Ca. 1910 exceptional, large, and opulent liturgical tabernacle made of gilt silver and cloisonné enamel by a famous Moscow silversmith Dmitry Shelaputin. The tabernacle is made in a shape of an Orthodox church with an onion dome and four turrets surmounted by enameled crosses.  The front doors are engraved with an image of the Annunciation of the Virgin Mary. The side panels depict Christ as a Prisoner, Prayer of the Cup (the Agony in the Garden), and Christ in Majesty. 

The tabernacle is fully hallmarked throughout and is preserved in superb original condition. 

A small, attractive glass-fronted brass reliquary monstrance is decorated by a papal miter with crossed keys and crystals housing a precious relic of the Shroud of Jesus Christ (the Shroud of Turin). A significant cloth relic is affixed to a ground of red silk surrounded by paperolle ornamentation and identified in Latin on manuscript cedula label as De Sindone D.N.J.C. (of the Shroud of Our Lord Jesus Christ).  On the back, behind the protective cap, the reliquary is certified by a seal of red Spanish wax bearing an imprint of the coat of arms of Monsignor Félix-Pierre Fruchaud (†1874), Archbishop of Limoges, France (1859 - 1871). The reliquary is accompanied by the original authentics document issued by Archbishop Fruchaud in 1866. Relics of the Holy Shroud of Christ were almost always direct papal gifts and rarely are accompanied by the original authentics documents. 

18th-century angel-form reliquary made of painted and gilded wood with front glass panel housing significant first-class ex ossibus (of the bone) relics of two Unmercenary healers: Saints Cosmas and Damian. The relics are affixed to a red silk background and identified on paper cedulae labels as S. Cosmae Mart. / S Damiani Mart. (Saint Cosmas Martyr / Saint Damian Martyr). On the back, the reliquary is protected by a crisscrossed silk ribbon held in place by four seals of red Spanish wax with clear imprints of a coat of arms of an unidentified Catholic Bishop. The reliquary has damage on the left side where the arm is partially missing. 

19th-century French cruciform  reliquary monstrance made of ebony wood decorated with solid silver finials and rays of light housing a glass-fronted silver theca with particles from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted removable theca placed in the center of the reliquary and identified in Latin as Verae Crucis ([from the] True Cross). The theca is secured by an undisturbed seal of red Spanish wax with an imprint of a coat of arms of Fr. Giovanni Pietro Augustoni O.E.S.A. (†1839), Titular Bishop of Porphyreon and and Sacristan of the Apostolic Palace (1829–1839). It comes with an original matching authetics documents issued and signed by Fr. Augustoni in 1838. The reliquary is housed in its original fitted leather-clad case.

Spectacular large silver crystal-fronted reliquary decorated with opulent floral ornamentation and housing significant first-class ex ossibus (of the bone) relic of Saint Christopher.  Substantial relic is affixed to the background of red silk decorated with paperole ornamentation and identified on a paper cedula label as S. Christopha/ri M. (St. Christopher, Martyr). On the back, the theca is secured with a perfectly preserved seal of red Spanish wax bearing a faint imprint with a coat of arms of an unidentified Catholic Bishop.

A large church icon depicting the crucified Christ flanked by the Virgin Mary, St. John the Apostle, St. Mary Magdalene, and St. Longinus the Centurion. In the corners are depicted the Sun and the Moon, behind the Cross are the walls of Jerusalem, and below is the Adam's head. The enameled plaque, just above Christ’s head, reads "The Crucifixion of Our Lord." The abbreviated inscriptions around Christ's head read: "Jesus Christ, King of Glory and Son of God." The heavy parcel-silvered brass revetment cover and the halos are decorated with intricate polychrome enamel. The icon dates to the 18th century and the embellished cover was added in the 19th century.

