Christ The King - PF.6214Origin: Russia Circa: 1850ADto1920ADDimensions:23(58.4cm)highx16(40.6cm)wide Collection: Russian Icons Style: Russian Orthodox Condition: Very Fine

Christ The King - PF.6214Origin: Russia Circa: 1850ADto1920ADDimensions:23(58.4cm)highx16(40.6cm)wide Collection: Russian Icons Style: Russian Orthodox Condition: Very Fine   « Less

This icon is a representation of Christ Pantocrator, the awesome ruler of the universe. He holds a book inscribed in Cyrillic text, probably the Bible, in his left hand, a  More »

This icon is a representation of Christ Pantocrator, the awesome ruler of the universe. He holds a book inscribed in Cyrillic text, probably the Bible, in his left hand, a testament to his redemption. With his right hand, he makes a sign of benediction, blessing us. A large golden halo surrounds his head, evidence of his divinity. Stylistically, much of the painting is derived from earlier Byzantine mosaics and paintings, typical of Orthodox art. This influence can be seen in the linear, angular folds of his drapery and the relative spatial isolation of the image without any elaboration of environment or setting. Most impressive is the intricate, stylized representation of the folds of his garments, directly derived from the Byzantine style. Precious gemstones have been woven into the cuffs and collar of his robe, revealing his majesty. - (CK.0328)Christ Pantocrater - CK.0328Origin: Russia Circa: 18 th Century ADto19th Century ADCollection: Russian Icons Style: Russian Orthodox Medium: Oil n Wood Panel   « Less

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because the icons provide direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting, and were even believed to have the ability to heal.Saint Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are confused and historically unconfirmed. According to tradition, he was a native of Patara, formerly a city in the ancient district of Lycia, Asia Minor. Nicholas entered the nearby monastery of Sion and subsequently became archbishop of the metropolitan church in Myra, Lycia. At the end of the 11th century some Italian merchants transported his remains from Myra to Bari, Italy, where his tomb is now a shrine. Legend tells of his surreptitious gifts to the three daughters of a poor man, who, unable to give them dowries, was about to abandon them to prostitution. From this tale has grown the custom of secret gifts on the Eve of Saint Nicholas. Today, he is traditionally associated with modern Christmas celebrations. - (CK.0587)Russian Orthodox Icon Depicting Saint Nicholas and Scenes from His Life - CK.0587Origin: Russia Circa: 19 th Century ADDimensions: 12.25" (31.1cm) high x 10.25" (26.0cm) wide Collection: Russian Icon Style: Russian Orthodox Medium: Paint on Wood   « Less

Saint Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are  More »

Saint Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are confused and historically unconfirmed. According to tradition, he was a native of Patara, formerly a city in the ancient district of Lycia, Asia Minor. Nicholas entered the nearby monastery of Sion and subsequently became archbishop of the metropolitan church in Myra, Lycia. At the end of the 11th century some Italian merchants transported his remains from Myra to Bari, Italy, where his tomb is now a shrine. Legend tells of his surreptitious gifts to the three daughters of a poor man, who, unable to give them dowries, was about to abandon them to prostitution. From this tale has grown the custom of secret gifts on the Eve of Saint Nicholas. Today, he is traditionally associated with modern Christmas celebrations. - (CK.0588)Russian Orthodox Icon Depicting St. Nicholas - CK.0588Origin: Russia Circa: 19 th Century ADDimensions: 7" (17.8cm) high x 5.5" (14.0cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Paint on Wood   « Less

The Virgin and Child wear magnificent apparel sparkling with gems set against a background of gold. The crowned Virgin tilts her head in the direction of her Son who looks  More »

The Virgin and Child wear magnificent apparel sparkling with gems set against a background of gold. The crowned Virgin tilts her head in the direction of her Son who looks directly at the viewer, his head radiating with rays of light. The 'grown-up' appearance of the Christ child is typical of Orthodox and early European portrayals of Jesus. The feminine beauty and tenderness of the Virgin, with her contemplative dark eyes and pursed red lips, is particularly delightful. By using various media the artist has vividly expressed the contrast between humbleness of the flesh and glory of the spirit in a manner that is quite profound. - (PF.5180)The Mother of Godof Kazan PF.5180 Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 14" (35.6cm) high x 12.25" (31.1cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Oil On Panel   « Less

This is a small version of the painting of Napoleon's Coronation hanging in the Cathedral of Notre-Dame de Paris. The large painting took two years to complete, 1806 and  More »

This is a small version of the painting of Napoleon's Coronation hanging in the Cathedral of Notre-Dame de Paris. The large painting took two years to complete, 1806 and 1807. This picture was meant to be a propaganda piece. Its long, detailed title was meant to immortalize that event in history. Napoleon's parents never approved of his coronation of himself as Emperor of France, so they never attended the coronation ceremony. However, since this was a propaganda piece, it needed to show that his parents approved of him being emperor so they were added to the picture. (Middle, just left of Napoleon in the throne in the back). It was also thought that if Napoleon were portrayed as crowning himself, he would come off as full of himself so David painted Napoleon crowning his wife Josephine. There is a larger version of this painting at the Louvre Museum in Paris. - (GDC.024)Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine - GDC.024 Origin: France Circa: 1810 BC Dimensions: 6.5" (16.5cm) high x 11" (27.9cm) wide Collection: European Works Of Art Style: Jacques-Louis David Medium: Oil on Ivory Condition: Fine   « Less

