In an opulent classical style, Jesus Christ is depicted enthroned in glory. The throne on which He sits is carved in a manner evocative of ancient Rome, while His rich  More »

In an opulent classical style, Jesus Christ is depicted enthroned in glory. The throne on which He sits is carved in a manner evocative of ancient Rome, while His rich brocaded robes resemble those of a Byzantine Emperor or a Russian Czar. His features are rendered in the traditional Byzantine manner, kindly and benevolent. The artist has created an impressive vision of spiritual glory manifested in terms of earthly splendor. This is a triumphant image of Jesus as the "Kingofthe World",acelebrationofenduringfaithandhope.-(PF.5177)Christthe King PF.5177Origin:St.Petersburg,Russia Circa:1700ADto1900ADDimensions:34.875" (88.6cm) high x 2.25" (5.7cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Tempera On Wood   « Less

Three central figures dominate this beautiful icon. At left a man dressed in a brilliant red cloak leaning against a draped pedestal, gestures with both hands as if he is  More »

Three central figures dominate this beautiful icon. At left a man dressed in a brilliant red cloak leaning against a draped pedestal, gestures with both hands as if he is making a passionate plea. Standing more rigidly at right is a man wearing a cuirass like a Roman soldier holding onto a shield with his right hand. Standing between them a lovely hooded woman watches with an expression of compassion and gentleness. Above this scene, floating on billowy clouds, we see the seated Christ holding onto the Cross; while God the Father looks on with right hand raised as if He is about to make a pronouncement. Painted with skill and delicacy this icon presents a scene of earthly drama and divine solemnity, created with a rich use of detail and originality. - (PF.5179)Russian Orthodox Icon - PF.5179Origin:Russia Circa: 1750 AD to 1900 ADDimensions: 17" (43.2cm)highx14.25" (36.2cmwide Collection: Russian Icons Medium: Oil On Panel   « Less

Dressed in rich robes and jewels, surrounded by a radiant halo and ornate patterns, Saint Barbara appears here as a young woman of serene beauty. Though the painting  More »

Dressed in rich robes and jewels, surrounded by a radiant halo and ornate patterns, Saint Barbara appears here as a young woman of serene beauty. Though the painting resembles traditional Orthodox icons in form, the realistic approach to the figure borrows more from the Renaissance style of Western Europe. A work of great delicacy and refinement, it was surely commissioned for a discriminating patron. The saint glows with an aura of timeless spiritual calm, which has a benevolent effect on all who see her. - (PF.5298)St. Barbara - PF.5298Origin: St.Petersburg, Russia Circa: 1750 AD to 1900 ADDimensions: 15.75" (40.0cm) high Collection: Russian Icons Style: St. Petersburg School Medium: Oil on Wood Panel   « Less

The Virgin Mary, dressed in a brilliant red cloak, cradles the infant Jesus in her arms. She delicately touches His sleeve with her right hand, while her child gently places  More »

The Virgin Mary, dressed in a brilliant red cloak, cradles the infant Jesus in her arms. She delicately touches His sleeve with her right hand, while her child gently places his small fingers on the fine fabric of the garment around her neck. Their clothing is vivid and alive with color, especially with the contrasting green of Jesus' tunic and the rich blue of the lining of the Virgin's cloak. Her features are beautifully soft and touched with an ethereal quality, which further heightens the contemplative expression in her eyes. Four saints surround them, two on either side, as witnesses to a beautiful scene that has inspired the world for centuries. - (PF.5301)The Mother of God Iversk - PF.5301Origin: Russia Circa: 1750ADto1900ADDimensions: 12.25" (31.1cm) high x 10" (25.4cm) wide Collection:Russian Icons Style:Russian Orthodox Medium: Oil on Wood Panel   « Less

Jesus' crucifixion forms the main motif of this elaborate and highly detailed icon. The cross is placed in the lower middle portion of the central panel done in gilt relief.  More »

