( 9( 511B( :15(
A9B1'(965(9(239AC(0195(A=>1:(1D2:=;51:15(8;@0(@0:11(A:=4414E(
#@F( G=06(5:9B15(8;@0( 96;D93( 4C;64'( A:=44;6<(0;4(09654(=6(0;4(
A014@E( =BB=4;@1( #@F( -0:;4@=B01:( ;6(D;3;@9:H( <9:D16@4'( 0=35;6<(
9(48=:5'(9AA=:5;6<( @=( @01(4@=:H(09>;6<( @01(0195(=I(9(5=<'(=6(
@01(@=B(-0:;4@(.DD96713(;6(23144;6<'(9<9;64@(9(@:;96<739:'(:9H15(
A1314@;93(41<D16@
/!'.#$#!.'?#)*
+(,"""-?,"""
(!"!"4124$ ,(&,'.'-/24$ "$ ':(=?&/))$!"#$ )'2//2$ :(&!1)1&54$ )$ 8()!1'f'(2$,!&%52"02$8wCC;<4$=t?@$A9B
CDQUMQ$XHFXGVGKOMQ4$GKLMNFOOMQ$D$ZGHJNOFDT^4$W$GLJDZGDRP$GULJDGP4$UTOJZT4$XLM\$ILTKGZJY$ZHMWORY$UGOGD$J$NFHOR@$PGOMSFWZJ@$ MXGWUGL_OJZ$ W$ UHFPQ$ DRSJURPJ$ ZHFWUMPJ4$XHFVWUMFU$ D$ bFOUHF$ ZGPXG[JbJJE$ ]G$ GKFJP$ WUGHGOMP$ GU$OFF�GVFUR@$ D$ [DFHJORF$SZTHR$ WDE$;GMOO$BHFWUJUFL_$ WG$WZHF\FOORPJ$OM$IHTVJ$HTZMPJ4$$J$WDE$uHJWUG`GH$]WFILMDFb$xW$ WGKMN_F@$ IGLGDG@4$ WGILMWOG$ aJUJ@OG@$ LFIFOVFy$ D$DGJOWZJY$ VGWXFYMY$ J$ W$ PFNGP$ D$ HTZFE$ $ ADFHYT$ CXMW$;PPMOTJL$OJWXGWRLMFU$KLMIGWLGDFOJF$ W$ $ WJQ^\JY$OFKFW4$[MZL^NFOORY$D$UHFTIGL_OGF$XHGWUHMOWUDGE
!$
(#"9=.'$2(82/%&52$7)82)52$"$8'/&8$8wCC;<4$wBw�w$=¦²²$I
CXHMDM$ DJVOFFUWQ$ KFLGZMPFOOMQ$ NMWGDOQ$ ¨?IG$ DFZM4$XGWDQ\FOOMQ$ NTVT4$ XHGJWSFVSFPT$ D$ uGOFY$ DG$ «HJIJJ$ J$DRWUHGFOOMQ$ OM$ WHFVWUDM$ $ aJUFLQ$ IGHGVM$ D$ KLMIGVMHOGWU_$[M$ JWbFLFOJF$ FIG$ VGNFHJ$ $ DGVMPJ$JWUGNOJZM4$ OMYGVJDSFIGWQ$OFXGVMLFZTE$]FHFV$NMWGDOF@$J[GKHMaFO$ZGLFOGXHFZLGOFOOR@$PGOMY$ �HYJXX4$ DG$ DHFPQ$ WLTaFOJQ$ ZGUGHGIG$ D$ NMWGDO^$WUFZMLGW_$ POGaFWUDG$ XMLGPOJZGDE$ ·UG$ DR[DMLG$ OFOMDJWU_$Q[RNOJZGD4$ J$ GOJ$ WGFVJOJLJ$ D$ GVJO$ XGUGZ$ VDF$ HFZJ4$ NUGKR$TOJNUGaJU_$ NMWGDO^E$ wVOMZG4$ ZMZ$ XGDFWUDTFU$ WZM[MOJF4$MHYMOIFL$�JYMJL$WMP$XGQDJLWQ$OM$¬UGP$PFWUF$J$XHFVGUDHMUJL$KFVWUDJFE$BGPXG[JbJQ$DRXGLOFOM$D$UHMVJbJGOOG@$PMOFHF$XG$[GLGUGPT$`GOTE$$CHFVOJZ$JZGOR$KRL$DWUMDLFO$D$XGLQ$GU$KGLFF$XG[VOF@$VGWZJE$
(#"THE MIRACLE OF ARCHANGEL MICHAEL AT
CHONAE
����ª�j4$hª�h�$=¦²²
�)$(!&$,"1!($(!&$')*,(!$2&.(*,6$2!-3&%$+&+"2-(&+$()$�(E$�"2!-&%4$%)2-(&+$ -($ h!).-&$ ".$ �!,61"-d$ ),"1".-%%6$ 2)55"##").&+$ e6$ (!&$father of a girl who was cured by the water of a nearby source;
kneeling in front of it the monk Archippos; during whose service
the popularity of the chapel grew thus attracting the hate of the
pagans, who diverted the source of the river in an attempt to
destroy it; however, as shown on this icon, the Archangel appeared
and prevented the catastrophe; executed in the traditional style,
on gold background, the central panel inset in a later one
!0#$#%1'(#)*
+%(,"""-!","""
!&
('"MOTHER OF GOD ABALATSKAYA
����ª�j$ x����Êy4$ ��hj�$ ®���$ �$ �®�$ =tTH
CENTURY
A variation of the Mother of God of the Sign; the rim of Christ’s
rayed madorla, the halo and head cover of His Mother, richly
decorated with simulated white pearls that stand out against the
saturated colours of the garments and densely gold background;
�(#E$j"2!)%-#$-.+$�-,6$)'$�163($).$(!&$e),+&,!&'.#$#!%'1#)*
+!,(""-/,(""
('"-'%'721&(>$2-2521!:24$$8wCC;<$x¢8��Êy4$A~w8�<$]w�wA;{�$=t?IG$A9B�
|MOOMQ$ JZGOM$ XHFVWUMDLQFU$ WGKG@$ J[DGV$ vGIGPMUFHJ$}zOMPFOJF�E$ BHMQ$ LTNM\F@WQ$ GDML_OG@$ PMOVGHLR4$ D$ZGUGHT^$ [MZL^NFOM$ `JITHM$ uHJWUM4$ $ M$ UMZaF$ OJPK$ J$IGLGDOG@$ TKGH$ vGIGHGVJbR$ KGIMUG$ TZHMSFOR$ JPJUMbJF@$aFPNTIM4$ XHGYGVQ\F@$ XG$ XLGUOG$ DR[GLGNFOOGPT$ `GOT$ J$XHGWUTXM^\F@$OM$$ GOF$GVFQOJ@4$OMXJWMOORY$D$OMWR\FOORY$UGOMYE$ {M$ XGLQY$ JZGOR$ $ J[GKHMaFOR$ WDE$ {JZGLM@?$�TVGUDGHFb$J$WDE$XHFXE$�MHJQ$9IJXFUWZMQE
($"A QUADRIPARTITE ICON WITH THE RESURRECTION
OF CHRIST IN THE CENTRE
����ª�j4$hª�h�$=t²²
Four larger scenes arranged around the central octagonal image
of the Resurrection, the top left displaying the Nativity and the
right the Dormition; the lower register including the Mother
)'$ �)+$ ��)6$ ()$�%%$°!)$ �,"&�&�$ -.+$ (!&$�..*.2"-(").4$ (!&$&%).1-(&+$c1*,&#$0&-,".1$#*53(*)*#$1-,5&.(#$+&3"2(&+$".$e)%+$tones with gilt striations
0"'(#$#//'(#)*
+/,(""-(,(""
($"9&16(&892!1/24$ ):'/2$ !'$ !0&/'*$"'!:(&!&/)4$8()!1'"2$"$0&/1(&$8wCC;<4$wBw�w$=t²²$IE
�FURHF$ZHTXORY$ZLF@PM$HMWXGLGaFOR$DGZHTI$bFOUHML_OGIG$PFVML_GOM$ W$ $ AGWZHFWFOJFP$ uHJWUGDRPE$ A$ DFHYOFP$HFIJWUHF$ WXHMDM$ XHFVWUMDLFOM$ WbFOM$ 8GaVFWUDM4$ W$ LFDG@$WUGHGOR$ XGPF\FOG$¢WXFOJF$ vGIGHGVJbRE$ A$ OJaOFP$ HQVT$J[GKHMaFOR$ vGIGPMUFH_$ }AWFY$ WZGHKQ\JY$ HMVGWU_�$ J$vLMIGDF\FOJFE$¢VLJOFOORF$`JITHR$XFHWGOMaF@$GKLMNFOR$D$HGWZGSORF$GVFQOJQ$D$QHZJY$UGOMY$W$[GLGURPJ$KGHG[VZMPJE$
!'
(&"ST. JOHN THE FORERUNNER “ANGEL OF THE
WILDERNESS”
NORTHERN RUSSIAN, MIDDLE OF THE 18TH CENTURY
Blessing, holding an open scroll and his severed head in a
jewelled dish, clothed in a camel hair tunic and green himation,
his large, spread wings, with striking chrysography dominating
the space, God the Father as the Ancient of the Days with a
+)*e%&$ !-%)4$ +&3"2(&+$ ".$ 3,)c%&$ -e)�&$ 2%)*+#$ ).$ (!&$ ,-6&+$and starry skies; the image executed meticulously employing
#)'($ #!-+".1$ '),$ (!&$ /&#!$ -.+$0!"(&$ -22&.(#$ &53!-#"#".1$ (!&$features, the gold shading of the haloes standing out against the
dark blue background
!1'?#$#!('/#)*
+/,"""-0,"""
(&"!"#$)'2//$,(&.1&92$;2/%&5$,=!16/)<$C9A98$8wCC;;4$C989|;{�$=t?$IG$A9B�$
CDQUG@$ ;GMOO$ ]HFVUFNM$ }�OIFL$ ]TWUROJ�$ J[GKHMaFO$W$ GUZHRURP$ WDJUZGP$ XHGHGNFWUDME$ A$ HTZF$ GO$ VFHaJU$TZHMSFOOGF$ ZMPFO_QPJ$ KL^VG4$ OM$ ZGUGHGP$ XGZGJUWQ$ FIG$GUHTKLFOOMQ$IGLGDME$wO$GKLMNFO$D$PJLGU_$J[$DFHKL^a_F@$SFHWUJ$ J$ [FLFOR@$ IJPMUJ@E$ 9IG$ GIHGPORF$ HMWXHGWUFHURF$ZHRL_Q4$DR[GLGNFOORF$D$UFYOJZF$YHJ[GIHM`JJ4$VGPJOJHT^U$D$ XHGWUHMOWUDF$ ZGPXG[JbJJE$ vGI?$ wUFb$ D$ GKHM[F$ AFUYGIG$|FO_PJ$ W$ GW_PJZGOFNORP$ OJPKGP$ J[GKHMaFO$ D$ XHG`JL_$OM$`GOF$TWFQOOGIG$[DF[VMPJ$OFKME$~\MUFL_OG$JWXGLOFOOMQ$ZGPXG[JbJQ$ W$ XHJPFOFOJFP$ PQIZG@$ PGVFLJHGDZJ$ VLQ$TNMWUZGD$ UFLM$ J$ W$ KFLRPJ$ GaJDZMPJ$ OM$ LJZMYE$ zGLGUG$OJPKGD$WJQFU$OM$UFPOG?WJOFP$`GOFE
()"A DEISIS WITH THE GUARDIAN ANGEL AND ST.
JOHN THE BAPTIST ON THE BORDER
h�j����$����ª�j4$hª�h�$=t²²
h!,"#($ /-.g&+$e6$!"#$�)(!&,$ -.+$ �)!.$ (!&$f-3("#(4$ (!&$ %-((&,$bearing the Eucharistic body of Christ in a bowl, the faces
,&.+&,&+$(,-+"(").-%%64$(!&$,)e*#($c1*,&#$-((",&+$".$,&+$-.+$e%*&$garments with silver highlights, the bright haloes with red
,"5#4$(!&$�*-,+"-.$�.1&%$-.+$,&3&-(&+$c1*,&$)'$�(E$�)!.$).$(!&$border suggesting the icon was a private commission
/(#$#/"'(#)*
+%,?""-!,0""
()".&)!)!$!$'-(23'7$2/%&52+8(2/)1&54$)$!"#$)'2//2$:(&!1)1&54$:9{~8���{�<$8wCC;<4$wBw�w$=t²²$IE
A$ bFOUHF$ ZGPXG[JbJJ�`JITHM$ CXMWM$ D$ GZHTaFOJJ$vGIGPMUFHJ$J$;GMOOM$BHFWUJUFLQ4$ZGUGHR@$VFHaJU$XGUJH$W$UFLGP$uHJWUME$�JZJ$DRXGLOFOR$D$UHMVJbJGOOG@$PMOFHFE$]LGUORF$ `JITHR$ [MZTUMOR$ D$ WJOF?ZHMWORF$ GVFQOJQ$ W$WFHFKHQORPJ$SUHJYMPJE$<HZJF$ OJPKR$ GKDFVFOR$ ZHMWORP$ZGOUTHGPE${M$XGLQY$JZGOR$J[GKHMaFOR$�OIFL?uHMOJUFL_$J$WDE$;GMOO$]HFVUFNM4$NUG$OMDGVJU$OM$XHFVXGLGaFOJF$G$UGP4$NUG$$JZGOM$KRLM$OMXJWMOM$VLQ$NMWUOGIG$[MZM[NJZME
!(
(("THE THREE HIERARCHS
NORTHERN RUSSIA, 18TH CENTURY
�,&#&.(&+$',).(-%4$'*%%?%&.1(!4$e%&##".1$-.+$e&-,".1$(!&$�)#3&%#4$(!&",$)*(&,$garments richly decorated with gold foliate scrolls, contrasting with the
austere pattern of the phelonia, Christ above to bless the Church Fathers
/0'/#$#!.'/#)*
+!,(""-/,(""
(("1()$!"41)1&54$C9A98$8wCC;;4$=t?@$A9B
CDQURF$ 7HJIGHJ@$ vGIGWLGD4$ AMWJLJ@$ AFLJZJ@$ J$ ;GMOO$ zLMUGTWU$J[GKHMaFOR$ `HGOUML_OG$ D$ XGLOR@$ HGWU$ W$ 9DMOIFLJQPJ$ D$ HTZMYE$wKLMNFOJQ$ WDQURY$ KGIMUG$ TZHMSFOR$ [GLGURP$ HMWUJUFL_ORP$GHOMPFOUGPE$CHFVJ$GKLMZGD$D$OFKFWOGP$WFIPFOUF$uHJWUGW$OJWXGWRLMFU$JP$WDGF$KLMIGWLGDFOJFE
(*"THE PROPHET ELIJAH AND HIS FIERY ASCENT INTO
HEAVEN
RUSSIAN, LATE 18TH CENTURY
�!&$�,)3!&($-1-".#($(!&$5)*(!$)'$-$2-�&4$-$,-�&.$e,".1".1$!"5$e*.2!&#$)'$1,-3&#d$)33)#"(&4$!"#$2,)##".1$)'$(!&$,"�&,$�),+-.4$-e)�&$!"#$-#2&.($()$(!&$®&-�&.#$".$-$2!-,")($3*%%&+$e6$')*,$!),#&#d$(!&$�*-,+"-.$�.1&%$-.+$�(E$George on the border
/%'&#$#!&#)*
+%,!""-%,?""
(*"'%/&//'&$"'!8'?.&/)&$,('(':2$)5))$8wCC;<4$Bw{9:$=t?IG$A9B�
CLFDM$ J[GKHMaFO$ XHGHGZ$ ;LJQ4$ WJVQ\J@$ T$ DYGVM$ D$ XF\FHTE$ 9PT$XHJWLTaJDMFU$ DGHGO4$ XHJOGWQ\J@$ ZJWU_$ DJOGIHMVME$ {MXHGUJD$DJVOFFUWQ$WbFOM$W$XFHFYGVGP$WDQUGIG$NFHF[$HFZT$;GHVMOE$$A$DFHYOF@$NMWUJ$ ZGPXG[JbJJ$ [MXFNMULFOG$ GIOFOOGF$ DGWYGaVFOJF$ XHGHGZM$ D$ZGLFWOJbF$ W$ NFURH_PQ$ LGSMV_PJE$ $ {M$ XGLQY$ JZGOR$ J[GKHMaFOR$�OIFL?uHMOJUFL_$J$WDE$7FGHIJ@?$]GKFVGOGWFbE
(+"THE MARTYR ST. NIKITA THE SOLDIER
RUSSIAN, 19TH CENTURY
Holding a cross and a lance, his lamellar armour embellished with
simulated pearls, complemented by a red cape, the Guardian Angel on the
%&'($e),+&,4$)33)#"(&$ (!&$�,)3!&($�"5&).$-.+$ (!&$5).-#("2$�(E$��+)g"-4$painted with bold colours
!%'0#$#%.'(#)*
+%,?""-!,(""
(+"!"41'*$"&5):'7=9&/):$/):)12+"')/$8wCC;<4$= ?@$A9B
CDQUG@$DGJO$J[GKHMaFO$W$ZHFWUGP$J$ZGX_FPE$9IG$NFST@NMUR@$VGWXFY$TZHMSFO$ JPJUMbJF@$ aFPNTIM$ J$ VGXGLOFO$ ZHMWORP$ XLM\GPE$ {M$LFDGP$XGLF$OMXJWMO$�OIFL$uHMOJUFL_4$OM$XHMDGP$¶$XHGHGZ$CJPFGO$J$XHFXGVGKOMQ$9DVGZJQE$;ZGOM$DRVFHaMOM$D$QHZJY$UGOMYE
!)
*,"H$FJEH$JgMO$Mh$DE#$DJKPMO$Mh$FPLTSMEmLRPVWa_c+`Zb����ª�j$x�ªf��ª�y4$��hj�$®���$�$�®�19TH CENTURY
�!&$ 2&.(,-%$ 2)53-,(5&.($ ".2%*+".1$ (!&$ )�&,#"�&+$ c1*,&$ )'$ (!&$saint, standing before a tall tree, bringing his hand on his chest in
prayer, unfolding a scroll; in the same section, the saint portrayed
'),$ -$ #&2).+$ ("5&$ 0!"%&$ c#!".1$ e6$ (!&$ e-.g$ )'$ (!&$ ,"�&,d$ (!&$opposite bank showing a monastery, either that of Archangel
Michael in Merkushinsk where the saint was originally buried,
),$ (!&$�).-#(&,6$)'$�(E$j"2!)%-#$0!&,&$!"#$ ,&%"2#$0&,&$5)�&+$-'(&,$(!&",$+"#2)�&,6d$).$(!&$*33&,$%&'(4$h!,"#($/)-(".1$).$2%)*+#4$blessing the saint; the sixteen surrounding scenes narrating the
life of the saint following his denouncing on his noble origins
and wealth; focusing on his miracles and love for the Siberian
countryside where he lived; the bold composition painted with
earthly colours
.%'(#$#(.'(#)*
+&,"""-?,"""
j)(&#��!&$,&3,&#&.(-(").$)'$(!&$%"'&$)'$�(E$�"5&).$ &,g!)(*,#g"6$"#$&�(,&5&%6$rare, while more common are icons that reproduce the central iconography
)'$(!"#$3-.&%E
*,"!)7&'/$"&(8'1=(!:)*$"$?)1))$VWa_c+`Zb8wCC;<$xC;v;8�y4$A~w8�<$]w�wA;{�$= ?IG$A9B�
A$WHFVOJZF$JZGOR$J[GKHMaFOM$TDFLJNFOOMQ$`JITHM$WDQUGIG4$WUGQ\FIG$GZGLG$ DRWGZGIG$ VFHFDME$ $A$GVOG@$HTZF$GO$ VFHaJU$HM[DFHOTUR@$WDJUGZ4$M$VHTIT^$¶$XGVOGWJU$Z$IHTVJ$D$PGLJUDFOOGP$aFWUFE$ AVMLFZF$ DJVOFFUWQ$ WbFOM$ WG$ WDQURP4$ HRKMNM\JP$OM$ KFHFIT$ HFZJ4$ OM$ XHGUJDGXGLGaOG@$ WUGHGOF$ ZGUGHG@$XGWUHGFOM$ PGOMWURHWZMQ$ GKJUFL_E$ $ ]HFVXGLGaJUFL_OG4$ ¬UG$�JYMJLG?�HYMOIFL_WZJ@$PGOMWURH_$ D$�FHZTSJOG4$ IVF$ KRL$XGYGHGOFO$ WDQUG@4$ $ JLJ$ aF$ {JZGL_WZJ@$ PGOMWURH_4$ ZTVM$KRLJ$DXGWLFVWUDJJ$XFHFDF[FOR$FIG$OGDGGKHFUFOORF$PG\JE$$$A$DFHYOFP$LFDGP$TILT$J[GKHMaFO$XMHQ\J@$OM$GKLMZMY$uHJWUGW4$OJWXGWRLM^\J@$KLMIGWLGDFOJF$WDQUGPTE$±FWUOMVbMU_$ZLF@P4$GZHTaM^\JY$ WHFVOJZ4$ XGDFWUDT^U$ G$ aJUJJ$ XHFXGVGKOGIG$$xGK$ GUHFNFOJJ$ WDE$ CJPFGOM$ GU$ [OMUOGIG$ XHGJWYGaVFOJQ$J$ KGIMUWUDMd$ G$ NTVFWMY4$ WGDFHSMFPRY$ WDQURP$ J$ G$ L^KDJ$Z$ WJKJHWZGPT$ ZHM^4$ D$ ZGUGHGP$ GO$ aJLyE$ ARHM[JUFL_OMQ$ZGPXG[JbJQ4$OMXJWMOOMQ$D$[FPLJWURY$UGOMYE$
]HJPFNMOJQ�;ZGOR$ W$ aJUJFP$ WDE$ CJPFGOM$ AFHYGUTHWZGIG$ NHF[DRNM@OG$ HFVZJE$vGLFF$HMWXHGWUHMOFO$UJX$JZGO4$XGDUGHQ^\J@$W^aFU$ZGPXG[JbJJ$D$WHFVOJZFE$
!*
*!"!"#$ '/=f()*$ )$ ,(&,'.'-/'7=9&/):$2/2!12!)*$,&(!).!:)*789:;<$xB8;~y4$=>?@$A9B
«JITHM$WUMHbM?GUSFL_OJZM$W$VLJOOG@$KGHGVG@4$VGYGVQ\F@$VG$[FPLJ4$$DRXGLOM$WPFLRPJ$PM[ZMPJE$9IG$OMIGF$UFLG$XHJZHRUG$XGQWGP$J[$LJWU_FDE$8QVGP$W$OJP4$WLFVTQ$XHJObJXT$ZGOUHMWUM4$JZGOGXJWFb$ XGPFWUJL$ XHFXGVGKOGPTNFOJZM$ �OMWUMWJQ4$GKLMNFOOGIG$ D$ GHMOaFDT^$ UTOJZT$ W$ IGLTKG@$ WUGLG@$ J$OMZJOTURP$ XGDFHY$ ZHMWORP$ XLM\GP4$ [MWUFIJDM^\JPWQ$ OM$IHTVJE$CDE$�OMWUMWJ@$VFHaJU$D$HTZF$GIHGPOR@$ZHFWUE$¢NMWUZJ$UFLM$WDQURY$GaJDLFOR$XHGKFLMPJE$�FaVT$OJPJ$$J[GKHMaFOM$DRWGZMQ$XML_PME$;[RWZMOOMQ$$ZGPXG[JbJQ$W$OMUTHMLJWUJNOG$DRXGLOFOORP$ LMOVSM`UGPE$ zGLGUG@$ `GO$ WJPDGLJ[JHTFU$OFKFWME
*!"STS. ONOUPHRIOS AND ANASTASIOS THE PERSIAN
�����$xh����jÊy4$=>TH CENTURY
The old hermit rendered boldly, with an exceptionally long beard
touching the ground, his nudity covered by a branch of leaves;
2).(,-#(".1$ !"54$ (!&$ 5-,(6,4$ �(E$ �.-#(-#")#$ 2)53%&(&%6$ -((",&+$in an orange tunic, with a blue stole and red cape fastened on
(!&$ 2!&#(4$ #*33),(".1$ -$ %-,1&$ 2,)##d$ c.&%6$ &�&2*(&+4$ (!&$ /&#!$heightened by bright shading, between the two saints a tall palm
tree, the landscape rendered naturalistically, the skies in gold
!/#$#%?'!#)*
+(,"""-.,"""
!!
*#"!""#$%&'(%)*$)$/):'52*$+9=.'1"'(&0$789:;<4$wBw�w$=>²²$IE
|DGF$ XGL_[T^\JYWQ$ GIHGPOG@$ XGXTLQHOGWU_^$ WDQURY$J[GKHMaFOR$`HGOUML_OG$ D$ XGLOR@$HGWUE$£OR@$ WDE$ 7FGHIJ@$XHFVWUMFU$ KF[KGHGVRP$ ^OGSF@4$ IGLGDM$ ZGUGHGIG$ TDFONMOM$VJMVFPG@E$ A$ HTZMY$ GO$ VFHaJU$ PTNFOJNFWZJ@$ ZHFWUE$ CDE${JZGLM@$ XGVËFPLFU$ HTZT$ D$ aFWUF$ KLMIGWLGDFOJQ$ J$ VFHaJU$HMWZHRUGF$9DMOIFLJFE${JPKR$J$GVFQOJQ$WDQURY$J$XGLQ$JZGOR$TZHMSFOR$XG[GLGUG@E$
*#"STS. GEORGE AND NICHOLAS
�����4$hª�h�$=>²²
�!&$(0)$3)3*%-,$#-".(#$3),(,-6&+$',).(-%4$'*%%?%&.1(!4$(!&$6)*(!'*%$�(E$�&),1&$e&-,+%&##4$0&-,".1$-$+"-+&5$-.+$!)%+".1$-$5-,(6,i#$2,)##4$�(E$j"2!)%-#$,-"#".1$!"#$!-.+$".$e%&##".1$-.+$+"#3%-6".1$(!&$Gospels, the haloes, garment adornments and the border in gold
!('.#$#!"#)*
+&,(""-?,(""
!"
*$"A TRAVELLING ICON OF THE MOTHER OF GOD OF KAZAN
����ª�j4$�����i�$����$�E�4$��E$������f���4$=t ¨
��&2*(&+$".$3-%&$3-#(&%$2)%)*,#4$2)�&,&+$e6$-$#"%�&,?1"%($)g%-+4$0"(!$-,2!&+$c%"1,&&$opening surmounted by a red translucent cross, ornamented with elaborate shaded
&.-5&%$')%"-(&$#2,)%%$3-((&,.$-.+$#(6%"�&+$e%*&$/)0&,#$).$-$#("33%&+$1,)*.+1'!#$#.'&#)*
+/,"""-(,"""
�,)�&.-.2&�$�)(!&e6i#$�).+).4$¤¦$j)�&5e&,$¤²²t4$�)($¤ tE
*$",=1/24$):'/2$!$'-(23'7$-'%'('.)06$:232/!:'*$8wCC;<4$B�9¡�w$��C~98�$}]E8E�4$C�{B~?]9~98v¢874$=t ¨$I$
;ZGOM$ DRXGLOFOM$ D$ XMWUFL_ORY$ UGOMY$ J$ GXHMDLFOM$ D$ XG[GLGNFOOR@$WFHFKHQOR@$ GZLMV$ D$ DJVF$ WDGVNMUG@$ HMPZJ4$ ZGUGHMQ$ TDFONMOM$ MLRP$XGLTXHG[HMNORP$ ZHFWUGP$ J$ TZHMSFOM$ [MPRWLGDMURPJ$ HMWUJUFL_ORPJ$GHOMPFOUMPJ$D$DJVF$HMWXJWMOORY$bDFUOG@$¬PML_^$WUJLJ[GDMOORY$LJWU_FD$J$$bDFUGD$OM$IHMDJHGDMOOGP$`GOFE$]HGDFOMOW�$�TZbJGO$�)(!&e6i#4$�GOVGO4$¤¦$OGQKHQ$¤²²t4$LGU$¤ tE
*'"A CRUCIFIX WITH A GILDED OKLAD
RUSSIAN, 19TH CENTURY
The lifeless body of Christ on the cross, the upper part unusually depicting the
bust of Christ Emmanuel and below, two angels with covered hands preparing to
receive His soul; behind the suppedaneum$(!&$0-%%&+$2"(6$)'$�&,*#-%&54$-.+$-($the bottom the skull of Adam
/0#$#%?'!#)*
+%,!""-%,?""