This large Peruvian painting of the Virgin Mary captures the viewers' absolute attention with is radiating holy presence and a strong physical presence. Representing the  More »

This large Peruvian painting of the Virgin Mary captures the viewers' absolute attention with is radiating holy presence and a strong physical presence. Representing the immaculate conception of the Virgin Mary, the painting depicts the Virgin Mary adorned with gold and jewels, surrounded by cloud and angels. The Virgin Mary is surrounded by numerous holy symbols such as the angels, the trinity, and quotes from the Bible. The pictorial symbols in the painting represent elements in the prayers dedicated to the Virgin Mary. For example, pictorial symbols such as the sun, the well of the living water, and lily all have significant meanings in the prayers dedicated to the Virgin and her immaculate conception. With amazing attention to details, this beautiful painting not only successfully captures the lovely Virgin Mary’s graceful holy status but also mesmerizes the viewers with such grace.The Virgin Mary - D.502Origin: Peru Circa: 17 th Century AD to 18 th Century ADDimensions: 56.75" (144.1cm) high x 42" (106.7cm) wide x .5"(1.3cm)depth Collection:Decorative Style: Cuzco School Medium: Oil on Canvas   « Less

Who is responsible for such a stunning masterpiece? Heralded as one of the leading Flemish painters in Bruges following the death of the impeccable Hans Memling, Gerard David  More »

Who is responsible for such a stunning masterpiece? Heralded as one of the leading Flemish painters in Bruges following the death of the impeccable Hans Memling, Gerard David (ca.1450-1523) became an imperative figure in Flemish Primitive painting. David, who was a native of Oudewater, Holland, arrived in Bruges in 1484 and maintained his workshop until his death in 1523. Similar to many other Flemish Primitive painters, David incorporates court life, noble practices, and emotional depth in his works. Though he shares these resemblances, David always preserved a haut level of sophistication, elegance, and grace in his own right. These elements of refinement are clearly visible in the Madonna and the Christ, a painting which exquisitely portrays the Madonna or Virgin Mary embracing the lifeless body of her child, Jesus Christ. Apparently, Christ has just been taken down from the cross on which he had been crucified, hence the wooden beam standing erect in the background. The spectator cannot ignore the intensity of such realism in the rippling of Mary’s clothing, the arresting frailty of Christ, and the dazzling light schemes. One is not exposed to a diversity of color; instead there is a subtlety very typical of David’s later style. Yet, however subtle the color may be, the viewer’s eyes are instantly drawn to the muted, bitter blue cloak, framed with a pale golden inlay in which Mary is enveloped. Upon further inspection, one discovers that atop Mary’s head, a particular region of her garment becomes transparent to reveal a white article of clothing. Is this perhaps a mistake on David’s part or was this intentional? Or, this translucency may even be indicative of a light source beaming down over Mary. Another source of light shines on Jesus and accentuates brightness on his right shoulder. With such a use of light and shadow, David directs the viewer’s eyes to the Madonna’s hands resting tenderly upon Jesus. If one pays enough attention to the body of Christ, one can see a grayish blue vein bulging from his neck as well as reddish tones across the left half of his torso, which may all insinuate his physical sufferings. Mary’s blue garment is contrasted by her scarlet red sleeves, which not only touch Christ but may also signify the blood of her son that has been shed. With little to no decoration in the painting, David centralizes his focus on Mary and Christ. Much motherly compassion is shown not just through the way in which she gently holds her dead child, but also the sorrowful expression upon her face. With the exception of her thinly arched eyebrows, Mary lacks femininity and instead bears somewhat masculine features; including her prominent cheek bones which protrude outwards and reduce the curvature in her face. Despite such pronounced features, Mary has a nurturing quality about her. It is she who was always aware of her son’s destiny, and therefore exudes much sorrow and melancholy. This work of genius demonstrates precision, realism as well as the emotional profundity in David’s interpretation of the Madonna and the Christ; a subject which has been produced countless times by other artists. - (LO.648)   « Less

Spanish Painting Depicting the Head of Christ - GDC.021Origin: Spain Circa: 1845 ADDimensions: 15.75" (40.0cm) high x 12.5" (31.8cm) wide Collection: Decorative Art

Spanish Painting Depicting the Head of Christ - GDC.021Origin: Spain Circa: 1845 ADDimensions: 15.75" (40.0cm) high x 12.5" (31.8cm) wide Collection: Decorative Art   « Less

Guillermo Silva signed relief color etching, Crucifixion, 1961. Pencil signed and dated lower right hand corner with dedication. Pencil titled and  More »

Guillermo Silva signed relief color etching, Crucifixion, 1961. Pencil signed and dated lower right hand corner with dedication. Pencil titled and signedlowerleft.Artist'sProof. Framed. Image measures 18 3/4 by 12 inches. Overall size is 25 1/4 by 183/4inches. Good condition - minor discoloration. Frame has some damage but couldberepaired. Senior Silva uses the technique of Intaglio. This is done by engraving a copper plate with acid, this plate is then used to stamp the initial engraving into the paperEachplate can be used for about 100 etchings before it is worn and is discarded.   « Less