Jesus' crucifixion forms the main motif of this elaborate and highly detailed icon. The cross is placed in the lower middle portion of the central panel done in gilt relief. Two figures stand either side of Him on the mount of Golgotha, including the Virgin Mary and Mary Magdalen. Scenes from Christ's life, from the Nativity to the Ascension, are depicted in small separate panels set against blue and white enamel. On the upper left and right corners we see the Virgin and Jesus in poignant circumstances, at the beginning of His life and following the Resurrection. Below them are four richly dressed saints holding the Holy Book while looking towards the crucified Christ. The skillful use of various mediums creates different levels of perspective, which beautifully accentuates the emotional content of each scene. - (PF.5328)The Crucifixion with Enameled Brass Cross - PF.5328Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 17.75" (45.1cm) high x 14.75" (37.5cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

This icon depicts four saints including Anna and John the Baptist. They stand together, underneath Christ Pantocrator, the awesome ruler of the universe, who emerges from the  More »

This icon depicts four saints including Anna and John the Baptist. They stand together, underneath Christ Pantocrator, the awesome ruler of the universe, who emerges from the clouds of heaven. Only the exposed flesh of the figures is painted, most of the composition is covered in a brass oklad. A repoussé technique in high relief has been utilized to produce the folds and curves of the drapery and the effect of the mass of the bodies underneath. The metal itself has also been engraved to delineate the ground on which the figures stand from the geometric background. The borders of the oklad have also been elaborated by a motif of flowers and vines in high relief, while the corners have an engraved floral pattern. The attached brass halos that crown the saints and Christ have been inlaid with colorful enamel, imitating the cloisonné technique utilized in earlier Byzantine examples. The metal not only emulates the luminosity of gold, but also contrasts and emphasizes the softness of the painted flesh. This sumptuous icon is a perfect example of the ornate brilliance that characterizes such sacred objects. - (PF.5695)Icon Depicting Four Saints - PF.5695Origin: Russia Circa: 19 th Century ADDimensions: 12.25" (31.1cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oklad/Paint on Wood   « Less

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

Inseparable from the liturgical tradition, religious art functions as a form of pictorial confession of faith and a channel of religious experience for Orthodox Christians. Because icons were believed to provide direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting or during travels, and were also thought to have the ability to heal.A splendid work of artistry, thisstunningcompositionemphasizes the prominent Virgin who rules peacefully over her sea of followers. Angels usher masses of people, some bare chested, others old and disabled, to her side. She sympathetically looks down upon those who invoke her name for healing and prayer. She hears their calls. A bed of fragrant pink flowers rises from the background. Christ Pantocrater, in his awesome divinity, ruler of the universe gives his blessings from the heavens above in the top center while a sun and moon fill the upper corners. The space has been clearly divided between the terrestrial level, inhabited by the sick and needy, and the celestial realm, symbolized by the golden background, overseen by Christ. Mary dominates all. She is a link between these two worlds, rising from a pedestal on the earth and reaching to the clouds of heaven. The Virgin is a conduit for the plighted masses of the world to speak their prayers to heaven. By invoking the name of the Virgin, through this icon, we too can communicate with the Lord above, who hears our prayers and eases our sufferings. - (PF.5706)   « Less

The central panel depicting the Resurrection of Christ and the Descent into Hell is surrounded by twelve smaller panels depicting twelve major church festivals. These are as  More »

