23 November Catalogue

Russian and Greek Icons and Works of Art Tuesday 23 November 2010 CYPRUS HILTON HOTEL

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Russian and Greek Icons and Works of Art

Русские и Греческие Иконы и ДекоративноПрикладное Искусство

Auction

Аукцион

Tuesday 23 November 2010

Вторник 23 Ноября 2010 годa

at 8pm (Lots 1-160)

в 8 вечeрa (лоты 1-160)

Cyprus Hilton Hotel

Кипр, Отель Хилтон

Nicosia

Никосия

Viewing

Предварительный показ лотoв

Friday

19 November 9am - 9pm

Пятница

19 Ноября

9:00 - 21:00

Saturday

20 November 9am - 9pm

Суббота

20 Ноября

9:00 - 21:00

Sunday

21 November 9am - 9pm

Воскресенье 21 Ноября

9:00 - 21:00

Monday

22 November 9am - 9pm

Понедельник 22 Ноября

9:00 - 21:00

Tuesday

23 November 9am - 6pm

Вторник

9:00 - 18:00

Please note this auction is subject to Important Notices, Conditions of Sale and reserves.

23 Ноября

Обратите внимание на то, что аукцион проводится согласно принципам, прописанным в Важных Замечаниях и Условиях Торгов, а также что аукционные лоты имеют резервную цену.

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Introduction by Natalia Kardash Дорогие друзья, с удовольствием представляем Вашему вниманию каталог, который подготовлен к выставке «Иконы и артефакты православного мира» и аукциону икон, организованным компанией La Parole Divine.

Dear friends, We are very pleased to offer 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.

This is not a simple reflection 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 different époques, you may gain more understanding of culture, people’s feelings, happiness and grief.

The group of aesthetically sensitive people, who chose the icon as the object of collecting and had material benefits for buildingup new collections, was expanding slowly. Therefore 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.

The 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-sacrifice, 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. After all, people from around the world will come to Cyprus to participate in auction.

We wish you a pleasant viewing.

Truly yours, Natalia Kardash Editor-in-chief Russian Publishing House VESTNIK KIPRA

Обращение к иконописи в наше время вновь становится актуальным. И не потому, что сейчас модно говорить о старине, интересоваться антиквариатом и вообще быть ценителем культурного наследия прошлого. Иконопись – это та особая сфера духовной и, одновременно, материальной творческой деятельности людей, которая является символом определенной атмосферы царящей в обществе. Изучение икон позволяет приблизиться к пониманию представлений наших предков о духовности, нравственности, о душевной чистоте, о красоте и правде. Воплотившиеся в иконе идеалы твердости духа, доброты и справедливости, готовности к самопожертвованию, мудрого правления, воинской доблести, милости к падшим дают представление о лучших чертах национального характера. Круг эстетически восприимчивых людей, избравших икону в качестве предмета собирательства и к тому же располагающих материальными средствами, достаточными для создания новых коллекций, расширялся медленно. Поэтому последние годы войдут в историю коллекционирования и изучения иконописи как качественно новый и важный этап. За короткое время возникло несколько замечательных коллекций, и, что особенно ценно, коллекционирование стало более открытым, частные владельцы охотнее показывают свои сокровища на выставках и предоставляют для публикации. Такие мероприятия, как выставка и аукцион икон, трудно переоценить. Поднимая престиж коллекционирования икон, они способствуют усилению интереса широкой публики к русскому искусству в целом и к древнерусскому - в особенности. Нам очень приятно, что Кипр, остров с богатейшей историей и культурой, становится еще и центром притяжения ценителей иконописи. Ведь для участия в аукционе приезжают гости из самых разных стран мира. Желаем вам приятного просмотра. С уважением, Наталия Кардаш Гл.редактор издательства «Вестник Кипра»

La Parole Divine

Maria Paphiti Head of Sale & Icons Specialist Мария Пафити Директор По Продажам И Специалист maria@laparoledivine.com

John Souglides Auctioneer Джон Суглидез Аукционист john@souglides.com

Maggie Devers Sale & Marketing Manager Мэгги Деверз Менеджер По Продажам И Связям С Прессой maggie@laparoledivine.com

Maria Henderson Russian Client Services Мария Хендерсон Русский Отдел russianclients@gmail.com +357 99 20 7953

Marina Tarazi Bids & Enquiries in Greece Марина Тарази Ставки И Греческий Отдел marina@lambridisdesign.com

Enquiries

Запросы

Cyprus Tel: +357 22 777 227 Mob: +357 99 380 685

Кипр Tел: +357 22 777 227 Mоб: +357 99 380 685

Greece Tel: +30 210 325 0627 Mob: +30 694 406 3028

Греция Tел: +30 210 325 0627 Mоб: +30 694 406 3028

UK Tel: +44 (0)20 7706 3474 Mob: + 44 (0)78 3489 8545

Великобритания Tел: +44 (0)20 7706 3474 Mоб: + 44 (0)78 3489 8545

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Illustrations Front Cover: Lot 16 Back Cover: Lot 120-122 Inside Front Cover: Lot 108 Inside Back Cover: Lot 64 Page 2: Lot 92

Иллюстрации Передняя обложка: лот 16 Задняя обложка: лот 120-122 Вторая сторона обложки: лот 108 Третья сторона обложки: лот 64 Страница 2: лот 92

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ST. GEORGE THE DRAGON-SLAYER GREEK, 17TH CENTURY

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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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$"%%% THE ENTHRONED MOTHER OF GOD SURROUNDED BY OLD AND NEW TESTAMENT FIGURES MELCHITE, 18TH CENTURY Holding Christ on her knees, the throne exuberantly carved, -((&.+&+$ e6$ €(E$ •)!.$ (!&$ f-3("#($ -.+$ (!&$ ‚,)3!&($ ƒ%"„-!d$ (!&$ %)0&,$ ',"&…&$3),(,-6".1$(!&$&53&,),$€(E$h).#(-.(".&$-.+$!"#$5)(!&,$ƒ%&.-$ +"#3%-6".1$ (!&$†,*&$ h,)##4$ /-.g&+$ e6$ (!&$ &‡*&#(,"-.$ #-".(#$ ˆ&),1&$ -.+$ ‰&5&(,")#4$ e)(!$ *.+&,$ (,"?%)e&+$ -,,-.1&5&.(#d$ c.&%6$ &Š&2*(&+$ predominantly with complimentary reds and greens on dazzling gold !1#$#!/#)*2#/%#$#!('(#)*#34)567348#9:;#<=>*;

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'"%%%%%%% A DIPTYCH WITH THE DEISIS AND FAMILY PATRONS RUSSIAN, 18TH CENTURY The panels formed like scalloped arches; the left depicting Christ ƒ55-.*&%$".$(!&$)3&.$!&-”&.#$-.+$e&%)04$€(E$j"2!)%-#$!)%+".1$ a sword and the model of a Church, the Guardian Angel with &Š(&.+&+$0".1#$#"1.".1$".$e%&##".1$-.+$€(E$•)!.$(!&$ƒ”-.1&%"#($ 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”, -.+$€(E$•)!.$(!&$š),&,*..&,d$3-".(&+$c.&%6$).$1)%+$%&-' !!'(#$#%0'?#)*#;$9;47;7

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&"%%%%%%% 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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)" 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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*" 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

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!," A RARE REPRESENTATION OF THE RIGHTEOUS FOURTH CENTURY MARTYR SAINT AGLAIDA OF ROME RUSSIAN, 19TH CENTURY ž1-".#($ -$ #)%"+$ 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 ™)*.($ž(!)#4$-22),+".1$()$0!"2!$€(E$ž(!-.-#")#$-.+$€(E$™"2!-&%$ )'$€".-"$/-.g$-.$"5-1&$)'$(!&$™)(!&,$)'$ˆ)+$)'$(!&$€"1. /%#$#!0#)*2#/0#$#!1'(#)*#34)567348#9:;#@AB9

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THE TRANSFIGURATION OF CHRIST œ›€€ªžj4$‚-—®ƒ†-j-¯4$=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!&($ ƒ%"„-!$ ".$ supplication and Moses holding the Tablets of the Law; three e&-5#$',)5$h!,"#(i#$e)+6$+",&2(&+$()0-,+#$®"#$+"#2"3%&#4$‚&(&,4$ •)!.$ -.+$ •-2)e4$ #(,*2g$ ".$ -5-…&5&.($ ".$ (!&$ '),&1,)*.+d$ &"1!($ family patrons represented on the border, to the left all male, ž,2!-.1&%$™"2!-&%4$(!&$ƒ”-.1&%"#($™-,g4$€(E$•)!.$(!&$š),&,*..&,$ 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!(’$5"8,-+")"9:%HISH ."'(#$#(.#)*

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!#" 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(&+$ ž3)#(%&#4$ h!*,2!$ š-(!&,#$ -.+$ ™).-#("2$ #-".(#d$ $ €(#E$ €36,"+).$ -.+$ •)!.$ (!&$ ƒ”-.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 /('!#$#/"'&#)*

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!$" THE MONASTIC ST. SERGIUS OF RADONEZH WITH A SILVER-GILT OKLAD œ›€€ªžj$ x™-€h-°y4$ ™ž—ƒœi€$ ™žœ—$ žE€E$ ªj$ h•œªŸŸªh4$=t ¦ The elderly saint with grey hair and a beard, looking straight at the beholder with a calm yet pensive expression, gesturing in benediction and holding a closed scroll; the border of the #"%”&,?1"%($ )g%-+$ ())%&+$ 0"(!$ ,&2*,,".1$ #(6%"#&+$ 3-((&,.#$ -.+$ -$ 5-(2!".1$2*(?)*($!-%) /(#$#%/#)*

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THE GUARDIAN ANGEL œ›€€ªžj4$¯E$™ª€®›—-¯4$= ²¨

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†!&$"53)#".1$c1*,&$)'$(!&$ž.1&%$#(-.+".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•³žj†ªjƒ$x‚œ-fžfŸ•$h-j€†žj†ªj-‚-Ÿª†žjy4 ¦TH – 9TH CENTURY

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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#)*

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‚,)”&.-.2&’ ‚*,2!-#&+$e6$(!&$2*,,&.($)0.&,$',)5$(!&$T2X2%Y&00-#(-/ in New York and 2)5&#$0"(!$-$2&,("c2-(&$)'$-*(!&.("2"(6E j)(&#’ A similar cross was sold at Christie’s; see, @'")/%&)$%3#+-;&'+/%;#"B%+,-% Z#+,"$"6%["#0$4$Ÿ).+).4$¤¦$j)”&5e&,$¤²²>4$%)($¨¤E

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THE ADORATION OF THE MAGI RUSSIAN, 19TH CENTURY

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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$ ,&#3&2("”&%6$ holding urns of frankincense and myrrh, gifts suitable for Christ ".$!"#$'*(*,&$,)%&#$-#$-$®"1!$‚,"&#($-.+$€*''&,".1$œ&+&&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*,&#4$&5*%-(".1$&.-5&%0),g$)'$(!&$3&,")+ &!#$#&!#)*

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!"# 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, !"#$%&()

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!*" THE MOTHER OF GOD GLYKOFILOUSA hœƒ†žj4$=¦TH CENTURY

!*" -'%'('.)02$!52.:'5'-32BA24$ B8;~4$=¦?@$A9B$

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&#4$).$1)%+$1,)*.+$ !.'.#$#!/'/#)*

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!+" 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 ˆ)+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 /%#$#/.'(#)*

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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

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#," THE MOTHER OF GOD “HODEGETRIA” œ›€€ªžj4$ƒžœŸ•$=¦TH CENTURY

#," -'%'721&(>$;'.)%)1()4<$ 8wCC;<4${•••Œw$=¦?IG$A9B•

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"-%$ '&-(*,&#4$ (!&$ %"1!($ e%*&$ !&-+?2)”&,$ complemented by a dark brown maphorion trimmed in gold, Christ dressed in a luminous, golden chiton !/'!#$#%1'%#)*

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

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#!"