*'"(2!,41)&$"$3'5'9&/'7$':52.&$8wCC;<4$= ?@$A9B
vF[aJ[OFOOGF$UFLG$uHJWUM$XHJIDGaVFOG$ZG$ZHFWUTE${M$DFHYOF@$XFHFZLMVJOF$ZHFWUM$XGPF\FO$OFGKRNOR@$VLQ$VMOOG@$JZGOGIHM`JJ$PFVML_GO$WG$CXMWGP$;PPMOTJLGPE$ �TU_$ OJaF$ PFVML_GOM$ VDM$ XMHQ\JY$ MOIFLM$ IGUGDQUWQ$XHJQU_$ VTST$ uHJWUME$ {M$ XGVOGaJJ$ DRIHMDJHGDMOR$ [VMOJQ$ GIHMaVFOOGIG$ZHFXGWUORPJ$ WUFOMPJ$;FHTWMLJPME$ ¢$ WMPGIG$ XGVOGaJQ$ ZHFWUM$ DJVOFFUWQ$NFHFX$XHMGUbM$�VMPME$
*&"H$gLmgJhJr$JODPLEPI$JO$H$UHOPG@$hGHOTPI$QR$JKHNPD$Mh$ESP$IPUMDJEJMO$HOI$GHKPOEHEJMO@$lJES$ DED#$ UPEPL$HOI$HOOH$ON THE BORDER
RUSSIAN, 19TH CENTURY
�(-.+".1$()$&"(!&,$#"+&$)'$(!&$h,)##$(!&$�!,&&$�-,6#$-.+$h!,"#(i#$+"#2"3%&4$�)!.4$0"(!$(!&$h&.(*,").d$).$(!&$e),+&,$(!&$3-(,).$#-".(#$�&(&,$-.+$�..-4$-1-".#($-$1"%($background painted to emulate silver and enamel design of the time
/('(#$#/"#)*
+!,(""-/,(""
*&"):'/2$!$'-(2327)$!""#$,&1(2$)$2//6@$!0&/27)$!/41)4$!'$:(&!12$)$',52:)"2/)4@$)$"!12"/67$!(&./):'7$"$").&$(2!,41)4$8wCC;<4$= ?@$A9B$]G$GKF$WUGHGOR$GU$ZHFWUM$J[GKHMaFOR$~HJ$�MHJJ$J$TNFOJZ$uHJWUM$;GMOO$vGIGWLGD$HQVGP$W$WGUOJZGPE${M$XGLQY$JZGOR$XHFVWUMDLFOR$WDQURF$]FUH$J$�OOM4$J[GKHMaFOORF$OM$`GOF4$JPJUJHT^\FP$WFHFKHG$J$¬PML_$W$XG[GLGUG@E$
!#
*)"A TRAVELLING ICON OF CHRIST PANTOKRATOR
WITH A SILVERED AND ENAMEL OKLAD
����ª�j4$hª�h�$= ²²
Rendered in deep tones, covered by a silvered oklad with blue
wirework ground, the border composed of stylised leafy scrolls
of navy, blue, teal, yellow and green on white, the applied halo
and tsata employing the same motifs, additionally with beaded
edges
%/'/#$#%"'1#)*
+!,(""-/,(""
*)",=1/24$ ):'/2$ !$ '-(23'7$ !,2!2$"!&.&(?)1&54$"$,'!&(&-(&//'7$':52.&$!$C725>B$8wCC;<4$wBw�w$= ²²$IEBGPXG[JbJQ$ DRXGLOFOM$ D$ ILTKGZJY$ UGOMY$ J$ GXHMDLFOM$ D$XGWFHFKHFOOR@$ GZLMVE$]G$ XGLQP$ XHGYGVJU$ WUJLJ[GDMOOR@$HMWUJUFL_OR@$GHOMPFOU$ D$ UFPOG?WJOJY4$ IGLTKRY4$aFLURY4$[FLFORY$J$KFLRY$UGOMYE$wHOMPFOU$OMZLMVOGIG$OJPKM$J$bMU$XFHFZLJZMFUWQ$W$GWOGDORPJ$PGUJDMPJE$BHMQ$bMU$TZHMSFOR$KTWJOMPJE
*("A SILVER-GILT BENEDICTION CROSS
����ª�j4$����$�$�ª����j$�ª��ªj4$��h°4$=t ¦
�-"#&+$3%-�*&#$).$(!&$',).($&.1,-�&+$0"(!$(!&$h,*2"c�").$/-.g&+$e6$(!&$5)*,.".1$�)(!&,$)'$�)+$-.+$�)!.$(!&$��-.1&%"#(4$�),+$�-ee-)(!$ -e)�&4$ �&,*#-%&5$ 0"(!".$ (!&$ 0-%%#$ -.+$ (!&$ e).&#$ )'$Adam at Golgotha below, further down Christ praying at the
Mount of Olives prior to His arrest, the reverse ornate with
stylised patterns on stippled ground
/0'0#$#!('.#)*
+%,"""-%,(""
*("!&(&-(4/6*$ 5)1=(%)9&!:)*$ :(&!1$ !$,'3'5'1'*$8wCC;<4$ B�9¡�w$ ��C~98�$ �;~8w«�{�$ ]¢|;{�4$$�wCBA�4$=t ¦$IE
8F[ORF$ UMKLJNZJ$ W$ DRFPZMPJ$ GZHTaM^U$ $ DRIHMDJHGDMOOT^$WbFOT$8MWXQUJQ$D$bFOUHF$ZHFWUME$$]G$GKF$WUGHGOR$GU$HMWXQUGIG$uHJWUM$DRIHMDJHGDMOR$XFNML_ORF$LJZJ$vGIGHGVJbR$J$;GMOOM$vGIGWLGDME$ ADFHYT$ ZHFWUM$ XGPF\FOG$ J[GKHMaFOJF$ 7GWXGVM$CMDMG`ME$BHFXGWUORF$WUFOR$;FHTWMLJPM$W$XGQDJDSJPWQ$J[?XGV$[FPLJ$NFHFXGP$�VMPM$OM$7GLIG`F$DRIHMDJHGDMOR$OM$XGVOGaJJ$ZHFWUME$ $ �TU_$ OJaF4$ T$ GWOGDMOJQ$ ZHFWUM�PGLFOJF$ uHJWUM$ D$7F`WJPMOJ$OM$�MWLJNOG@$IGHF4$XHFVSFWUDGDMDSFF$9IG$MHFWUTE$C$GKHMUOG@$WUGHGOR$ZHFWU$TZHMSFO$WUJLJ[GDMOORP$GHOMPFOUGP4$XHGYGVQ\JP$XG$`GOT$WG$SUHJYGGKHM[ORPJ$XGLGWZMPJE
reverse KLKMKN
"%
**"):'/2$ ;!,2!$ "!&.&(?)1&5><$ "$ 3'5'9&/'7$!&(&-(4/'7$':52.&$!$C725>B$8wCC;<4$B�9¡�w$��C~98�$$�E$C�;8{wA�4$=t ¦?= ²t$IE$
�JZ$ uHJWUM$ W$ KGL_SJPJ$ UFPOG?[FLFORPJ$ ILM[MPJ$ XLMDOG$DRXJWMO$D$HFMLJWUJNOG@$PMOFHF$D$WDFULRY$UGOMY$J$GKHMPLFO$XHQVQPJ$ WDFULRY$ DGLGWE$ wVFQOJQ$ CXMWJUFLQ$ DRXGLOFOR$ D$UFYOJZF$IGHFL_F`M4$DRVFLQQW_$OM$ILMVZGP$`GOF$WFHFKHQOGIG$GZLMVME$ ~HFYNMWUOR@$ OJPK4$ TZHMSFOOR@$ XFHFIGHGVNMUG@$¬PML_^4$ GKDFVFO$ HF[OG@$ GZMOUGDZG@$ D$ DJVF$ UHJLJWUOJZGDE${MVXJWJ$D$GUZHRUGP$9DMOIFLJJ$ZMLLJIHM`JNFWZJ$DRXGLOFOR$D$UFYOJZF$DRFPNMUG@$¬PMLJE
**"CHRIST PANTOKRATOR WITH A SILVER-GILT AND
ENAMEL OKLAD
����ª�j4$����$�$�E$��ª�j 4$=t ¦?= ²t
Rendered realistically with smooth fair tones, his large eyes in
dark green, his face framed by blonde locks, the garments in
!"1!?,&%"&'4$#(-.+".1$)*($-1-".#($(!&$*.-+),.&+$e-2g1,)*.+$)'$(!&$#"%�&,?1"%($)g%-+4$2)53%&5&.(&+$e6$-$(,"3-,("(&$!-%)$".$2%)"#)..µ$&.-5&%$0"(!$ -$ 2*(?)*($ ,"5$ #!-3&+$ e6$ (,&')"%$ -,,-.1&5&.(#4$ (!&$)3&.$�)#3&%#$".#2,"e&+$2-%%"1,-3!"2-%%6$".$2!-53%&�µ!&'&#$#!!'/#)*
+?,"""-%!,"""
"$
*+"):'/2$!"#$)//':&/1)4$"$!&(&-(4/'7$':52.&$!$C725>B$8wCC;<4$= ?@$A9B4$B�9¡�w$u�9v{;BwA�$Cw$z{�Bw�$]wC~�A�;B�$;�]98�~w8CBw7w$|Aw8�$�wCBA�;ZGOM$OMXJWMOM$D$HFMLJWUJNOG@$PMOFHF$D$ILTKGZJY$UGOMYE$CDQUG@$VFHaJU$ PGLJUDFOORF$ NFUZJ$ J$ ZHFWU4$ DRXGLOFOOR@$ D$ UFYOJZF$DRFPNMUG@$¬PMLJE$$9IG$GVFQOJQP$XHJVMO$DJV$HFL_F`ME$9XJUHMYJL_$TZHMSFOM$VDTPQ$ZHFWUMPJ4$XGYGaJPJ$OM$UGU4$ZGUGHR@$TDFONJDMFU$NFUZJE$ BHFWU4$ OMYGVQ\J@WQ$ T$ WDQUJUFLQ$ D$ HTZMY4$ XGLOGWU_^$DRXGLOFO$J[$XHG[HMNOG@$ZHMWOG@$¬PMLJE${M$IHTVJ$WDE$;OOGZFOUJQ$¶$XMOMIJQ$W$GKHM[GP$uHJWUM$J$OMXFHWOR@$ZHFWUE$$�JUHM$WDQUGIG$W$ GZHTaM^\JP$ FF$ OJPKGP$ JWZTWOG$ TZHMSFOOR@$ DRFPNMUG@$¬PML_^4$ WGNFUM^\F@WQ$ XG$ bDFUT$ W$ VHTIJPJ$ VFZGHMUJDORPJ$¬LFPFOUMPJ$ $ J[$ ¬PMLJE$ ]G$ LTNJWUGPT$ `GOT$ XLRDTU$ GKLMZME$ARWGZJF$XGLQ$JZGOR$TZHMSFOR$IHMDJHGDMOORP$$IFGPFUHJNFWZJP$GHOMPFOUGP$OM$`GOF$SUHJYGGKHM[ORY$XGLGWGZE
*+"ST. INNOKENTIY WITH A SILVER AND ENAMEL
OKLAD
RUSSIAN, 19TH$h�j����4$����$�$���fjª�¯$°ª�®$�®�$ª����ª��$°����j�4$��h°
Depicted naturalistically in deep tones, holding prayer beads
2)53%&5&.(&+$e6$-$2!-53%&�µ$2,)##4$!"#$1-,5&.(#$&�&2*(&+$ ".$relief, the omophorion applied with two crosses identical to that
of the prayer rope, the one on the left surmounted by another
cross entirely made in translucent red enamel, an additional
cross and an encolpion with a portrait of Christ hanging on his
2!&#(4$!"#$5"(,&$-.+$!-%)$+&2),-(&+$0"(!$5&("2*%)*#$2!-53%&�µ$matching all other enamel ornaments, clouds appearing in the
rayed background, the raised border engraved with geometric
pattern on stippled ground
!.#$#!!'0#)*
+?,(""-%!,"""
"&
+,"THE MOTHER OF GOD OF THE KIEVAN CAVES WITH
A SILVER-GILT OKLAD
����ª�j$x������y4$�����$=> ²
Seated on a luxurious throne ornamented with diamond cross
hatch pattern and red and blue cushions, Christ on her lap
&�(&.+".1$e)(!$®"#$!-.+#$".$e%&##".14$/-.g&+$e6$�(E$�.(!).6$and his disciple Theodosius, both bearing scrolls, their hands
turned upwards in prayer, rendered in saturated colours, the gilt
)g%-+$0"(!$#*e(%&$/),-%$5)("'#$).$(!&$#3-.+,&%#$%0'!#$#%!'.#)*
+!,(""-/,(""
+,":)&"'+,&9&(!:24$ ):'/2$ =!,&/)4$,(&!"#$ -'%'('.)06$ !&(&-(4/6*$ ':52.$ !$,'3'5'1'*$8wCC;<$xBwC~8w��y4$=> ²$IE$
vGIGPMUFH_$ DGWWFVMFU$ OM$ HGWZGSOGP$ UHGOF4$GHOMPFOUJHGDMOOGP$ HGPKMPJ$ J$ TKHMOOGP$ ZHMWORPJ$ J$WJOJPJ$ XGVTSZMPJE$ uHJWUGW4$ WJVQ\J@$ T$ OFF$ OM$ ZGLFOQY4$XHGWUJHMFU$ GKF$ HTZJ$ D$ KLMIGWLGDFOJJE$ C$ GKFJY$ WUGHGO$UHGO$ vGIGPMUFHJ$ GZHTaM^U$ WDE$ XHFXE$ �OUGOJ@$ J$ FIG$TNFOJZ$«FGVGWJ@$]FNFHWZJFE$wKM$ VFHaMU$ WDJUZJ$ D$ HTZMY4$DG[VFURY$D$PGLJUDFE$BGPXG[JbJQ$DRXGLOFOM$D$OMWR\FOORY$UGOMYE$;ZGOM$GXHMDLFOM$D$WFHFKHQOR@$GZLMV$W$XG[GLGUG@$J$J[Q\ORPJ$bDFUGNORPJ$PGUJDMPJ$D$OMTIGL_OJZMYE
+!"CHRIST PANTOKRATOR WITH A SILVER-GILT
OKLAD
RUSSIAN, MAKER’S MARK ESM IN CYRILLIC,
��h°4$=t ¥
Gesturing in benediction and displaying the open Gospels, His
face framed by parted hair arranged over His right shoulder;
the background of the oklad and spandrels tooled with foliate
#2,)%%#4$(!&$,-"#&+$e),+&,$0"(!$-$%-(("2&$5)("'4$(!&$2*(?)*($!-%)$with pierced rim
/"'(#$#!&#)*
+%,(""-!,(""
+!"!,2!$"!&.&(?)1&5>$$!&(&-(4/6*$':52.$!$,'3'5'1'*$8wCC;<4$B�9¡�w$��C~98�$}9C��4$�wCBA�4$=t ¥$I
CXMW$ AWFVFHaJUFL_$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$ VFHaM$ D$HTZF$ HMWZHRUGF$ 9DMOIFLJFE$ 9IG$ LJZ$ GKHMPLFO$ DGLGWMPJ4$HM[VFLFOORPJ$ OM$ XHGKGH$ J$ OJWXMVM^\JPJ$ DXHMDGE$wZLMV$ JZGOR$ KGIMUG$ TZHMSFO�$ XG$ `GOT$ J$ D$ XFHFPRNZMY$JVTU$ HMWUJUFL_ORF$ T[GHR$ W$ [MDJUZMPJE$ ]GLQ$ GUVFLMOR$HFSFUNMURP$GHOMPFOUGPE$${MV$$GKHM[GP$CXMWJUFLQ$XGPF\FO$`JITHOR@$ OMZLMVOG@$ OJPK$ W$ $ XHGHF[ORP$ GHOMPFOUGP$ XG$ZHMQPE
"'
+#"):'/2$!""#$/):'524$)$,2(2!:&"6@$(2!i)124$-)!&('7$:9{~8���{�<$ 8wCC;<$ xBwC~8w�CB�<$ ±Bw��y4$C989|;{�$=>?IG$A9B�$
|MOOMQ$ JZGOM$ KRLM$ DRXGLOFOM$ VLQ$ NMWUOGIG$ [MZM[NJZM$ J$XHFVWUMDLQFU$J[KHMOORY$WDQURY$¶$XGZHGDJUFLF@$ $ [MZM[NJZM4$PGLJUDFOOG$ YGVMUM@WUDT^\JY$ XFHFV$ GKHM[GP$ BM[MOWZG@$vGIGPMUFHJ�$ WDE$ {JZGLM@?�TVGUDGHFb$ D$ FXJWZGXWZGP$GKLMNFOJJ4$ TZHMSFOOGP$ HMWUJUFL_ORPJ$ [MDJUZMPJ4$ J$ WDE$]MHMWZFDM$ D$ WZHGPOGP$ GVFQOJJ4$ VFHaM\MQ$ D$ HTZMY$ WDG@$IGLGDOG@$ TKGHE$ {MWR\FOORF$ GWOGDORF$ UGOM$ TWJLFOR$QHZJPJ$ `HMIPFOUMPJ$ ZGPXG[JbJJE$ �JZJ$ DRXGLOFOR$XLMD_^4$ YMHMZUFHOG@$ VLQ$ =>?IG$ DFZME$ ;ZGOM$ GXHMDLFOM$ D$GZLMV4$ DRXGLOFOOR@$ J[$ UGOZJY$ LJWUGD$ PFUMLLM$ W$ JWZTWORP$DZHMXLFOJFP$J[$KTWJOE$
+#"STS. NICHOLAS AND PARASKEVA WITH A COVER
EMBROIDERED WITH BEADS
h�j����$����ª�j$x������$�h®�y4$�ª����$�$THE 17TH CENTURY
An icon privately commissioned, showing the patron’s favourite
#-".(#$".$#*33%"2-(").$()$(!&$�)(!&,$)'$�)+$)'$�-�-.d$�(E$j"2!)%-#$in Episcopal garments, his phellonion embellished with foliage
#2,)%%#4$ �(E$ �-,-#g&�-$ 0&-,".1$ 3%-".$ �&#(5&.(#4$ 2%*(2!".1$ !&,$cape; the saturated colours of the icon accentuated with brighter
details; the facial features formed by soft shading typical of the
17th century style; complemented by an oklad made of thin sheets
of metal, applied with elaborate beadwork
/%'%#$#/&'/#)*
+0,(""-(,(""
with cover
]%K^_`ab
"(
+$"4"5&/)&$ -'%'('.)06$ !"#$ ,(&,#$ !&(%)B$(2.'/&?!:'7=8wCC;<4$�;u�¡�w$$Bwz�;{4$¤¥$;£{<4$=t²¨$IE
vGIGPMUFH_$J[GKHMaFOM$GXJHM^\F@WQ$OM$XGWGY$D$GZHTaFOJJ$WDDE$ MXGWUGLM$ ]FUHM$ J$ ;GMOOM$ vGIGWLGDME$ vGIGHGVJbM$GKHM\MFUWQ$ Z$ CDE$ CFHIJ^4$ XHFZLGOQ^\JP$ XHFV$ OF@$ ILMDT$DPFWUF$W$XGWLTSOJZGP$�JYFFPE$$]GV$KMLVMYJOGP$J[GKHMaFO$WDE${JZGO4$DG[OGWQ\J@$HTZJ$HQVGP$W$MLUMHFP4$ZMZ$KR$D$[OMZ$TVJDLFOJQ$XFHFV$XHGJWYGVQ\JPE$$¢VLJOFOORF$ JITHR$JWZTWOG$OMXJWMOR4$LJZJ$TWJLFOR$QHZJPJ$GaJDZMPJE$~HJ$PGOMYM$WXHMDM$GKLMNFOR$D$UFPORF$GVFaVRE$$CDE$CFHIJ@$J${JZGO$OMXJWMOR$D$GVFQOJQY$DFLJZGWYJPOJZGDE$zVMOJQ$OM$[MVOFP$XLMOF$TZHMSFOR$GHOMPFOUGP4$ JPJUJHT^\JP$ HFL_F`E$ A$ PFVML_GOR$ DDFHYT$[MZL^NFOR$GKHM[R$AFUYG[MDFUOG@$~HGJbRE${M$XGLQY$JZGOR$J[GKHMaFOR$ WDQURF$ ¶$ XGZHGDJUFLJ$ WDDE${JZGLM@4$ 7HJIGHJ@$vGIGWLGD$J$7HJIGHJ@$${FGZFWMHJ@WZJ@E$;WZTWOG$DRXGLOFOOMQ$ZGPXG[JbJQ$W$OMVXJW_^$D$OJaOFP$XHMDGP$TILT�$}{MXJWMWQ$WJQ$JZGOM$D$LFUG$GU$8GaVFWUDM$uHJWUGDM$=t²¨$I$PFWQbM$J^OQ$¤¥$VOQE$;ZGOGXJWFb$�GWZGDWZG@$�JYM@LG$BG[PJO�E
+$"THE APPEARANCE OF THE MOTHER OF GOD TO ST.
SERGIUS RADONEZH
����ª�j4$�ª�®�ª�$�³�ªj4$¤¥$��j�$=t²¨
�&-.".1$ ).$ -$ #(-''4$ -22)53-."&+$ e6$ �(#E$ �&(&,$ -.+$ �)!.$ (!&$�!&)%)1"-.4$(!&$�)(!&,$)'$�)+$1&#(*,".1$".$#3&&2!$()$�(E$�&,1"*#4$the latter together with his disciple, Mikhei, bowing before her,
e&!".+4$ �(E$ j"g).$ *.+&,$ -$ 2-.)364$ .&�($ ()$ -.$ -%(-,$ ,-"#".1$ !"#$hands in astonishment as he observes the incident; the elongated
c1*,&#$ c.&%6$ ,&.+&,&+4$ (!&$ '-2"-%$ '&-(*,&#$ '),5&+$ e6$ e,"1!($shades; the three monks to the right dressed in darker garments,
�(E$�&,1"*#$-.+$j"g).$0&-,".1$(!&$�,&-($�2!&5-4$(!&$e*"%+".1#$".$the background bearing decoration in simulated relief; the roundel
above including the Old Testament Trinity; on the borders, the
family patrons Nicholas, Gregory the Theologian and Gregory
of New Caesarea; the icon executed masterly; the inscription on
the lower border reading ?D,(/%('")%4&/%4#(++-)%()%+,-%J-&#%HIVW%
from the Nativity of Christ, in the month of June on the 23rd%$&J2%
D,-%7"/'"4%('")�R&()+-#%7(8,&(0"%X"�B()>2
/%#$#!&#)*
+%(,"""-!","""
")
"*
+'"THE MEDICAL SAINT PANTELEIMON FLANKED BY
IMAGES OF CHRIST AND THE MOTHER OF GOD
RUSSIAN, 18TH CENTURY
Holding a martyr’s cross and a casket with medical remedies; the
neckline, cuffs and belt of his green chiton emulating gem studded
gold bands, with a red, long himation, against an unusual glory
of foliate scrolls, the upper corners occupied by icons of Christ
�-.()g,-(),$-.+$(!&$�)(!&,$)'$�)+$)'$(!&$��.&�3&2(&+$�)6�d$(!&$e),+&,$ ".#2,"e&+$0"(!$ (!&$�&,#&$',)5$�-((!&0$¤t�=t?= 4$0!&,&-#$(!&$ (&�($ /-.g".1$ (!&$ #-".($ ,&5-,g-e%6$ #"(&#$ (!&$ c,#($ %".&#$ )'$ (!&$%&1&.+-,6$3,&2&3(#$3-##&+$)�&,$e6$�(E$�&,1"*#$)'$�-+).&�!$()$!"#$disciples, D&8-%,--$%+"%J"=#/-09-/:%@%1-/--',%J"=:%1#-+,#-):%+,&+%J"=:%
�#/+%";%&00:%1-%Y"$};-&#()*%&)$%R=#-%";%/"=0:%&)$%/()'-#-%()%0"9-2
/(#$#!?'(#)*
+0,"""-&,"""
+'"!"#$"&5):'7=9&/):$0&5)1&5>$,2/1&5&*7'/$ !$ '-(2327)$ !,2!2$ )$-'%'('.)06$;/&924//24$(2.'!1><$8wCC;<4$=t?@$A9B$
A$bFOUHF$JZGOR$J[GKHMaFO$WDE$ $]MOUFLF@PGO$W$PTNFOJNFWZJP$ZHFWUGP$ J$ LMHbGP$ W$ bFLFKORPJ$ WOMVGK_QPJ$ D$ HTZMYE$ AGHGU4$PMOaFUR$J$XGQW$FIG$[FLFOG@$UTOJZJ$TZHMSFOR$[GLGURP$SJU_FP$W$ JPJUMbJF@$ VHMIGbFOORY$ ZMPOF@E$ ]GDFHY$ UTOJZJ$ OM$ WDQUGIG$OMZJOTU$ ZHMWOR@$ VLJOOR@$ XLM\E$ {JPK$ WDE$ ]MOUFLF@PGOM$TZHMSFO$ DRVFLFOORP$ HMWUJUFL_ORP$ GHOMPFOUGPE$ A$ DFHYOJY$TILMY$ ZGPXG[JbJJ$ J[GKHMaFOR$ CXMW?AWFVFHaJUFL_$ J$vGIGPMUFH_$}{FNMQOOMQ$HMVGWU_�E$]G$XGLQP$XHGYGVJU$UFZWU$J[$9DMOIFLJQ$GU$�MU`FQ$¤tE=t?= E$CDJUZJ$W$UFZWUGP4$XGPF\FOORF$HQVGP$ W$ `JITHG@$ WDQUGIG4$ VGDGL_OG$ OFGaJVMOOG$ bJUJHT^U$OMWUMDLFOJF$ WDE$ CFHIJQ$ 8MVGOFaWZGIG4$ VMOOGF$ FIG$ TNFOJZMP�$}AOFPLJUF$WFKF4$KHMUJF4$DWFY$PGL^4$XHFaVF$JPF@UF$WUHMY$vGaJ@$J$NJWUGUT$VTSFDOT^$J$UFLFWOT^4$J$L^KGD_$OFLJbFPFHOT^�E
+&"ST. NICHOLAS
RUSSIAN, 19TH CENTURY
Blessing and holding the Gospels, his white omophorion, draped
)�&,$!"#$-,54$(!&$c1*,&#$)'$h!,"#($-.+$(!&$�)(!&,$)'$�)+$/)-(".1$).$2%)*+#$-1-".#($-$1"%($e-2g1,)*.+$+&%"2-(&%6$())%&+$0"(!$-$�*-(,&')"%$3-((&,.4$(!&$,-6&+$1)%+$!-%)$-.+$e),+&,$2)53)#&+$)'$/),-%$+&#"1.#$emulating silver and enamel work of the period
00'0#$#/.'.#)*
+%,"""-!,"""
+&"!"#$/):'52*$9=.'1"'(&0$8wCC;<4$= ?@$A9B
CDE$ {JZGLM@?$ �TVGUDGHFb$ KLMIGWLGDLQFU$ [HJUFLQ$ VFHaM$9DMOIFLJF$D$HTZFE$9IG$KFLMQ$FXJUHMYJL_$XFHFZJOTUM$NFHF[$HTZTE$«JITHR$uHJWUM$ J$vGIGPMUFHJ$ XMHQU$ D$ GKLMZMY$ OM$ [GLGNFOGP$`GOF$W$J[Q\ORP$UJWOFOJFP$D$DJVF$NFURHFYLJWUOJZME$�TNJWUR@$OJPK$WDQUGIG$J$XGLQ$JZGOR$TZHMSFOR$bDFUGNORP$GHOMPFOUGP4$JPJUJHT^\JP$JWZTWOT^$HMKGUT$XG$WFHFKHT$J$HGWXJW_$XG$¬PMLJE$
"!