The central panel depicting the Resurrection of Christ and the Descent into Hell is surrounded by twelve smaller panels depicting twelve major church festivals. These are as follows, starting from the upper left and moving clockwise: the Nativity of the Virgin, the Presentation of the Virgin at the Temple, the Annunciation, the Nativity of Christ, The Baptism of Christ, the Transfiguration of Christ, the Dormition of the Virgin, the Elevation of the Cross, the Old Testament Trinity, The Ascension of Christ, the Entry into Jerusalem, and the Presentation of Christ at the Temple. An engraved foliate border surrounds these scenes. Together, this spectacular icon represents the central theme of Christianity in the midst of the most important events in the life of the Virgin and Christ. Most impressive is how much iconography the painter managed to squeeze into such a tight space while still managing to keep everything clear and comprehensible. Painted with stunning detail and minute ascents throughout, this icon is a true work of beauty that glows when the light shines against its luminous gold leaf background. - (PF.5707)The Resurrection and Descent into Hell - PF.5707Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 14" (35.6cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Tempera on Wood   « 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 holypersons represented on them, these images were objects of veneration, in either a publicorprivatesetting,andwereevenbelieved to have the ability to heal. The composition of this icon has been divided into four equal partitions. The upper leftpanel features The Virgin of the Burning Bush. Here, the Virgin is contained withinabluediamond,surroundbyangelscontained in clouds that rotate around the Virgin. Smaller scenes are depicted in the four corners, including Mosesandtheburning bush in the top left and Jacob’s ladder in the bottom right. Moving clockwise, thenextpanelrepresentsthe Old Testament Trinity Prefiguring the Incarnation, one of the most popular Biblical scenes in Russian iconography. Next, St. Panteleymon the Healer is represented holdingaspooninonehandandhismedicineboxintheother.Thefinalpanelrepresents scenes from the life of Elijah. Stylistically, much of the painting is derived from earlier Byzantine icons and mosaics including the linear fold of the figures’ drapery and the solid, gold leaf back ground symbolic of the light of heaven. Above all, this holy icon was meant to be venerated and meditated upon. It could both heal the sick and bring the faithful that much closer to god. 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.The composition of this icon has been divided into four equal partitions. The upper left panel features The Virgin of the Burning Bush. Here, the Virgin is contained within a blue diamond, surround by angels contained in clouds that rotate around the Virgin. Smaller scenes are depicted in the four corners, including Moses and the burning bush in the top left and Jacob’s ladder in the bottom right. Moving clockwise, the next panel represents the Old Testament Trinity Prefiguring the Incarnation, one of the most popular Biblical scenes in Russian iconography. Next, St. Panteleymon the Healer is represented holding a spoon in one hand and his medicine box in the other. The final panel represents scenes from the life of Elijah. Stylistically, much of the painting is derived from earlier Byzantine icons and mosaics including the linear fold of the figures’ drapery and the solid, gold leaf back ground symbolic of the light of heaven. Above all, this holy icon was meant to be venerated and meditated upon. It could both heal the sick and bring the faithful that much closer to god. - (PF.5753)   « Less

This icon is a masterpiece of Russian painting. The tenderness of the composition is matched bythecompassionofthe figural style. Alas the painter appears to be influenced  More »

This icon is a masterpiece of Russian painting. The tenderness of the composition is matched bythecompassionofthe figural style. Alas the painter appears to be influenced more by the great masters of the Italian Renaissancethanbythe traditional Byzantine predecessors. Except for the apparition of angels and the holy auras of light radiating from the central figures, this scene might appear to be a close moment shared by any ordinary familyastheywelcomeanaddition to their home. It is the warmth and intimacy of the family that makes this painting so stunning. Mary gently places her right hand upon the infant Christ’s belly as he places his arm over her wrist and gazes in awe upon his mother. Mother and father both share a knowing look towards each other as Joseph kneelsandprays,bothhishandsheldtogether over his heart. A divine light shines down upon the holy figures from above, rendered in gold leaf to achieve astunning effect of luminosity and brilliance as it highlights the folds of their drapery. Angels emergefromthepartedclouds,looking down in reverence at their newborn king. A larger, full figured angel also stands alongside Christ, holding his hands together in a pose echoing that of Joseph. The absolute mastery of the painter is evident in the loose brushstrokes of the foreground. The actual bristles of the paintbrush are evident as are the individual strokes that rendered the ground. Furthermore, blades of grass covered in shadows effectively recess the immediate foreground, a technique commonly employed in theatrical sets. This composition almost appears as if it was an act out of a greatplay.Thelighting,setting, and arrangement of figures all could easily be transferred to the stage. Thus the genius of the painter becomes more evident. Every detail of this icon coexists in perfect balance with each other that, when viewed as a whole, achieves complete and total harmony. Overall this icon is a true rarity, one of the few cases where subject, composition, and technique all complement each other and in effect work together to heighten the aesthetic and spiritual beauty of the painting. - (PF.5798)   « Less