Spectacular early 20th-century French metal cruciform reliquary profusely decorated with micromosaic housing particles from the wood from the True Cross of Jesus Christ. The relics are housed in the round glass-fronted central cavity, displayed in the cruciform shape on the ground of red silk surrounded by an elaborate gilt paperolle ornamentation. They are identified in Latin on a manuscript cedula label as SS Crucis [D.N.J.C.] (the Most Holy Cross of Our Lord Jesus Christ).  On the back, behind the protective cap, the reliquary is secured by an undisturbed seal of red Spanish wax with a clear imprint of a coat of arms of Fr. Jean-Marie Bourchany (†1931), Auxiliary Bishop of Lyon, France (1914-124). Comes with an original Letter of Testimony written in French, signed and sealed with a seal of a parish of Notre Dame de Beaune, France, stating the following:

"I, Henri Voissard, vicar at Notre Dame de Beaune, attest that the fragments of sacred wood, placed in the shape of a cross, in a reliquary in the shape of a cross, decorated with mosaics, offered to our parish by Abbé Grumble, chaplain of the Rochers school, come from pieces of the True Cross. The relic was recognized as authentic and sealed by our bishop Boucharny, auxiliary to Monsignor Maurin. This fragment of the True Cross was placed in this reliquary on April 17, 1914. In all faith, I have signed this document on the 29th day of May, in the year of our Lord 1915."

This item is appropriate for private and public veneration.

Spectacular Russian Orthodox icon depicting the Severed Head of St. John the Baptist resting on a platter. An 18th-century central panel was embellished in 1803 by adding borders depicting parents of St. John the Baptist - St. Zechariah and St. Elisabeth and by covering the icon in an elaborate gilt silver cover with the halo further decorated with glass crystals. The inscription on the bottom part of the icon is the Orthodox hymn sung during liturgy dedicated to the Beheading of St. John. The icon's cover is stamped with a hallmark of a silversmith Yegor Antipiev in Moscow and 1803 date. 

Large icon depicting the New Testament Trinity of Jesus Christ, God the Father, and the Holy Spirit above. Jesus is pictured on the left seated with a closed book of the Gospels, God the Father as the venerable old white-bearded man on the right, between them the traditional Russian eight-pointed cross. Above them the Holy Spirit appears as a dove in divine light. 

The icon is depicting Christ's Descent Into Hades and Anastasis (Resurrection). Christ is shown in two scenes – above in the act of Resurrection and below in his descent into Hades, breaking down the doors of Hell, binding Satan and rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament, David and Solomon wearing the crowns, John the Baptist with the scroll in hand. Feast day: Easter Sunday. 

Attractive large oval glass-fronted brass reliquary theca housing significant and important relic of Saint Valentine of Rome, Bishop and Martyr. Very large (3 cm or 1  1/4 inches long) first-class ex ossibus (of the bone) relic is affixed on a background richly decorated with gilt paper and silk flowers and identified in a fancy cut paper cedula label as Ex Oss S. Valentini Mart. (Of the bone of Saint Valentine, Martyr). On the back, the theca is secured by a seal of red Spanish wax with an imprint of a coat of arms of Cardinal Bernardino (†1807), the Archbishop of Senigallia and an important official of the Vatican Curia. 

18th-century Russian icon in silver revetment cover depicting rare iconography of the New Testament Trinity of Jesus Christ, God the Father, and the Holy Spirit above blessing St. John the Chrysostom. Hallmarked with a Moscow town mark, CA. 1776 assayer's mark, and maker's initials. Ca. 1849 inscription on the back explains the icon's provenance. 

A fine Russian icon depicting Christ in the Tomb also known as King of Glory and Humility of our Lord. This iconography is one of the most ancient images of Christ taking its origins from the 12th century  Byzantium. On the icon, Christ is depicted half-figured, standing in His tomb against the background of the Cross with His head is bowed and eyes are closed. The image is surrounded by the text in Old Slavonic from the Orthodox liturgy of the Great Entrance.

The image on the icon “King of Glory” seems to speak of the connection between the soul and body, death and resurrection, and the transition of Christ from earthly life to his resurrection. The icon symbolizes the earthly suffering of Christ for all mankind and His ascension. In Byzantium and Ancient Rus', the icon of Christ in the Sepulcher was a festive icon of Good Friday.

The icon is finely painted and is covered by a thick silver revetment cover hallmarked with the town mark of Saint-Petersburg, assayer's mark dated 1857, and maker's mark Ф.В for Feodor Verkhovtsev (active 1819-1867). 

An attractive French glass-fronted frame of lacquered wood containing a facsimile third-class touch relic of the Holy Nail of Jesus Christ. The relic is certified by a seal of red Spanish wax bearing an imprint of the Monastery of the Holy Cross of Jerusalem in Rome. 