+)"!"41)1&5>$,&1($"$':(=?&/))$!""#$,&52%&)$)$,2(2!:&"6$!&(&-(4/6*$':52.$!$,'3'5'1'*$8wCC;<4$B�9¡�w$��C~98�$}�E$;E�4$=t¤ $IE$
CDQURF$ aFOR$ XHFVWUMDLFOR$ $ D$ WZHGPORY$ GKLMNFOJQY$DFLJZGWYJPOJb$WG$WZTXRP$[GLGNFOJFPE$CDQUJUFL_4$OMXHGUJD4$$J[GKHMaFO$ D$ WJQ^\FP$ ZHMWZMPJ$ WMZZGWF4$ TZHMSFOOGP$bDFUGNORP$ PGUJDGP$ W$ [GLGURPJ4$ TWRXMOORPJ$ aFPNTIGP$ZHMQPJE$$A$DFHYOFP$WFIPFOUF$ZGPXG[JbJJ$OMYGVQUWQ$VDM$MOIFLM4$VFHaM\JF$GKHM[${FHTZGUDGHOGIG$CXMWME$;ZGOM$GXHMDLFOM$D$GZLMV$W$HFL_F`ORP$bDFUGNORP$GHOMPFOUGPE$8F[ORF$OJPKR$J$UMKLJNZJ$W$JPFOMPJ$TZHMSFOR$¬PML_^E$
+)"THE METROPOLITAN OF MOSCOW PETER FLANKED
BY STS. PELAGIA AND PARASKEVA WITH A SILVER-
GILT OKLAD
����ª�j4$�����i�$����$�EªE$ªj$h��ª��ªh4$��h°4$1829
The nuns dressed in modest vestments, their only ornamentation
being the Great Schema and sparse chrysography; on the contrary,
the Metropolitan appearing in a particularly colourful /&88"/,
0"(!$,)#$+-"#"&#$-.+$1)%+4$3&-,%?#(*++&+$e-.+#d$).$ (!&$*33&,$plane, two angels displaying the 7&)$J0(")d$(!&$#"%�&,?1"%($)g%-+$0"(!$/),-%$,&3)*##µ$+&2),-(").4$2*(?)*($!-%)&#$-.+$(!&$.-5&#$".$enamel
/('(#$#/%#)*
+&,"""-?,"""
""
+*"THE MOTHER OF GOD OF THE BURNING BUSH
RUSSIAN, 19TH CENTURY
At the centre the Mother of God bearing a ladder, as a reference
to her role of unifying heaven and earth, against a dark blue and
red mandorla containing cherubs and angels, the four spandrels
,&3,&#&.(".1$ (!&$�"#").#$)'$�)#$ ª#-"-!4$ �-2)e$-.+$��&g"&%d$executed in bright tones with gold haloes, the decoration of the
border imitating silver work of the period
!!#$#%.'(#)*
+%,.""-!,!""
j)(&#��22)53-."&+$ e6$ -$ h&,("c2-(&$ )'$ �*(!&.("2-(").$ "##*&+$ e6$ �-%&,"&$�-."24$�-,"#4$=²$�-.*-,6$= ¨E
+*"-'%'721&(>$;/&',25)724$:=,)/2<$8wCC;<4$= ?@$A9B
A$WMPGP$bFOUHF$ZGPXG[JbJJ$D$WJOF@$W$ZHMWORP$PMOVGHLF$W$YFHTDJPMPJ$J$WFHM`JPMPJ$XHFVWUMDLFO$GKHM[$vGIGPMUFHJ4$$VFHaM\F@$ LFWUDJbT�WJPDGL4$ TZM[T^\J@4$ OM$ UG4$ NUG$GOM$ WGFVJOJLM$ {FKG$ J$ zFPL^E$ ]G$ NFURHFP$ TILMP$ JZGOR$HMWXGLGaFOR$WbFOR$W$DJVFOJQPJ$XHGHGZGD$�GJWFQ4$;WM@J4$;MZGDM$J$;F[FZJJLQE$BGPXG[JbJQ$DRXGLOFOM$D$QHZJY$UGOMYd$OJPKR$XFHWGOMaF@$DR[GLGNFORE$]G$XGLQP$JZGOR$XHGYGVJU$VFZGHMUJDOR@$ GHOMPFOU4$ JPJUJHT^\J@$ WFHFKHQORF$TZHMSFOJQE$
+("A VITA ICON OF ST. NICHOLAS
RUSSIAN, 18TH CENTURY
The central image of the panel showing the portrait of the saint,
e%&##".1$-.+$+"#3%-6".1$(!&$)3&.$�)#3&%#4$/-.g&+$e6$h!,"#($-.+$®"#$�)(!&,$3,&#&.(".1$�(E$j"2!)%-#$0"(!$(!&$f))g$)'$�)#3&%#$and the Episcopal onophorion respectively; surrounded by
twelve episodes of his life including the Translation of his
Relics in the lower right corner, the scenes painted boldly in red
and green, mainly against tall architectural settings
00#$#/.#)*
+%,?""-!,?""
+("!"#$/):'52*$9=.'1"'(&0$"$?)1))$8wCC;<4$=t?@$A9B$
A$ WHFVOJZF$ JZGOR$ XGPF\FO$ GKHM[$ KLMIGWLGDLQ^\FIG$ $ WDE${JZGLMQ?�TVGUDGHbM$W$HMWZHRURP$9DMOIFLJFP$D$HTZMYE$$]G$GKF$WUGHGOR$GU$OFIG$J[GKHMaFOR$ $uHJWUGW$J$vGIGPMUFH_4$DHTNM^\MQ$ FPT$ 9DMOIFLJF$ J$ FXJWZGXWZGF$ GKLMNFOJFE$CHFVOJZ$ GZHTaM^U$ VDFOMVbMU_$ ZLF@P$ WG$ WbFOMPJ$ aJUJQ$WDQUGIG4$ DZL^NM^\JPJ$ XFHFOGW$ FIG$ PG\F@$ xD$ OJaOFP$XHMDGP$ TILTyE$ ARHM[JUFL_OG$ OMXJWMOOMQ$ ZGPG[JbJQ$ WG$WbFOMPJ$D$[FLFOG?ZHMWORY$UGOMY4$XHFJPT\FWUDFOOG$OM$`GOF$MHYJUFZUTHORY$TKHMOWUDE
"#
++"ST. NICHOLAS FLANKED BY THE APOSTLES PETER
AND PAUL
h�j����$����ª�j$x������ �Êy4$��hj�$®���$�$THE 18TH CENTURY
�!&$ (0)$ -3)#(%&#$ (*,.".1$ ()0-,+#$ (!&$ )�&,#"�&+$ c1*,&$ )'$ �(E$j"2!)%-#$-.+$%&-.".1$(!&",$!&-+#$'),0-,+d$(!&$%-,1&,$#"�&$)'$�(E$Nicholas revealing his preeminent importance for the icon’s
patron; the Mandylion shown above
/%'/#$#!.'(#)*
+!,(""-/,(""
++"!"#$ /):'52*$ 9=.'1"'(&0$ !'$ !"#$2,'!1'527)$,&1('7$)$,2"5'7$:9{~8���{�<$ 8wCC;<$ x<8wC��A��y4$ A~w8�<$]w�wA;{�$=t?IG$A9B�
�XGWUGLR$ J[GKHMaFOR$ $ D$ HM[DGHGUF$ XG$ OMXHMDLFOJ^$ Z$TDFLJNFOOG@$`JITHF$WDE${JZGLMQ$¶�TVGUDGHbM$J$WZLGOQ^U$XFHFV$OJP$ IGLGDRE$ARXGLOFOOMQ$ D$ TDFLJNFOOGP$PMWSUMKF$`JITHM$WDE${JZGLMQ$WDJVFUFL_WUDTFU$G$FIG$DMaOG@$HGLJ$D$¬UG@$ZGPXG[JbJJE$
!,,"THE DORMITION OF THE MOTHER OF GOD WITH
FIVE FAMILY PATRONS ON THE BORDER
RUSSIAN, 19TH CENTURY
In a starry and rayed aureole, Christ holding the soul of His
�)(!&,$ 3&,#)."c&+$ e6$ -$ #0-++%&+$ ".'-.(4$ (!&$ e"&,$ 0"(!$ !&,$lifeless body surrounded by His disciples and other mourners;
in the foreground, Archangel Michael preparing to punish the
sacrilegious priest, Anthonius; the bright composition with
striking chrysography
/%#$#!&#)*
+!,"""-/,"""
!,,"=!,&/)&$ ,(&!"#$ -'%'('.)06$ !$ '-(2327)$,41)$!"4168+$,':('")1&5&*$8wCC;<4$= ?@$A9B
uHJWUGW4$ [MZL^NFOOR@$ D$ TWFQOOR@$ [DF[VMPJ$ OJPK4$ GU$ZGUGHGIG$ JWYGVQU$ LTNJ$ WDFUM4$ VFHaJU$ OM$ HTZMY$ VTST$vGIGPMUFHJ4$J[GKHMaFOOG@$D$DJVF$PLMVFObM$D$XFLFOMYE$�GaF$W$KF[aJ[OFOORP$UFLGP$vGIGHGVJbR$GZHTaFOG$MXGWUGLMPJ$J$VHTIJPJ$WZGHKQ\JPJE${M$XFHFVOFP$XLMOF$MHYMOIFL$�JYMJL$IGUGDJUWQ$ XGZMHMU_$ OFNFWUJDGIG$ $ �OUGOJQE$ BGPXG[JbJQ$DRXGLOFOM$D$QHZJY$UGOMY$W$$JWZTWORP$[GLGNFOJFPE
!,!"1','%(2f)4$!"41'*$3&75)$]��9C~;{�4$=t?@$A9B
:FOUHGP$ ZGPXG[JbJJ$ WLTaJU$ bFHZGD_$ AGWZHFWFOJQ$ x7HGKM$7GWXGVOQy4$ XGWUHGFOOMQ$ OM$ PFWUF$ 7GLIG`R$ J$ 8MWXQUJQE$CLFDM$DJVOFFUWQ$ZTDTZLJ@$x¬VJZTLMy4$DRWUHGFOOR@$OM$PFWUF$AGWZHFWFOJQ$uHJWUME$ADFHYT$J[GKHMaFO$DGWZHFWSJ@$uHJWUGW4$XGKFVGOGWOG$ TWUHFPLQ^\J@WQ$ DDRW_E$ :FOUHML_OT^$ WbFOT$XG$ GKF$ WUGHGOR$ GZHTaM^U$ WDQURF$ DGJORE$AOJ[T$ D$ ZLF@PMY$XGPF\FOR$ ¢WXFOJF$ vGIGHGVJbR$ J$ JZGOM$ }vGIGPMUFH_$ ¶´JDGOGWOR@$ ;WUGNOJZ�E$ ]G$ GKFJP$ WUGHGOMP$ VGKMDLFOR$ZHTXOMQ$ZGPXG[JbJQ$}|GWUG@OG$FWU_�4$$WLMDQ\MQ$vGIGHGVJbT$D$ GZHTaFOJJ$ VDFOMVbMUJ$ MXGWUGLGD4$ J$ GKHM[$ uHJWUM$ D$UFHOGDGP$DFObF$W$WJPDGLMPJ$NFURHFY$FDMOIFLJWUGDE$AFHYOJ@$HQV$ WGWUGJU$ J[$ ZLF@P?ZMHUTSF@$ W$ ¬XJ[GVMPJ$ J[$ aJ[OJ$uHJWUM4$ DRXGLOFOORPJ$ OM$ ZHMWOGP$ `GOFE$ A$ bFOUHF$ DDFHYT$XGPF\FOM$ WbFOM$ CUHMSOGIG$ CTVME$ 9\F$ DRSF?HM[DFHOTUR@$VFJWJW$W$`HMIPFOUMPJ$J[$AFUYGIG$J${GDGIG$zMDFUME$A$OJaOFP$HFIJWUHF$ HMWXGLGaFOR$ ZLF@PM4$ XGDFWUDT^\JF$ G$ 8GaVFWUDF$uHJWUME$ �GOTPFOUML_OMQ$ ZGPXG[JbJQ4$ OGWQ\MQ$ OFWZGL_ZG$OMJDOR@$ YMHMZUFH4$ GVOGDHFPFOOG$ WDJVFUFL_WUDT^\J@$ G$ FF$XGVLJOOGWUJE$$|MOOMQ$JZGOM$QDLQFUWQ$YMHMZUFHORP$GKHM[NJZGP$XHGJ[DFVFOJ@4$WG[VMDMFPRY$VLQ$XMLGPOJZGD$D$]MLFWUJOT$UG@$¬XGYJE$ BGPXG[JbJQ$ DRXGLOFOM$ D$ XHFGKLMVM^\JY$ ZHMWORY$UGOMY$OM$GYHJWUGP$J$WJOFP$`GOFE$
]HJPFNMOJQ�BHTXORF$ ZGPXG[JbJJ$ XGVGKOGIG$ HGVM4$ ZMZ$ XHMDJLG4$ WG[VMDMLJW_$D$ =t?= ?P$ DFZMY$ D$ ]MLFWUJOF$ VLQ$ XMLGPOJZGD$ D$ CDQUT^$ zFPL^E$$wOJ$ JIHMLJ$ XHJPFHOG$ UT$ aF$ HGL_4$ NUG$ XGVMHGNORF$ WTDFOJHR4$ M$UMZaF$$XGVUDFHaVMLJ$`MZU$XMLGPOJNFWUDM$D$CDQUT^$zFPL^4$WLTaM$OMXGPJOMOJFP$ GK$ TDJVFOORY$ NUJPRY$ WDQUROQYE$ ]GVGKORF$ HMKGUR$TXGPQOTUR$D$WLFVT^\JY$MTZbJGOORY$ZMUMLGIMY�$�-$�-,)%&$�"�".&4$>$PMQ$¤²=²$I4$LGU$¦>d$h!,"#("&i#4$ $J^OQ$¤²²t$I4$OGPFH$MTZbJGOM$>§ ¦4$$LGU$¤¦E
!,!"TOPOGRAPHY OF THE HOLY LAND
������ªjª�j4$=tTH CENTURY
At the centre of the composition the Church of the Anastasis
along with its compartments including the mount of Golgotha and
(!&$h,*2"c�").4$3,)5".&.($()$(!&$%&'($(!&$-&+"2*%&$(!-($2)�&,#$(!&$®)%6$�&3*%2!,&4$/)-(".1$-e)�&$(!&$ (,"*53!-.($h!,"#(4$ (!&$5-".$#2&.&$/-.g&+$e6$ (0)$5"%"(-,6$ #-".(#$ -.+$ e&%)04$ (!&$�),5"(").$of the Mother of God and the Life Giving Source, respectively;
additionally large images of the Mother of God of the 36(")%
\/+() surrounded by the twelve apostles, and opposite Christ
wearing the crown of Thorns with the four Evangelists and their
�&,#)."c2-(").#$ ).$ (!&$ #3-.+,&%#d$ (!&$ ,&1"#(&,$ -e)�&$ 2)53)#&+$of cartouches containing images of the life of Christ against a
,&+$e-2g1,)*.+4$".$(!&$2&.(,&$(!&$�-#($�*+1&5&.(4$(!&$*33&,5)#($register with an extended Deisis and fragmentary Old and New
Testament scenes; in the lower part the Nativity of Christ; the
monumental composition of naive but genuine style typical of
3"%1,"5-1&$�-%&#("."-.$-,($)'$(!&$3&,")+4$&�&2*(&+$3,"5-,"%6$".$,&+$and ochre on blue ground
1.#$#%00#)*
+(,"""-.,"""
j)(&#��!&#&$ g".+$ )'$ %-,1&$ 2-.�-#&#$ 0&,&$ &2"-%%6$ 3-".(&+$ ".$ �-%&#(".&$ '),$the pilgrims who visited the Holy Lands, mainly in the 18th and 19th
2&.(*,"&#E$�!&",$3*,3)#&$0-#$#"5"%-,$()$3,&#&.($+-6$#)*�&.",#4$#&,�".1$()$3,)�"+&$&�"+&.2&$)'$(!&$3"%1,"5i#$�"#"($()$�-%&#(".&$-.+$-%#)$'*.2(").".1$-#$,&5".+&,#$ ()$ (!&$)0.&,$)'$!"#$3"%1,"5-1&E$�),$#"5"%-,$0),g#$#&&�$�-$�-,)%&$�"�".&4$>$�-6$¤²=²4$ %)($¦>d$h!,"#("&i#4$ $ �*.&$¤²²t4$ #-%&$>§ ¦4$%)($¤¦
#%
!,#"STS. CONSTANTINE AND ELENA
�����4$hª�h�$=>²²
The founder of the Byzantine Empire and his Mother jointly
supporting the True Cross; both crowned, dressed in ceremonial
garments accessorised with gold and gem encrusted hems
!/#$#%&'0#)*
+0,(""-&,(""
!,#"!"#$ (2"/'2,'!1'5>/6&$ :'/!12/1)/$ )$&5&/2$789:;<4$wBw�w$=>²²$I$
CDE$BGOWUMOUJO4$ GWOGDMUFL_$AJ[MOUJ@WZG@$JPXFHJJ$J$9IG$PMU_$ ;PXFHMUHJbM$ 9LFOM$ W$ GKFJY$ WUGHGO$ XGVVFHaJDM^U$�FWUOG@$ BHFWUE$ «JITHR$ WDQURY$ GKLMNFOR$ D$ XRSORF$bMHWZJF$ GVFaVR4$ HMWSJURF$ VHMIGbFOORPJ$ ZMPFO_QPJd$ JY$IGLGDR$TDFONMOR$ZGHGOMPJE$
!,$"DED#$QHLQHLH@$DHQQH$HOI$OJgSMGHD���fª�jÊ4$=tTH CENTURY
�(#E$ f-,e-,-$ -.+$ �-ee-$ 0&-,".1$ 5).-#("2$ 1-,5&.(#$ 0"(!$3,-6&,$,)3&#$!-.1".1$',)5$(!&",$e&%(#4$�(E$j"2!)%-#$+,&##&+$".$Episcopal vestments, all bearing haloes and attributes of their
station; the selection of the three saints is unusual, however, not
accidental; they are commemorated on three consecutive dates,
¨4$§$-.+$¦$�&2&5e&,$)'$(!&$�,&1),"-.$h-%&.+-,$-.+$=>4$=t$-.+$= $)'$(!&$�*%"-.$h-%&.+-,0%'(#$#/1'?#)*
+!,!""-0,!""
!,$"!""#$"2("2(2@$!2""2$)$/):'52*$9=.'1"'(&0$C98v;<$xÊy4$=t?@$A9B
CDDE$ AMHDMHM$ J$ CMDDMUJ@$ XHFVWUMDLFOR$ D$ PGOMSFWZGP$GKLMNFOJJ$ W$ NFUZMPJ4$ XHJZHFXLFOORPJ$ Z$ JY$ XGQWMPE$ CDE${JZGLM@$J[GKHMaFO$D$FXJWZGXWZGP$GKLMNFOJJE$7GLGDR$UHFY$WDQURY$ TDFONMOR$ OJPKGPd$ ZMaVGPT$ WDQUGPT$ WGXTUWUDTFU$FIG$ WJPDGLE$ ARKGH$ WDQURY$ VLQ$ VMOOG@$ ZGPXG[JbJJ$ DFW_PM$OFGKRNFO4$ OG$ OF$ WLTNMFO�$ JY$ XMPQU_$ WDFHSMFUWQ$ ¨4$ §$ J$ ¦$VFZMKHQ$XG$7HJIGHJMOWZGPT$ZMLFOVMH^$J$=>4$=t$J$= $$VFZMKHQ$XG$ £LJMOWZGPT$ ZMLFOVMH^$ xD$ 8TWWZG@$ ]HMDGWLMDOG@$:FHZDJyE$
#$
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AGJOR?YHJWUJMOF$J[GKHMaFOR$WUGQU$D$OMKFVHFOORY$XGDQ[ZMY$[M$XHFVFLMPJ$IGHGVWZG@$WUFOR$D$LFVQORY$DGVMYE$CLFDM$GVJO$J[$DGJOGD4$OF$DROFWSJ@$PTNFOJQ4$GUHFZMFUWQ$GU$WDGF@$DFHR4$$XGZJVMFU$PTNFOJZGD$ J$ DYGVJU$ D$ UFXLT^$ KMO^4$ [MUGXLFOOT^$T$ KFHFIGD$ G[FHM4$ NUGKR$ WLGPJU_$ DGL^$ DGJOGDE$ {M$ PFWUG$XHFVMUFLQ$ [MWUTXMFU$ WUHMa4$ TDFHGDMDSJ@$ DG$uHJWUM�$ WOQD$ W$WFKQ$ GVFaVT4$ GO$ JWXGDFVTFU$ OGDGGKHFUFOOT^$ DFHT$ TZM[TQ$HTZG@$OM$uHJWUM4$J[GKHMaFOOGIG$DDFHYT4$J$XHJWGFVJOQFUWQ$Z$IHTXXF$PTNFOJZGDE$A$ [MLJURY$ [GLGURP$WDFUGP$OFKFWMY$ $ OMV$IGLGDMPJ$PTNFOJZGD$XMHQU$DFObRE$«JITHR$XLGUOG$J[GKHMaFOR$HQVGP$ VHTI$ W$ VHTIGPE$ ;Y$ LJbM$ DRXGLOFOR$ D$ UFPORY$ UGOMYE$AGLGWR$J$KGHGVR$OMXJWMOR$HM[LJNORPJ$GUUFOZMPJ$$J$JPF^U$HM[LJNOR@$DJVE$$BHMWORF$GVFQOJQ$OFZGUGHRY$J[$PTNFOJZGD$OM$XFHFVOFP$XLMOF$XHJZGDRDM^U$Z$WFKF$DOJPMOJFE$ARWGZJF$XGLQ$JZGOR$DR[GLGNFORE$
!,'"THE HOLY FORTY MARTYRS OF SEBASTIA
GREEK, SECOND HALF OF THE 17TH CENTURY
The soldiers clad in loin cloths, standing in the frozen pond outside
the walled city, to the left a traitor, renouncing the torture and as
such his belief, retreating to the warm bath next to the lake which
was there to tempt the soldiers; however, he was replaced by the
guard next to him; having removed his clothes and professed his
faith, raising his hand to Christ shown in blessing above, he joins
(!&$1,)*3$)'$5-,(6,#d$ 2,)0.#$ '),$ &-2!$).&$/)-(".1$ ".$ (!&$1)%+$#g64$ (!&$c1*,&#$3-2g&+$("1!(%6$ ()1&(!&,4$ (!&",$ '-2&#$ (,-+"(").-%%6$rendered in dark tones, their hair and beards represented in
�-,")*#$2)%)*,#$-.+$#(6%$(!&$,&+$1-,5&.(#$)'$#)5&$)'$(!&$c1*,&#$conspicuous in the foreground, the panel with a raised gilt border
!.'%#$#!"'(#)*
+%&,"""-!","""
#&
!,&"THE ASCENSION OF CHRIST INCLUDING AN IMAGE
OF THE MANDYLION
GREEK, SECOND HALF OF 17TH CENTURY
The Mother of God Orans4$/-.g&+$e6$-.1&%#$-.+$(!&$�3)#(%$in the background the summits of two mounts; the heavenly
realm occupied by Christ seated on a rainbow in a mandorla,
carried by two angels to the heavens, on gold ground; unusually
between the two scenes, an image of the Mandylion
//#$#!&#)*
+(,(""-.,(""
!,&""'3/&!&/)&$ 8()!1'"'$ !$ $ '-(23'7$/&(=:'1"'(/'%'$!,2!2$789:;<4$A~w8�<$]w�wA;{�$=>?IG$A9B�
vGIGPMUFH_$ ¶$ wHMOUM$ D$ GZHTaFOJJ$ MOIFLGD$ J$ MXGWUGLGD$XHFVWUMDLFOM$ OM$ `GOF$ W$ DFHSJOMPJ$ VDTY$ IGHE$ A$ DFHYOF@$NMWUJ$ JZGOR4$ WJPDGLJ[JHT^\F@$ PJH$ IGHOJ@4$ OM$ HMVTIF$DGWWFVMFU$ uHJWUGW4$ [MZL^NFOOR@$ D$ WJQ^\J@$ OJPKE$ $ 9IG$XGVVFHaJDM^U$ VDM$ MOIFLME$ ;ZGOM$ DRXGLOFOM$ XG$ [GLGUGPT$`GOTE${FGKRNORP$ ¬LFPFOUGP$ ZGPXG[JbJJ$ QDLQFUWQ$ GKHM[${FHTZGUDGHOGIG$ CXMWM4$ XGPF\FOOR@$ PFa$ VDTY$ ILMDORY$WbFOE
!,)"THE RELICS OF ST. SPYRIDON
�����4$hª�h�$=¦²²
A case containing the relics of the saint, under a canopy,
&.2%)#&+$".$-$e-%*#(,-+&4$/-.g&+$e6$(0)$0))+&.$2-.+%&!)%+&,#$of strigilated forms; the icon reproducing the arrangement as it
-33&-,#$".$(!&$2!*,2!$+&+"2-(&+$()$�(E$�36,"+).$".$h),'*!0#$#%.#)*2#0"#$#/0'/#)*#34)567348#9:;#<=>*;
+0,!""-&,!""