THE OLD TESTAMENT TRINITY RUSSIAN, EARLY 17TH CENTURY

#!"

1(')02$"&18'32"&1/24$ 8wCC;<4${•••Œw$=>?IG$A9B•

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 /%'&#$#!.#)*

~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

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##" THE MANDYLION WITH A SILVER-GILT OKLAD œ›€€ªžj$ x™-€h-°$ €h®--Ÿy4$ Ÿž†ƒ$ = TH CENTURY, ™ž—ƒœi€$™žœ—$ªEˆE$ªj$h•œªŸŸªh 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-,("(&$!-%) /%'(#$#!.#)*

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#$" THE MOTHER OF GOD OF THE INVIOLATE MOUNTAIN WITH A SILVER-GILT OKLAD RUSSIAN, 18TH CENTURY A variation of the Hodegetria, her maphorion scattered with clouds, the usual stars on her forehead and shoulders replaced on this image by busts of angels, the hem adorned with simulated pearls and inscribed with a prayer, Christ wrapped in an himation, revealing his left arm and leg, the border of the oklad with foliate scrolls and beaded rims %%'/#$#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

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#'" STS. JACOB AND ANNA WITH A SILVER-GILT AND ENAMEL OKLAD IN A CARVED GILTWOOD KYOT RUSSIAN, 19TH$ hƒj†›œ•4$ ™ž—ƒœi€$ ™žœ—$ €E€E$ ªj$ CYRILLIC

#'" !"#$ 2,#$ )2:'"$ )$ ,('('9)02$ 2//2$ !&(&-(4/6*$ 3'5'9&/6*$ ':52.$ !$ C725>B@$ ,'3'5'9&//6*$ :)'1$ 8wCC;<4$= ?@$A9B4$BŒ9¡‹w$‹•C~98•$}CE$CE•$

€(E$ •-2)e4$ ".$ (!&$ °&#($ g.)0.$ -#$ €(E$ •-5&#4$ e,".1".1$ !"#$ ,"1!($ !-.+$()$!"#$2!&#($-.+$!)%+".1$-$f))g4$€(E$ž..-$„)".".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

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$OMDFHSJFPE$

+0,!""-(,!"" #&" 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

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#)" PRINCE ALEXANDER NEVSKY IN SUPPLICATION TO CHRIST œ›€€ªžj$x™-€h-°$€h®--Ÿy4$Ÿž†ƒ$= TH CENTURY

#)" !"#$-52%'"&(/6*$:/43>$25&:!2/.($/&"!:)*$ "$7'5)1"&$:'$8()!1=$ 8wCC;<$x‹wCBwACB•<$±BwŒ•y4$Bw{9:$= ?IG$A9B•

†!&$‚,".2&$#(-.+".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 /%#$#!&'(#)*

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

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#(" A PENDANT DEPICTING THE FACE OF CHRIST ARMENIAN, 19TH CENTURY

#(" ,'."&!:2$!$)3'-(2?&/)&7$5):2$8()!12 •8‹9{;<4$= ?@$A9B

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#$#&#)*

]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

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#*" DED#$FGHIJKJL@$MGNH$HOI$NGPQ RUSSIAN, 17TH CENTURY

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#+" 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$ ˆ&),1&$ ).$ (!&$ e),+&,d$ (!&$ ™)(!&,$ )'$ ˆ)+$ holding her Son seated on a luxurious throne complemented by -$2*#!").$0"(!$3&-,%?&5*%-(".1$+&2),-(").$-.+$-$suppedaneum, /-.g&+$ e6$ €(E$ ž.(!).6$ -.+$ !"#$ +"#2"3%&4$ †!&)+)#"*#4$ e)(!$ displaying scrolls and raising their hands in prayer /%'(#$#!.#)*

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$," 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

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™-+&$ )'$ e)Š0))+4$ (!&$ c,#($ #!)0".1$ (!&$ e%&##&+$ 3,".2&#$ ˆ%&e$ -.+$ f),"#4$ +,&##&+$ ".$ ,)6-%$ 1-,e#4$ ˆ)+i#$ ƒ6&$ )'$ ‚,)”"+&.2&$ ".$ (!&$ )3&.$ #g"&#4$ (!&$ #&2).+$ "2).$ ,&3,&#&.(".1$ €(#E$ž.(!).6$ -.+$ š&)+)#"6$„)".(%6$!)%+".1$-.$"2).$)'$(!&$‰),5"(").4$/)-(".1$-e)”&$ (!&$—"&”)?‚&2!&,#g-6-$Ÿ-”,-$™).-#(&,6$0!"2!$(!&6$')*.+&+$-.+$ dedicated to the Dormition of the Mother of God %/#$#?'.#)*2#;>):#3)B4#34)567348#9:;#@AB9# # C!D

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ALL SAINTS OF KIEV RUSSIAN, 19TH CENTURY

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The foreground showing the founders of Orthodoxy in Kievan œ*#id$ €(E$ ¯%-+"5",$ ,-"#".1$ -$ 2,)##4$ !"#$ #).#$ f),"#$ -.+$ ˆ%&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$Ÿ-”,-$ and above two angels carrying the icon of the Dormition; the decorative pattern on the skies and border emulating metalwork of the period /%'!#$#!&'(#)*

{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$BJFDG?]FNFHWZG@$ŒMDHR$J$ 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

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$#" METROPOLITANS OF MOSCOW AND ALL RUSSIA: TJULJHO$ VWXYW+YZ$ [\]$ WX^_+W`_ab@$ USMEJMD$ VW`_c+W`XWb$ AND IONA (1461-1464) œ›€€ªžj4$™ž—ƒœi€$™žœ—$•-E€E$ªj$h•œªŸŸªh4™-€h-°4$ 1789 The three leaders of the Russian Church holding Gospel Books, attired in opulently embellished garments, Christ on the upper 3-,($&Š(&.+".1$!"#$!-.+#$".$e&.&+"2(").4$(!&$#"%”&,?1"%($)g%-+$0"(!$ #*e#(-.("-%$,&3)*##µ$+&2),-(").$".$e-,)‡*&$#(6%&$-.+$-33%"&+4$2*(? out haloes //'(#$#!1#)*

$#" 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$BŒ9¡‹w$‹•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

+0,"""-&,""" $$" 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

$$" -'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

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#$#."'(#)*

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$`GOTE$

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?!(/+-):%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• ?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~•

$'" THE ENTRY OF THE MOTHER OF GOD TO THE TEMPLE œ›€€ªžj$ x€†E$ ‚ƒ†ƒœ€f›œˆy4$ ™ª‰‰Ÿƒ$ -š$ †®ƒ$ = TH CENTURY €(#E$ •)-2!"5$ -.+$ž..-4$ -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 /%'&#$#/"'.#)*

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$&" THE NEW TESTAMENT TRINITY RUSSIAN, 19TH CENTURY †!&$3)0&,'*%$c1*,&$)'$(!&$ž.2"&.($)'$(!&$‰-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

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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

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$

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$(" THE MOTHER OF GOD OF TIKHVIN CENTRAL RUSSIAN, 19TH CENTURY Christ seated on herforearm, turning towards her in blessing, revealing his underfoot as he crosses his legs, the Mother of God directing the viewer’s gaze to !&,$€).$e6$3)".(".1$$-($®"54$(!&$"2).$3-".(&+$5-#(&,%6$".$(!&$=¦th century style, (!&$!-%)&#$+&c.&+$e6$+&&3$,&+$,"5#$-.+$1)%+$#!-+".1 !!#$#%.'0#)*

+%,&""-!,&"" $(" -'%'721&(>$1)8")/!:24$ :9{~8•Œ•{•<$8wCC;<4$= ?@$A9B$ 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 $*" THE APOSTLE AND EVANGELIST LUKE œ›€€ªžj$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.&&#4$ -.$ ".g?3)($ ).$ (!&$ (-e%&$ e6$ !"#$ #"+&4$ e&!".+$ !"#$ -3)2-%63("2$ 3&,#)."c2-(").4$(!&$-Š4$!)%+".1$!"#$ˆ)#3&% !&'?#$#!!'/#)*

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$+" THE ALL-SEEING EYE OF GOD RUSSIAN, 19TH CENTURY

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 innermost of the four large roundels containing Christ Emmanuel and &5-.-(".1$c&,6$,-6#$()$(!&$')*,$2),.&,#4$(!&$.&Š($).&$".2%*+".1$(!&$&6&#$(!-($%))g$ 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$"5-1&#$)'$Ÿ),+$€-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 (%

'," KOURSKAYA MOTHER OF GOD œ›€€ªžj4$hªœhž$=>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 &Š-%(-(").#$ ()$ (!&$ ™)(!&,$ )'$ ˆ)+d$ (!&$ c1*,&#$ 3-".(&+$ 0"(!$ vibrant colours on gold ground !&'(#$#!!#)*

+%,&""-!,&"" '," -'%'721&(>$:=(!:24$ 8wCC;<4$wBwŒw$=>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 hƒj†œžŸ$ œ›€€ªž$ x•žœ-€Ÿž¯Ÿy4$ €ƒh-j‰$ ®žŸš$ -š$ 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•Œ•{•<$ 8wCC;<$ x<8wCŒ•AŒ•y4$ A~w8•<$ ]wŒwA;{•$=t?IG$A9B• ;ZGOM$ WLGaOM$ D$ WDGF@$ XHGWUGUFE$ $ ~GOZJF$ NFHUR$ LJZM$ CXMWJUFLQ$ OMDFDM^U$ PGLJUDFOOGF4$ WG[FHbMUFL_OGF$ WGWUGQOJFE$ ŒJZ$ 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

'#" -'%'721&(>$;=7)5&/)&<$ 789:;<4$=t?@$A9B

†!&$6)*(!'*%$'-2&$)'$(!&$™)(!&,$)'$ˆ)+$0"(!$#(,"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&$ &Š&2*(&+$ ".$ (!&$ traditionally /.'(#$#!&'(#)*

£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$$

+!,(""-/,("" (&

'$" A TRIPTYCH WITH THE MOTHER OF GOD OF THE UNFADING ROSE AND SELECTED PRIVATE SAINTS ˆœƒƒ—4$hªœhž$=t²² The Mother of God crowned, holding a blossoming sceptre, Christ dressed in liturgical garments and a mitre, blessing and holding a globus cruciger4$/-.g&+$e6$(0)$1)%+&.$„-,#$2).(-".".1$ /)0&,#$ -%%*+".1$ ()$ (!&$ ”&,#&#$ )'$ (!&$žg-(!"#()#$ ®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)$ ˆœƒƒ—4$wBwŒw$=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