The reliquary frame contains an original matching authentics document stating the following:

We attest to each and every one reading the present document that the enclosed three iron nails fastened with red silk ribbons to the secure seals, were placed near the Sacred Nail, the very sacred relic with which Our Lord Jesus Christ was nailed to the cross, that We, the Cistercians preserved in the inner chapel of the urban Basilica of the Holy Cross in Jerusalem, and the nails were made artistically to be elaborate so that it may seem very similar to the original. This document is issued in Rome in our Monastery of the Holy Cross in Jerusalem on July 2, 1870.

In addition, the reliquary frame contains the following items:

1. A cloth ribbon -  3rd class touch relic of the Column of Flagellation of Christ inscribed MISURA DELLA COLONNA DI CRISTO NRO SIGNORE ALLA QUALE FU FLAGELLATO (A Measure Of The Pillar Of Christ Our Lord At Which He Was Flagellated);
2. A mother-of-pearl pilgrim's cross from the Holy Land;
3. A dried up branch from an olive tree with a hand written label Olivier de Terre Sainte (Olive from the Holy Land);
4. An engraving with a depiction of the relic of the Titlo from the Cross of Jesus housed in the Basilica of the Holy Cross in Jerusalem in Rome;
5. An envelope with a pebble relic from the Sepulcher of Christ;
6. Two envelopes with a pebble relic from the Column of Flagellation of Christ;
7. An envelope with a pebble relic from the Grotto of Gethsemane.

The reliquary is suitable for private and public veneration. 

The icon is depicting theree Christian Martyrs - St. Mary Virgin, St. Alexander of Rome, and St. Queen Alexandra. The iscription on the back dated 1912 indicates a gift from the nuns to their mother superior. 

19th-century French large cruciform  reliquary monstrance made of  wood decorated with solid silver caps and center detail and housing a theca with particles from the wood from the True Cross of Jesus Christ. The substantial relics are displayed in a  crystal-fronted silver theca placed in the center of the reliquary. On its back, the theca is secured by an undisturbed seal of red Spanish wax with an imprint of a coat of arms of an unidentified Roman Catholic Cardinal. The base of the monstrance has a hallmarked solid-silver plaque with the following inscription in French:

"The oak from which this cross is made is contemporary with the birth of Christianity, it was found near Sombernon, a few years ago in a Roman aqueduct whose construction dates back to the conquest of Gaul, it owes its black color to its long stay underground. [dated] 1851."

19th-century French cruciform  reliquary monstrance made of ebony wood decorated with hallmarked solid silver fleur-de-lis finials and housing a theca with particles from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted removable theca placed in the center of the reliquary and surrounded by a cruciform micromosaic depicting the Instruments of Passion (Arma Christi). The theca is secured by an undisturbed seal of red Spanish wax with an imprint of a coat of arms of the Order of Friars Minor.

A 16th-century icon depicting the Descent Into Hades and Anastasis (the Resurrection). Christ is shown in two scenes – above in the act of Resurrection and below in his descent into Hades, breaking down the doors of Hell, binding Satan and rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament, David and Solomon wearing the crowns, John the Baptist with the scroll in hand. Feast day: Easter Sunday.

A historically important large round glass-fronted silver pendant reliquary theca housing precious relics of the Wood from the True Cross of Jesus Christ. The precious relics are displayed in a cruciform shape on the ground of collaged paper surrounded by thick gilt silver wire ornamentation and identified in Latin on a manuscript cedula label as Lionum Sanctissimae Crucis Domini Nostri Jesu Christi (Of the Most Holy Wood from the Cross of Our Lord Jesus Christ).  On the back, under a protective cap of silvered brass, the reliquary is secured with a seal of red Spanish wax bearing an imprint with a coat of arms of Monsignor Joseph Fesch (†1839), Archbishop of Lyon (1802–1839), Cardinal-Priest of Santa Maria della Vittoria (1803–1822), Cardinal-Priest of San Lorenzo in Lucina (1822–1839), Sovereign Prince, and the maternal half-uncle of the Emperor Napoleon Bonaparte. 

The following original letter of testimony is attached to the inside surface of the protective cap:

"I the undersigned declare that the present Relic of the wood of the Holy Cross is authentic by the seal to be exposed for the need of veneration of the faithful. Lyon May 3, 1866. Chapocheau, Guardian of the relics". 