!,)"7'A)$!"#$!,)().'/2$789:;<4$wBw�w$=¦²²$IEA$ bFOUHF$ J[GKHMaFO$ LMHFb?HFLJZDMHJ@$ W$ PG\MPJ$ WDQUGIG$XGV$ KMLVMYJOGP4$ GIHMaVFOORP$ KMLL^WUHMVG@E$ ]G$ GKF$WUGHGOR$ HMWXGLGaFOR$ VDM$ VFHFDQOORY$ XGVWDFNOJZM$ W$GHOMPFOUML_ORPJ$ SUHJYGGKHM[ORPJ$ XGLGWZMPJE$ ;ZGOM$DGWXHGJ[DGVJU$ TKHMOWUDG$ bFHZDJ4$ XGWDQ\FOOG@$ WDE$CXJHJVGOT$~HJPJ`TOUWZGPT$OM$GE$BGH`TE
#'
!,("A TRIPTYCH WITH THE DORMITION FLANKED BY SELECTED
DHJOED@$ESP$gGMDPI$lJOND$DSMlJON$ESP$HOOmOgJHEJMO�����$xªjª�j$ª���j��y4$=>TH CENTURY
The closed wings showing Archangel Gabriel on a cloud, bowing to worship the
Mother of God; seated opposite, behind a lectern, raising her hands in prayer
0!"%&$#!&$,&-+#d$(!&$®)%6$�3","($+&.+".1$',)5$-e)�&4$3&,#)."c&+$e6$-$+)�&$".$a radiating glory; the background including the image of a town in a mountainous
landscape; the extended triptych showing the Dormition of the Mother of God with
the typical iconography of Christ descending to receive the soul of His Mother,
attended by a mourning crowd, His rayed mandorla$ 2,)0.&+$ e6$ 2-.+%&?e&-,".1$angels, the heavens open to receive the Soul; each spandrel with a cherub; the two
/-.g".1$0".1#$3),(,-6".1$�(#E$j"2!)%-#$-.+$�36,"+).4$e)(!$".$�3"#2)3-%$�&#(5&.(#$bearing the Gospels; the triptych with rich gilded and pierced carving
01#$#(.'.#)*#;$9;47;72#01#$#/%'(#)*#)5BE;7
+0","""-(","""
!,("!:52.&/>$!'$!0&/'*$=!,&/)4$"$':(=?&/))$)3-(2//68$!"4168$)$$'-(23'7$-52%'"&A&/)4$/2$32:(6168$!1"'(:28$789:;<$x;w{;�9CB;9$wC~8wA�y4$=>?@$A9B
CLGaFOORF$ WUDGHZJ$ WZLMVOQ$ XGZM[RDM^U$ MHYMOIFLM$ �JYMJLM4$ XMHQ\FIG$ OM$GKLMZF$ J$ PGLJUDFOOG$ XHFZLGOQ^\FIG$ IGLGDT$ XFHFV$ vGIGHGVJbF@4$ ZGUGHMQ$DGWWFVMFU$ OMXHGUJD$ OFIG$ $ [M$ MOMLGIJFPE$9F$ HTZJ$ DG[VFUR$ D$PGLJUDFd$ W$ OFKFW$OJWYGVJU$CDQUG@$|TY$$D$DJVF$IGLTKQE$${M$[MVOFP$XLMOF$ZGPXG[JbJJ$DJVOF^UWQ$[VMOJQ$IGHGVM4$GIHMaVFOORF$IGHMPJE$8MWXMYOTURF$WUDGHZJ$WZLMVOQ$GUZHRDM^U$WbFOT$¢WXFOJQ$vGIGHGVJbR4$DRXGLOFOOT^$D$UHMVJbJGOOG@$PMOFHF$WG$uHJWUGP4$WXTWZM^\JPWQ$W$OFKFW4$NUGKR$XHJQU_$VTST$¢WGXSF@4$UFLG$ZGUGHG@$GZHTaFOG$UGLXG@$ WZGHKQ\JYE$ �TNM\J@WQ$ WDFUGP$ OJPK$ uHJWUM$ GZHTaM^U$ MOIFLR4$OFWT\JF$ WDFNJ$ D$ HTZMYE$ $ {FKFWM$ W$ YFHTDJPMPJ$ GUDFH[M^UWQ4$ NUGKR$ XHJQU_$VTST$vGIGHGVJbRE$A$VDTY$XHJPRZM^\JY$WUDGHZMY$WZLMVOQ$XHFVWUMDLFOR$WDDE${JZGLM@$J$CXJHJVGO4$GKM$D$FXJWZGXWZGP$GKLMNFOJJ$J$W$9DMOIFLJQPJ$D$HTZMYE$CZLMVFO_$KGIMUG$TZHMSFO$HF[_KG@$J$XG[GLGUG@E
#(
!,*"."&$!1"'(:)$02(!:)8$"(21$|����~;<4$=t?@$A9BAFLJZGLFXORF$ WUDGHZJ$ :MHWZJY$ AHMU4$ DGWYJ\M^\JF$$WDGJP$ XRSORP$ TKHMOWUDGP4$ XMHMPFUHMPJ$ J$ XHFZHMWOG@$WGYHMOOGWU_^E$A$GK\F@$WLGaOGWUJ$GOJ$OMWNJURDM^U$$SFWU_$ZMHUTSF@E$A$WHFVOFP$HQVT$OMYGVJUWQ$WbFOM$vLMIGDF\FOJQ�$D$ZMHUTSF$WLFDM$J[GKHMaFOM$ZGLFOGXHFZLGOFOOMQ$vGIGPMUFH_$D$ ZGOUHMXGWUOGP$ HM[DGHGUF$ TWUHFPLQ^\MQWQ$ OMDWUHFNT$�HYMOIFLT$7MDHJJLT$4$XHFXGVOGWQ\FPT$F@$LJLJ^$D$ZMHUTSF$WXHMDME$ $ A$ NFURHFY$ GWUML_ORY$ ZMHUTSMY$ XHFVWUMDLFOR$FDMOIFLJWURE$ $ AFLJZGLFXOGF$ TKHMOWUDG$ VDFHF@$ WGWUMDLQ^U$HF[ORF$ IHMDJHGDMOORF$ [MDJUZJ$ J$ XG[GLGNFOOMQ$ JLJ$XGWFHFKHFOOR@$ HMWUJUFL_OR@$ GHOMPFOUE$ ]HMDMQ$ VDFH_$ZHFXJUWQ$ OM$ bFOUHML_OG@$ XFHFZLMVJOF$ J$ D$ [MZHRUGP$WGWUGQOJJ$$WPRZMFUWQ$W$LFDG@$VDFH_^E$]FHFZLMVJOM$TZHMSFOM$OMZLMVORPJ$ HF[ORPJ$ LJWU_QPJE$ ~HJ$ DJURF$ XFHFZHTNFOORF$KMLZJ$DFONM^UWQ$FXJWZGXWZG@$PJUHG@E
!,*"A PAIR OF ROYAL DOORS
DALMATIAN, 18TH CENTURY
Impressive in their size, decoration and condition; including six
cartouches the two in the centre showing the Annunciation, where
the kneeling Mother of God on the left, turning in a contrapostal
posture to see Archangel Gabriel presenting her with a lily to the
opposite side; the four surrounding cartouches portraying the four
��-.1&%"#(#d$ (!&$5-1."c2&.($+&2),-(").$)'$(!&$+)),#4$2).#"#(".1$of carved and engraved scrolls and foliage, either gilded or
silvered; the central shaft fastening on the right door, when
closed overlapping with the left one, applied with carved leaves
-.+$-e)�&$(0"#(&+$,)+#$c�&+$".$(!&$#*,5)*.(".1$�3"#2)3-%$2,)0.%&%#$#?1#)*
+?,"""-%","""
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#)
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;ZGOGXJWOMQ$ ZGPXG[JbJQ$ DRWUHGFOM$ DGZHTI$ `JITHR$vGIGHGVJbR4$ DG[LFaM\F@$ D$ bFOUHFE$ 8QVGP$ W$ OF@�PLMVFOFb$uHJWUGW$ D$ QWLQY4$ OMV$ ZGUGHRP$ WZLGOJLJW_$ DGL$ J$ GWFLE$CLFDM$ J[GKHMaFOR$ UHJ$ XTUFSFWUDT^\JY$ DGLYDM$ W$ VMHMPJE$$zM$ OFHGDORPJ$ TWUTXMPJ$ XF\FHR$ XMHQU$ NFURHF$ MOIFLM$ W$8GaVFWUDFOWZG@$ XTUFDGVOG@$ [DF[VG@4$ WLMDQ\JY$ DGXLG\FOJF$uHJWUGDG$ J$ DG[DF\M^\JY$ 8GaVFWUDG$ XMWUTYT$ $ WXHMDME$ $ {M$[MVOFP$ XLMOF$ WJVJU$ ;GWJ`4$ GKTHFDMFPR@$ WGPOFOJQPJ$ J$ W$OFVGDFHJFP$ WLTSM^\J@$ WLGDM$ XHFWUMHFLGIG$ XMWUTYME$ |DF$XHJWLTaOJbR$ GPRDM^U$ OGDGHGaVFOOGIG$ PLMVFObME$ ;Y$GZHTaMFU$ WZMLJWUR@$ XF@[Ma$ WG$ WZTVOG@$ HMWUJUFL_OGWU_^E$;ZGOM$ DRXGLOFOM$ D$ UHMVJbJGOOG@$ PMOFHF$ W$ XHFGKLMVMOJFP$ZHMWORY$J$[FLFORY$UGOGD$OM$GYHJWUGP$`GOFE
!,+"THE NATIVITY OF CHRIST
!"##$%&'(J%+.()K+,(-.&+"!/
!"#$ %&'(&)*+*&,$ &-./,*)#0$ /-&1,0$ +"#$ -#%2*,*,.$ 3.1-#$ &4$ +"#$
L=@01:( =I(M=5'( 61N@( @=( 01:(-0:;4@( 3H;6<( ;6( 9(D96<1:( 9@@16515(
2H( @01(ON( 965(%44'( @=( @01( 31I@( @01(+0:11(L9<;(8;@0( @01;:( <;I@4(
95>96A;6<(@=89:54(@01(A16@:1'(210;65(@01(:9<<15(D=7@0(=I(9(A9>1(
965( 92=>1'( I=7:( 96<134( 95=:;6<( @01( <7;5;6<( 4@9:( 965( 513;>1:;6<(
@01( 6184( =I(-0:;4@P4(Q;:@0( @=( @01( 401B01:5( =6( @01( :;<0@E( ;6( @01(
I=:1<:=765(@01(419@15(G=41B0(4A1B@;A933H(3;4@16;6<(@=(@01(D1449<1(
=I(96(1351:3H(401B01:5(801:194(=BB=4;@1'(@8=(D9;54(8940;6<(@01(
6182=:6($6I96@E(@01(:=ACH(39654A9B1(8;@0(4B9:41(>1<1@9@;=6E(@01(
;D9<1( 1N1A7@15( @:95;@;=6933H'( D9;63H( 8;@0( <:1164( 965( :154( =6(
=A0:1(<:=765
/%'?#$#!?'(#)*
+%(,"""-!","""
#!
!!,"=!,&/)&$-'%'('.)06$8wCC;<4$C989|;{�$=>?IG$A9B�
BGPXG[JbJQ$ WGWHFVGUGNFOM$ DGZHTI$ LGaM$ W$ UFLGP$vGIGHGVJbRE$ ADFHYT4$ XG$ DFHUJZML_OG@$ GWJ4$ J[GKHMaFO$uHJWUGW4$[MZL^NFOOR@$D$PJOVMLFDJVOR@$OJPKE$wZHTaFOOR@$MOIFLMPJ4$ GO$ VFHaJU$ D$ HTZMY$ VTST$ TWGXSF@$ vGIGPMUFHJ$ D$DJVF$ WXFLFOTUGIG$ PLMVFObME$ $ �GaF$ vGIGPMUFHJ$ GKWUTXM^U$MXGWUGLR$ J$ VHTIJF$ TNMWUOJZJ4$ GXLMZJDM^\JF$ WPFHU_$vGIGHGVJbR�$HQVGP$W$ILMDG@$OMYGVJUWQ$WDE$MXE$]FUH4$T$OGI�$WDE$MXE$]MDFLE$ARWGZJF$[VMOJQ$[MXGLOQ^U$`GOE$$A$WMPGP$DFHYT$ZGPXG[JbJJ$ XMHJU$ WFHM`JP$ W$ HMWXHGWUFHURPJ$ ZHRL_QPJE$;ZGOM$ DRXGLOFOM$ D$ OMWR\FOORY$ UGOMY$ W$ XHFGKLMVM^\JPJ$GUUFOZMPJ$ZHMWOGIGE$$�JZJ$OMXJWMOR$XLMD_^$W$XHJPFOFOJFP$GYHR$J$ZGHJNOFDGIG4$J$TWJLFOR$UGOZJPJ$KFLRPJ$GaJDZMPJE
!!,"THE DORMITION OF THE MOTHER OF GOD
RUSSIAN, MIDDLE OF THE 17TH CENTURY
The composition organised around the bier with the corpse of the
Mother of God; on the vertical axis, Christ in an ovoid glory,
/-.g&+$e6$-.1&%#4$!)%+".1$(!&$#)*%$)'$®"#$�)(!&,$".$(!&$'),5$)'$-$swaddled infant; surrounded by the Apostles and other mourners;
-($ !&,$ !&-+$ �(E$ �&(&,4$ -($ !&,$ '&&($ �(E$ �-*%d$ (-%%$ e*"%+".1#$ c%%".1$the background, at the summit a seraph with stretched wings;
executed in saturated colours, predominantly shades of red, the
faces rendered with graded tones of brown and ochre, the features
-22&.(&+$e6$c.&$0!"(&$e,*#!#(,)g&#/%'(#$#!.'?#)*
+%?,"""-!0,"""
#"
!!!"-'%'('.)02$:232/!:24$8wCC;<4$=>?@$A9B
{M$ XFHFVOFP$ XLMOF$ J[GKHMaFOM$ OGDGHGaVFOOMQ4$ XGDJUMQ$XFLFOMPJE$ CLTaMOZM$ WLFDM$ ZMNMFU$ ZGLRKFL_E$ CDE$ �OOM4$GZHTaFOOMQ$UHFPQ$XHJWLTaOJbMPJ4$D$[MVTPNJDGWUJ$WPGUHJU$OM$ VGN_E$ A$ VML_OFP$ XHMDGP$ TILT4$ WG$ DOFSOF@$ WUGHGOR$ WUFO$VGPM4$ $ XHFVWUMDLFO$ WDE$ ;GMZJP4$ XGLTNM^\J@$ DFWU_$ GU$MOIFLM$J$GU[RDM^\J@WQ$FPT$PGLJUDFOORP$aFWUGPE${M$`GOF$J[GKHMaFOR$WZTXG$TZHMSFOORF$ [VMOJQE$CPFLG$DRXGLOFOOMQ$ZGPG[JbJQ$ W$ NMWURP$ JWXGL_[GDMOJFP$ VGXGLOJUFL_ORY$ZHMWOGIG$J$[FLFOGIG$UGOGD4$XHGJ[DGVQ\JY$WJL_OGF$[HJUFL_OGF$DXFNMULFOJFE
!!!"THE MOTHER OF GOD OF KAZAN
RUSSIAN, 17TH CENTURY
�!)0.$e*#(?%&.1(!4$(!&$h!,"#($h!"%+$#(-.+".1$".$',).($)'$!&,$0"(!$one hand raised in benediction and the other covered by His
himation, rendered traditionally, the expressive faces executed
in deep brown tones, the rounded areas conveyed through bright
shading, the garments with intense gilt striations, the maphorion
of the Mother of God further ornamented with stars on the
'),&!&-+$-.+$#!)*%+&,#4$(!&$!-%)&#$+&c.&+$e6$-$#".1%&$c.&$".2"#&+$line on gesso background
/%'.#$#!.'/#)*
+!","""-!(,"""
##
!!#":)&"'+,&9&(!:24$ ):'/2$ =!,&/)4$ ,(&!"#$-'%'('.)06$8wCC;<4$]98A�<$]w�wA;{�$=>?IG$A9B�
vGIGPMUFH_$XGVVFHaJDMFU$CROM$TZM[TQ$OM${FIG$PGLQ\FPTWQE$wOM$DGWWFVMFU$OM$PMWWJDOGP$VFHFDQOOGP$UHGOF$W$XGVTSZMPJ$J$ XGVOGaJFPE$ ~HGO$ TZHMSFO$ D$ UFYOJZF$ YHJWGIHM`JJE$CUHGFOJF$DOJ[T$WJPDGLJ[JHTFU$BJFDG?]FNFHWZJ@$PGOMWURH_E$vGIGPMUFHJ$ PGLJUDFOOG$ XHFVWUGQU$ GWOGDMUFLJ$ PGOMWURHQ$WDQURF$ XHFXGVGKORF$ �OUGOJ@$ J$ FIG$ TNFOJZ$ «FGVGWJ@E$ wKM$VFHaMU$WDJUZJ$D$HTZMY$J$XHGWUJHM^U$HTZJ$D$PGLJUDFE$7GLGDR$XHFXGVGKORY$J$vGIGHGVJbR$[MZL^NFOR$D$[FLFORF$OJPKRE$;Y$GVFQOJQ$ DRXGLOFOR$ D$ OMWR\FOORY$ UGOMY4$ WZLMVZJ$ ZGUGHRY$MZbFOUJHGDMOR$W$XGPG\_^$KFLRY$SUHJYGDE
!!#"THE MOTHER OF GOD OF THE KIEVAN CAVES
RUSSIAN, FIRST HALF OF THE 17TH CENTURY
Holding her Son in a manner of presentation, the Mother of
God seated on a substantial, wooden throne with chrysography,
complemented by cushions and a suppedaneum, the structures
e&%)0$-%%*+".1$ ()$ (!&$5).-#(&,6$)'$ (!&$h-�&#$ ".$�"&�4$/-.g&+$e6$�(E$�.(!).6$-.+$!"#$+"#2"3%&$�(E$�!&)+)#"*#4$e)(!$+"#3%-6".1$#2,)%%#4$ -.+$ &�(&.+".1$ (!&",$ !-.+#$ ".$ #*33%"2-(").4$ -%%$ c1*,&#$bearing green haloes, the garments rendered in saturated colours,
the folds shaped by white accents
/%'!#$#!.#)*
+%(,"""-!","""
$%%
!!$"('?.&!1"'$-'%'('.)06$789:;<4$wBw�w$=>²²$IE$
{M$ XFHFVOFP$ XLMOF$ J[GKHMaFOM$ OGDGHGaVFOOMQ4$ XGDJUMQ$XFLFOMPJE$ CLTaMOZM$ WLFDM$ ZMNMFU$ ZGLRKFL_E$ CDE$ �OOM4$GZHTaFOOMQ$UHFPQ$XHJWLTaOJbMPJ4$D$[MVTPNJDGWUJ$WPGUHJU$OM$ VGN_E$ A$ VML_OFP$ XHMDGP$ TILT4$ WG$ DOFSOF@$ WUGHGOR$ WUFO$VGPM4$ $ XHFVWUMDLFO$ WDE$ ;GMZJP4$ XGLTNM^\J@$ DFWU_$ GU$MOIFLM$J$GU[RDM^\J@WQ$FPT$PGLJUDFOORP$aFWUGPE${M$`GOF$J[GKHMaFOR$WZTXG$TZHMSFOORF$ [VMOJQE$CPFLG$DRXGLOFOOMQ$ZGPG[JbJQ$ W$ NMWURP$ JWXGL_[GDMOJFP$ VGXGLOJUFL_ORY$ZHMWOGIG$J$[FLFOGIG$UGOGD4$XHGJ[DGVQ\JY$WJL_OGF$[HJUFL_OGF$DXFNMULFOJFE
!!$"THE BIRTH OF THE MOTHER OF GOD
�����4$hª�h�$=>²²
In the foreground, the newborn baby swaddled, a maid stroking
(!&$ 2,-+%&4$ ()$ (!&$ %&'(4$ �(E$�..-$ %))g".1$ -($ !&,$ +-*1!(&,$0"(!$ -$pensive expression, three girls taking care of her; in the far right,
�(E$�)-2!"5$#!)0.$)*(#"+&$(!&$0-%%#$)'$(!&$!)*#&4$,&2&"�".1$(!&$news from an angel and gesturing in prayer, the background
covered by buildings with sparse decoration; the composition
,&.+&,&+$ e)%+%64$ (!&$ ',&�*&.($ *#&$ )'$ 2)53%&5&.(-,6$ ,&+#$ -.+$greens creating a powerful visual impact
/%#$#!?#)*
+(,"""-.,"""
$%$
!!'"2,'!1'5$,2"&5789:;<4$=>?@$A9B
�XGWUGL$ DGWWFVMFU$ OM$ DFLJZGLFXOGP$ PHMPGHOGP$ UHGOF$ W$XGVOGaJFP$ J4$ VFHaM$ D$ HTZMY$ 9DMOIFLJF4$ KLMIGWLGDLQFU$PGLQ\FIGWQE$ �JZ$ WDQUGIG$ W$ ZGHGUZG@$ ZTHNMDG@$ KGHGVG@$DRXGLOFO$W$KGL_SJP$PMWUFHWUDGP$J$GaJDLFO$XHGKFLMPJE$9IG$YJUGO$GKDFVFO$NFHORP$ZGOUTHGPE$$7JPMUJ@$$OMXJWMO$aFLURPd$VHMXJHT^\JFWQ$WZLMVZJ$GKG[OMNFOR$GUUFOZMPJ$GYHR$J$KFLRY$UGOGD$XG$[GLGUGPT$`GOTE
!!'"THE APOSTLE PAUL
GREEK, 17TH CENTURY
Seated on an impressive throne structured of various kinds
of marble, with a footrest, the saint blessing and holding the
Gospels; somewhat bold, with a short curly beard, his mature
features executed masterly, emphasised with white brushstrokes;
his chiton outlined in black, the himation in yellow, its folds
rendered in grading shades of ochre to white, on gold background
0"#$#!1#)*
+1,"""-%!,"""
!!&"!""#$ 82(527,)*$)$!1)5)2/$!'$!0&/27)$)8$7=9&/)9&!1"2$789:;<4$wBw�w$=>²²$IE
A$ DFHYOFP$ HFIJWUHF$ XHFVWUMDLFOR$ `JITHR$ VDTY$ WDQURY4$DXJWMOORF$D$UHFYLGXMWUORF$MHZJ$J$GUVFLFOORF$VHTI$GU$VHTIM$ZGHJO`WZG@$ZGLGOOG@E$$ JDGXJW_$XG$ZHMQP$MHGZ$J$PFaVT$OJPJ$JPJUJHTFU$ HF[_KT$ XG$ VFHFDTE$ CDE$ uMHLMPXJ@$ OJWXGWRLMFU$KLMIGWLGDFOJF$VFHaM$D$HTZMY$9DMOIFLJFE$CDE$CUJLJMO$VFHaJU$NFUZJ$ J$ WXFLFOTUMIG$ PLMVFObME$ ~GHaFWUDFOOGF$ DRHMaFOJF$LJZGD$ WDQURY$ VGWUJIMFUWQ$ OMLGaFOJFP$ ZGHJNOFDRY$ UGOGD$HM[ORY$ GUUFOZGDE$ $ |LJOORF$ KGHGVR$ WDQURY$ XHGXJWMOR$ W$XGPG\_^$ XLGUORY$ KFLRY$ KGHG[VGZE$ $ ;Y$ OJPKR$ TZHMSFOR$UJWOFOJFPE$ A$ OJaOFP$ HFIJWUHF$ JZGOR$ XHFVWUMDLFOR$ VDF$WbFOR$ PTNFOJNFWUDM$ J$ ZM[OJ$ WDE$ uMHLMPXJQE$ BGPXG[JbJ^$GKHMPLQ^U$ DRWGZJF$ XGLQ$ W$ DJUG@$ XFHFZHTNFOOG@$ HF[_KG@$ D$DJVF$DFHFDZJE
!!&"STS. HARALAMBOS AND STYLIANOS WITH SCENES
OF FORMER’S MARTYRDOM
�����4$hª�h�$=>²²
�!&$ *33&,$ ,&1"#(&,$ +"#3%-6".1$ (!&$ (0)$ c1*,&#$ ".$ (,"%)e&+$ -,2!$settings, the painting of the spandrels emulating wood carving,
(!&$2)%*5.$".$(!&$2&.(,&$0"(!$-$h),".(!"-.$2-3"(-%d$�(E$®-,-%-5e)#$#"1.".1$".$e&.&+"2(").$-.+$e&-,".1$-$�)#3&%$e))g4$�(E$�(6%"-.)#$carrying prayer beads and holding a swaddled infant, their solemn
features rendered in stylised shades of brown, complemented by
long beards rendered with dense white striations, their haloes
'),5&+$e6$#("33%&+$+&2),-(").d$#2&.&#$)'$�(E$®-,-%-5e)#i$(),5&.($and execution in the register below, the entire composition
#*,,)*.+&+$e6$-$,-"#&+$1"%($e),+&,$)'$,)3&?(0"#($+&#"1.00'(#$#/.'(#)*
+%","""-%(,"""
!!)"!"#$)'2//$3521'=!1$B8;~4$=¦?@$A9B
;ZGOM$ XHFVWUMDLQFU$ WGKG@$ XGIHTVOGF$ `HGOUML_OGF$J[GKHMaFOJF$ WDE$ ;GMOOM$ zLMUGTWUM$ �$ GVOGIG$ J[$ HMOOJY$GUbGD$:FHZDJE$ $�JZ$ WUMHbM$ OMXJWMO$ UGOZJPJ4$ J[RWZMOORPJ$PM[ZMPJE$ zMVTPNJDR@$ D[ILQV$ WDQUGIG$ GUDFVFO$ D$ WUGHGOT$ GU$[HJUFLQE$|DM$ZHFWUM$XHGYGVQU$T[GHGP$XG$FIG$GPG`GHTE${JPK$TZHMSFO$ UJWOFORPJ$ HMWUJUFL_ORPJ$ [MDJUZMPJ4$ JVT\JPJ$XG$ [GLGUGPT$ `GOTE$ ;ZGOM$ GXHMDLFOM$ D$ [GLGNFOT^$ HF[OT^$VFHFDQOOT^$HMPTE
!!)"ST. CHRYSOSTOM
h����j4$=¦TH CENTURY
The bust of the Church Father shown frontal, his elderly features
3-".(&+$ ".$ ,&c.&5&.(4$ %))g".1$ -0-6$ ',)5$ (!&$ e&!)%+&,$ 0"(!$ -$meditative expression, two prominent crosses decorating his
omophorion, his halo punched with foliate scrolls on gold ground,
presented in a carved and gilt wooden frame
!/'("#$#%.'?#)*2#34)567348#9:;#<=>*;#//#$#!&#)*
+!(,"""-/(,"""
$%(
!!("7'/=7&/125>/24$ ):'/2$ !$ '-(23'7$ !"#$/):'524+9=.'1"'(02$789:;<4$|�~;8wA�{w$=>¨¤$IE
BHTXOMQ$ ZGPXG[JbJQ4$ `HGOUML_OG$ XHFVWUMDLQ^\MQ$ WDE${JZGLMQ?$ �TVGUDGHbM4$ VFHaM\FIG$ GUZHRUGF$ 9DMOIFLJF$ J$OJWXGWRLM^\FIG$ KLMIGWLGDFOJFE$ CDQUJUFL_$ DGWWFVMFU$ OM$DFLJZGLFXOGP$ VFHFDQOOGP$ UHGOF$ WG$ WXJOZG@4$ TZHMSFOOG@$HF[ORP$HMWUJUFL_ORP$GHOMPFOUGP4$ZGUGHR@$XFHFZLJZMFUWQ$W$DRSJURP$TZHMSFOJFP$OM$DMLJZMYE$CDE${JZGLM@$XHFVWUMDLFO$D$ FXJWZGXWZGP$ GKLMNFOJJE$ $ {M$ FIG$ FXJWZGXWZG@$ XMLJbF$DRSJU$ GKHM[$ CXMWM$ ;PPMOTJLME$ A$ DFHYOF@$ NMWUJ$ JZGOR$XG$ GKF$ WUGHGOR$ GU$ LJZM$ WDQUGIG$ J[GKHMaFOR$ uHJWUGW$ J$vGIGHGVJbM4$[MZL^NFOORF$D$ZHTIJ$VDG@OG@$WLMDR4$OMXJWMOORF$D$ NFHFVT^\JYWQ$ [FLFORY$ J$ ZHMWORY$ UGOMYE$ uHJWUGW$XHFXGVOGWJU$ WDE$ {JZGLM^$ 9DMOIFLJF4$ M$ vGIGPMUFH_�FXJUHMYJL_E$ �JZ$ WDQUGIG$ DRXGLOFO$ WPFLRPJ$ PM[ZMPJE$9IG$ WFVRF$ DGLGWR$ J$ ZGHGUZMQ$ KGHGVM$ GKG[OMNFOR$ KFLRPJ$KGHG[VZMPJE$ A$ OJaOF@$ NMWUJ$ JZGOR$ JPFFUWQ$ VMHWUDFOOMQ$OMVXJW_�$Ì$Íθ¹Ä¼$ϺÇ$Ⱥ»ÅºÇ$ϺÇ$rƺ»$оÑÆÏÒÉ$lÈÒÓºÇ$ÔÁ¸¹¸Ðº»4$ ÄÕ¼$ϺÇ$½ÒɺÇ$¾ÑÕ$ÖÀÁºÉ$½ÄкÅÂϹ¾$¶$=>¨¤�$x�GLJUDM$HMKM$vGaJFIG$ZMXJUMOM$�VMPGWM$uHJWJZGWM4$WROM${MOGWM$J[$WFLFOJQ${JZGLJbM$¶$=>¨¤$IEy
!!("A MONUMENTAL ICON OF ST. NICHOLAS
�����4$�����$=>¨¤
�.$"2).$)'$%-,1&$+"5&.#").#4$3),(,-6".1$�(E$j"2!)%-#$',).(-%4$".$blessing, the open Gospels on his lap, seated on a sumptuous,
wooden throne with curved back, intriguingly carved in foliate
forms, complemented by two bolsters applied with embroidered
decoration; the saints wearing Episcopal vestments, his
\R(*")&+(")$#!)0".1$-.$"5-1&$)'$h!,"#($�55-.*&%d$/-.g&+$e6$(!&$ !-%'?%&.1(!$ c1*,&#$ )'$ h!,"#($ -.+$ ®"#$�)(!&,4$ e)(!$ -1-".#($double glories of alternate colours; Christ presenting the saint
0"(!$(!&$f))g$)'$�)#3&%#4$®"#$�)(!&,$)''&,".1$�(E$j"2!)%-#$(!&$omophorion; the face of the saint rendered with bold lines and his
1,&6$!-",$-.+$#!),($e&-,+$+&c.&+$e6$0!"(&$#(,"-(").#d$(!&$+&+"2-(").$).$ (!&$ %)0&,$3-,($ ,&2),+".1$ (!&$ "2).i#$ 2)55"##").�$ �Ì$Íθ¹Ä¼$ϺÇ$Ⱥ»ÅºÇ$ϺÇ$rƺ»$оÑÆÏÒÉ$lÈÒÓºÇ$ÔÁ¸¹¸Ðº»4$ÄÕ¼$ϺÇ$½ÒɺÇ$¾ÑÕ$ÖÀÁºÉ$½ÄкÅÂϹ¾$¶$=>¨¤�$xThe supplication of the
/-#9&)+%";%Y"$%'&R+&()%3$&B"/%Q,#(/(8"/:%+,-%/")%";%F&)"/%;#"B%
+,-%9(00&*-%";%F(8"0(+/&%�%HSW~)
?('(#$#&"#)*
+0","""-(","""
$%)
$%*
!!*"!1(2i/6*$!=.$8wCC;<4$=t?@$A9B
CPRWLGDRP$ bFOUHGP$ ZGPXG[JbJJ$ QDLQFUWQ$ }·UJPMWJQ�$JLJ$ }~HGO$ ¢IGUGDMOOR@�$ W$ GHTVJQPJ$ CUHMWUF@4$ ZGUGHR@$GZHTaM^U$VDM$MOIFLM4$DWUHFNM^\JF$uHJWUM?CTVJ^E$$uHJWUGW$J[GKHMaFO$WYGVQ\JP$W$OFKFW$$D$WJQOJJ$WLMDR$J$D$GZHTaFOJJ$vGIGPMUFHJ$J$;GMOOM$]HFVUFNJE$$]FHFV${JP$WUGQU$D$PGLFOJJ$ZGLFOGXHFZLGOFOORF$�VMP$J$9DME$A$WMPGP$DFHYOFP$HFIJWUHF4$[MZL^NFOOR@$ D$ ZHTILR@$ OJPK4$ DGWWFVMFU$ AFUYJ@$ |FO_PJE$CLFDM$GU${FIG$XHFVWUMDLFO$OFKFWOR@$XJHd$WXHMDM$vGI?$wUFb$OMWUMDLQFU$ vGIM?CROME$ A$ bFOUHF$ ZGPXG[JbJJ$ HQVMPJ$ WUGQU$MXGWUGLR$ J$ WDQURF4$ HMWXGLGaFOORF$ WGILMWOG$ JFHMHYJJE$AOJ[T$ XGV$ ·UJPMWJF@$ HM[PF\FOR$ MXGZMLJXUJNFWZJF$WJPDGLR$ FDMOIFLJWUGDE$ A$ bFOUHF$ J[DJDMQW_$ XGL[FU$ [PF@4$WJDGLJ[JHT^\J@$IHFY$J$VGWUJIM^\J@$WbFO$W$JYGKHMaFOJFP$MVM$D$OJaOFP$XHMDGP$TILTE$$A$OJaOFP$LFDGP$TILT$J[GKHMaFOR$DFUYG[MDFUORF$XMUHJMHYJ$J$�GOG$�DHMMPGDGE
!!*"THE LAST JUDGEMENT
RUSSIAN, 18TH CENTURY
�!&$ ')2*#$ )'$ (!&$ 2)53)#"(").$ e&".1$ (!&$ ��,&3-,&+$ �!,).&�$ ".$(!&$2&.(,&$)'$(!&$3-.&%4$".2%*+".1$(!&$ª.#(,*5&.(#$)'$(!&$�-##").4$/-.g&+$ e6$ (0)$�.1&%#4$ ,&-+6$ ()$ ,&2&"�&$ h!,"#($ (!&$ �*+1&d$ (!&$latter shown above, descending from heavens in a circular
1%),64$ /-.g&+$ e6$ ®"#$ �)(!&,$ -.+$ �)!.$ (!&$ f-3("#(4$ g.&&%".1$".$ ',).($ )'$ ®"5$ (!&$ �),&'-(!&,#$�+-5$ -.+$ ��&4$ -%%$ c1*,&#$ ".$supplication; on the uppermost register, the Ancient of the Days
".$-$2",2*%-,$5-.+),%-4$()$(!&$%&'($-$2&%&#("-%$e-.�*&(4$()$(!&$,"1!($the Father instructing His Son; in the middle of the icon groups
of the apostles and other saints arranged in tiers according to
(!&",$!"&,-,2!6d$ (!&$-,&-$e&%)0$(!&$��,&3-,-(").$)'$ (!&$�!,).&�$".2%*+".1$ (!&$ -3)2-%63("2$ 3&,#)."c2-(").#$ )'$ (!&$��-.1&%"#(#4$ -$large serpent with rings each representing a human sin; at the
%)0&#($ ,&1"#(&,$ ()$ (!&$,"1!($ (!&$%+$�&#(-5&.($�-(,"-,2!#$-.+$ ()$the right scenes from Hell
/?'(#$#!?#)*
+?,"""-%!,"""
$%!