('

''" !"#$ %&'()*!$ +!,$ +'&()-*./$ 0)+"*'$ !(#2)!"*3+/$4)!"$5$+*6)-$7*6-$*865GREEK, DATED 1888

*1$

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),.$".$ž#!-4$h63,*#E$®&$0-#$),"1".-%%6$ -$#!&3!&,+4$!&.2&$(!&$,&&+$!-($!&$-33&-,#$0"(!$).$(!&$"2).#E$€(E$€36,"+).$ e&2-5&$(!&$f"#!)3$)'$†,&5"(!)*#E$®&$3-,("2"3-(&+$".$(!&$š",#($ƒ2*5&."2-%$ h)*.2"%$ )'$ j"2-&-$ x¥¤§y4$ 0!&,&$ !&$ 3&,'),5&+$ -$ 5",-2%&$ 0!"2!$ 3,)”&+$ (!&$†,"."(-,"-.$+)2(,".&$-.+$+&'&-(&+$ž,"-."#5E$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-".&+$".$!"#$!-.+E °!&.$ (!&$ ž,-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$€3,"+).$"#$(!&$3-(,).$)'$(!&$3)((&,#4$(!&$"#%-.+$)'$h),'*$-.+$-%#)4$(!&$ œ*##"-.$š-5"%6$)'$(!&$†)%#()6#E$œ&1-,+".1$(!&$%-((&,4$(!&$ˆ,-.+$‚,".2&$)'$ ™)#2)0$ f-#"%$ ªª$ x=¨¤§¶=¨¦¤y$ 3,&#&.(&+$ -$ 1)%+$ 2,)##$ 2).(-".".1$ ,&%"2#$ )'$(!&$€-".($()$ž.+,&"$†)%#()6E$†!"#$,&%"‡*-,6$!-#$e&&.$g&3($e6$(!&$#&."),$ member of the Tolstoy family and now, it is with the Count Nikolai †)%#()6$".$(!&$›—E

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'&" A PRIVATELY COMMISSIONED ICON WITH THE ANNUNCIATION AND THE FAMILY PATRONS STS. OJgSMGHD@$ESPMIMLP$HOI$IPKPELJMD GREEK, 18TH CENTURY The Annunciation taking place before a dense architectural setting, Archangel Gabriel with shaded grey wings, atop clouds, blessing -.+$!)%+".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()&7 789:;<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$PGLJUDRE$

'(" CHRIST BLESSING A SELECTED SAINTS RUSSIAN, 18TH CENTURY

GROUP

OF

PRIVATELY

†!&$!-%'$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$†!&)+),&$ €(,-(&%-(&#$-.+$.&Š($()$!"5$(!&$6)*(!'*%$€(E$¯)."'-(64$".$(!&$2&.(,&$ 0&-,".1$(!&$ƒ3"#2)3-%$5"(,&$"#$€(E$Ÿ&'$)'$h-(-."-$-.+$.&-,$!"54$ (!&$ž3)#(%&$ •-5&#4$ ()$ (!&$ ,"1!(4$ €(E$ ™-,6$ )'$ ƒ163($ -.+$ ".$ ',).($ )'$ !&,4$ €(E$ Ÿ).1".*#$ (!&$ Ÿ&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 /%'(#$#!&#)*

+(,"""-.,"""

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'*" ST. GERASIMOS OF JORDAN œ›€€ªžj$x¯-Ÿˆž$œª¯ƒœ$œƒˆª-jy4$=tTH CENTURY

'*" !"#$%&(2!)7$)'(.2/!:)*$ 8wCC;<$x]wAwŒ´•9y4$=t?@$A9B

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$ˆ&,-#"5)#$0-#$(!&$ abbot, Christ in blessing appearing in the heavens !&'.#$#!%'&#)*

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+/,(""-0,(""

(!

'+" gSLJDE$QGPDDJON$DED#$nMDPUS@$DEPUSPO@$OJgSMGHD@$ THE PROPHET DANIEL AND THE THREE BOYS WHO WERE MARTYRED IN THE FIERY FURNACE RUSSIAN, 18TH CENTURY

'+" 8()!1'!@$ -52%'!5'"54BA)*$ !""#$ )'!)f2@$ !1&f2/2@$/):'524@$,('(':2$.2/))52$)$1(&8$ '1(':'"$"$,&A)$'%/&//'*$ 8wCC;<4$=t?@$A9B$

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$&Š&2*(&+$5-#(&,%6$0"(!$c.&$ +&(-"%#$).$ (!&$'-2&#$ and elaborate rendition of the garments; the saturated colours standing out against the gold background /%'/#$#!&'(#)*

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+&,(""-?,("" ("

&," THE HERMITS STS. ONUFRY AND PETER FLANKED

BY ST. STEFAN AND THE OLD TESTAMENT SAINTS NmLJR@$DHKMO$HOI$HFJFH RUSSIAN, 18TH CENTURY The two hermits with grey hair and excessively long beards, their nudity covered by green foliage, joined by the deacon Stefan and Old Testament martyrs, all extending their hands in prayer to Christ shown above; by the banks of a river with a wooden bridge, the surrounding landscape with sparse vegetation, the distant background with barren mounts, the skies in gold /(#$#/"#)*

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&!"

A VITA ICON OF ST. JULITA AND HER SON ST. KIRIKOS œ›€€ªžj4$hªœhž$=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(#)*

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(#

&#" A BLESSED MONK HOLDING AN ECCLESIASTICAL FAN INSCRIBED “CARITAS” ¯ƒjƒ†-?hœƒ†žj4$=>TH CENTURY

&#" 7'/28$ !$ 5)1=(%)9&!:)7$ ',2825'7$ !$ /2.,)!>B$;7)5'!&(.)&<$ A9{9~w?B8;~CB•<$±BwŒ•4$=>?@$A9B$

ž.$ &%+&,%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

]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$

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+0,"""-&,""" j)(&’ Although the subject of this panel does not derive from the Orthodox (,-+"(").4$"($0-#$&Š&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

)%

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&$" MADRE DELLA CONSOLAZIONE ELEFTHERIOS ¯ƒjƒ†-?hœƒ†žj4$=>TH CENTURY

WITH

ST.

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$ ƒ%&'(!&,")#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:;#<=>*;

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&'" ST. JOHN THE FORERUNNER hœƒ†žj4$=¦TH CENTURY

&'" !"#$)'2//$,(&.1&92$ B8;~4$=¦?@$A9B$

†!&$ e*#($ )'$ (!&$ f-3("#(4$ ',).(-%4$ !"#$ /&#!$ ,&.+&,&+$ 0"(!$ +&&3$ ().&#4$!"#$'&-(*,&#$+&c.&+$e6$e,"1!($!"1!%"1!(#$-,)*.+$(!&$&6&#4$ 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#$#%/'/#)*

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. TRYPHON GREEK, 17TH CENTURY

&)" ST. HARALAMBOS GREEK, 18TH 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 !%#$#%&#)*

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 !/#$#%.#)*

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&(" THE CENTRAL PART OF A PORTABLE ICONOSTASIS œ›€€ªžj$x™-€h-°$€h®--Ÿy4$hªœhž$=¦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"cŠ").$ -.+$ (!&$ž.-#(-#"#4$ (!&$ '),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"cŠ").$ 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#)*

+!","""-/","""

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))

&*" AN ICONOSTASIS CRUCIFIX hœƒ†žj$€h®--Ÿ4$Ÿž†ƒ$=¦TH CENTURY

&*" (2!,41)&$)3$"&(8/&%'$9)/2$):'/'!12!2$ B8;~CB•<$±BwŒ•4$Bw{9:$=¦?IG$A9B•

ž.$"53,&##"”&4$%-,1&$-.+$+-……%".1%6$1"%+&+$h,*2"cŠ4$(!&$2,)##$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 ".$ ˆ,&&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$ (!&$ž3)2-%63("2$ 3&,#)."c2-(").#$ )'$ (!&$ Evangelists portrayed on the terminals, according to the text of œ&”&%-(").$ ¨’>4$ ?D,-% •#/+% 0(9()*% '#-&+=#-% #-/-B10-$% &% 0("):% +,-% /-'")$% &)% "6:% +,-% +,(#$% ,&$% &% ;&'-% 0(8-% +,&+% ";% &% B&):% &)$% +,-% ;"=#+,% #-/-B10-$% &)% -&*0-% .J()*> representing respectively ™-,g4$Ÿ*g&4$™-((!&0$-.+$•)!. .!#$#((#)*

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&+" A DEISIS j-œ†®ƒœj$ˆœƒƒ—4$hªœhž$=¦²²

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†!&$)”&,#"…&+$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'/#)*

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)," MOTHER OF GOD OF THE INVIOLATE MOUNTAIN RUSSIAN, SECOND HALF OF THE 18TH CENTURY

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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 /%'(#$#!&'!#)*

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THE MOTHER OF GOD OF VLADIMIR œ›€€ªžj4$hªœhž$=¦²²

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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 /%'/#$#!&#)*

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)#" THE BOGOLYUBSKAYA MOTHER OF GOD WITH THE DEISIS ON THE UPPER BORDER RUSSIAN, 18TH CENTURY †!&$)”&,#"…&+$c1*,&$)'$(!&$™)(!&,$)'$ˆ)+$#(-.+".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&$ž.+,&"$ 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)$#-J%Y-"#*(-9(',%ƒ"*"0J=1/8J%,(B/-0;:%$=-%+"% 4,(',%;&'+%+,-%ƒ"*"0J=1"9%B")&/+-#J%#-'-(9-$%(+/%)&B-2> /('?#$#/"'?#)*

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)$" A DOUBLE SIDED ICON SHOWING ST. NICHOLAS AND THE MANDYLION œ›€€ªžj$x‚žŸƒ—®y4$Ÿž†ƒ$=tTH CENTURY

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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'.#)*

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)'" THE PROPHET ELIJAH IN THE DESERT œ›€€ªžj4$=¦TH CENTURY

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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$3-(,).4$(!&$ˆ*-,+"-.$ž.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 /%'/#$#!.#)*

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*)

)&" THE MANDYLION RUSSIAN, LATE 17TH CENTURY

)&" '-(23$!,2!2$/&(=:'1"'(/'%'$ 8wCC;<4$Bw{9:$=t?IG$A9B•

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 /%'&#$#!.'/#)*

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))" THE NINE MARTYRS OF KYZIKOS œ›€€ªžj$x™-€h-°$€h®--Ÿy4$Ÿž†ƒ$=

TH

CENTURY

The nine holy Martyrs, Thaumasius, Theognes, Rufus, Antipater, †!&)#("2!*#4$ ž,(&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$ ž%&g"#$ ™&(,)3)%"(-.$)'$™)#2)0$-.+$)33)#"(&4$(!&$5).-#("2$€(E$ƒ”+)g"-d$ the individual faces executed masterly, their distince features formed by soft shading, the colourful garments heightened in gold /%'(#$#!(#)*