A large ca. 18th century cruciform altar reliquary monstrance of gilt wood housing relics from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted  cavity located in the center of the monstrance where they are affixed in a cruciform shape to the background of red silk. On the back, under a protective lid, the cavity is secured by a seal of red wax with a perfectly preserved imprint of a coat of arms of an unidentified Roman Catholic Bishop.  Suitable for public veneration.

Elaborate Baroque 18th-century monstrance of gilt wood with crossed Arma Christi surmounted by carved wooden canopy containing oval silver glass-fronted theca housing relic of the Passion of Jesus Christ: particles of the Wood from the True Cross. The relics are mounted in cruciform shape on a background of red silk and surrounded by gold burst and twisted silver wire decoration. They are identified on elaborately cut out paper cedula label as Ex Lingo SS-mae Crucis D.N.J.C. (From the wood of the Most Precious Cross of Our Lord Jesus Christ). The theca is authenticated on the back with perfectly preserved red wax seal of Francesco Gaetano Incontri (†1781), the Archbishop of Florence (p. 1741-1781). 

The triptych is executed on gold ground depicting in the central panel Holy Greatmartyr Demetrius on horseback dressed as a Roman soldier striking Satan underneath with walls of Thessaloniki behind them. The image is flanked on side panels by the full-figured depictions of Archangels Michael and Gabriel. The side panels close to a carved depiction of a double-headed Byzantine eagle. 

The Transfiguration is one of Christ's miracles in the Gospels, in which he is transfigured and becomes radiant upon a mountain. In Christian teachings, the Transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place for the temporal and the eternal, with Jesus himself as the connecting point, acting as the bridge between heaven and earth. In Orthodox iconography, the Transfiguration is depicted in the rocky landscape. Christ is depicted in the majesty of his divine glory, which is symbolically expressed in the singular whiteness of his garments. Moses and Elijah represented on either side of Christ as concelebrants him a priest and deacon. His disciples are portrayed frightened by the transfiguration of their Master, and by the appearance of the two prophets. However, Peter has a joyful expression on his face, in accordance with his Gospel with the words: "Rabbi! good for us to be here. " Transfiguration is considered a major feast, numbered among the twelve Great Feasts in Orthodoxy and is observed on August 6 of the Julian Calendar.

The icon depicts the the crucified Christ flanked on the left by St.Martha, St. Paul and on the right with St. Mary and St. Anastasia. The vignettes with scenes of the Descent from the Cross and the Burial of Christ are depicted in the upper corners. 

The feast of the Resurrection of Jesus, called Pascha (Easter), is the greatest of the feasts of the Eastern Orthodox Church. In addition, there are other Twelve Great Feasts. Christ is shown rising from the grave accompanied by two angels. He is surrounded by twelve saints shown full-figured in six pairs. 

The Holy Mandylion icon represents the first not made by human hands image of the Savior miraculously created by Christ himself. According to the Christian tradition, King Abgar of Edessa wrote to Jesus, asking him to come to cure him of an illness. Instead, one of the seventy disciples, Thaddeus, is said to have come to Edessa, bearing the words and an image of Jesus, by the virtues of which the king was miraculously healed. To create his likeness, Jesus used a face cloth that miraculously bore the image of His face. This image of Christ preserved on the face cloth was kept and venerated in Edessa and became known as “The Holy Image of Edessa”, the “Holy Mandylion” (from Greek “face cloth”), or “The Image Not Made With Human Hands.” This iconographic type is widely used by both the Eastern and the Western Christian Churches. 

Oval glass-fronted silvered brass pendant reliquary theca housing ex Pallio (of a coat) relic of Saint Joseph, Husband of the Blessed Virgin Mary. The relic is affixed to a multicolor silk ground surrounded by silver wire and gilt paperolle ornamentation and identified in Latin on a manuscript cedula label as Ex Pal: S. Jos.  (of a coat of Saint Joseph).  On the back, under a protective cap, the theca is secured with a seal of red Spanish wax bearing an imprint of a coat of arms of Fr. Tiburzio Cortese (†1823), Bishop of Modena, Italy (1786-1823). The relic is accompanied by the original matching authentics document issued and sealed by the order of Bishop Cortese in 1807.