$%"
!!+"-'%'!5=?&-/6&$()36$Vf&5'/>b$)3$:(2!/'%'$-2(8212@$ (2!i)1'%'$ 3'5'1'*$ /)1>B#$/2$ !,)/&$ "6i)1$ '-(23$ !$ (23"&(/=167$.&)!)!'7$8wCC;<4$=¦?@$A9B$
vGIGWLTaFKORF$ HJ[R$ J[$ KMHYMUM$ TZHMSFOR$ DRSJURP$GHOMPFOUGP$XG$XLFNMPE${M$WXJOF4$OMXGVGKJF$XHQPGTIGL_OGIG$\JUM4$XGPF\FO$HM[DFHOTUR@$VFJWJW�$uHJWUGW4$DGWWFVM^\J@$OM$ UHGOF$ D$ GZHTaFOJJ$ `JITH$ VDTY$ MOIFLGD4$ DOJPMFU$vGIGPMUFHJ$ J$ ;GMOOT$ ]HFVUFNF4$ [M$ ZGUGHRPJ$ WUGQU$ XG$NFUDFHG$WDQURYE$$9\F$VDGF$WDQURY4$XHFXE$�OUGOJ@$J$WDE$;GMOO$vGIGWLGD4$ J[GKHMaFOR$ XG$ GKF$ WUGHGOR$ OM$ DGHGUF$ HQVGP$ W$[MWUFaZMPJE$ «JITHR$ WDQURY$ J$ JY$ GKLMNFOJQ$ DRXGLOFOR$WFHFKHQOG@$J$KFLG@$OJU_^$W$[GLGURPJ$DZHMXLFOJQPJE${JPKR$HMWSJUR$ [GLGUGPd$ LJZJ$ XG[OMPFOFOR$ NFHORPE$ {MVXJWJ4$JVFOUJ`JbJHT^\JF$WDQURY4$DRXGLOFOR$KFLG@$J$WFHFKHQOG@$OJUQPJE$ :DFUGNOMQ$ UFW_PM$ XHGYGVJU$ ZM@PG@$ XG$ HJ[F4$ ZMZ$KR$GKHMPLQQ$DW^$ZGPXG[JbJ^E$8QVGP$W$ZHMFP$HJ[R$DRSJUM$vGIGPMUFH_?wHMOUM$xPGLQ\MQWQyE$8J[R$WZHGFOR$J[$ZHMWOGIG$KMHYMUM$J$GKSJUR$VFZGHMUJDORPJ$$WUFaZMPJ4$GKHM[T^\JPJ$[GLGURF$J$WFHFKHQORF$bDFUGNORF$T[GHR
!!+"H$ LPI$ FPGFPE@$ PggGPDJHDEJgHG$ gMUP$PKQLMJIPLPI$ lJES$ NMGI$ ESLPHIe$ ESP$ QHgT$EMBROIDERED WITH AN EXTENDED DEISIS
����ª�j4$=¦TH$h�j����Ê
Ornamented across the shoulders with a rectangular shield of
raised, embroidered laid work displaying an extended Deisis
0!&,&$(!&$&.(!,).&+$h!,"#($-((&.+&+$e6$(0)$-.1&%#4$"#$/-.g&+$e6$!"#$�)(!&,$-.+$ �)!.$ (!&$f-3("#(4$ &-2!$ ')%%)0&+$e6$ ')*,$ #-".(#d$(0)$5),&$#-".(#4$�.().6$-.+$�)!.$(!&$�!&)%)1"-.4$-33&-,".1$).$the sides of the neckline, shown at the front when the cope is
'-#(&.&+4$(!&$c1*,&#$-.+$(!&",$�&#(5&.(#$2)53)#&+$)'$#"%�&,$-.+$white thread with gold details on the halos, the facial features
delineated in black, the identifying inscriptions above stitched in
#"%�&,$-.+$0!"(&4$-$/),-%$e-.+$#*,,)*.+".1$(!&$&.(",&$2)53)#"(").4$a further embroidery of the Mother of God Orans on the lower
centre of the garment, the entire cope made of red velvet and
(,"55&+$0"(!$-$#(&5$#("(2!$)'$1)%+$-.+$#"%�&,$/),-%$3-((&,.#%/&#$#%.&#)*
+!,"""-/,"""
detail
$%#
$$%
$$$
!#,"A PORCELAIN EASTER EGG
����ª�j4$hª�h�$=t²²Representing the Resurrection of Christ; an angel holding the tomb slab, the
three guards struck by the event fallen on the ground; the gold pattern on the
e-2g$#!)0".1$(!&$h!-%"2&$/-.g&+$e6$(0)$2!&,*e#4$).$0!"(&$1,)*.+.'?#)*#:38:
+%,(""-!,"""
!##"A PORCELAIN EASTER EGG
RUSSIAN, 19TH CENTURY
�!&$,)e*#($c1*,&$)'$h!,"#($0"(!$-$,&+$2!"().$+)5".-(".1$(!&$"5-1&d$()$(!&$%&'($-.$angel bearing the marble slab, to the right a fully armed soldier; the reverse in
1)%+4$#!)0".1$(!&$h,)##$/-.g&+$e6$(!&$�)#3&%$-.+$(!&$�-e%&(#$)'$(!&$%-01'(#)*#:38:
+!,(""-/,(""
!##"f2(f'('"'&$,2!825>/'&$4*0'8wCC;<4$= ?@$A9B
]LGUOMQ$ `JITHM$ uHJWUM$ D$ ZHMWOGP$ YJUGOF$ XHFGKLMVMFU$ D$ ZGPXG[JbJJE$CLFDM$ GU$ OFIG$ ¶$ MOIFL4$ XGVVFHaJDM^\J@$ XLJUT$ IHGKOJbR4$ WXHMDM$ ¶$DGGHTaFOOR@$LFIJGOFHE$C$GKHMUOG@$WUGHGOR$OM$[GLGUGP$`GOF$J[GKHMaFO$BHFWU$W$9DMOIFLJFP$J$CZHJaMLQPJ$zMXGDFVF@E
!#!"f2(f'('"'&$,2!825>/'&$4*0'8wCC;<4$= ?@$A9B
]G$ WHMDOFOJ^$ W$ XHFVRVT\JP$ VMOOR@$ LGU$ WGVFHaJU$ LJS_$ GWOGDOT^$WZTXT^$JZGOGIHM`J^$WGKRUJQ�$uHJWUGW$XMHJU4$DGWWUMD$J[$IHGKOJbRd$MOIFL$XGVVFHaJDMFU$ IHGKGDT^$ XLJUTd$ XG$ VHTIT^$ WUGHGOT$ GU$ MOIFLM$ J[GKHMaFO$LFIJGOFHE$ C$ GKHMUOG@$ WUGHGOR$ Q@bG$ DRZHMSFOG$ ZJOGDMH_^4$ XG$ ZGUGHG@$[GLGURPJ$KTZDMPJ$XHGYGVJU$XMWYML_OGF$XHJDFUWUDJF$}uHJWUGW$AGWZHFWF��
!#,"f2(f'('"'&$,2!825>/'&$4*0'('!!)4@$':'5'$WY__$s#
C$LJbFDG@$ WUGHGOR$ Q@bM$ XHFVWUMDLFOM$ WbFOM$AGWZHFWFOJQ$uHJWUM�$ MOIFL$XGVVFHaJDMFU$XLJUT$IHGKOJbRd$UHGF$WUHMaF@$D$J[TPLFOJJ$XMVM^U$OM[FP_E$C$ GKHMUOG@$ WUGHGOR$ OM$ KFLGP$ `GOF$ W$ [GLGUGPJ$ T[GHMPJ$ J[GKHMaFOM$9DYMHJWUJNFWZMQ$�MSM$W$VDTPQ$YFHTDJPMPJE
!#!"A PORCELAIN EASTER EGG
RUSSIAN, 19TH CENTURY
In comparison to the previous lot, this one is limited to the most basic iconographic
&%&5&.(#d$h!,"#($/)-(".1$-e)�&$(!&$#-,2)3!-1*#4$-.$-.1&%$#*33),(".1$(!&$#().&$and opposite a guard; the back of the Egg in cinnabar inscribed in Cyrillic,
Christ is Risen
?#)*#:38:
+!,"""-/,"""
$$&
!#'"A PODEA SHOWING THE MOTHER OF GOD OF THE
SIGN
RUSSIAN, 17TH$h�j����Ê
The central section made of embroidered laid work of gold, silver,
)''?0!"(&$-.+$1,&&.$(!,&-+#4$(!&$)*(%".&#$)'$(!&$c1*,&#$-.+$'-2"-%$details in black, framed by blue and silver brocade fabric
0(#$#0('!#)*
+1""-%,%""
j)(&�A podea is a veil made to hang directly at the foot of an icon, often
+*,".1$ &22%&#"-#("2-%$ 3,)2&##").#E$ ª($ "#$ &5e,)"+&,&+$ 0"(!$ ,&%"1")*#$#2&.&#$ ),$ "5-1&#$ )'$ #-".(#4$ ".2%*+".1$ %"(*,1"2-%$0,"(".1E$�!&$ 3)+&-$ !-#$a complementary role to the icon, which increasingly developed to a
sophisticated level according to its own representation and interaction
0"(!$(!&$"2).i#$#*e�&2(E
!#'""6i)16*$ ,':('"$ !$ '-(23'7$ -'%'('.)06$;3/27&/)&<$ "$ ':(=?&/))$ 8&(=")7'"$ )$!&(2f)7'"$8wCC;<4$=>?@$A9B$
A$ bFOUHF$ XFLFOR$ ILMV_^$ DRSJU$ GKHM[$ vGIGHGVJbR$}zOMPFOJF�$ W$ XHJPFOFOJFP$ [GLGURY4$ WFHFKHQORY4$ KFLRY$ J$[FLFORY$OJUF@E$BGOUTHR$`JITH$J$LJZGD$DRXGLOFOR$NFHORPE$]FLFOR$XHJZHFXLFOR$Z$VGWZFE]HJPFNMOJF�]GVGKORF$XFLFOR$xD$7HFbJJ$??$3)+&-y$XHFVWUMDLQ^U$WGKG@$XGVDFWOG@$XLMU$ Z$ JZGOMP$ xZMZ$ XHMDJLG4$ D$ OJaOFP$ HQVT$ JZGOGWUMWM$ JLJ$ GWGKG$NUJPRP$ GKHM[MPy$ J$ TNMWUDT^U$ D$ KGIGWLTaFKORY$ XHGbFWWJQYE$ BMZ$XHMDJLG4$ XGVGKORF$ XFLFOR$ HMWSJUR$ HFLJIJG[ORPJ$ WbFOMPJ$ JLJ$GKHM[MPJ$ WDQURY$ J$ OFHFVZG$ DZL^NM^U$ J$ LJUTHIJNFWZJF$ UFZWURE$]GVDFWORF$ XFLFOR$ DRXGLOQ^U$ DWXGPGIMUFL_OT^$ `TOZbJ^$ XG$GUOGSFOJ^$ Z$ JZGOFE$ ;Y$ XHJPFOFOJF$ XHFVWUMDLQFU$ WGKG@$ DFW_PM$WLGaOT^4$ J[G\HFOOT^$ XHMZUJZT4$ XGWZGL_ZT$ ZMaVMQ$ XFLFOM$VGLaOM$ WGGUDFUWUDGDMU_$ WUHGIG$ GXHFVFLFOOG@$ JZGOF$ J$ W^aFUT4$J[GKHMaFOOGPT$OM$OF@E
!#$"A PORTABLE TRIPTYCH WITH THE PROTECTIVE
VEIL OF THE MOTHER OF GOD
����ª�j4$ ����$ �$ �� �¯ªh®$ �ª����¯$ x�����$�ª���¯y4$��h°4$= ²t?= =¤
Enclosing three painted enamel plates; the central one showing
(!&$ �)(!&,$ )'$ �)+$ 2-,,6".1$ !&,$ 5",-2*%)*#$ �&"%4$ (!&$ /-.g".1$).&#$0"(!$2!&,*e#$".$-+),-(").d$#*,,)*.+&+$e6$2%)"#)..µ$&.-5&%$foliafe; the closed wings and ogee upper part etched with stylised
3-((&,.#4$-$2,)##$0"(!$(,"%)e&$c."-%#4$'-#(&.".1$(!&$(0)$0".1#1#$#%%'&#)*#;$9;47;7
+%,(""-!,(""
!#$",&(&/'!/'*$ !:52.&/>$ !$ '-(23'7$ ,':('"2$,(&!"#$-'%'('.)06$"$':(=?&/))$8&(=")7'"$8wCC;<4$ B�9¡�w$ ��C~98�$ ]E$ �;�£BwA�$ x]9~8$�;�£BwAy$�wCBA�4$= ²t?= =¤$IE
closed
]%i_KtbllKj%]fab
124
$$'
!#&"THE MOTHER OF GOD OF KAZAN WITH A SILVER-
GILT AND ENAMEL OKLAD IN A KYOT
����ª�j4$�����i�$����$��$ªj$h��ª��ªh4$��h°4$= ²t?=>
The faces depicted realistically in mild shades conveying a calm
&�3,&##").4$ (!&$ #"%�&,?1"%($ )g%-+$ &.1,-�&+$ 0"(!$ +&2),-(").#4$5),&$.)(-e%6$(!&$�,&&g?g&6$5)("'$,*..".1$-%).1$(!&$!&5$)'$(!&$Mother of God’s maphorion and the stylised undulations and
/)0&,?e*+#$).$(!&$,-"#&+$e),+&,4$(!&$2*(?)*($!-%)&#$0"(!$%-2&+$,"5#4$5-+&$)'$#!-+&+$2%)"#)..µ$&.-5&%$ ".$-$�-,"&(6$)'$3-#(&%$colours accentuated by dark blue details, set in a glazed case
made of Russian Birchwood
/"'.#$#!(#)*#34)567348#9:;#<=>*;
+%,(""-!,"""
!#&"-'%'('.)02$ :232/!:24$ $ !&(&-(4/6*$':52.$ !$ ,'3'5'1'*$ )$ C725>B$ "$ :)'1&$8wCC;<4$B�9¡�w$��C~98�$}CE�E�4$�wCBA�4$= ²t?=>
8FMLJWUJNOG$J[GKHMaFOORP$D$PQIZJY$UGOMY$LJZMP$XHJVMOG$DRHMaFOJF$ WXGZG@WUDJQE$ zGLGNFOR@$ WFHFKHQOR@$ GZLMV$TZHMSFO$ IHMDJHGDZG@$ xD$ NMWUOGWUJ4$ XHJPFNMUFL_ORP$IHFNFWZJP$GHOMPFOUGP$DVGL_$ZHMQ$PM`GHJQ$vGIGHGVJbR$J$WUJLJ[GDMOORPJ$DGLOMPJ$J$KTUGOMPJ$OM$XGLQY$ZGDNFIMy$J$HF[ORPJ$OJPKMPJ$W$MaTHORPJ$GZMOUGDZMPJ4$DRXGLOFOORPJ$D$ UFYOJZF$ bDFUOG@$ XFHFIGHGVNMUG@$ ¬PMLJ$ HM[OGGKHM[ORY$XMWUFL_ORY$ UGOGD$ W$ MZbFOUGP$ UFPOG?WJOJY$ [MDJUZGD$ J$LJOJ@E$;ZGOM$XGPF\FOM$D$GWUFZLFOOR@$ZJGU$J[$KFHF[RE
!#)"CHRIST PANTOKRATOR WITH A SILVER OKLAD
����ª�j4$ �����i�$ ����$ �E�E$ ªj$ h��ª��ªh4$��h°4$=t ¦?= ²t
Depicted realistically in sombre tones, blessing and supporting
the Gospels, the background of the oklad plain, Christ’s
himation$&.1,-�&+$0"(!$/),-%$5)("'#$-.+$&5e&%%"#!&+$!&5#4$(!&$-33%"&+$(,"3-,("(&$!-%)$0"(!$-$3"&,2&+4$2*(?)*($,"5!%'(#$#%.'(#)*
+%,"""-%,(""
!#)"!,2!+"!&.&(?)1&5>$ !&(&-(4/6*$ ':52.$8wCC;<4$B�9¡�w$��C~98�$}CE$7E�4$�wCBA�4$=t ¦?= ²t$IE$
CXMW$ AWFVFHaJUFL_$ J[GKHMaFO$ D$ HFMLJWUJNOG@$ PMOFHF$ D$WTHGDRY$UGOMYE$wO$VFHaJU$D$HTZMY$9DMOIFLJF$J$OJWXGWRLMFU$KLMIGWLGDFOJF$ [HJUFL^E$ «GO$ GZLMVM$ WXLGSOG@4$ KF[$TZHMSFOJ@E$7JPMUJ@$uHJWUM$W$GHOMPFUJHGDMOOG@$GUGHGNZG@$TZHMSFO$IHMDJHGDMORP$bDFUGNORP$GHOMPFOUGPE${MZLMVOG@$UHFYNMWUOR@$HF[OG@$OJPK$DFONMFU$IGLGDT$CXMWJUFLQE$
$$(
!#*"THE CRUCIFIX IN RELIEF ON A WOODEN PANEL
RUSSIAN, 19TH CENTURY
�!&$#2*%3(&+$c1*,&$)'$h!,"#($'-#(&.&+$).$-$0))+$0"(!$2-,�&+$details; the cross crowned by the tabula ansata, a circular
glory of beams emanating from its centre; the lower part
occupied by the summit of Golgotha, inclusive of the scull
and bones of Adam, scattered throughout with rock fragments,
the background stippled; visible in numerous areas under the
gilding, the layer of red preparation
/0#$#!?#)*
+%,!""-!,!""
!#*"(&3/'&$(&5>&f/'&$(2!,41)&$$8wCC;<4$= ?@$A9B
!#("A GROUP OF MINIATURE BRASS ICONS
RUSSIAN, 19TH CENTURY
h%)2g0"#&4$ ,&3,&#&.(".1$ (!&$ 5).-("2$ �(E$ �-"#")#4$ (!&$�..*.2"-(").4$(!&$�)(!&,$)'$�)+$)'$(!&$�"1.$-.+$�(E$j"2!)%-#$the last three miniatures with enamel decoration
&'/#$#0'&#)*#C9:;#5>=8;E9D
+/""-0""
!#("%(=,,2$7&./'5)1/68$):'/$8wCC;<4$= ?@$A9B
]HFVPFUR$HMWXGLGaFOR$XG$NMWGDG@$WUHFLZF�$XFHDRP$WLFVTFU$GKHM[$ vLMIGDF\FOJQ4$ [M$ OJP$ vGIGPMUFH_$ }zOMPFOJF�4$WDE$ {JZGLM@$ �TVGUDGHFb$ J$ WDQUG@$ XHFXGVGKOR@$ ]MJWJ@$AFLJZJ@E$]FHDRF$UHJ$JZGOR$DRXGLOFOR$D$UFYOJZF$bDFUOG@$¬PMLJE
$$)
!#+"TWO DEACONS BEARING THE RELICS OF ST.
NICHOLAS
RUSSIAN, 18TH CENTURY
Dressed in complete Episcopal attire and a beaming halo, two
e-..&,#$0"(!$ (!&$�)(!&,$)'$�)+$-.+$ (!&$�-.+6%").$c�&+$).$(!&$,&%"�*-,64$(!&$3,)2&##").$&.(&,".1$(!&$1-(&#$)'$-$#&((%&5&.(4$headed by a boy carrying a cross and followed by Orthodox
�22%&#"-#("2-%$c1*,&#/1'.#$#0%'0#)*
+%,0""-%,?""