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)(" THE NARRATIVE OF CHRIST’S NATIVITY œ›€€ªžj4$hªœhž$=t²²

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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'/#$#//'.#)*

{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

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*"

)*" THE MOTHER OF GOD OF KAZAN WITH A SILVERNJGE$ HOI$ POHKPG$ MTGHI@$ JO$ H$ gHLFPI@$ NJGE$ HOI$ GLAZED KYOT œ›€€ªžj4$ ™ž—ƒœi€$ ™žœ—$ €EˆE$ ªj$ h•œªŸŸªh4$ ™-€h-°4$ = ²t?=> ‚-".(&+$ ,&-%"#("2-%%64$ (!&$ /&#!$ ,&.+&,&+$ 0"(!$ #5))(!$ ().&#4$ (!&$ 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*$$:)'1 8wCC;<4$BŒ9¡‹w$‹•C~98•$}CE$7E•4$‹wCBA•4$= ²t?=> ;ZGOM$ DRXGLOFOM$ D$ HFMLJWUJNOG@$ PMOFHFE$ $ ~FLFWORF$ UGOM$ XFHFVMOR$ XLMDORPJ$ PM[ZMPJE$ $ wVFQOJQ$ vGIGPMUFHJ$ J$ uHJWUM$ TZHMSFOR$UJWOFORPJ$LJWUDFOORPJ$J$UGNFNORPJ$T[GHMPJE$$;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$DE#$OJTJEH RUSSIAN, 19TH CENTURY -.$(!&$()34$(!&$™)(!&,$)'$ˆ)+$#3,&-+".1$!&,$‚,)(&2(".1$¯&"%$-e)”&$ 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$)$7=9&/):2$/):)16 8wCC;<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 œ&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

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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

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(#" THE MIRACLE OF ARCHANGEL MICHAEL AT CHONAE œ›€€ªžj4$hªœhž$=¦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'(#)*

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(#" 9=.'$2(82/%&52$7)82)52$"$8'/&8$ 8wCC;<4$wBwŒw$=¦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@$VGWZJE$

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($" A QUADRIPARTITE ICON WITH THE RESURRECTION OF CHRIST IN THE CENTRE œ›€€ªžj4$hªœhž$=t²² Four larger scenes arranged around the central octagonal image of the Resurrection, the top left displaying the Nativity and the right the Dormition; the lower register including the Mother )'$ ˆ)+$ –•)6$ ()$ ž%%$ °!)$ ˆ,"&”&˜$ -.+$ (!&$ ž..*.2"-(").4$ (!&$ &%).1-(&+$c1*,&#$0&-,".1$#*53(*)*#$1-,5&.(#$+&3"2(&+$".$e)%+$ tones with gilt striations 0"'(#$#//'(#)*

+/,(""-(,("" ($" 9&16(&892!1/24$ ):'/2$ !'$ "'!:(&!&/)4$8()!1'"2$"$0&/1(&$ 8wCC;<4$wBwŒw$=t²²$IE

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•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$

('" MOTHER OF GOD ABALATSKAYA œ›€€ªžj$ x›œžŸÊy4$ €ƒh-j‰$ ®žŸš$ -š$ †®ƒ$ =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$j"2!)%-#$-.+$™-,6$)'$ƒ163($).$(!&$e),+&, !&'.#$#!%'1#)*

+!,(""-/,("" ('" -'%'721&(>$2-2521!:24$$ 8wCC;<$x¢8•ŒÊy4$A~w8•<$]wŒwA;{•$=t?IG$A9B• |MOOMQ$ JZGOM$ XHFVWUMDLQFU$ WGKG@$ J[DGV$ vGIGPMUFHJ$ }zOMPFOJF•E$ BHMQ$ LTNM\F@WQ$ GDML_OG@$ PMOVGHLR4$ D$ ZGUGHT^$ [MZL^NFOM$ `JITHM$ uHJWUM4$ $ M$ UMZaF$ OJPK$ J$ IGLGDOG@$ TKGH$ vGIGHGVJbR$ KGIMUG$ TZHMSFOR$ JPJUMbJF@$ aFPNTIM4$ XHGYGVQ\F@$ XG$ XLGUOG$ DR[GLGNFOOGPT$ `GOT$ J$ XHGWUTXM^\F@$OM$$`GOF$GVFQOJ@4$OMXJWMOORY$D$OMWR\FOORY$ UGOMYE$ {M$ XGLQY$ JZGOR$ $ J[GKHMaFOR$ WDE$ {JZGLM@?$ •TVGUDGHFb$J$WDE$XHFXE$‹MHJQ$9IJXFUWZMQE

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(&" 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 hƒj†œžŸ$œ›€€ªžj4$hªœhž$=t²² h!,"#($ /-.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$(!&$ˆ*-,+"-.$ž.1&%$-.+$,&3&-(&+$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•Œ•{•<$8wCC;<4$wBwŒw$=t²²$IE A$ bFOUHF$ ZGPXG[JbJJ‘`JITHM$ CXMWM$ D$ GZHTaFOJJ$ vGIGPMUFHJ$J$;GMOOM$BHFWUJUFLQ4$ZGUGHR@$VFHaJU$XGUJH$ W$UFLGP$uHJWUME$ŒJZJ$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

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((" THE THREE HIERARCHS NORTHERN RUSSIA, 18TH CENTURY ‚,&#&.(&+$',).(-%4$'*%%?%&.1(!4$e%&##".1$-.+$e&-,".1$(!&$ˆ)#3&%#4$(!&",$)*(&,$ 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$(!&$ˆ*-,+"-.$ž.1&%$-.+$€(E$ 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$ƒ”+)g"-4$ painted with bold colours !%'0#$#%.'(#)*

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*#" STS. GEORGE AND NICHOLAS ˆœƒƒ—4$hªœhž$=>²²

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*$" A TRAVELLING ICON OF THE MOTHER OF GOD OF KAZAN œ›€€ªžj4$™ž—ƒœi€$™žœ—$‚Eœ4$€†E$‚ƒ†ƒœ€f›œˆ4$=t ¨ ƒŠ&2*(&+$".$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%&+$1,)*.+ 1'!#$#.'&#)*

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*'" 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#$#%?'!#)*

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*)" A TRAVELLING ICON OF CHRIST PANTOKRATOR WITH A SILVERED AND ENAMEL OKLAD œ›€€ªžj4$hªœhž$= 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#)*

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*(" A SILVER-GILT BENEDICTION CROSS œ›€€ªžj4$™žœ—$-š$™ª†œ-šžj$‚ª›‰ªj4$™-€h-°4$=t ¦ œ-"#&+$3%-‡*&#$).$(!&$',).($&.1,-”&+$0"(!$(!&$h,*2"cŠ").$/-.g&+$ e6$(!&$5)*,.".1$™)(!&,$)'$ˆ)+$-.+$•)!.$(!&$ƒ”-.1&%"#(4$Ÿ),+$ €-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#$#!('.#)*

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*+" ST. INNOKENTIY WITH A SILVER AND ENAMEL OKLAD RUSSIAN, 19TH$ hƒj†›œ•4$ ™žœ—$ -š$ —Ÿƒfjª—-¯$°ª†®$ †®ƒ$ª™‚ƒœªžŸ$°žœœžj†4$™-€h-° Depicted naturalistically in deep tones, holding prayer beads 2)53%&5&.(&+$ e6$ -$ 2!-53%&”µ$ 2,)##4$ !"#$ 1-,5&.(#$ &Š&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#)*

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+," THE MOTHER OF GOD OF THE KIEVAN CAVES WITH A SILVER-GILT OKLAD œ›€€ªžj$x—-€†œ-™žy4$‰ž†ƒ‰$=> ² Seated on a luxurious throne ornamented with diamond cross hatch pattern and red and blue cushions, Christ on her lap &Š(&.+".1$e)(!$®"#$!-.+#$".$e%&##".14$/-.g&+$e6$€(E$ž.(!).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>$$ !&(&-(4/6*$':52.$!$,'3'5'1'*$ 8wCC;<4$BŒ9¡‹w$‹•C~98•$}9C‹•4$‹wCBA•4$=t ¥$I CXMW$ AWFVFHaJUFL_$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$ VFHaM$ D$ HTZF$ HMWZHRUGF$ 9DMOIFLJFE$ 9IG$ LJZ$ GKHMPLFO$ DGLGWMPJ4$ HM[VFLFOORPJ$ OM$ XHGKGH$ J$ OJWXMVM^\JPJ$ DXHMDGE$ wZLMV$ JZGOR$ KGIMUG$ TZHMSFO’$ XG$ `GOT$ J$ D$ XFHFPRNZMY$ JVTU$ HMWUJUFL_ORF$ T[GHR$ W$ [MDJUZMPJE$ ]GLQ$ GUVFLMOR$ HFSFUNMURP$GHOMPFOUGPE$${MV$$GKHM[GP$CXMWJUFLQ$XGPF\FO$ `JITHOR@$ OMZLMVOG@$ OJPK$ W$ $ XHGHF[ORP$ GHOMPFOUGP$ XG$ ZHMQPE

"&

with cover ]%K^_`ab

+#" STS. NICHOLAS AND PARASKEVA WITH A COVER EMBROIDERED WITH BEADS hƒj†œžŸ$œ›€€ªžj$x—-€†œ-™ž$€h®--Ÿy4$™ª‰‰Ÿƒ$-š$ THE 17TH CENTURY

+#" ):'/2$!""#$/):'524$)$,2(2!:&"6@$(2!i)124$ -)!&('7$ :9{~8•Œ•{•<$ 8wCC;<$ xBwC~8w‹CB•<$ ±BwŒ•y4$ C989|;{•$=>?IG$A9B•$

An icon privately commissioned, showing the patron’s favourite #-".(#$".$#*33%"2-(").$()$(!&$™)(!&,$)'$ˆ)+$)'$—-…-.d$€(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 /%'%#$#/&'/#)*

|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$ ŒJZJ$ DRXGLOFOR$ XLMD_^4$ YMHMZUFHOG@$ VLQ$ =>?IG$ DFZME$ ;ZGOM$ GXHMDLFOM$ D$ GZLMV4$ DRXGLOFOOR@$ J[$ UGOZJY$ LJWUGD$ PFUMLLM$ W$ JWZTWORP$ DZHMXLFOJFP$J[$KTWJOE$

+0,(""-(,(""

"'

+$" THE APPEARANCE OF THE MOTHER OF GOD TO ST. SERGIUS RADONEZH œ›€€ªžj4$™ª—®žªŸ-$—-³™ªj4$¤¥$•›jƒ$=t²¨

+$" 4"5&/)&$ -'%'('.)06$ !"#$ ,(&,#$ !&(%)B$ (2.'/&?!:'7= 8wCC;<4$‹;u•¡Œw$$Bwz‹;{4$¤¥$;£{<4$=t²¨$IE

Ÿ&-.".1$ ).$ -$ #(-''4$ -22)53-."&+$ e6$ €(#E$ ‚&(&,$ -.+$ •)!.$ (!&$ †!&)%)1"-.4$(!&$™)(!&,$)'$ˆ)+$1&#(*,".1$".$#3&&2!$()$€(E$€&,1"*#4$ the latter together with his disciple, Mikhei, bowing before her, e&!".+4$ €(E$ j"g).$ *.+&,$ -$ 2-.)364$ .&Š($ ()$ -.$ -%(-,$ ,-"#".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).$0&-,".1$(!&$ˆ,&-($€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%$&J2% D,-%7"/'"4%('")„R&()+-#%7(8,&(0"%X"…B()>2 /%#$#!&#)*

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

+%(,"""-!","""

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+'" 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,-(),$-.+$(!&$™)(!&,$)'$ˆ)+$)'$(!&$–›.&Š3&2(&+$•)6˜d$(!&$ e),+&,$".#2,"e&+$0"(!$(!&$”&,#&$',)5$™-((!&0$¤t’=t?= 4$0!&,&-#$ (!&$ (&Š($ /-.g".1$ (!&$ #-".($ ,&5-,g-e%6$ #"(&#$ (!&$ c,#($ %".&#$ )'$ (!&$ %&1&.+-,6$3,&2&3(#$3-##&+$)”&,$e6$€(E$€&,1"*#$)'$œ-+).&…!$()$!"#$ 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!,"#($-.+$(!&$™)(!&,$)'$ˆ)+$/)-(".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$ŒTNJWUR@$ OJPK$WDQUGIG$J$XGLQ$JZGOR$TZHMSFOR$bDFUGNORP$GHOMPFOUGP4$ JPJUJHT^\JP$JWZTWOT^$HMKGUT$XG$WFHFKHT$J$HGWXJW_$XG$¬PMLJE$

"*

+)" THE METROPOLITAN OF MOSCOW PETER FLANKED

BY STS. PELAGIA AND PARASKEVA WITH A SILVERGILT OKLAD œ›€€ªžj4$™ž—ƒœi€$™žœ—$™EªE$ªj$h•œªŸŸªh4$™-€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"(!$ ,)#&#4$ +-"#"&#$ -.+$ 1)%+4$ 3&-,%?#(*++&+$ e-.+#d$).$ (!&$*33&,$ plane, two angels displaying the 7&)$J0(")d$(!&$#"%”&,?1"%($)g%-+$ 0"(!$/),-%$,&3)*##µ$+&2),-(").4$2*(?)*($!-%)&#$-.+$(!&$.-5&#$".$ enamel /('(#$#/%#)*

+)" !"41)1&5>$,&1($"$':(=?&/))$!""#$,&52%&)$)$ ,2(2!:&"6$!&(&-(4/6*$':52.$!$,'3'5'1'*$ 8wCC;<4$BŒ9¡‹w$‹•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$

+&,"""-?,""" "!

+(" 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&.$ˆ)#3&%#4$/-.g&+$e6$h!,"#($-.+$ ®"#$™)(!&,$3,&#&.(".1$€(E$j"2!)%-#$0"(!$(!&$f))g$)'$ˆ)#3&%#$ 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

+*" 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$ (!&$ ”"#").#$ )'$ ™)#&#4$ ª#-"-!4$ •-2)e$ -.+$ ƒ…&g"&%d$ executed in bright tones with gold haloes, the decoration of the border imitating silver work of the period !!#$#%.'(#)*

+%,.""-!,!"" j)(&#’ ž22)53-."&+$ e6$ -$ h&,("c2-(&$ )'$ ž*(!&.("2-(").$ "##*&+$ e6$ ˆ-%&,"&$ ™-."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$

""

++" ST. NICHOLAS FLANKED BY THE APOSTLES PETER AND PAUL hƒj†œžŸ$œ›€€ªžj$x•žœ-€Ÿž¯ŸÊy4$€ƒh-j‰$®žŸš$-š$ 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•Œ•{•<$ 8wCC;<$ x<8wCŒ•AŒ•y4$ A~w8•<$ ]wŒwA;{•$=t?IG$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$ŒGaF$ 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

"#

!,!"

TOPOGRAPHY OF THE HOLY LAND ‚žŸƒ€†ªjªžj4$=tTH CENTURY

!,!"

1','%(2f)4$!"41'*$3&75)$ ]•Œ9C~;{•4$=t?@$A9B

At the centre of the composition the Church of the Anastasis along with its compartments including the mount of Golgotha and (!&$h,*2"cŠ").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 ,&+$e-2g1,)*.+4$".$(!&$2&.(,&$(!&$Ÿ-#($•*+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&$‚-%&#("."-.$-,($)'$(!&$3&,")+4$&Š&2*(&+$3,"5-,"%6$".$,&+$ and ochre on blue ground 1.#$#%00#)*

: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$`GOFE$

+(,"""-.,""" j)(&#’ †!&#&$ g".+$ )'$ %-,1&$ 2-.”-#&#$ 0&,&$ &#3&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.&,$)'$!"#$3"%1,"5-1&E$š),$#"5"%-,$0),g#$#&&’$Ÿ-$ ‚-,)%&$ ‰"”".&4$ >$ ™-6$ ¤²=²4$ %)($ ¦>d$ h!,"#("&i#4$ $ •*.&$ ¤²²t4$ #-%&$ >§ ¦4$ %)($¤¦

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!,#" STS. CONSTANTINE AND ELENA ˆœƒƒ—4$hªœhž$=>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$wBwŒw$=>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$OJgSMGHD €ƒœfªžjÊ4$=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&,$)'$(!&$ˆ,&1),"-.$h-%&.+-,$-.+$=>4$=t$-.+$ = $)'$(!&$•*%"-.$h-%&.+-, 0%'(#$#/1'?#)*

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#$

!,'" THE HOLY FORTY MARTYRS OF SEBASTIA GREEK, SECOND HALF OF THE 17TH CENTURY

!,'" !'(':$ 7=9&/):'"$ !&"2!1)*!:)8$ %(&0)4@$ A~w8•<$]wŒwA;{•$=>?IG$A9B•

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 ”-,")*#$2)%)*,#$-.+$#(6%&#4$(!&$,&+$1-,5&.(#$)'$#)5&$)'$(!&$c1*,&#$ conspicuous in the foreground, the panel with a raised gilt border !.'%#$#!"'(#)*

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+%&,"""-!","""

#&

!,&" THE ASCENSION OF CHRIST INCLUDING AN IMAGE OF THE MANDYLION GREEK, SECOND HALF OF 17TH CENTURY The Mother of God Orans4$/-.g&+$e6$-.1&%#$-.+$(!&$ž3)#(%&#4$ 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$A~w8•<$]wŒwA;{•$=>?IG$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 ˆœƒƒ—4$hªœhž$=¦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$wBwŒw$=¦²²$IE A$ 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 ˆœƒƒ—$xª-jªžj$ª€Ÿžj‰€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","($+&#2&.+".1$',)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)(!$".$ƒ3"#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$ ŒTNM\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

#(

!,*" 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 ƒ”-.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"#(&+$,)+#$cŠ&+$".$(!&$#*,5)*.(".1$ƒ3"#2)3-%$2,)0. %&%#$#?1#)*

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!,*" ."&$!1"'(:)$02(!:)8$"(21$ |•Œ‹•~;<4$=t?@$A9B AFLJZGLFXORF$ 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

#)

!,+" THE NATIVITY OF CHRIST !"##$%&'(J%+.()K+,(-.&+"!/

!,+" ('?.&!1"'$8()!1'"'$ 8wCC;<4$Bw{9:$=¦?IG$A9B•

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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 DORMITION OF THE MOTHER OF GOD RUSSIAN, MIDDLE OF THE 17TH CENTURY

!!," =!,&/)&$-'%'('.)06$ 8wCC;<4$C989|;{•$=>?IG$A9B•

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&# /%'(#$#!.'?#)*

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$ $ ŒGaF$ 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$$A$WMPGP$DFHYT$ ZGPXG[JbJJ$ XMHJU$ WFHM`JP$ W$ HMWXHGWUFHURPJ$ ZHRL_QPJE$ ;ZGOM$ DRXGLOFOM$ D$ OMWR\FOORY$ UGOMY$ W$ XHFGKLMVM^\JPJ$ GUUFOZMPJ$ZHMWOGIGE$$ŒJZJ$OMXJWMOR$XLMD_^$W$XHJPFOFOJFP$ GYHR$J$ZGHJNOFDGIG4$J$TWJLFOR$UGOZJPJ$KFLRPJ$GaJDZMPJE

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#!

!!!"

THE MOTHER OF GOD OF KAZAN RUSSIAN, 17TH CENTURY

!!!"

-'%'('.)02$:232/!:24$ 8wCC;<4$=>?@$A9B

€!)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 /%'.#$#!.'/#)*

{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

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!!#" 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$€(E$ž.(!).6$-.+$!"#$+"#2"3%&$€(E$†!&)+)#"*#4$e)(!$+"#3%-6".1$ #2,)%%#4$ -.+$ &Š(&.+".1$ (!&",$ !-.+#$ ".$ #*33%"2-(").4$ -%%$ c1*,&#$ bearing green haloes, the garments rendered in saturated colours, the folds shaped by white accents /%'!#$#!.#)*

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!!#" :)&"'+,&9&(!:24$ ):'/2$ =!,&/)4$ ,(&!"#$ -'%'('.)06$ 8wCC;<4$]98A•<$]wŒwA;{•$=>?IG$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

##

!!$" THE BIRTH OF THE MOTHER OF GOD ˆœƒƒ—4$hªœhž$=>²²

!!$" ('?.&!1"'$-'%'('.)06$ 789:;<4$wBwŒw$=>²²$IE$

In the foreground, the newborn baby swaddled, a maid stroking (!&$ 2,-+%&4$ ()$ (!&$ %&'(4$ €(E$ž..-$ %))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 /%#$#!?#)*

{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

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!!'"

THE APOSTLE PAUL GREEK, 17TH CENTURY

!!'"

2,'!1'5$,2"&5 789:;<4$=>?@$A9B

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#)*

•XGWUGL$ DGWWFVMFU$ OM$ DFLJZGLFXOGP$ PHMPGHOGP$ UHGOF$ W$ XGVOGaJFP$ J4$ VFHaM$ D$ HTZMY$ 9DMOIFLJF4$ KLMIGWLGDLQFU$ PGLQ\FIGWQE$ ŒJZ$ 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

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!!&" STS. HARALAMBOS AND STYLIANOS WITH SCENES OF FORMER’S MARTYRDOM ˆœƒƒ—4$hªœhž$=>²²

!!&" !""#$ 82(527,)*$ )$ !1)5)2/$ !'$ !0&/27)$ )8$ 7=9&/)9&!1"2$ 789:;<4$wBwŒw$=>²²$IE

†!&$ *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$-$ˆ)#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.

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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

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!!)"