!#+"."2$ .)2:'/2@$ ,&(&/'!4A)&$ 7'A)$ !"#$/):'524+9=.'1"'(028wCC;<4$=t?@$A9B
¢WGXSJ@$ WDQUG@$ OM$ OGWJLZMY$ J[GKHMaFO$ D$ XGLOGP$FXJWZGXWZGP$GKLMNFOJJ$$J$TDFONMO$OJPKGPE$8QVGP$DJVOF^UWQ$YGHTIDJ$ W$ GKHM[GP$ vGIGPMUFHJE$ wKHM[$ {FHTZGUDGHOGIG$CXMWM$ TZHMSMFU$ HMZT$ W$ PG\MPJ$ WDQUJUFLQE$ ]HGbFWWJQ4$DG[ILMDLQFPMQ$ PML_NJZGP4$ OFWT\JP$ ZHFWU4$ DWLFV$ [M$ZGUGHRP$ WLFVT^U$ bFHZGDORF$ JFHMHYJ4$ OMXHMDLQFUWQ$ Z$DGHGUMP$IGHGVME$
!$,"A DEISIS
RUSSIAN, 18TH CENTURY
Christ seated on a large wooden throne with cushion and
'))(,&#(4$ e%&##".1$ -.+$ e&-,".1$ (!&$ �)#3&%#4$ /-.g&+$ e6$ (!&$�)(!&,$)'$�)+$-.+$�)!.$(!&$f-3("#(4$&-2!$e&-,".1$-$#2,)%%4$(!&$garments executed in saturated colours, the haloes in gold
/(#$#/%#)*
+.""-1""
!$,".&)!)!$8wCC;<4$=t?@$A9B
uHJWUGW$ DGWWFVMFU$ OM$ XHGWUGHOGP$ VFHFDQOOGP$ UHGOF$ WG$WXJOZG@$ J$ XGVOGaJFPE$ wO$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$VFHaM$ D$ HTZF$ 9DMOIFLJFE$ ]G$ GKF$ WUGHGOR$ FIG$ GZHTaM^U$vGIGPMUFH_$J$;GMOO$]HFVUFNM$WG$WDJUZMPJ$D$HTZMYE$wVFQOJQ$XFHWGOMaF@$DRXGLOFOR$D$OMWR\FOORY$UGOMY4$OJPKR$WJQ^U$[GLGUGPE
$$*
!$!"!1"'(:)$.),1)82789:;<4$=>?@$A9B
CDQURF$�OUGOJ@$xWLFDMy$$J${JZGLM@$xWXHMDMy$XHFVWUMDLFOR$D$PGLFOJJE$CDE$�OUGOJ@$HM[DGHMNJDMFU$ WDJUGZ4$ M$ WDE${JZGLM@$VFHaJU$9DMOIFLJF$ D$ XGZHRUG@$XLM\GP$HTZFE$wOJ$GKLMNFOR$D$GVFQOJQ4$XRSOG$TZHMSFOORF$$[GLGURP$SJU_FPE$]G$OJPKMP$XHGYGVJU$ UJWOFOR@$ GHOMPFOUE$ «GO$ GKG[OMNFO$ XHJ$ XGPG\J$JPJUMbJJ$ PHMPGHOGIG$ XGLME$ CUDGHZJ$ VJXUJYM$ XGPF\FOR$ D$HF[OT^$GXHMDT$W$DJURPJ$ZGLGOOMPJ$XG$ZHMQP$J$HMWUJUFL_ORP$T[GHGP$D$DFHYOJY$TILMYE$
!$!"A PAIR OF DIPTYCH WINGS
GREEK, 17TH CENTURY
�!&$ #-".(#$ ".$ #*33%"2-(").4$ �(E$�.().")#$ ()$ (!&$ %&'($ )3&.".1$ -$#2,)%%4$()$(!&$,"1!($�(E$j"2!)%-#$!)%+".1$(!&$�)#3&%#$".$!"#$+,-3&+$hand; both dressed in generously decorated vestments with gilt
embroidery, their haloes punched, the background gold with
1,&&.$ 5-,e%&?%"g&$ /)),d$ (!&$ (0)$ 0".1#$ 3,&#&.(&+$ ".$ -$ 2-,�&+$0))+&.$#&((".14$/-.g&+$e6$#(,"1"%-(&+$2)%*5.#$-($ (!&$#"+&#$-.+$spandrels with arrangements of three leaves
%"'?#$#1'.#)*2#%&#$#%&#)*#34)567348#9:;#<=>*;
+?""-%,!""
!$#"."=!1'('//&&$ (&3/24$ 7)/)21B(2$ !$."&/2.021>B$ '!/'"/67)$ 0&(:'"/67)$,(23./):27)$VIMIPTHMLEMOb789:;<4$x7w8�$�«w{y4$=t?@$A9B
]HFZHMWOMQ$ HF[OMQ$ PJOJMU^HM4$ XGDFWUDT^\MQ$ GK$ GWOGDORY$¬XJ[GVMY$ aJ[OJ$ uHJWUME$ C$ LJbFDG@$ WUGHGOR$ XHFVWUMDLFOR$`HMIPFOUR$ J[$ VFUWUDM$ uHJWUM4$ M$ UMZaF$ HM[LJNORF$ ¬UMXR$XHGXGDFVJ$ 9DMOIFLJQ�$ D$ bFOUHF$ XGPF\FO$ GKHM[$ 8GaVFWUDM$uHJWUGDM4$W$XHJPRZM^\JPJ$Z$OFPT$GKHM[MPJ$vLMIGDF\FOJQ4$CHFUFOJQ4$BHF\FOJQ4$]HFGKHMaFOJQ$J$AGWZHFSFOJQ$�M[MHQE$C$ GKHMUOG@$ WUGHGOR$ HMWXGLMIM^UWQ$ WbFOR$ 8MWXQUJQ4$GZHTaFOORF$ ¬XJ[GVMPJ$ AYGVM$ D$ ;FHTWMLJP4$ AGWZHFWFOJQ4$¢DFHFOJQ$ «GPR4$ AG[OFWFOJQ$ J4$ D$ [MZL^NFOJF4$ ¢WXFOJQ$vGIGPMUFHJ4$ DG$ DHFPQ$ ZGUGHGIG$ uHJWUGW$ XGWLFVOJ@$ HM[$XGQDJLWQ$ OM$ [FPLF4$ NUGKR$XHJQU_$ VTST$9IG$PMUFHJE$�FaVT$PFVML_GOMPJ$ W$ YHJWUGLGIJNFWZJPJ$ WbFOMPJ$ HMWXGLGaFOR$PFVML_GOR$PFO_SFIG$HM[PFHM$W$GKHM[MPJ$XHGHGZGD4$VFHaM\JY$HM[DFHOTURF$WDJUZJE$·LFPFOUR$ZGPXG[JbJJ$WGFVJOFOR$PFaVT$WGKG@$XHJ$XGPG\J$UGOZGIG$HF[OGIG$HMWUJUFL_OGIG$GHOMPFOUME$$
!$#"A DOUBLE-SIDED WOOD CARVING SHOWING
THE TWELVE MAJOR ECCLESIASTICAL FEASTS
(DODEKAORTON)
�����$x��j�$��®�y4$=tTH CENTURY
�!&$-,(0),g$3,)�"+".1$-$�"#*-%$.-,,-("�&$)'$h!,"#(i#$%"'&d$(!&$c,#($side focusing on His childhood and public ministry prior to His
�-##").4$".2%*+".1$(!&$j-("�"(6$".$(!&$2&.(,&4$#*,,)*.+&+$e6$(!&$�..*.2"-(").4$�,&#&.(-(").$)'$(!&$ª.'-.($()$(!&$�&53%&4$f-3("#54$�,-.#c1*,-(").$-.+$�-"#".1$)'$�-�-,*#d$(!&$,&�&,#&$')2*#".1$).$(!&$h,*2"c�").4$&.2",2%&+$e6$(!&$�.(,6$".()$�&,*#-%&54$�.-#(-#"#4$(!&$�)*e(".1$�!)5-#4$(!&$�#2&.#").$-.+$c.-%%64$(!&$�),5"(").$)'$the Mother of God, during which Christ made His last appearance
on earth in order to receive the soul of His Mother; in between the
roundels with Christological events appear smaller medallions
".2%*+".1$!-%'?%&.1(!$ "5-1&#$)'$�,)3!&(#$0"(!$)3&.$#2,)%%#d$ (!&$&.(",&$2)53)#"(").$*."c&+$�"-$+&%"2-(&%6$3"&,2&+$')%"-1&%!'.#$#.'(#)*2#%.'(#$#%/#)*#34)567348#9:;#<=>*;
+&,"""-?,"""
reverse
$$!
KLKMKN
!$$"!&(&-(4/6*$ :'"9&?&0t$ ,'."&!:2$ !$(&3/67)$'-(2327)$)3$.&(&"2$!""#$%&'(%)4+,'-&.'/'!02$)$.)7)1()4$789:;<4$=t?@$A9B$
]GVDFWZM$ $ DRXGLOFOM$ D$ HFL_F`FE$ {M$ LJbFDG@$ WUGHGOF$XHFVPFUM$ J[GKHMaFOR$ WDDE$ DWMVOJZJ$ 7FGHIJ@$ J$ |JPJUHJ@4$XGDFHIM^\JF$VHMZGOM$J$Q[RNFWZGIG$bMHQ$BMLGQOME$A$bFOUHF$ZGPXG[JbJJ$ XGV$ ZTXGLGP$ WUGJU$ WXMWFOOMQ$ bMHFDOM$ 9LJWMDME$]G$ DFHUJZML_OG@$ GWJ$ OMV$ OF@$ HMWXGLMIMFUWQ$ DG[OJZM^\J@$J[$ GKLMZGD$ GKHM[$ KLMIGWLGDLQ^\FIG$ CXMWM$ AWFVFHaJUFLQ$W$ UHFYNMWUORP$ LTNM\JPWQ$ OJPKGPE$ C$ GKHMUOG@$ WUGHGOR$ D$ZHTILRY$ $ PFVML_GOMY4$ GZHTaFOORY$ GHOMPFOUGP$ J[$ DJURY$HMWUJUFL_ORY$ T[GHGD4$ XGPF\FOR$ VDF$ HF[ORF$ VFHFDQOORF$ZGPXG[JbJJ�$ $W$XGDUGHQ^\JPWQ$PGUJDGP4$[MXFNMULFDM^\JP$WDDE$ 7FGHIJQ$ J$ |JPJUHJQ4$ J$ W$ DGWWFVM^\F@$ OM$ UHGOF$vGIGPMUFH_^$D$GZHTaFOJJ$XHGHGZGDE$]GVDFWZM$[MZHRDMFUWQ$XHJ$ XGPG\J$ WXFbJML_OG@$ KTLMDZJ$ J$ W$ GKFJY$ WUGHGO$XHJZHFXLFOM$Z$XGVDFWOG@$bFXJE
!$$"H$ DJGFPL$ gHDP$ t$ UPOIHOE$ JOgGmIJON$ gHLFPI$WOODEN IMAGES OF STS. GEORGE AND DEMETRIOS
GREEK, 18TH CENTURY
�!&$ +&2),-(").$ )'$ (!&$ 2-#&$ &�&2*(&+$ ".$ ,&3)*##µ4$ (!&$ ',).($#!)0".1$ (!&$ &�*&#(,"-.#$�(#E$�&),1&$ -.+$�&5&(,")#$ g"%%".1$ (!&$dragon and king Kaloyanni respectively, in the centre under a
2*3)%-$ (!&$ ,*&+$ 3,".2&##$ �%"#-e-4$ -e)�&$ h!,"#($ �-.()g,-(),$with a tripartite and radiating halo appearing amidst the billowing
clouds to bless the scene; the back showing circular constructions
on a raised pedestal, both sides with rich foliate scrolls; the open
2-#&$,&�&-%".1$(0)$0))+$2-,�".1#$)'$2",2*%-,$'),54$(!&$c,#($).&$,&3&-(".1$(!&$#*e�&2($)'$(!&$2)�&,$0"(!$�(#E$�&),1&$-.+$�&5&(,")#4$(!&$#&2).+$,&3,&#&.(".1$(!&$&.(!,).&+$�)(!&,$)'$�)+$/-.g&+$e6$3,)3!&(#$0),#!"33".1$(!&$2&.(,-%$c1*,&d$(!&$2-#&$'-#(&.".1$0"(!$-$3".4$-$%).1$2!-".$'),$!-.1".1$c�&+$()$(!&$#"+&#
+&,"""-?,"""
reverse KLKMKN
!$'",'!&(&-(&//6*$':52.$$&"2/%&5)4$789:;<4$=t?@$A9B
�JbFDMQ$WUGHGOM$GZLMVM$9DMOIFLJQ$VFZGHJHGDMOM$OMZLMVORP$WFHFKHQORP$ GKHM[GP$ 8MWXQUJQE$ A$ TILMY$ LJbFDG@$ ZHRSZJ$$HMWXGLGaFOR$ DRWGZJF$ OMZLMVZJ$ W$ GKHM[MPJ$ NFURHFY$FDMOIFLJWUGD$ D$ WGXHGDGaVFOJJ$ JY$ WJPDGLGD$ J[$ BOJIJ$wUZHGDFOJQE$ wKGHGUOMQ$ WUGHGOM$ GZLMVM$ VFZGHJHGDMOM$ZMHUTSFP$ WG$ WbFOG@$ AGWZHFWFOJQ$ uHJWUGDM4$ KGIMUG$TZHMSFOOG@$ GHOMPFOUGP$ D$ WUJLF$ HGZGZG4$ XHGYGVQ\JP$ XG$UFPOG?ZHMWOGPT$ KMHYMUOGPT$ `GOTE$ wZLMV$ XGVVFHaJDM^U$NFURHF$XHJVFLMOORF$$OGaZJ?$}aTZGDJOR�E
!$'"A SILVERED GOSPEL COVER
GREEK, 18TH CENTURY
�!&$ ',).($ -33%"&+$0"(!$ -$ 2&.(,-%$ "5-1&$ )'$ (!&$ h,*2"c�").4$ (!&$spandrels including the Four Evangelists accompanied by their
�3)2-%63("2$ 3&,#)."c2-(").#4$ (!&$ ,&�&,#&$ e&-,".1$ -$ 2-,()*2!&$of the Resurrection of Christ, heavily ornamented with Rococo
designs on a deep red velvet background, with four stump feet
0"'&#$#!1'(#)*
+&""-?""
reverse KLKMKN
!$&"):'/2$ !$ 9&16(>74$ '-(2327)$ -'%'('.)06@$.&)!)!'7$)$!"4167)+,':('")1&547)#$$!&(&-(4/6*$':52.$!$,'3'5'1'*#$$B�9¡�w$��C~98�$}~E7E�4$B�z�{�4$=t¥§$IE
CHFVOJZ$JZGOR$W$aFLURP$`GOGP$HM[VFLFO$OM$NFURHF$TNMWUZM4$D$ZMaVGP$J[$ZGUGHRY$HMWXGLMIMFUWQ$GKHM[$vGIGPMUFHJE${MV$OJPJ$ XGPF\FO$ VFJWJWd$ D$ OJaOF@$ NMWUJ$ JZGOR$ J[GKHMaFOR$UHJ$ WDQUJUFLQ4$ M$ OM$ XGLQY$ HMWXGLMIM^UWQ$ GKHM[R$ NFURHFY$FDMOIFLJWUGD4$ WDDE$ AMHDMHR$ J$ �MHJJ$ 9IJXFUWZG@4$ M$ UMZaF$WDQURY$ bFLJUFLF@$ BGW_PR$ J$ |MPJMOM$ J$ WDDE$ «FGVGHM$ J$uHJWUG`GHME$ CFHFKHQOR@$ XG[GLGNFOOR@$ GZLMV$ TZHMSFO$HMWUJUFL_ORPJ$ [MDJUZMPJ4$ THOMPJ$ J$ HMZGDJOMPJ$ OM$ `GOF$SUHJYGGKHM[ORY$XGLGWE$A$ OMTIGL_OJZMY$ XGPF\FO$GHOMPFOU$D$DJVF$bDFUGDE
!$&"hMmL$JKHNPD$Mh$ESP$KMESPL$Mh$NMI@$ESP$IPJDJD$AND FAMILY PATRONS WITH A SILVER-GILT OKLAD
�����i�$����$�E�$ªj$h��ª��ªh4$��³�j4$=t¥§
The central section on yellow ground, divided into four
compartments, each showing an image of the Mother of God;
directly above the Deisis, below the Three Hierarchs and on
(!&$#"+&#$(!&$�)*,$��-.1&%"#(#4$�(#E$f-,e-,-$-.+$�-,6$)'$�163($-.+4$ (!&$ 5&+"2-%$ #-".(#$ h)#5-#$ -.+$ �-5"-.d$ �(#E$ �!&)+),&$and Christopher portrayed on the border; the silver gilt oklad
decorated with scrolling foliage, urn and shell motifs on stippled
1,)*.+4$(!&$,-"#&+$#3-.+,&%#$2).(-".".1$/)0&,#/&#$#!?#)*
+&,"""-?,"""
$&%
!$)"THE MOTHER OF GOD FROM A DEISIS
����ª�j$x������y4$=tTH CENTURY
Looking at the beholder while pointing to the right where an image
of Christ would have been, holding an open scroll with a prayer, the
"."("-%#$)'$(!&$�)(!&,$)'$�)+$".#2,"e&+$".$(0)$2-,()*2!&#$)'$e-,)�*&$style, against a dazzling gold background
/('(#$#/"#)*
+%,(""-!,(""
!$)"):'/2$-'%'('.)06$)3$.&)!=!/'%'$9)/2$8wCC;<$x�C~98�y4$=t?@$A9B$
vGIGHGVJbM$ D[JHMFU$ OM$ [HJUFLQ$ TZM[TQ$ DXHMDG4$ IVF$ VGLaFO$KRL$ OMYGVJUWQ$ GKHM[$uHJWUME$ $ wOM$ VFHaJU$ GUZHRUR@$ WDJUGZ$W$PGLJUDG@E$ $�KKHFDJMUTHR$W$JPFOFP$vGIGPMUFHJ$[MZL^NFOR$D$ VDM$ KMHGNORY$ ZMHUTSM4$ XHGWUTXM^\JY$ OM$ GWLFXJUFL_OGP$[GLGUGP$`GOFE
$&$
!$("THE CRUCIFIXION
����ª�j4$hª�h�$=t²²
An extremely detailed visual narrative of the episode of the
h,*2"c�").d$ h!,"#(i#$ %"'&%&##$ e)+6$ ).$ (!&$ 2,)##4$ (!&$ %-.2&$-.+$ #3).1&$ c�&+$ ()$ (!&$ %&'($ -.+$ ,"1!($ ,&2("�&%64$ (0)$ -.1&%#$2)%%&2(".1$(!&$e%))+$',)5$®"#$0)*.+#$".$2!-%"2&#d$/-.g&+$e6$(!&$2,*2"c&+$(!"&�$-.+$".$(!&$'),&1,)*.+4$(!&$�!,&&$�-,6#$-.+$�(E$�)!.$ (!&$�!&)%)1"-.$ ".$5)*,.".1$-.+$ (!&$h&.(*,").d$ (!&$e%))+$from His feet dripping on the bones of Adam in the cave below
(!&$#*55"($)'$�)%1)(!-d$(!&$0-%%#$)'$�&,*#-%&5$e&!".+d$(!&$*33&,$part of the icon including God the Father against golden rayed
#g"&#$+",&2(".1$(!&$®)%6$�3","($3&,#)."c&+$-#$-$+)�&$()0-,+#$®"#$Son, two angels with veiled hands bowing forward to receive
Christ’s soul; the uppermost corners of the composition occupied
e6$ (!&$+-,g&.&+$#*.$-.+$e%))+&+$5)).d$ (!&$3-(,).$#-".(#$�)!.$and Anna on the gilt border, the composition rendered in vibrant
yet saturated colours projecting against the dark sky
0(#$#/?#)*
+!,"""-/,"""
!$("(2!,41)&$8wCC;<4$wBw�w$=t²²$IE
vGIGHGVJbM$ D[JHMFU$ OM$ [HJUFLQ$ TZM[TQ$ DXHMDG4$ IVF$ VGLaFO$KRL$OMYGVJUWQ$GKHM[$uHJWUME$wOM$VFHaJU$GUZHRUR@$WDJUGZ$W$PGLJUDG@E$$�KKHFDJMUTHR$W$JPFOFP$vGIGPMUFHJ$[MZL^NFOR$D$ VDM$ KMHGNORY$ ZMHUTSM4$ XHGWUTXM^\JY$ OM$ GWLFXJUFL_OGP$[GLGUGP$`GOFE
!$*"ST. JOHN THE FORERUNNER
RUSSIAN, 19TH CENTURY
�)".(".1$()$!&-�&.$-.+$!)%+".1$-$#(-''$0"(!$2,*2"'),5$c."-%$-.+$e-..&,$".#2,"e&+$0"(!$�)!.i#$#&,5).$).$,&3&.(-.2&d$(!&$'-2&$)'$the saint and his drapery rendered realistically, his tooled gilt halo
and border emulating applied silver work
(/#$#00#)*
+%,(""-!,(""
!$*"!"#$)'2//$,(&.1&928wCC;<4$= ?@$A9B
CDE$;GMOO$]HFVUFNM$TZM[TFU$OM$OFKFWM$J$VFHaJU$D$HTZMY$XGWGY$W$ ZHFWUGGKHM[ORP$ OMDFHSJFP4$ W$ ZGUGHGIG$ WXTWZMFUWQ$ LFOUM$W$ FIG$ XHGHGNFWUDGP$ XGZMQOJQE$ �JbG$ WDQUGIG$ J$ VHMXJHGDZJ$GVFaV$DRXGLOFOR$D$HFMLJWUJNOG@$PMOFHFE$~JWOFOR@$OJPK$J$XGLQ$ JZGOR$ JPJUJHT^U$ OMZLMVORF$ WFHFKHQORF$ TZHMSFOJQ4$YMHMZUFHORF$VLQ$= ?IG$DFZME
$&&
!$+"ELEOUSA MOTHER OF GOD ENCIRCLED BY LITURGICAL FEASTS
����ªjª�j4$hª�h�$=t²²
The Mother of God holding her Son, His hand around her neck, pressing his check
gently to hers; surrounded by the twelve Cardinal Festivals in oval arrangements,
depicted either in tiled, interior spaces or against naturalistically rendered
landscapes, the haloes and borders that separate the scenes gilded
(/'&#$#00'/#)*
+/,"""-0,"""
!$+"-'%'721&(>$ ;=7)5&/)&<$ "$ ':(=?&/))$ '!/'"/68$5)1=(%)9&!:)8$,(23./):'"$¢B8�;{�4$wBw�w$=t²²$I
vGIGHGVJbM$ VFHaJU$ OM$ HTZMY$ WDGFIG$ CROME$ �LMVFOFb4$ GKDJD$ HTZG@$ FF$SF^4$ OFaOG$ XHJaJPMFUWQ$ Z$ OF@$ \FZG@E$ $ :FOUHML_OMQ$ WbFOM$ GZHTaFOM$[MZL^NFOORPJ$ D$ GDML$ ZLF@PMPJ4$ XHFVWUMDLQ^\JPJ$ VDFOMVbMU_$ ILMDORY$XHM[VOJZGD$ LJUTHIJNFWZGIG$ IGVME$ $ C^aFUR$ HM[DGHMNJDM^UWQ$ OM$ `GOF$JOUFH_FHGD$ J$ D$ XHGWUHMOWUDF$ HFMLJWUJNOG$ DRXGLOFOORY$ XF@[MaF@E${JPKR$WDQURY$ J$ IHMOJbR4$ GUVFLQ^\JF$ ZLF@PM$ VHTI$ GU$ VHTIM4$ DR[GLGNFOR$ J$XHGWUTXM^U$OM$IGLTKGP$`GOFE
!',"STS. MODESTUS AND BLAISE
����ª�j4$hª�h�$=t²²
�((",&+$".$(!&$1-,5&.(#$)'$(!&",$)'c2&4$�(E$�)+&#(*#$e&-,".1$-$,"2!%6$�&0&%%&+$5"(,&$and a crosier draped with the sudarium4$(&,5".-(".1$()$-$#5-%%$2,)##$/-.g&+$e6$(0)$#2*%3(*,&+$#&,3&.(#$0"(!$(!&",$!&-+#$2*,%&+$e-2g$()$'-2&$&-2!$)(!&,d$�(E$f%-"#&$holding the Gospels; a radiating Christ bearing the globus cruciger depicted in the
open skies above
/"'?#$#!&'(#)*
+?""-%,"""
!',"!""#$7'.&!1$)$"52!)*$8wCC;<4$wBw�w$=t²²$I
!'!"MOTHER OF GOD OF THE LIFE-GIVING SOURCE
GREEK, 19TH CENTURY
Arranged around a large cruciform basin containing a gold fountain, the Mother
)'$�)+$!)%+".1$h!,"#(4$!)�&,".1$-e)�&$-.+$/-.g&+$e6$-.1&%#4$(!&$3))%$#*,,)*.+&+$e&!".+$e6$-$1,)*3$)'$3&)3%&4$".2%*+".1$(!&$"53&,"-%$2)*3%&4$(!&$�-(,"-,2!4$2%&,"2#$and laymen, in front a pair of men pouring water over a paralytic and a man
possessed by demons, both miraculously healed
0/'.#$#/%#)*
+%,!""-%,&""
!'!"-'%'721&(>$;?)"'/'!/6*$)!1'9/):<$789:;<4$= ?@$A9B
BGPXG[JbJQ$WGWHFVGUGNFOM$DGZHTI$ZHFWUGGKHM[OG$DRLGaFOOGIG$JWUGNOJZM$W$[GLGURP$`GOUMOGP$XGWFHFVJOFE${M$DFHSJOF$`GOUMOM$DGWWFVMFU$vGIGHGVJbM$VFHaM$ D$ HTZMY$ uHJWUME$ ]G$ GKF$ WUGHGOR$ GU$ OFF$ $ XMHQU$ MOIFLRE$ $ AGZHTI$JWUGNOJZM$WGKHMLJW_$WUHMaVT\JF$OFVTIMPJ$L^VJ4$DZL^NMQ$JPXFHMUGHWZT^$NFUT4$ XMUHJMHYM4$ ZLJH$ J$ PJHQOE$ {M$ XFHFVOFP$ XLMOF$ VDGF$ WLTaFZ$ L_^U$ J[$ZTDSJOGD$DGVT$OM$XMHMLJUJZM$J$OM$GVFHaJPGIG$VFPGOMPJ4$ZGUGHRF$XGLTNM^U$NTVFWOGF$JWbFLFOJF$GU$NTVGUDGHOGIG$JWUGNOJZME
$&'
!'#";,=!1)1&$.&1&*$,()8'.)1>$:'$7/&<8wCC;<$xC�{B~?]9~98v¢87y4$=t?@$A9B
|MOOMQ$ JZGOM$ OMXJWMOM$ OM$ W^aFU4$ JLL^WUHJHT^\J@$GUHRDGZ$ J[$ 9DMOIFLJQ$ GU$ �MU`FQ$ = E=¨�$ }XTWUJUF$ VFUF@$ J$OF$ XHFXQUWUDT@UF$ JP$ XHJYGVJU_$ ZG$�OF4$ JKG$ UMZGDRY$ FWU_$:MHWUDJF$ {FKFWOGF�E$ :FOUHGP$ ZGPXG[JbJJ$ ¬UG@$ ZHTXOG@$JZGOR$WLTaJU$ JITHM$uHJWUM4$WJVQ\FIG$D$WMVT$J$GZHTaFOOGIG$NFURH_PQ$ VFU_PJ$ D$ KFLRY$ GVFaVMYE$ AVMLFZF$ DJVOF^UWQ$WUFOR$ IGHGVME$ ¢PJHGUDGHFOOMQ$ ZGPXG[JbJQ4$ DRXGLOFOOMQ$ D$HFMLJWUJNFWZG@$PMOFHFE
!'#"“LET THE CHILDREN COME TO ME”
����ª�j$x��E$������f���y4$=tTH CENTURY
ª%%*#(,-(".1$(!&$�&,#&$',)5$�-((!&0$= �=¨4$“Let the little children
'"B-%+"%B-:%&)$%$"%)"+%,()$-#%+,-B:%;"#%+,-%8()*$"B%";%,-&9-)%
belongs to such as these”, the large icon focusing on Christ
seated in a garden, surrounded by four children dressed in white
garments, in the far background the walls of a town; the peaceful
image executed realistically
&!'.#$#0.'(#)*
+(,"""-.,"""
$&(
!''"A PORCELAIN EGG WITH ST. SERAPHIM OF SAROV
RUSSIAN, 19TH CENTURY
Looking away from the beholder, his mature face framed by
white hair and a beard, raising his hand on his chest, his nimbus
+&c.&+$e6$-$#"53%&$,"54$).$e%*&$1,)*.+$0"(!$1)%+$3&,"5&(&,%"#)*#:38:
+%,!""-%,?""