ST. CHRYSOSTOM hœƒ†žj4$=¦TH CENTURY

!!)" !"#$)'2//$3521'=!1$ B8;~4$=¦?@$A9B

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 !/'("#$#%.'?#)*2#34)567348#9:;#<=>*;#//#$#!&#)*

;ZGOM$ XHFVWUMDLQFU$ WGKG@$ XGIHTVOGF$ `HGOUML_OGF$ J[GKHMaFOJF$ WDE$ ;GMOOM$ zLMUGTWUM$ ‘$ GVOGIG$ J[$ HMOOJY$ GUbGD$ :FHZDJE$ $ ŒJZ$ 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

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!!(" A MONUMENTAL ICON OF ST. NICHOLAS ˆœƒƒ—4$‰ž†ƒ‰$=>¨¤ ž.$"2).$)'$%-,1&$+"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(*")&+(")$#!)0".1$-.$"5-1&$)'$h!,"#($ƒ55-.*&%d$/-.g&+$e6$ (!&$ !-%'?%&.1(!$ c1*,&#$ )'$ h!,"#($ -.+$ ®"#$ ™)(!&,4$ e)(!$ -1-".#($ double glories of alternate colours; Christ presenting the saint 0"(!$(!&$f))g$)'$ˆ)#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~) ?('(#$#&"#)*

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!!(" 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$ ŒJZ$ 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

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!!*" THE LAST JUDGEMENT RUSSIAN, 18TH CENTURY

!!*" !1(2i/6*$!=.$ 8wCC;<4$=t?@$A9B

†!&$ ')2*#$ )'$ (!&$ 2)53)#"(").$ e&".1$ (!&$ –‚,&3-,&+$ †!,).&˜$ ".$ (!&$2&.(,&$)'$(!&$3-.&%4$".2%*+".1$(!&$ª.#(,*5&.(#$)'$(!&$‚-##").4$ /-.g&+$ e6$ (0)$ ž.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$ (!&$ š),&'-(!&,#$ ž+-5$ -.+$ ƒ”&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-(").#$ )'$ (!&$ ƒ”-.1&%"#(#4$ -$ large serpent with rings each representing a human sin; at the %)0&#($,&1"#(&,$()$(!&$,"1!($(!&$-%+$†&#(-5&.($‚-(,"-,2!#$-.+$()$ the right scenes from Hell /?'(#$#!?#)*

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$ŒGOG$•DHMMPGDGE

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detail

!!+" H$ LPI$ FPGFPE@$ PggGPDJHDEJgHG$ gMUP$ PKQLMJIPLPI$ lJES$ NMGI$ ESLPHIe$ ESP$ QHgT$ EMBROIDERED WITH AN EXTENDED DEISIS œ›€€ªžj4$=¦TH$hƒj†›œ•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$ž.().6$-.+$•)!.$(!&$†!&)%)1"-.4$-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!$)'$1)%+$-.+$#"%”&,$/),-%$3-((&,.# %/&#$#%.&#)*

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!#," A PORCELAIN EASTER EGG œ›€€ªžj4$hªœhž$=t²² Representing 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:

+%,(""-!,""" !#," 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:

+!,"""-/,""" !#!" 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“•

!##" 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&+$e6$(!&$ˆ)#3&%$-.+$(!&$†-e%&(#$)'$(!&$%-0 1'(#)*#: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

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!#$" A PORTABLE TRIPTYCH WITH THE PROTECTIVE VEIL OF THE MOTHER OF GOD œ›€€ªžj4$ ™žœ—$ -š$ ‚ž¯Ÿ-¯ªh®$ ™ªŸ•›—-¯$ x‚•ƒ†œ$ ™ªŸ›—-¯y4$™-€h-°4$= ²t?= =¤ Enclosing three painted enamel plates; the central one showing (!&$ ™)(!&,$ )'$ ˆ)+$ 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

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!#'" A PODEA SHOWING THE MOTHER OF GOD OF THE SIGN RUSSIAN, 17TH$hƒj†›œ•Ê The central section made of embroidered laid work of gold, silver, )''?0!"(&$-.+$1,&&.$(!,&-+#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 124 $$&

!#&" THE MOTHER OF GOD OF KAZAN WITH A SILVERGILT AND ENAMEL OKLAD IN A KYOT œ›€€ªžj4$™ž—ƒœi€$™žœ—$€™$ªj$h•œªŸŸªh4$™-€h-°4$ = ²t?=> The faces depicted realistically in mild shades conveying a calm &Š3,&##").4$ (!&$ #"%”&,?1"%($ )g%-+$ &.1,-”&+$ 0"(!$ +&2),-(").#4$ 5),&$.)(-e%6$(!&$ˆ,&&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$BŒ9¡‹w$‹•C~98•$}CE‹E•4$‹wCBA•4$ = ²t?=>

!#)" CHRIST PANTOKRATOR WITH A SILVER OKLAD œ›€€ªžj4$ ™ž—ƒœi€$ ™žœ—$ €EˆE$ ªj$ h•œªŸŸªh4$ ™-€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$BŒ9¡‹w$‹•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$CXMWJUFLQE$

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

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!#(" A GROUP OF MINIATURE BRASS ICONS RUSSIAN, 19TH CENTURY h%)2g0"#&4$ ,&3,&#&.(".1$ (!&$ 5).-("2$ €(E$ ‚-"#")#4$ (!&$ ž..*.2"-(").4$(!&$™)(!&,$)'$ˆ)+$)'$(!&$€"1.$-.+$€(E$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

!#*" 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

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!#+" TWO DEACONS BEARING THE RELICS OF ST. NICHOLAS RUSSIAN, 18TH CENTURY Dressed in complete Episcopal attire and a beaming halo, two e-..&,#$ 0"(!$ (!&$ ™)(!&,$ )'$ ˆ)+$ -.+$ (!&$ ™-.+6%").$ cŠ&+$ ).$ (!&$,&%"‡*-,64$(!&$3,)2&##").$&.(&,".1$(!&$1-(&#$)'$-$#&((%&5&.(4$ headed by a boy carrying a cross and followed by Orthodox ƒ22%&#"-#("2-%$c1*,&# /1'.#$#0%'0#)*

+%,0""-%,?"" !#+" ."2$ .)2:'/2@$ ,&(&/'!4A)&$ 7'A)$ !"#$ /):'524+9=.'1"'(02 8wCC;<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$ (!&$ ˆ)#3&%#4$ /-.g&+$ e6$ (!&$ ™)(!&,$)'$ˆ)+$-.+$•)!.$(!&$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

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!$!"

A PAIR OF DIPTYCH WINGS GREEK, 17TH CENTURY

!$!" !1"'(:)$.),1)82 789:;<4$=>?@$A9B

†!&$ #-".(#$ ".$ #*33%"2-(").4$ €(E$ ž.().")#$ ()$ (!&$ %&'($ )3&.".1$ -$ #2,)%%4$()$(!&$,"1!($€(E$j"2!)%-#$!)%+".1$(!&$ˆ)#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:;#<=>*;

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$TILMYE$

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!$#" A DOUBLE-SIDED WOOD CARVING SHOWING THE TWELVE MAJOR ECCLESIASTICAL FEASTS (DODEKAORTON) ˆœƒƒ—$x™-›j†$ž†®-€y4$=tTH CENTURY

!$#" ."=!1'('//&&$ (&3/24$ 7)/)21B(2$ !$ ."&/2.021>B$ '!/'"/67)$ 0&(:'"/67)$ ,(23./):27)$VIMIPTHMLEMOb 789:;<4$x7w8•$•«w{y4$=t?@$A9B

†!&$-,(0),g$3,)”"+".1$-$”"#*-%$.-,,-("”&$)'$h!,"#(i#$%"'&d$(!&$c,#($ side focusing on His childhood and public ministry prior to His ‚-##").4$".2%*+".1$(!&$j-("”"(6$".$(!&$2&.(,&4$#*,,)*.+&+$e6$(!&$ ž..*.2"-(").4$‚,&#&.(-(").$)'$(!&$ª.'-.($()$(!&$†&53%&4$f-3("#54$ †,-.#c1*,-(").$-.+$œ-"#".1$)'$Ÿ-…-,*#d$(!&$,&”&,#&$')2*#".1$).$ (!&$h,*2"cŠ").4$&.2",2%&+$e6$(!&$ƒ.(,6$".()$•&,*#-%&54$ž.-#(-#"#4$ (!&$‰)*e(".1$†!)5-#4$(!&$ž#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:;#<=>*;

]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$ŒM[MHQE$ 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$$

+&,"""-?,"""

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!$$" H$ DJGFPL$ gHDP$ t$ UPOIHOE$ JOgGmIJON$ gHLFPI$ WOODEN IMAGES OF STS. GEORGE AND DEMETRIOS GREEK, 18TH CENTURY †!&$ +&2),-(").$ )'$ (!&$ 2-#&$ &Š&2*(&+$ ".$ ,&3)*##µ4$ (!&$ ',).($ #!)0".1$ (!&$ &‡*&#(,"-.#$ €(#E$ ˆ&),1&$ -.+$ ‰&5&(,")#$ g"%%".1$ (!&$ dragon and king Kaloyanni respectively, in the centre under a 2*3)%-$ (!&$ ,&#2*&+$ 3,".2&##$ ƒ%"#-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$ˆ&),1&$-.+$‰&5&(,")#4$ (!&$#&2).+$,&3,&#&.(".1$(!&$&.(!,).&+$™)(!&,$)'$ˆ)+$/-.g&+$e6$ 3,)3!&(#$0),#!"33".1$(!&$2&.(,-%$c1*,&d$(!&$2-#&$'-#(&.".1$0"(!$-$ 3".4$-$%).1$2!-".$'),$!-.1".1$cŠ&+$()$(!&$#"+&#

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!$$" !&(&-(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

reverse KLKMKN

!$'" A SILVERED GOSPEL COVER GREEK, 18TH CENTURY †!&$ ',).($ -33%"&+$ 0"(!$ -$ 2&.(,-%$ "5-1&$ )'$ (!&$ h,*2"cŠ").4$ (!&$ spandrels including the Four Evangelists accompanied by their ž3)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'(#)*

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!$'" ,'!&(&-(&//6*$':52.$$&"2/%&5)4$ 789:;<4$=t?@$A9B ŒJbFDMQ$WUGHGOM$GZLMVM$9DMOIFLJQ$VFZGHJHGDMOM$OMZLMVORP$ WFHFKHQORP$ GKHM[GP$ 8MWXQUJQE$ A$ TILMY$ LJbFDG@$ ZHRSZJ$$ 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

!$&" hMmL$JKHNPD$Mh$ESP$KMESPL$Mh$NMI@$ESP$IPJDJD$ AND FAMILY PATRONS WITH A SILVER-GILT OKLAD ™ž—ƒœi€$™žœ—$†Eˆ$ªj$h•œªŸŸªh4$—ž³žj4$=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 (!&$#"+&#$(!&$š)*,$ƒ”-.1&%"#(#4$€(#E$f-,e-,-$-.+$™-,6$)'$ƒ163($ -.+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&,# /&#$#!?#)*

+&,"""-?,""" !$&" ):'/2$ !$ 9&16(>74$ '-(2327)$ -'%'('.)06@$ .&)!)!'7$)$!"4167)+,':('")1&547)#$$ !&(&-(4/6*$':52.$!$,'3'5'1'*#$$ BŒ9¡‹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

!$)" THE MOTHER OF GOD FROM A DEISIS œ›€€ªžj$x™€†ƒœžy4$=tTH CENTURY Looking at the beholder while pointing to the right where an image of Christ would have been, holding an open scroll with a prayer, the "."("-%#$)'$(!&$™)(!&,$)'$ˆ)+$".#2,"e&+$".$(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