!'&"A PORCELAIN EGG OF ST. MARY MAGDALENE
RUSSIAN, 19TH CENTURY
Shown realistically, crossing her hands in prayer, facing down,
her pale face covered by a yellow veil, draped in bright red and
blue; the hazy background enlightened by her luminous halo
1#)*#:38:
+%,(""-!,"""
!')"A PORCELAIN EGG WITH THE MOTHER OF GOD
FROM THE SCENE OF THE ANNUNCIATION
RUSSIAN, 19TH CENTURY
Standing, spinning the skein of wool, unusually dressed in
a green robe with gilt crosses matching those of her purple
maphorion, dense rays emanating from her nimbus, the oval
surround framed by lace patterns
%!#)*#:38:
+%,"""-!,"""
!'("A PORCELAIN EGG WITH A BUNCH OF FLOWERS
����ª�j4$hª�h�$=t²²�$�-,"&(6$)'$2)%)*,'*%$/)0&,#4$-1-".#($-$1,&6$)�-%$e-2g1,)*.+4$the rest of the surface pink with gold decorative scrolls
%%'(#)*#:38:
+?""-%,"""
!'$"A GOLD AND ENAMEL EASTER EGG SHOWING
ST.NICHOLAS
RUSSIAN, 19TH CENTURY
�!&$!-%'$c1*,&$)'$(!&$#-".($,&.+&,&+$".$3-".(&+$&.-5&%4$3),(,-6&+$realistically with bright colours, dressed in Episcopal attire and
e&-,".1$-$1)%+$-.+$1&5?#(*++&+$5"(,&4$!"#$ ,"1!($!-.+$ ,-"#&+$ ".$benediction, carrying a large Book of Gospels, the engraved
cartouche on the back of the egg including the troparion to the
#-".(�$��)*$0&,&$,&�&-%&+$()$6)*,$/)2g$-#$-$5&-#*,&$)'$'-"(!4$6)*$0&,&$(!&$"5-1&$)'$!*5"%"(6$-.+$-$(&-2!&,$)'$#&%'?2).(,)%�4$0"(!$-$loop for hanging
!'?#)*#:38:
+%,(""-!,"""
!'$",2!825>/'&$ 4*0'$ !$ '-(23'7$ !"#$ /):'524+9=.'1"'(02$8wCC;<4$= ?@$A9B$8FMLJWUJNOGF$ XGQWOGF$ J[GKHMaFOJF$ WDQUGIG$ DRXGLOFOG$QHZG@$HMWXJWOG@$¬PML_^E$wO$GVFU$D$FXJWZGXWZGF$GKLMNFOJF$J$ [GLGUT^$ PJUHT$ W$ WMPGbDFUMPJE$ 9IG$ XHMDMQ$ HTZM$ XGVOQUM$D$ KLMIGWLGDLQ^\FP$ aFWUF4$ D$ LFDG@$ GO$ VFHaJU$ KGL_SGF$9DMOIFLJFE$ 7HMDJHGDMOOR@$ ZMHUTS$ OM$ GKHMUOG@$ WUGHGOF$WGVFHaJU$ UHGXMH_$ XHFXGVGKOGPT�$ }]HMDJLG$ DFHR$ J$ GKHM[$ZHGUGWUJ4$ DG[VFHaMOJQ$ TNJUFLQ$ QDJ$ UQ$ WUMVT$ UDGFPT4$ QaF$DF\F@$JWUJOM�E$<@bG$WOMKaFOG$ZGL_bGP$VLQ$XGVDFWZJE
!''"f2(f'('"'&$,2!825>/'&$ 4*0'$ !$ '-(23'7$!"#$!&(2f)72$!2('"!:'%'8wCC;<4$= ?@$A9B
!'&"f2(f'('"'&$,2!825>/'&$ 4*0'$ !$ '-(23'7$!"#$72())$72%.25)/68wCC;<4$= ?@$A9B
!')"f2(f'('"'&$ ,2!825>/'&$ 4*0'$ !$-'%'721&(>B$)3$!0&/6$-52%'"&A&/)48wCC;<4$= ?@$A9B
!'("f2(f'('"'&$,2!825>/'&$4*0'$!$-=:&1'7$0"&1'"8wCC;<4$wBw�w$=t²²$IE
$&)
144
145
146 147
$&*
!'*"MOTHER OF GOD “JOY TO ALL WHO GRIEVE”
RUSSIAN, 19TH CENTURY
�!&$)�&,#"�&+$c1*,&$)'$(!&$�)(!&,$)'$�)+4$/-.g&+$e6$#*33%"-.(#$0"(!$�-,")*#$-'/"2(").#4$2).#)%&+$e6$-.1&%#4$h!,"#($e%&##".1$',)5$-e)�&4$(!&$#*.$-.+$(!&$moon on the upper corners, the composition richly coloured on gold ground
/%#$#!&#)*
+!,"""-/,"""
!'*"'-(23$-'%'('.)06$;"!&8$!:'(-4A)8$(2.'!1><$8wCC;<4$= ?@$A9B$
¢DFLJNFOOMQ$ D$PMWSUMKF$`JITHM$vGIGPMUFHJ$ J[GKHMaFOM$ WUGQ\F@$ OM$ZHMWOGP$ DG[DRSFOJJ$ D$ GZHTaFOJJ$ PGLQ\JYWQ4$ XHGWQ\JY$ JWbFLFOJQ$GU$ DWQNFWZJY$ OFVTIGDE$ ;Y$ TUFSM^U$ MOIFLRE$ ADFHYT$ XGWHFVJ$ GKLMZGD$XGQDLQFUWQ$ uHJWUGW$ D$ GKLMNFOJJ$ XFHDGWDQ\FOOJZM$ J$ KLMIGWLGDLQFU$UGLXTE$ CDJVFUFLQPJ$ WbFOR$ QDLQ^UWQ$ WGLObF$ J$ LTOM$ D$ DFHYOJY$ TILMY$ZGPXG[JbJJE$;ZGOM$DRXGLOFOM$D$OMWR\FOORY$UGOMY$XG$[GLGUGPT$`GOTE$
!'+"ST. JOHN THE THEOLOGIAN
RUSSIAN, 18TH CENTURY
Depicted bust length holding the Book of Revelation, touching his mouth
to imply silence, behind his ear an angel conveying to him the Apocalyptic
message of God, the garments rendered in bright red and green, on gold
background and ochre border
/1#$#/%#)*
+!,(""-/,(""
!'+"!"#$)'2//$-'%'!5'"$=t?@$A9B
;GMOO$vGIGWLGD$D$XGIHTVOGP$J[GKHMaFOJJ$VFHaJU$BOJIT$wUZHGDFOJQE$9DMOIFLJWU$ XGVOGWJU$ XML_bR$ Z$ TWUMP$ D$ [OMZ$ OFJ[HFNFOOGWUJ$GUZHRDM^\F@WQ$FPT$UM@ORE${M$FIG$XLFNF$WJVJU$MOIFL4$DF\M^\J@$FPT$wUZHGDFOJF$vGaJFE$wVFQOJQ$DRXGLOFOR$D$QHZJY$ZHMWOG?[FLFORY$UGOMY$XG$[GLGUGPT$`GOT$W$GYHJWURPJ$XGLQPJE
!&,"A MENOLOGICAL ICON FOR JANUARY
RUSSIAN, 18TH CENTURY
ª.$c�&$,&1"#(&,#4$e&1"..".1$',)5$(!&$*33&,$ %&'(4$ "%%*#(,-(".1$ (!&$&�&.(#$-.+$#-".(#$2)55&5),-(&+$".$(!&$5).(!$)'$�-.*-,64$(!&$'-2&#$+&3"2(&+$".$+&(-"%4$the names of the feasts inscribed above
00'(#$#/?#)*
+%,?""-!,&""
!&,"7)/&*/24$):'/2#$4/"2(>$8wCC;<$4=t?@$A9B$
A$XQUJ$HFIJWUHMY4$OMNJOMQ$W$LFDGIG$DFHYOFIG$TILM4$J[GKHMaFOR$WDQURF$J$WGKRUJQ$WDQ\FOOG@$JWUGHJJ4$XMPQU_$ZGUGHRY$WGDFHSMFUWQ$D$QODMHFE$�JZJ$ U\MUFL_OG$ XHGHMKGUMOR4$ JPFOM$ WDQURY$ J$ OM[DMOJQ$ XMPQUORY$WGKRUJ@$TZM[MOR$D$OMVXJWQY$OMDFHYTE
$&!
!&!"ESP$ hHKJGR$ UHELMOD$ DHJOED$ HOEJUH@$ NLPNMLR$ HOI$ANNA
����ª�j4$hª�h�$=t²²
The three saints signing in benediction, the Church Hierarchs carrying
(!&$�)#3&%#4$ +,&##&+$ ".$ ),.-(&$ �3"#2)3-%$ 1-,5&.(#4$ �(E$�..-$ 2)�&,&+$e6$-$ %))#&$2%)-g4$ (!&$)3&.$ #g"&#$ -e)�&$ ,&�&-%".1$ (!&$c1*,&$)'$h!,"#(4$executed in deep colours
/%#$#!&'.#)*
+!,(""-/,(""
!&!"!"416&+,':('")1&5)$!""#$2/1),)*@$$%()%'()*$)$2//2$8wCC;<4$wBw�w$=t²²$IE
~HGF$ WDQURY$ [MXFNMULFOR$ D$ KLMIGWLGDLQ^\FP$ aFWUFE$ :FHZGDORF$WDQUJUFLJ4$ GKLMNFOORF$ D$ TZHMSFOORF$ GHOMPFOUGP$ FXJWZGXWZJF$GVFQOJQ4$ $ J[GKHMaFOR$ W$ ZOJIMPJ$ 9DMOIFLJQE$ «JITHM$ WDE$ �OOR$XGZHRUM$ SJHGZJP$ XHGWUGHORP$ XLM\GPE$ A$ GUDFHWURY$ OFKFWMY$DDFHYT$XGQDLQFUWQ$DRXGLOFOOMQ$D$ILTKGZJY$UGOMY$`JITHM$uHJWUME
!&#"THE MOST PROMINENT FEASTS OF THE LITURGICAL
CALENDAR
����ª�j$x¯���ª�ª�$��¯ªjh�y4$hª�h�$=t²²
�!&$2&.(,-%$"5-1&$#!)0".1$(!&$�.-#(-#"#4$/-.g&+$e6$(0)$3-(,).$#-".(#$against triangular settings, surrounded by images of the twelve Cardinal
Feasts; the white rims of the haloes standing out against the saturated
colours of the composition
!&'.#$#!!#)*
+%,!""-%,?""
j)(&��!&$ 3-(,).$ #-".(#$ -33&-,$ *#*-%%6$ -%).1$ (!&$ e),+&,$ )'$ -.$ "2).E$ �!&,&'),&4$ (!&$appearance of the hermit saint and female martyr in this instance within the main
2)53)#"(").$"#$!"1!%6$*.*#*-%E$�*,(!&,5),&4$(!&",$3)#"(").$.&�($()$(!&$�.-#(-#"#$suggests that the patron of the icon wanted to emphasise his special connection
()$(!"#$&�&.(E
!&#"):'/2$ !$ "&5):)7)$ $ ,(23./):27)$5)1=(%)9&!:'%'$0&(:'"/'%'$%'.2$8wCC;<$xA��|;�;8CB�<$wv��C~�y4$wBw�w$=t²²$IE$
A$ WHFVOJZF$ JZGOR$ XGPF\FOM$ WbFOM$CYGaVFOJQ$uHJWUM$ DG$�VE$]G$KGZMP$D$ZJLFDJVORY$MHGNZMY$J[GKHMaFOR$VDGF$WDQURY?XGZHGDJUFLF@E$$CHFVOJZ$GZHTaFO$VDFOMVbMU_^$ZLF@PMPJ4$XHGWLMDLQ^\JPJ$AFLJZJF$XHM[VOJZJ$bFHZGDOGIG$LJUTHIJNFWZGIG$IGVME$vFLRF$ZGOUTHR$OJPKGD$WJQ^U$OM$`GOF$OMWR\FOORY$UFPORY$UGOGD$ZGPXG[JbJJE
]HJPFNMOJF�CDQURF$XGZHGDJUFLJ4$ZMZ$XHMDJLG4$J[GKHMaM^UWQ$OM$XGLQY$JZGOOG@$VGWZJE$]G$¬UG@$XHJNJOF$$XGQDLFOJF$WDE$XHFXGVGKOGIG$WUMHbM?GUSFL_OJZM$J$WDQUG@$aFOR?PTNFOJbR$ D$ WHFVOJZF$ JZGOR$ ZHM@OF$ OFGKRNOGE$ ]GLGaFOJF$ WDQURY$XGZHGDJUFLF@$HQVGP$WG$WbFOG@$CGSFWUDJQ$DG$�V$PGaFU$TZM[RDMU_$OM$UG4$NUG$[MZM[NJZ$NTDWUDGDML$ GWGKT^$VTYGDOT^$WDQ[_$ W$ ¬UJP$ WGKRUJFP$J$ XHJVMDML$FPT$GWGKGF$[OMNFOJFE$
$&"
!&$"!'-'($2(82/%&52$7)82)52$('!!)4@$W^+u$"&:$
¢DFLJNFOOMQ$ D$ PMWSUMKF$ `JITHM$ MHYMOIFLM$ �JYMJLM$ D$bFOUHF$ ZGPXG[JbJJ$ GZHTaFOM$ VDTPQ$ IHTXXMPJ$ WDQURY4$HMWXGLGaFOORPJ$ D$ XQU_$ HQVGDE$ $ {MV$ OJPJ$ XGPF\FO-$ WbFOM$CGSFWUDJQ$uHJWUM$DG$�V4$XGDFHY$ZGUGHG@$DOGD_$XGQDLQFUWQ$$uHJWUGW$ D$ KFLRY$ GVFQOJQY$ OJWXGWRLMQ$ KLMIGWLGDFOJFE$ {M$XGLQY$ZGDNFIM$J[GKHMaFOR$WDE$WUGLXOJZJ$CJPFGO$J$|MOJJL$W$XHFXGVGKORPJ$;GMOOGP$J$�GOIJOGP?ZL^NOJZGP4$YHMOJUFLFP$ZJFDWZJY$XF\FHE$
!&$"THE CONVOCATION OF ARCHANGEL MICHAEL
RUSSIAN, 19TH CENTURY
�!&$ )�&,#"�&+$ c1*,&$ )'$ (!&$ �,2!-.1&%$ ".$ (!&$ 2&.(,&$ )'$ (!&$2)53)#"(").4$/-.g&+$e6$(0)$1,)*3#$)'$#-".(#$-,,-.1&+$)�&,$c�&$tiers, above an image of the Anastasis and on the border Christ in
blessing, on the sides the Stylite saints Symeon and Daniel and
(!&$e%&##&+$5).g#$ ª)-..$-.+$�).1".*#$ (!&$�-(&?�&&3&,$)'$ (!&$Kievan Caves
/('(#$#/"'(#)*
+0,"""-&,"""
$&#
!&'"A PAIR OF ICONS PORTRAYING STS. NICHOLAS AND
JOHN THE BAPTIST
����ª�j$x������y4$����$= TH CENTURY
�!&$3-.&%#$)'$2*(?)*($),.-(&$#!-3&4$ (&,5".-(".1$ ()$)1&&$c."-%#d$e)(!$ #-".(#$ +&3"2(&+$ ',).(-%4$ (!&$ &%+&,%6$ �(E$ j"2!)%-#$ e%&##".1$-.+$ +"#3%-6".1$ (!&$ �)#3&%#4$ /-.g&+$ e6$ h!,"#($ -.+$ !"#$�)(!&,$in medallions, respectively presenting him with the Bible and
the Episcopal stole, the Saint’s vestments elaborately decorated
with cruciform patterns predominantly in red, greens and gold;
(!&$ f-3("#($ 3)".(".1$ ()$ (!&$ 2!-%"2&$0"(!$ (!&$ #-2,"c2"-%$ e)+6$ )'$Christ, additionally holding an inscribed scroll, the facial features
rendered with great precision, the gold details shimmering against
the green and brown shades of the composition
F9'#G3):B5>EH#(!'(#$#!?'.#)*2#F9'#IB:4H#(!#$#!1#)*# C!D
+0,"""-&,"""
!&'"."&$ ):'/6$ !$ '-(2327)$ !"#$ /):'524$$9=.'1"'(02$)$)'2//2$:(&!1)1&54$8wCC;<4$= ?@$A9B$
|DF$JZGOORY$VGWZJ$OFGKRNOG@$`GHPR4$TZHMSFOORF$HF[_KG@4$DFONM^UWQ$ WUHFL_NMURPJ$ WDGVMPJE$ {M$ GKFJY$ `HGOUML_OG$D$ XGQWOGP$ J[GKHMaFOJJ$ XHFVWUMDLFOR$ WDQURF$ {JZGLM@?�TVGUDGHFb$ J$ ;GMOO$ BHFWUJUFL_E$ $ {JZGLM@?$ �TVGUDGHFb$D$ KLMIGWLGDLQ^\FP$ aFWUF$ W$ ZOJIG@$ 9DMOIFLJQ$ D$ HTZMY$GZHTaFO$PFVML_GOMPJ$W$GKHM[MPJ$CXMWJUFLQ$J$vGIGHGVJbR4$VMHT^\JPJ$FPT$vJKLJ^$J$FXJWZGXWZGF$GKLMNFOJFE$wVFaVR$WDQUGIG$TZMSFOR$ZHFWUGGKHM[ORPJ$T[GHMPJ$D$VGPJOJHT^\JY$ZHMWORY4$ [FLFORY$ J$ [GLGURY$ UGOMYE$ $ ;GMOO$ BHFWUJUFL_$TZM[TFU$XFHWUGP$OM$NMST$W$aFHUDFOORP$UFLGP$uHJWUGDRP$J$VFHaJU$D$HTZMY$WDJUGZ$WG$WDJVFUFL_WUDGPE$�JZJ$WDQURY$UGNOG$J$U\MUFL_OG$XHGXJWMORE$]G[GLGUM$OM$GVFQOJQY$WJQFU$OM$`GOF$[FLFORY$J$ZGHJNOFDRY$UGOGDE
!&&"STS. JULITA AND HER SON KIRIKOS
����ª�j$x��h°$�h®�y4$����$= TH CENTURY
The boy standing in front of his Mother, clutching a red martyr’s cross;
�(E$ �*%"(-$ 1&#(*,".1$ ".$ e%&##".1$ -.+$ 3)".(".1$ ()$ (!&$ "5-1&$ )'$h!,"#($ ".$the open skies above; the haloes with shaded gilt rims, the bright yet
#-(*,-(&+$ 2)%)*,#$ )'$ (!&$c1*,&#$ 2)55-.+".1$ '*%%$ -((&.(").$ -1-".#($ (!&$olive background
/%'/#$#!&'?#)*
+/,"""-0,"""
!&&"!""#$:)():$)$=5)12$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�
CDE$ BJHJZ$ WUGJU$ XFHFV$ PMUFH_^4$ WaJPMQ$ ZHMWOR@$ PTNFOJNFWZJ@$ZHFWUE$ CDE$ ;TLJUM$ TZM[TFU$ OM$ GKHM[$ uHJWUM$ J$ HM[DFHWURF$ OFKFWM$DDFHYTE${JPKR$GUVFLMOR$[GLGUG@$UGOJHGDZG@E$«JITHR4$DRXGLOFOORF$D$ QHZJY$ OMWR\FOORY$ UGOMY$ OM$ GLJDZGDGP$ `GOF4$ WLTaMU$ bFOUHGP$ZGPXG[JbJJE$
$'%
!&)"A VITA ICON OF STS. ZOSIMA AND SAVATII
RUSSIAN, 18TH CENTURY
In the centre of the composition, the two elderly monks
presenting a model of the monastery they founded in the
Solovetsky archipelago to the Mother of God of the Sign; the
h!*,2!&#i$+)5&#$-.+$2,*2"'),5$c."-%#4$(!&$#*,,)*.+".1$0-%%$0"(!$its towers and gates, all clearly discernible; the twelve pictures all
around providing a pictorial narrative of the Monastery’s story;
rendered mostly with reds and greens on gold ground and ochre
borders
(/'(#$#0('(#)*
+!,(""-/,(""
�,)�&.-.2&�ª2).-#(-#4$�).+).4$�&2&5e&,$= ¨E
!&)"):'/2$!$ $?)1)&7$!""#$ 3'!)76$)$!2""21)4$!'5'"&0:)8$8wCC;<4$= ?@$A9B$
CUMHbR?$GUSFL_OJZJ$XHFXGVOGWQU$PGVFL_$GWOGDMOOGIG$JPJ$D$CGLGDFbZGP$MHYJXFLMIF$PGOMWURHQ$vGIGHGVJbF$}zOMPFOJF�$xXHJ$¬UGP$PGaOG$HMWWPGUHFU_$XGVHGKOR@$XLMO$PGOMWURHQ$W$FIG$KMSOQPJ$J$DGHGUMPJ4$J$VMaF$TDFONMOORF$ZHFWUMPJ$ILMDR$bFHZDF@yE$ $ |DFOMVbMU_$ ZLF@P4$ GZHTaM^\JY$ bFOUHML_OT^$WbFOT$D$WHFVOJZF$JZGOR4$XGDFWUDT^U$GK$GWOGDMOJJ$PGOMWURHQE$A$ XHGJ[DFVFOJJ$ XHFGKLMVM^U$ ZHMWORF$ J$ [FLFORF$ UGOM4$DRXGLOFOORF$XG$[GLGUGPT$`GOT$D$GYHJWUGP$GKHMPLFOJJE
$'$
!&("7)/&*/24$):'/2$!$'-(2327)$$"'!:(&!&/)4$)$!1(2!1&*$8()!1'"68$$"$':(=?&/))$:5&*7$$!$%52"/67)$0&(:'"/67)$,(23./):27)$8wCC;<4$wBw�w$=t²²$IE
A$ bFOUHF$ ZGPXG[JbJJ$ J[GKHMaFO$ uHJWUGW4$ J[DGVQ\J@$ J[$�VM$ �VMPM4$ 9DT$ J$ DFUYG[MDFUORY$ XHMDFVOJZGDE$ CbFOM$ D$WHFVOJZF$ GZHTaFOM$ VDFOMVbMU_^$ ZLF@PMPJ$ W$ J[GKHMaFOJFP$9IG$CUHMWUF@�$XGDFWUDGDMOJF$OMNJOMFUWQ$W$ZLF@PM$W$~M@OG@$AFNFHF@$ $ D$ DFHYOFP$ LFDGP$ TILT$ J$ GZMONJDMFUWQ$ GKHM[GP$ W$UHFPQ$�MHJQPJ$T$IHGKOJbR$uHJWUM$D$OJaOFP$$XHMDGP$TILTE$8FIJWUHR$HM[VFLFOR$KFLRPJ$NFHUMPJ4$XG$ZGUGHRP$XHGYGVQU$OMVXJWJ$ W$ OMJPFOGDMOJQPJ$ J[GKHMaFOORY$ WGKRUJ@E$ $B$ OJP$XHJPRZM^U$ J[GKHMaFOJQ$ SFWUOMVbMUJ$ ILMDORY$ bFHZGDORY$XHM[VOJZGDE$ BGPXG[JbJ^$ DFONMFU$ GKHM[$ ~HGJbRE$ A$ TILMY$JZGOR$ XGPF\FOR$ GKHM[R$ NFURHFY$ FDMOIFLJWUGD4$ XJST\JY$FDMOIFLJF$ D$ WZHJXUGHJQYE$ $ «JITHR$ XFHWGOMaF@$ NFUZG$DRXGLOFOR4$JY$[GLGNFORF$OJPKR$GKDFVFOR$KFLRP$ZGOUTHGPE$$|FUMLJ$ZMaVG@$WbFOR$U\MUFL_OG$XHGHMKGUMOR$J$OMXJWMOR$D$QHZJY$UGOMY$XG$[GLGUGPT$`GOT$W$GYHJWURPJ$XGLQPJE$
!&("A CALENDAR ICON INCLUDING THE PASSION CYCLE
AND THE MAJOR ECCLESIASTICAL FEASTS
����ª�j4$hª�h�$=t²²
The central image depicting Christ raising Adam, Eve and the
�*#($�&)3%&$)'$ (!&$%+$�&#(-5&.(4$#*,,)*.+&+$e6$(0&%�&$#2&.&#$from His suffering before the Anastasis, beginning in the upper
left with the Last Supper, ending in the lower right with the
�!,&&$ �-,6#$ -($ (!&$ �&3*%2!,&4$ (!&$ ,&1"#(&,#$ +&c.&+$ e6$ 0!"(&$bands bearing identifying inscriptions of the represented events;
enclosed further by pictures of sixteen major feasts; the entire
composition surmounted by an image of the Holy Trinity in
an arched setting; the corners of the panel portraying the four
��-.1&%"#(#$ ".$ (!&",$ #2,"3(),"-d$ (!&$ c1*,&#$ &�&2*(&+$ +"#(".2(%64$their gilt haloes with white rims, each panel precisely detailed,
painted in bright colours on gold ground, with an ochre border
.%#$#&!#)*
+/,(""-0,(""
$'&
!&+"TWO WINGS FROM A TRIPTYCH WITH SILVER
BASMA
RUSSIAN, 18TH CENTURY
Organised in four compartments, showing the Annunciation
and the Old Testament Trinity above and below, depicting the
Dormition and Entrance of the Mother of God to the Temple;
the upper ogee section of the diptych including the darkened
sun and bloody moon; the images divided by silver and gilt
metal strips applied to the panel, engraved with the titles of the
feasts and tooled with foliate scroll decoration
0(#$#/!#)*
+!,(""-/,(""
!&+"."&$ !1"'(:)$ !:52./4$ !$ !&(&-(4/67)$-2!727)$8wCC;<$4=t?@$A9B
!&*"THE MOTHER OF GOD “SOOTHER OF SORROWS”
����ª�j4$hª�h�$=t²²
Bringing her right hand on her head in a contemplative manner,
Christ reclining on her lap and displaying an open scroll, their
'-2&#$ ,&.+&,&+$ ".$+&&3$#!-+&#$-22&.(*-(&+$e6$c.&$!"1!%"1!(#4$the golden haloes shining against the dark olive background
/%#$#!&'(#)*
+%,(""-!,(""
!&*"'-(23$ -'%'('.)06$ ;=1'5)$ 7'4$ ,&925)<$8wCC;<4$wBw�w$=t²²$IE$$
vGIGHGVJbM$ WG[FHbMUFL_OG$ XGVOGWJU$ XHMDT^$ HTZT$ Z$ \FZF$ILQVQ$OM$uHJWUME$�LMVFOFb$$XGLTLFaJU$T$OFF$OM$ZGLFOQY$W$HM[DFHOTURP$WDJUZGP$D$HTZMYE$�JZJ$DRXJWMOR$D$ILTKGZJY$UGOMY4$ GaJDLFOORY$ UGOZJPJ$ XHGKFLMPJE$ zGLGUG$ OJPKGD$DRVFLQFUWQ$OM$UFPOGP$GLJDZGDGP$`GOFE
!),"f2(f'('"'&$,2!825>/'&$4*0'$!$ $7'1)"'7$)3$:2(1)/6$)#$2*"23'"!:'%'$8wCC;<4$= ?@$A9B
C$ LJbFDG@$ WUGHGOR$ OM$ Q@bF$ DGWXHGJ[DFVFOM$ ZMHUJOM$�@DM[GDWZGIG4$ J[GKHMaM^\MQ$ PGHWZG@$ SUGHP$ W$ HQVGP$`JITH$OM$KFHFITE$C$GKHMUOG@$WUGHGOR$XGPF\FO$GKHM[$�MSM$9DYMHJWUJJ$ J$ WGSFWUDJF$ WDE$ |TYME$ ]G$ ZHMQP$ J[GKHMaFOJQ$TZHMSFOR$ XG[GLGNFOORPJ$ HF[ORPJ$ HGPMSZMPJ$ J$HFL_F`ORPJ$KMHGNORPJ$[MDJUZMPJE
!),"A PORCELAIN EASTER EGG WITH A PAINTING AFTER
AIVAZOVSKY
RUSSIAN, 19TH CENTURY
�!&$ ',).($ "%%*#(,-(".1$ -$ #(),5$ -($ #&-$ 0"(!$ c1*,&#$ ).$ (!&$ #!),&$after a painting of Ivan Aivazovksy, the back showing in gold
the Chalice of Salvation and the descent of the Holy Spirit; the
3&,"3!&,6$)'$ (!&$&11$+&2),-(&+$0"(!$1"%+&+$+-"#"&#$-.+$e-,)�*&$scrolls in relief
?#)*#:38:
+!,"""-/,"""
+,-./0.123+
$'(
g.)0%&+1&4$-.+$1&.&,-%%6$-22&3(&+$,&#&-,2!$-.+$#2!)%-,#!"3$-($(!&$("5&E
+E$�#("5-(&#$)'$(!&$#&%%".1$3,"2&$)'$(!&$�,)3&,(6$%)(#$#!)*%+$.)($e&$+&3&.+&+$).$-#$(!&$3,"2&$-($0!"2!$(!&$"(&5$0"%%$#&%%$),$"(#$�-%*&$).$-.6$)(!&,$1,)*.+#E
§y$ ��$�®�$��h�ªj
-E$�!&$�*2(").&&,#$!-�&$(!&$,"1!(4$-($)*,$2)53%&(&$+"#2,&(").4$()$,&'*#&$admission to the premises or participation in the auction and to reject any bid;
eE$�)(&.("-%$f*6&,#$5*#($2)53%&(&$-.+$#"1.$-$e"++&,$,&1"#(,-(").$'),5$-.+$3,)�"+&$"+&.("c2-(").E$°&$5-6$,&�*",&$e-.g$+&(-"%#$',)5$0!"2!$3-65&.($0"%%$e&$5-+&$),$)(!&,$c.-.2"-%$,&'&,&.2&#E$°!&.$5-g".1$-$e"+4$-$f"++&,$"#$-22&3(".1$3&,#).-%$%"-e"%"(6$()$3-6$(!&$�*,2!-#&$�,"2&4$".2%*+".1$(!&$f*6&,i#$�,&5"*5$-.+$-%%$-33%"2-e%&$(-�$3%*#$-%%$)(!&,$-33%"2-e%&$2!-,1&#E$Bidders are personally liable for their bid;
2E$�!&$f"++&,$5-6$-2($-#$-1&.($).$e&!-%'$)'$-.$"+&.("c&+$(!",+$3-,(6$"'$"($!-#$been explicitly agreed in writing with the Auctioneers before the
2)55&.2&5&.($)'$(!&$#-%&E$°&$0"%%$).%6$%))g$()$(!&$3,".2"3-%$'),$payment, but Bidders acting as agent are jointly and severally liable with their
principal;
+E$ª'$f"++&,#$-,&$.)($-e%&$()$-((&.+$(!&$-*2(").4$),$e"+$�"-$-.$-1&.($),$e6$telephone, Auctioneers will carry out absentee written bids provided they are
+&%"�&,&+$()$*#$3,"),$()$(!&$#-%&E$f"+#$5*#($e&$3%-2&+$".$�*,)#E$�%&-#&$,&'&,$()$(!&$2-(-%)1*&$'),$(!&$�e#&.(&&$f"+#$�),5E$ª'$0&$,&2&"�&$0,"((&.$e"+#$).$-$#3&2"c2$%)($'),$"+&.("2-%$-5)*.(#4$(!&$c,#($0,"((&.$e"+$()$e&$,&2&"�&+$-.+$-22&3(&+$0"%%$!-�&$3,"),"(6E$�,)�"+&+$(!-($0&$!-�&$&�&,2"#&+$,&-#).-e%&$2-,&$".$the handling of written bids, we cannot accept liability in any single instance
for failing to carry out a written bid or for errors in connection with it arising
from situations beyond our reasonable control;
&E$ª'$-$f"++&,$5-g&#$-,,-.1&5&.(#$0"(!$(!&$�*2(").&&,#$3,"),$()$(!&$#(-,($)'$(!&$auction, we will use reasonable attempts to contact them for them to
participate in the bidding by telephone, but we do not accept liability for
failure to do so or for errors in connection with telephone bidding arising from
situations beyond our reasonable control;
'E$�.%&##$)(!&,0"#&$#(-(&+4$-%%$�,)3&,(6$%)(#$-,&$)''&,&+$#*e�&2($()$-$�&#&,�&E$�!&$�&#&,�&$0"%%$.)($e&$!"1!&,$(!-.$(!&$%)0$&#("5-(&$3,".(&+$".$(!&$2-(-%)1*&E$The auctioneer may open the bidding on any lot below the Reserve by placing
-$e"+$).$e&!-%'$)'$(!&$�&%%&,E$�!&$-*2(").&&,$5-6$2).(".*&$()$e"+$).$e&!-%'$)'$the Seller up to the amount of the Reserve, either by placing successive bids or
by placing bids in response to other bidders;
1E$�!&$-*2(").&&,$!-#$(!&$,"1!($()$&�&,2"#&$+"#2,&(").$".$,&'*#".1$-.6$e"+4$-+�-.2".1$(!&$e"++".1$),$0"(!+,-0".1$-.6$�,)3&,(6$%)(E$ª.$(!&$2-#&$)'$&,,),$or dispute, whether during or after the sale, he may take such action as he
,&-#).-e%6$#&&#$c(E$ª'$-.6$+"#3*(&$-,"#&#$-'(&,$(!&$#-%&4$-.+$".$(!&$-e#&.2&$)'$any evidence to the contrary, the sale record maintained by the auctioneer will
be conclusive;
�E$�*e�&2($()$(!&$-*2(").&&,i#$,&-#).-e%&$+"#2,&(").4$(!&$!"1!&#($f"++&,$,&2)1."�&+$e6$(!&$-*2(").&&,$0"%%$e&$(!&$f*6&,E$�!&$#(,"g".1$)'$(!&$auctioneer’s hammer marks the acceptance of the highest bid and the
2).2%*#").$)'$(!&$2).(,-2($'),$#-%&$e&(0&&.$(!&$�&%%&,$-.+$(!&$f*6&,E$�"#g$-.+$,).#"e"%"(6$'),$(!&$�,)3&,(6$%)($3-##&#$()$(!&$f*6&,$-($(!&$&�3",-(").$)'$(!,&&$2-%&.+-,$+-6#$',)5$(!&$+-(&$)'$(!&$#-%&$),$).$2)%%&2(").$e6$(!&$f*6&,$"'$&-,%"&,E
¦y$�����$�®�$��h�ªj
-E$�!&$f*6&,$5*#($3-6$(!&$�*,2!-#&$�,"2&$'),$-$�,)3&,(6$%)($-.+$-.6$f*6&,i#$��3&.#&#$"55&+"-(&%6$-'(&,$(!&$#-%&E$�!"#$-33%"&#$,&1-,+%&##$"'$,&�*",&5&.(#$for export, import or other permits apply;
eE$ª'$(!&$�,("#(i#$�&#-%&$�"1!($�&1*%-(").#$¤²²¦$x��$�",&2("�&$¤²²=×t¨×�hy$-33%6$()$(!&$�,)3&,(6$%)(4$(!&$f*6&,$-%#)$-1,&&#$()$3-6$(!&$�*2(").&&,#$-.$-5)*.($&�*-%$()$(!&$,&%-3#&$,)6-%(6$3,)�"+&+$'),$".$(!)#&$�&1*%-(").#E$°&$-,&$responsible to pay such amount to the artist’s collection agent on behalf of the
Buyer;
2E$�!&$f*6&,$0"%%$.)($-2�*",&$("(%&$()$(!&$�,)3&,(6$%)($*.("%$(!&$�*,2!-#&$�,"2&$and Buyer’s Expenses have been received by the Auctioneers in cleared
'*.+#E$�.6$&-,%"&,$,&%&-#&$+)&#$.)($-''&2($(!&$3-##".1$)'$("(%&$),$(!&$f*6&,i#$*.2).+"(").-%$)e%"1-(").$()$3-6$(!&$�*,2!-#&$�,"2&$-.+$f*6&,i#$��3&.#&#$&�&.$".$2",2*5#(-.2&#$0!&,&$0&$!-�&$,&%&-#&+$(!&$%)($()$(!&$f*6&,d+E$°&$#!-%%$e&$
�!&$(63&$)'$(!&$,&%-(").#!"3$e&(0&&.$�-$�-,)%&$�"�".&$�"5"(&+$x!&,&".-'(&,$,&?'&,,&+$()$-#$�(!&$�*2(").&&,#�y4$(!&$�&%%&,#$x-#$+&c.&+$!&,&".e&%)0y$-.+$f*6&,#$x-#$+&c.&+$!&,&".e&%)0y$-.+$(!&$(&,5#$).$0!"2!$(!&$�*2(").&&,#$2).(,-2($0"(!$f*6&,#$-,&$)*(%".&+$e&%)0E
1) The Auctioneers’ and Sellers’ legal relationship with prospective Buyers is
,&1*%-(&+$e6�i) these Condition of Sale;
ii) the Consignment Agreement for Sellers;
iii) any additional notices and terms printed in the sale catalogue as amended
e6$-.6$#-%&,))5$.)("2&$),$(!&$-*2(").&&,i#$-..)*.2&5&.($-($(!&$-*2(").E
¤y$ �!&$�*2(").&&,#i$-2($-#$-1&.($'),$(!&$�&%%&,E$�!&,&'),&4$-$#-%&$2).(,-2($"#$5-+&$+",&2(%6$e&(0&&.$(!&$�&%%&,$-.+$(!&$f*6&,E$�!&$�*2(").&&,#$5-6$)0.$-$%)($x-.+$".$#*2!$".#(-.2&#$-2(#$".$-$3,".2"3-%$2-3-2"(6$-#$�&%%&,y$-.+×),$5-6$!-�&$-$%&1-%4$e&.&c2"-%$),$c.-.2"-%$".(&,&#($".$-$%)($-#$#&2*,&+$2,&+"(),$-.+$),$)(!&,0"#&E
3) DEFINITIONS
Auctioneers$5&-.#$��$�����$�ª¯ªj�$���4$-$%"5"(&+$-$2)53-.6$,&1"#?(&,&+$*.+&,$(!&$%-0#$)'$h63,*#$*.+&,$,&1E$j)$®�$¤¨§²¤>$!-�".1$"(#$,&1"#(&,&+$)'c2&$-($=¨$�,)5"(!&)#$�(,&&(4$�1")#$�)5&(")#4$¤¥>²$j"2)#"-4$h63,*#d
Bidder means any person considering, making or attempting to make a bid, by
whatever means, and includes Buyers;
Buyer means any person who makes the highest bid or offer accepted by the
auctioneer, and includes such person’s principal when bidding as agent;
Buyer’s Expenses means any costs or expenses due to the Auctioneers from
(!&$f*6&,$-.+$-.6$-,("#(i#$,&?#-%&$,"1!($%&�6$3-6-e%&$".$,&2($)'$(!&$#-%&$)'$(!&$�,)3&,(6$x-#$+&c.&+$".$(!&$h).#"1.5&.($�1,&&5&.(y4$".2%*+".1$-.$-5)*.($in respect of any applicable VAT thereon;
Buyer’s Premium means the commission payable by the Buyer on the
®-55&,$�,"2&$x-#$+&c.&+$!&,&".e&%)0y$-($(!&$,-(&$)'$¤²Ø$)'$(!&$®-55&,$�,"2&$)'$&-2!$%)($*3$()$-.+$".2%*+".1$Ù=²4²²²4$-.+$=§Ø$).$(!&$&�2&##$)'$(!&$®-55&,$�,"2&$-e)�&$Ù=²4²²²d
Hammer Price means the highest bid accepted by the auctioneer by the fall of
(!&$!-55&,4$),$".$(!&$2-#&$)'$-$3)#(?-*2(").$#-%&4$(!&$-1,&&+$#-%&$3,"2&d
Purchase Price$5&-.#$(!&$®-55&,$�,"2&$-.+$(!&$-33%"2-e%&$f*6&,i#$�,&5"*5$and VAT;
Reserve$5&-.#$(!&$2).c+&.("-%$5"."5*5$®-55&,$�,"2&$-($0!"2!$(!&$�&%%&,$!-#$-1,&&+$()$#&%%$-$�,)3&,(6$%)(d
Seller$5&-.#$(!&$3&,#).$)''&,".1$-$�,)3&,(6$%)($'),$#-%&$x".2%*+".1$(!&",$-1&.($x)(!&,$(!-.$(!&$�*2(").&&,#y4$&�&2*(),#$),$3&,#).-%$,&3,&#&.(-("�&#yd
VAT$"#$ -%*&$�++&+$�-�$-($(!&$2*,,&.($,-(&E
¨y$ h�������$���h�ª��ªj�$�j�$hj�ª�ªj
�!&$�*2(").&&,#$#&%%$(!&$�,)3&,(6$%)(#$-#$+,"e&+$),$)(!&,0"#&$".$(!&$2).+"(").$(!&6$-,&$".$-($(!&$("5&$)'$(!&$#-%&4$e-#&+$).$(!&$')%%)0".1$5&(!)+#�
-E$�*&$()$(!&$(63&$-.+$-1&$)'$(!&$%)(#$#)%+4$(!&6$0"%%$#&%+)5$e&$".$3&,'&2($2).+"(").4$-.+$-,&$%"g&%6$()$#!)0$#"1.#$)'$0&-,4$+-5-1&4$,&#(),-(").$),$,&3-",E$�.6$,&'&,&.2&$()$2).+"(").$".$-$2-(-%)1*&$&.(,6$0"%%$.)($&�*-(&$()$-$'*%%$+,"3(").$)'$2).+"(").E$h).+"(").$,&3),(#$-,&$-�-"%-e%&$).$,&�*&#(E$�-2!$%)($offered for sale by the Auctioneers is available for inspection prior to the sale,
-.+$0&$,&2)55&.+$(!-($6)*$-%0-6#$�"&0$(!&$�,)3&,(6$".$3&,#).E$ª%%*#(,-(").#$-,&$'),$"+&.("c2-(").$3*,3)#&#$).%64$-.+$2-..)($2).�&6$(!&$'*%%$2).+"(").$)'$-$�,)3&,(6$%)(d
eE$�%%$+"5&.#").#$)'$(!&$�,)3&,(6$%)(#$".$(!&$2-(-%)1*&$&.(,"&#$-,&$-33,)�"5-(&E
2E$�.6$#(-(&5&.(#$5-+&$e6$(!&$�*2(").&&,#$-e)*($-.6$�,)3&,(6$%)(4$0!&(!&,$written or oral, concerning attribution to an artist, school, or country of origin;
history; provenance; or any date or period; is not a representation of fact but
,-(!&,$"#$-$#(-(&5&.($)'$)3".").E$*,$)3".").#$!-�&$e&&.$'),5&+$1&.*".&%6$and in accordance with a reasonable standard of care, taking into account
information provided by the Seller, the Auctioneers’ scholarship and technical
!"#$%&%"#'(")('*+,
$')
>y$ °����j��ª.$-++"(").$()$(!&$�*2(").&&,#i$%"-e"%"(6$()$f*6&,#$#&($)*($".$2%-*#&$¨$)'$(!&#&$Conditions, but subject to the terms and conditions of this paragraph, the
�*2(").&&,#$0-,,-.($'),$-$3&,")+$)'$).&$6&-,$(!-($"'$(!&6$#&%%$-$�,)3&,(6$%)($0!"2!$"#$%-(&,$')*.+$()$e&$-$'),1&,6$x-#$+&c.&+$!&,&".e&%)0y$(!&6$0"%%$2-.2&%$(!&$#-%&$-.+$,&'*.+$(!&$f*6&,$(!&$),"1".-%$3*,2!-#&$3,"2&$3-"+$'),$(!&$�,)3&,(6$%)($".$(!&$2*,,&.26$)'$(!&$),"1".-%$#-%&E$�$'),1&,6$5&-.#$-$�,)3&,(6$%)($(!-($in the Auctioneers’ reasonable opinion is a fraudulent imitation created to
+&2&"�&$-#$()$-*(!),#!"3$),$+-(&4$-.+$0!&,&$(!&$�,)3&,(6$%)($"#$.)($+,"e&+$-#$#*2!$".$!&-+".1#$3,".(&+$".$�����$h���$����$".$(!&$2-(-%)1*&$x-#$#*2!$+,"3(").$5-6$e&$-5&.+&+$e6$-.6$#-%&,))5$.)("2&$),$-..)*.2&5&.(yE
The Auctioneers’ warranty does not apply to supplemental material which
-33&-,#$e&%)0$(!&$*33&,$2-#&$(63&$!&-+".1#$)'$&-2!$�,)3&,(6$%)($-.+$(!&$�*2(").&&,#$-,&$.)($,).#"e%&$'),$-.6$&,,),#$),$)5"##").$".$#*2!$5-(&,"-%E$The warranty does not apply to any heading which is stated to represent a
�*-%"c&+$)3".").E$�!&$0-,,-.(6$"#$#*e�&2($()$(!&$')%%)0".1�
-y$ª($+)&#$.)($-33%6$0!&,&$x"y$(!&$2-(-%)1*&$+,"3(").$),$#-%&,))5$notice corresponded to the generally accepted opinion of scholars or experts
-($(!&$+-(&$)'$(!&$#-%&$),$'-",%6$".+"2-(&+$(!-($(!&,&$0-#$-$2)./"2($)'$)3".").#d$),$x""y$2),,&2($"+&.("c2-(").$)'$-$�,)3&,(6$%)($2-.$e&$+&5).#(,-(&+$).%6$e6$5&-.#$)'$&"(!&,$-$#2"&.("c2$3,)2&##$.)($1&.&,-%%6$-22&3(&+$'),$*#&$*.("%$-'(&,$publication of the catalogue or a process which at the date of publication of
the catalogue was unreasonably expensive or impractical or likely to have
2-*#&+$+-5-1&$()$(!&$�,)3&,(6d
ey$�!&$e&.&c(#$)'$(!&$0-,,-.(6$-,&$.)($-##"1.-e%&$-.+$#!-%%$-33%6$).%6$()$(!&$),"1".-%$f*6&,$)'$(!&$�,)3&,(6$%)($-#$#!)0.$).$(!&$".�)"2&$),"1".-%%6$"##*&+$e6$the Auctioneers when the lot was sold at auction;
2y$�!&$),"1".-%$f*6&,$5*#($!-�&$,&5-".&+$(!&$)0.&,$)'$(!&$�,)3&,(6$%)($without disposing of any interest in it to any third party;
d) Neither the Auctioneers nor the Seller will be liable for any damages
".2%*+".14$0"(!)*($%"5"(-(").4$%)##$)'$3,)c(#$.),$'),$".(&,&#(E
e) The Buyer must give written notice of claim to us within two years form the
+-(&$)'$(!&$-*2(").E$�!&$�*2(").&&,#$#!-%%$!-�&$(!&$,"1!($()$,&�*",&$(!&$f*6&,$()$)e(-".$(!&$0,"((&.$)3".").#$)'$(0)$&#(-e%"#!&+$&�3&,(#$".$(!&$c&%+4$5*(*-%%6$acceptable to the Auctioneers and the Buyer, before the Auctioneers decides
0!&(!&,$),$.)($()$2-.2&%$(!&$#-%&$*.+&,$(!&$0-,,-.(6E
'y$�!&$f*6&,$5*#($,&(*,.$(!&$�,)3&,(6$%)($()$(!&$�*2(").&&,#$".$(!&$#-5&$2).+"(").$-#$-($(!&$("5&$)'$(!&$#-%&E
8) The copyright in all images, illustrations and written material produced by or
'),$(!&$�*2(").&&,#$,&%-(".1$()$-$�,)3&,(6$%)($".2%*+".1$(!&$2).(&.(#$)'$(!"#$catalogue, is and shall remain at all times the property of the Auctioneers and
shall not be used by the Buyer, nor by anyone else, without our prior written
2).#&.(E$�!&$�*2(").&&,#$-.+$(!&$�&%%&,$5-g&$.)$,&3,&#&.(-(").$),$0-,,-.(6$(!-($(!&$f*6&,$)'$-$3,)3&,(6$0"%%$-2�*",&$-.6$2)36,"1!($),$)(!&,$,&3,)+*2(").$,"1!(#$".$"(E
9) If any part of these Conditons of Sale is found by any court to be invalid,
illegal or unenforceable, that part shall be discounted and the rest of the
2).+"(").#$#!-%%$2).(".*&$()$e&$�-%"+$()$(!&$'*%%&#($&�(&.+$3&,5"((&+$e6$%-0E
=²y$ �!&$,"1!(#$-.+$)e%"1-(").#$)'$(!&$3-,("&#$0"(!$,&2($()$(!&#&$h).+"(").#$)'$Sale, and all aspects of all matters, transactions or disputes to which they
relate or apply shall be governed and interpreted by the laws of the Republic
)'$h63,*#E$f6$e"++".1$-($-*2(").4$0!&(!&,$3,&#&.($".$3&,#).$),$e6$-1&.(4$e6$written bid, telephone or other means, the Buyer shall be deemed to have
#*e5"((&+$'),$(!&$e&.&c($)'$(!&$�*2(").&&,#4$()$(!&$&�2%*#"�&$�*,"#+"2(").$)'$(!&$2)*,($)'$(!&$�&3*e%"2$)'$h63,*#E
entitled to retain items sold until all amounts due to us, have been received in
full in cleared funds or until the Buyer has performed any other outstanding
)e%"1-(").#$-#$0&$#!-%%$,&�*",&4$".2%*+".1$2)53%&(".1$-.6$-.("?5).&6$%-*.+&,?".1$c.-.2".1$2!&2g#$0&$5-6$,&�*",&$()$)*,$#-("#'-2(").E$ª.$(!&$&�&.($-$f*6&,$'-"%#$()$2)53%&(&$-.6$-.("?5).&6$%-*.+&,".1$c.-.2".1$2!&2g#$()$)*,$#-("#'-2?tion, the Auctioneers shall be entitled to cancel the sale and to take any other
-2(").#$(!-($-,&$,&�*",&+$),$3&,5"((&+$*.+&,$-33%"2-e%&$%-0E$�*e�&2($()$(!"#$(!&$f*6&,$#!-%%$2)%%&2($3*,2!-#&+$�,)3&,(6$%)(#$0"(!".$(0)$2-%&.+-,$+-6#$',)5$(!&$date of sale unless otherwise agreed between us and the Buyer;
&E$�%(!)*1!$0&$#!-%%$*#&$,&-#).-e%&$&''),(#$()$(-g&$2-,&$0!&.$!-.+%".14$3-2g".1$-.+$#!"33".1$-$3*,2!-#&+$�,)3&,(6$%)($-.+$".$#&%&2(".1$(!",+$3-,("&#$for these purposes, we are not liable for the acts or omissions of any such third
parties;
'E$�.%&##$)(!&,0"#&$-1,&&+$e6$*#$".$0,"(".14$(!&$'-2($(!-($(!&$f*6&,$0"#!&#$to apply for an export licence does not affect his or her obligation to make
payment immediately after the sale nor our right to charge interest or storage
2!-,1&#$).$%-(&$3-65&.(E$ª'$(!&$f*6&,$,&�*&#(#$*#$()$-33%6$'),$-.$&�3),($licence on his or her behalf, we shall be entitled to make a charge for this
#&,�"2&E$°&$#!-%%$.)($e&$)e%"1&+$()$,".+$-$#-%&$.),$()$,&'*.+$-.6$".(&,&#($),$other expenses incurred by the Buyer where payment is made by the Buyer in
2",2*5#(-.2&#$0!&,&$-.$&�3),($%"2&.2&$"#$,&�*",&+d
1E$ª'$(!&$f*6&,$'-"%#$()$5-g&$3-65&.($".$'*%%$".$1))+$2%&-,&+$'*.+#$0"(!".$>$days after the auction, we shall have the right to exercise a number of legal
,"1!(#$-.+$,&5&+"&#E$�!&#&$".2%*+&4$e*($-,&$.)($%"5"(&+$()$(!&$')%%)0".1�
i) hold the defaulting Buyer liable for the total amount due and to commence
legal proceedings for its recovery together with interest, and costs for such
proceedings to the fullest extent permitted under applicable law;
""y$2-.2&%$(!&$#-%&$)'$(!&$�,)3&,(6$$%)(d
"""y$,&#&%%$(!&$�,)3&,(6$3*e%"2%6$),$3,"�-(&%6$).$#*2!$(&,5#$-#$0&$#!-%%$(!".g$c(d
iv) pay the Seller an amount up to the net proceeds payable in respect of the
amount bid by the defaulting Buyer;
�y$2!-,1&$".(&,&#($-($-.$-..*-%$,-(&$&�*-%$()$§Ø$-e)�&$(!&$e-#&$,-(&$)'$(!&$Central Bank of Cyprus;
vi) set off any amounts which the Auctioneers owe the Buyer against the
outstanding amount remaining unpaid by the Buyer;
vii) where several amounts are owed by the Buyer to us in respect of
different transactions to apply any amount paid to discharge any amount
owed in respect of any particular transaction, whether or not the Buyer so
authorises;
viii) exercise a lien over any of the Buyer’s property which is in the
3)##&##").$)'$(!&$�*2(").&&,#E$°&$#!-%%$".'),5$(!&$f*6&,$)'$(!&$&�&,2"#&$)'$-.6$#*2!$%"&.$-.+$0"(!".$=¨$+-6#$)'$#*2!$.)("2&$5-6$-,,-.1&$the sale of such property and apply the proceeds to the amount owed to the
Auctioneers;
"�y$(-g&$#*2!$)(!&,$-2(").$-#$0&$+&2"+&$.&2&##-,6$),$-33,)3,"-(&E
ª'$0&$,&#&%%$(!&$�,)3&,(6$*.+&,$3-,-1,-3!$x"""y$-e)�&4$(!&$+&'-*%(".1$f*6&,$#!-%%$e&$%"-e%&$'),$3-65&.($)'$-.6$+&c2"&.26$e&(0&&.$(!&$()(-%$-5)*.($originally due to us and the price obtained upon resale as well as for all
reasonable costs, expenses, damages, legal fees and commissions and
premiums of whatever kind associated with both sales or otherwise arising
',)5$(!&$+&'-*%(E$ª'$0&$3-6$-.6$-5)*.($()$(!&$�&%%&,$*.+&,$3-,-1,-3!$x"�y$above, the Buyer acknowledges that the Auctioneers shall have all of the
rights of the Seller, however arising, to pursue the Buyer for such amount
°!&,&$3*,2!-#&#$-,&$.)($2)%%&2(&+$0"(!".$(0)$2-%&.+-,$+-6#$',)5$(!&$+-(&$of the sale, whether or not payment has been made, we shall be permitted
to remove the property to a third party warehouse at the Buyer’s expense,
and only release the items after payment in full has been made of removal,
storage, handling, and any other costs reasonably incurred, together with
3-65&.($)'$-%%$)(!&,$-5)*.(#$+*&$()$*#E
$'*
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