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!$(" THE CRUCIFIXION œ›€€ªžj4$hªœhž$=t²² An extremely detailed visual narrative of the episode of the h,*2"cŠ").d$ h!,"#(i#$ %"'&%&##$ e)+6$ ).$ (!&$ 2,)##4$ (!&$ %-.2&$ -.+$ #3).1&$ cŠ&+$ ()$ (!&$ %&'($ -.+$ ,"1!($ ,&#3&2("”&%64$ (0)$ -.1&%#$ 2)%%&2(".1$(!&$e%))+$',)5$®"#$0)*.+#$".$2!-%"2&#d$/-.g&+$e6$(!&$ 2,*2"c&+$(!"&”&#4$-.+$".$(!&$'),&1,)*.+4$(!&$†!,&&$™-,6#$-.+$€(E$ •)!.$ (!&$†!&)%)1"-.$ ".$ 5)*,.".1$ -.+$ (!&$ h&.(*,").d$ (!&$ e%))+$ from His feet dripping on the bones of Adam in the cave below (!&$#*55"($)'$ˆ)%1)(!-d$(!&$0-%%#$)'$•&,*#-%&5$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$wBwŒw$=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//$,(&.1&92 8wCC;<4$= ?@$A9B CDE$;GMOO$]HFVUFNM$TZM[TFU$OM$OFKFWM$J$VFHaJU$D$HTZMY$XGWGY$ W$ ZHFWUGGKHM[ORP$ OMDFHSJFP4$ W$ ZGUGHGIG$ WXTWZMFUWQ$ LFOUM$ W$ FIG$ XHGHGNFWUDGP$ XGZMQOJQE$ ŒJbG$ WDQUGIG$ J$ VHMXJHGDZJ$ GVFaV$DRXGLOFOR$D$HFMLJWUJNOG@$PMOFHFE$~JWOFOR@$OJPK$J$ XGLQ$ JZGOR$ JPJUJHT^U$ OMZLMVORF$ WFHFKHQORF$ TZHMSFOJQ4$ YMHMZUFHORF$VLQ$= ?IG$DFZME

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!$+" ELEOUSA MOTHER OF GOD ENCIRCLED BY LITURGICAL FEASTS ›—œžªjªžj4$hªœhž$=t²² The Mother of God holding her Son, His hand around her neck, pressing his check gently to hers; surrounded by the twelve Cardinal Festivals in oval arrangements, depicted either in tiled, interior spaces or against naturalistically rendered landscapes, the haloes and borders that separate the scenes gilded (/'&#$#00'/#)*

+/,"""-0,""" !$+" -'%'721&(>$ ;=7)5&/)&<$ "$ ':(=?&/))$ '!/'"/68$ 5)1=(%)9&!:)8$,(23./):'"$ ¢B8•;{•4$wBwŒw$=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$`GOFE !'," STS. MODESTUS AND BLAISE œ›€€ªžj4$hªœhž$=t²² ž((",&+$".$(!&$1-,5&.(#$)'$(!&",$)'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$wBwŒw$=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 )'$ˆ)+$!)%+".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

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!'#" “LET THE CHILDREN COME TO ME” œ›€€ªžj$x€†E$‚ƒ†ƒœ€f›œˆy4$=tTH CENTURY

!'#" ;,=!1)1&$.&1&*$,()8'.)1>$:'$7/&< 8wCC;<$xC•{B~?]9~98v¢87y4$=t?@$A9B

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.'(#)*

|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

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!'$" A GOLD AND ENAMEL EASTER EGG SHOWING ST.NICHOLAS RUSSIAN, 19TH CENTURY †!&$!-%'$c1*,&$)'$(!&$#-".($,&.+&,&+$".$3-".(&+$&.-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

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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:

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!'&" f2(f'('"'&$ ,2!825>/'&$ 4*0'$ !$ '-(23'7$ !"#$72())$72%.25)/6 8wCC;<4$= ?@$A9B

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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 œ›€€ªžj4$hªœhž$=t²² ž$”-,"&(6$)'$2)%)*,'*%$/)0&,#4$-1-".#($-$1,&6$)”-%$e-2g1,)*.+4$ the rest of the surface pink with gold decorative scrolls %%'(#)*#:38:

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!'(" f2(f'('"'&$ ,2!825>/'&$ 4*0'$ !$ -=:&1'7$ 0"&1'" 8wCC;<4$wBwŒw$=t²²$IE

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!'*" MOTHER OF GOD “JOY TO ALL WHO GRIEVE” RUSSIAN, 19TH CENTURY †!&$)”&,#"…&+$c1*,&$)'$(!&$™)(!&,$)'$ˆ)+4$/-.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$ ŒJZJ$ U\MUFL_OG$ XHGHMKGUMOR4$ JPFOM$ WDQURY$ J$ OM[DMOJQ$ XMPQUORY$ WGKRUJ@$TZM[MOR$D$OMVXJWQY$OMDFHYTE

$&*

!&!"

ESP$ hHKJGR$ UHELMOD$ DHJOED$ HOEJUH@$ NLPNMLR$ HOI$ ANNA œ›€€ªžj4$hªœhž$=t²² The three saints signing in benediction, the Church Hierarchs carrying (!&$ ˆ)#3&%#4$ +,&##&+$ ".$ ),.-(&$ ƒ3"#2)3-%$ 1-,5&.(#4$ €(E$ž..-$ 2)”&,&+$ e6$ -$ %))#&$ 2%)-g4$ (!&$ )3&.$ #g"&#$ -e)”&$ ,&”&-%".1$ (!&$ c1*,&$ )'$ h!,"#(4$ executed in deep colours /%#$#!&'.#)*

+!,(""-/,("" !&!" !"416&+,':('")1&5)$!""#$2/1),)*@$$%()%'()*$)$ 2//2$ 8wCC;<4$wBwŒw$=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 œ›€€ªžj$x¯Ÿž‰ª™ªœ$‚œ-¯ªjhƒy4$hªœhž$=t²² †!&$2&.(,-%$"5-1&$#!)0".1$(!&$ž.-#(-#"#4$/-.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$*.*#*-%E$š*,(!&,5),&4$(!&",$3)#"(").$.&Š($()$(!&$ž.-#(-#"#$ 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;<$xAŒ•|;‹;8CB•<$wvŒ•C~•y4$wBwŒw$=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$

$&!

!&$" THE CONVOCATION OF ARCHANGEL MICHAEL RUSSIAN, 19TH CENTURY

!&$" !'-'($2(82/%&52$7)82)52$ ('!!)4@$W^+u$"&:$

†!&$ )”&,#"…&+$ c1*,&$ )'$ (!&$ ž,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)-..$ -.+$ Ÿ).1".*#$ (!&$ ˆ-(&?—&&3&,$ )'$ (!&$ Kievan Caves /('(#$#/"'(#)*

¢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$ŒGOIJOGP?ZL^NOJZGP4$YHMOJUFLFP$ ZJFDWZJY$XF\FHE$

+0,"""-&,""" $&"

!&'" A PAIR OF ICONS PORTRAYING STS. NICHOLAS AND JOHN THE BAPTIST œ›€€ªžj$x™€†ƒœžy4$Ÿž†ƒ$= TH CENTURY

!&'" ."&$ ):'/6$ !$ '-(2327)$ !"#$ /):'524$$ 9=.'1"'(02$)$)'2//2$:(&!1)1&54$ 8wCC;<4$= ?@$A9B$

†!&$ 3-.&%#$ )'$ 2*(?)*($ ),.-(&$ #!-3&4$ (&,5".-(".1$ ()$ )1&&$ c."-%#d$ e)(!$ #-".(#$ +&3"2(&+$ ',).(-%4$ (!&$ &%+&,%6$ €(E$ j"2!)%-#$ e%&##".1$ -.+$ +"#3%-6".1$ (!&$ ˆ)#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

|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$WDJVFUFL_WUDGPE$ŒJZJ$WDQURY$UGNOG$ J$U\MUFL_OG$XHGXJWMORE$]G[GLGUM$OM$GVFQOJQY$WJQFU$OM$`GOF$ [FLFORY$J$ZGHJNOFDRY$UGOGDE

+0,"""-&,"""

!&&" STS. JULITA AND HER SON KIRIKOS œ›€€ªžj$x™-€h-°$€h®--Ÿy4$Ÿž†ƒ$=

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;<$x‹wCBwACB•<$±BwŒ•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$Ÿ).+).4$‰&2&5e&,$=

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!&)" ):'/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

!&(" A CALENDAR ICON INCLUDING THE PASSION CYCLE AND THE MAJOR ECCLESIASTICAL FEASTS œ›€€ªžj4$hªœhž$=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 ƒ”-.1&%"#(#$ ".$ (!&",$ #2,"3(),"-d$ (!&$ c1*,&#$ &Š&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,(""

!&(" 7)/&*/24$):'/2$!$'-(2327)$$"'!:(&!&/)4$ )$!1(2!1&*$8()!1'"68$$"$':(=?&/))$:5&*7$$ !$%52"/67)$0&(:'"/67)$,(23./):27)$ 8wCC;<4$wBwŒw$=t²²$IE A$ bFOUHF$ ZGPXG[JbJJ$ J[GKHMaFO$ uHJWUGW4$ J[DGVQ\J@$ J[$ •VM$ •VMPM4$ 9DT$ J$ DFUYG[MDFUORY$ XHMDFVOJZGDE$ CbFOM$ D$ WHFVOJZF$ GZHTaFOM$ VDFOMVbMU_^$ ZLF@PMPJ$ W$ J[GKHMaFOJFP$ 9IG$ CUHMWUF@’$ XGDFWUDGDMOJF$ OMNJOMFUWQ$ W$ ZLF@PM$ W$ ~M@OG@$ AFNFHF@$ $ D$ DFHYOFP$ LFDGP$ TILT$ J$ GZMONJDMFUWQ$ GKHM[GP$ W$ UHFPQ$‹MHJQPJ$T$IHGKOJbR$uHJWUM$D$OJaOFP$$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$XGLQPJE$

$'$

!&*" THE MOTHER OF GOD “SOOTHER OF SORROWS” œ›€€ªžj4$hªœhž$=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$wBwŒw$=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$HTZMYE$ŒJZJ$DRXJWMOR$D$ILTKGZJY$ UGOMY4$ GaJDLFOORY$ UGOZJPJ$ XHGKFLMPJE$ zGLGUG$ OJPKGD$ DRVFLQFUWQ$OM$UFPOGP$GLJDZGDGP$`GOFE

!&+" 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

$'&

!)," A PORCELAIN EASTER EGG WITH A PAINTING AFTER AIVAZOVSKY RUSSIAN, 19TH CENTURY

!)," f2(f'('"'&$ ,2!825>/'&$ 4*0'$ !$ $ 7'1)"'7$ )3$:2(1)/6$)#$2*"23'"!:'%'$ 8wCC;<4$= ?@$A9B

†!&$ ',).($ "%%*#(,-(".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:

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

+!,"""-/,""" +,-./0.123+

!"#$%&%"#'(")('*+, †!&$(63&$)'$(!&$,&%-(").#!"3$e&(0&&.$Ÿ-$‚-,)%&$‰"”".&$Ÿ"5"(&+$x!&,&".-'(&,$,&? '&,,&+$()$-#$–(!&$ž*2(").&&,#˜y4$(!&$€&%%&,#$x-#$+&c.&+$!&,&".e&%)0y$-.+$f*6&,#$x-#$ +&c.&+$!&,&".e&%)0y$-.+$(!&$(&,5#$).$0!"2!$(!&$ž*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&.($-($(!&$-*2(").E ¤y$ †!&$ž*2(").&&,#i$-2($-#$-1&.($'),$(!&$€&%%&,E$†!&,&'),&4$-$#-%&$2).(,-2($"#$ 5-+&$+",&2(%6$e&(0&&.$(!&$€&%%&,$-.+$(!&$f*6&,E$†!&$ž*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$5&-.#$Ÿž$‚žœ-Ÿƒ$‰ª¯ªjƒ$Ÿ†‰4$-$%"5"(&+$-$2)53-.6$,&1"#? (&,&+$*.+&,$(!&$%-0#$)'$h63,*#$*.+&,$,&1E$j)$®ƒ$¤¨§²¤>$!-”".1$"(#$,&1"#(&,&+$ )'c2&$-($=¨$‚,)5"(!&)#$€(,&&(4$ž1")#$‰)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$3-6-e%&$".$,&#3&2($)'$(!&$#-%&$)'$ (!&$‚,)3&,(6$x-#$+&c.&+$".$(!&$h).#"1.5&.($ž1,&&5&.(y4$".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$).$(!&$&Š2&##$)'$(!&$ ®-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)(!&,$(!-.$(!&$ž*2(").&&,#y4$&Š&2*(),#$),$3&,#).-%$,&3,&#&.(-("”&#yd

g.)0%&+1&4$-.+$1&.&,-%%6$-22&3(&+$,&#&-,2!$-.+$#2!)%-,#!"3$-($(!&$("5&E +E$ƒ#("5-(&#$)'$(!&$#&%%".1$3,"2&$)'$(!&$‚,)3&,(6$%)(#$#!)*%+$.)($e&$+&3&.+&+$).$ -#$(!&$3,"2&$-($0!"2!$(!&$"(&5$0"%%$#&%%$),$"(#$”-%*&$).$-.6$)(!&,$1,)*.+#E §y$ ž†$†®ƒ$ž›h†ª-j -E$†!&$ž*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%&$(-Š&#4$3%*#$-%%$)(!&,$-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&$3%-2&+$".$ƒ*,)#E$‚%&-#&$,&'&,$ ()$(!&$2-(-%)1*&$'),$(!&$že#&.(&&$f"+#$š),5E$ª'$0&$,&2&"”&$0,"((&.$e"+#$).$ -$#3&2"c2$%)($'),$"+&.("2-%$-5)*.(#4$(!&$c,#($0,"((&.$e"+$()$e&$,&2&"”&+$-.+$ -22&3(&+$0"%%$!-”&$3,"),"(6E$‚,)”"+&+$(!-($0&$!-”&$&Š&,2"#&+$,&-#).-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&.(#$0"(!$(!&$ž*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"#&$#(-(&+4$-%%$‚,)3&,(6$%)(#$-,&$)''&,&+$#*e„&2($()$-$œ&#&,”&E$ †!&$œ&#&,”&$0"%%$.)($e&$!"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(").&&,$!-#$(!&$,"1!($()$&Š&,2"#&$+"#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;

VAT$"#$¯-%*&$ž++&+$†-Š$-($(!&$2*,,&.($,-(&E ¨y$ hž†žŸ-ˆ›ƒ$‰ƒ€hœª‚†ª-j€$žj‰$h-j‰ª†ª-j †!&$ž*2(").&&,#$#&%%$(!&$‚,)3&,(6$%)(#$-#$+&#2,"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$,&#(),-(").$),$,&3-",E$ ž.6$,&'&,&.2&$()$2).+"(").$".$-$2-(-%)1*&$&.(,6$0"%%$.)($&‡*-(&$()$-$'*%%$ +&#2,"3(").$)'$2).+"(").E$h).+"(").$,&3),(#$-,&$-”-"%-e%&$).$,&‡*&#(E$ƒ-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$%)(d eE$ž%%$+"5&.#").#$)'$(!&$‚,)3&,(6$%)(#$".$(!&$2-(-%)1*&$&.(,"&#$-,&$-33,)Š"5-(&E 2E$ž.6$#(-(&5&.(#$5-+&$e6$(!&$ž*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

$'(

„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&&.$(!&$€&%%&,$-.+$(!&$f*6&,E$œ"#g$-.+$ ,&#3).#"e"%"(6$'),$(!&$‚,)3&,(6$%)($3-##&#$()$(!&$f*6&,$-($(!&$&Š3",-(").$)'$(!,&&$ 2-%&.+-,$+-6#$',)5$(!&$+-(&$)'$(!&$#-%&$),$).$2)%%&2(").$e6$(!&$f*6&,$"'$&-,%"&,E ¦y$žš†ƒœ$†®ƒ$ž›h†ª-j -E$†!&$f*6&,$5*#($3-6$(!&$‚*,2!-#&$‚,"2&$'),$-$‚,)3&,(6$%)($-.+$-.6$f*6&,i#$ ƒŠ3&.#&#$"55&+"-(&%6$-'(&,$(!&$#-%&E$†!"#$-33%"&#$,&1-,+%&##$"'$,&‡*",&5&.(#$ for export, import or other permits apply; eE$ª'$(!&$ž,("#(i#$œ&#-%&$œ"1!($œ&1*%-(").#$¤²²¦$xƒ›$‰",&2("”&$¤²²=×t¨×ƒhy$ -33%6$()$(!&$‚,)3&,(6$%)(4$(!&$f*6&,$-%#)$-1,&&#$()$3-6$(!&$ž*2(").&&,#$-.$ -5)*.($&‡*-%$()$(!&$,&%-3#&$,)6-%(6$3,)”"+&+$'),$".$(!)#&$œ&1*%-(").#E$°&$-,&$ 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$ž.6$&-,%"&,$,&%&-#&$+)&#$.)($-''&2($(!&$3-##".1$)'$("(%&$),$(!&$f*6&,i#$ *.2).+"(").-%$)e%"1-(").$()$3-6$(!&$‚*,2!-#&$‚,"2&$-.+$f*6&,i#$ƒŠ3&.#&#$&”&.$ ".$2",2*5#(-.2&#$0!&,&$0&$!-”&$,&%&-#&+$(!&$%)($()$(!&$f*6&,d+E$°&$#!-%%$e&$

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$ž%(!)*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$'),$-.$&Š3),($ licence on his or her behalf, we shall be entitled to make a charge for this #&,”"2&E$°&$#!-%%$.)($e&$)e%"1&+$()$,&#2".+$-$#-%&$.),$()$,&'*.+$-.6$".(&,&#($),$ other expenses incurred by the Buyer where payment is made by the Buyer in 2",2*5#(-.2&#$0!&,&$-.$&Š3),($%"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$ °žœœžj†• ª.$-++"(").$()$(!&$ž*2(").&&,#i$%"-e"%"(6$()$f*6&,#$#&($)*($".$2%-*#&$¨$)'$(!&#&$ Conditions, but subject to the terms and conditions of this paragraph, the ž*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".-%$#-%&E$ž$'),1&,6$5&-.#$-$‚,)3&,(6$%)($(!-($ in the Auctioneers’ reasonable opinion is a fraudulent imitation created to +&2&"”&$-#$()$-*(!),#!"3$),$+-(&4$-.+$0!&,&$(!&$‚,)3&,(6$%)($"#$.)($+&#2,"e&+$ -#$#*2!$".$!&-+".1#$3,".(&+$".$›‚‚ƒœ$hž€ƒ$†•‚ƒ$".$(!&$2-(-%)1*&$x-#$#*2!$ +&#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$%)($-.+$(!&$ ž*2(").&&,#$-,&$.)($,&#3).#"e%&$'),$-.6$&,,),#$),$)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$(!&$2-(-%)1*&$+&#2,"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;

""y$2-.2&%$(!&$#-%&$)'$(!&$‚,)3&,(6$$%)(d

2y$†!&$),"1".-%$f*6&,$5*#($!-”&$,&5-".&+$(!&$)0.&,$)'$(!&$‚,)3&,(6$%)($ without disposing of any interest in it to any third party;

"""y$,&#&%%$(!&$‚,)3&,(6$3*e%"2%6$),$3,"”-(&%6$).$#*2!$(&,5#$-#$0&$#!-%%$(!".g$ c(d

d) Neither the Auctioneers nor the Seller will be liable for any damages ".2%*+".14$0"(!)*($%"5"(-(").4$%)##$)'$3,)c(#$.),$'),$".(&,&#(E

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;

e) The Buyer must give written notice of claim to us within two years form the +-(&$)'$(!&$-*2(").E$†!&$ž*2(").&&,#$#!-%%$!-”&$(!&$,"1!($()$,&‡*",&$(!&$f*6&,$ ()$)e(-".$(!&$0,"((&.$)3".").#$)'$(0)$&#(-e%"#!&+$&Š3&,(#$".$(!&$c&%+4$5*(*-%%6$ acceptable to the Auctioneers and the Buyer, before the Auctioneers decides 0!&(!&,$),$.)($()$2-.2&%$(!&$#-%&$*.+&,$(!&$0-,,-.(6E

vi) set off any amounts which the Auctioneers owe the Buyer against the outstanding amount remaining unpaid by the Buyer;

'y$†!&$f*6&,$5*#($,&(*,.$(!&$‚,)3&,(6$%)($()$(!&$ž*2(").&&,#$".$(!&$#-5&$ 2).+"(").$-#$-($(!&$("5&$)'$(!&$#-%&E

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;

8) The copyright in all images, illustrations and written material produced by or '),$(!&$ž*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$†!&$ž*2(").&&,#$-.+$(!&$€&%%&,$5-g&$.)$,&3,&#&.(-(").$),$0-,,-.(6$ (!-($(!&$f*6&,$)'$-$3,)3&,(6$0"%%$-2‡*",&$-.6$2)36,"1!($),$)(!&,$,&3,)+*2(").$ ,"1!(#$".$"(E

viii) exercise a lien over any of the Buyer’s property which is in the 3)##&##").$)'$(!&$ž*2(").&&,#E$°&$#!-%%$".'),5$(!&$f*6&,$)'$(!&$ &Š&,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;

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).+"(").#$#!-%%$2).(".*&$()$e&$”-%"+$()$(!&$'*%%&#($&Š(&.+$3&,5"((&+$e6$%-0E

"Šy$(-g&$#*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

=²y$ †!&$,"1!(#$-.+$)e%"1-(").#$)'$(!&$3-,("&#$0"(!$,&#3&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"((&+$'),$(!&$e&.&c($)'$(!&$ž*2(").&&,#4$()$(!&$&Š2%*#"”&$„*,"#+"2(").$)'$(!&$ 2)*,($)'$(!&$œ&3*e%"2$)'$h63,*#E

°!&,&$3*,2!-#&#$-,&$.)($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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