For Eastern Christians, the Holy Feast of Baptism is more important than that of Nativity because it is the great Theophany, a manifestation of Christ's divinity. The iconography of the Baptism is simple and ancient, adhering closely to the Gospels. Christ is depicted at the moment of abasing himself by stepping into the river to be baptized when a voice from the heavens reveals him to be the Son of God. The rocky landscape of the Jordan Valley opens up into a whirlpool. John the Baptist leans over Christ, who dominates the waters and blesses him. With his baptism, Christ is renewed in his own person the primordial image of man had lost through sin.

A 19th-century facsimile third-class touch relic of the Holy Nail of Jesus Christ. The relic is certified by a seal of red Spanish wax bearing an imprint of the Monastery of the Holy Cross of Jerusalem in Rome. 

Medium Russian Imperial porcelain Easter Egg with hand-painted image of Blessing Christ on the front and a traditional Russian Easter greeting "Christ is Risen!" on the back on the gold ground. Minor cosmetic scratches, otherwise very good original condition. 

Incredibly rare touch relic made from the silver object that touched the most powerful and mysterious Passion relic - The Holy Spear of Jesus also known as the True Lance. The reliquary is affixed to the original  authentics document dated 1757 and issued and hand-signed by Fr. Nicola Manciforte (†1762), Bishop of Ancona. 

The document written in Latin translates as:

"...that this silver tip of a Lance, tied to this [letter] with a ribbon of red color, and secured with a small Seal of ours impressed in Spanish Wax, touched the Very Sacred Point of the Lance with which the Side of the Savior was pierced while he was hanging on the Cross; that it exists amongst the rest of the quite famous Relics, by the possession of which our Church was distinguished as the Cathedral of St. Cyriacus; and that it rouses and fosters the piety of the Faithful wondrously well, and draws them to itself...."

The Holy Spear is also known as the Holy Lance is the name of the very spear that had pierced Christ’s side when he hanged on the cross. The first person to refer to this as the Holy Spear was pilgrim Antoninus of Piacenza in 570 AD. While describing the holy places of Jerusalem, he said that in the Basilica of Mount Zion, there was the crown of thorns which Our Lord was crowned and the spear which was used to strike Him in the side. It was rediscovered by the European army of the First Crusade in the city of Antioch on June 15th, 1098, but eventually ended up in the treasury of Constantinople. It is documented that the holy relic of the True Lance passed through Ancona (an Italian city on the Adriatic side of the Peninsula), in 1492 on its way from Bayezid II the Turkish Sultan (whose father obtained it in 1451 during the conquest of Constantinople) to Pope Innocent VIII by the hand of Pierre d'Abusson, Grand Master of the Knights of Rhodes. The Pope placed it in the Treasury of the old St. Peter's Basilica in Rome with the volto santo, where it is held in great veneration. It is now in one of the great piers of the present St. Peter's Cathedral and in front of it, over the image of Longinus is inscribed "The Spear of Longinus, which Innocent VIII, the Chief Pointif received from Bayezid Sultan of the Turks; Urban VIII transferred it to a decorated shrine rasing an image and erecting the shrine beneath." (see for more information: Relics from the Crucifixion: Where They Went and How They Got There. By J. Charles Wall.)

Since there are no records of the Cathedral of Ancona retaining a part of the True Lance when it was passing through the town on its way to Rome, it is believed that the offered relic was obtained by melting a larger silver object that touched the tip of the True Lance in 1492. A number of analogous documented reliquaries are known, but their number is extremely small and they are in very high demand because of the impossibility of making new touch relics from the True Lance held in the Vatican after it was transferred to the pier of St. Peter's basilica in the 17th century.

Russian icon showing two Orthodox saints St. Anfimus, Bishop & St. Feoktist Monk depicted full-figured under a dove of the Holy Spirit on a gilt and intricately chased background. Dedication on the back in Russian dated 1914 to Abbess Sofia to commemorate 25th anniversary in position at the Orthodox convent. Significant because of inscription. 

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., the ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right.

Oval glass-fronted silver pendant reliquary theca housing the first-class ex ossibus (of the bone) relic of St. Joachim of Nazareth.  A sizable relic is affixed to a gilt-paper starburst on a ground of salmon-colored silk, surrounded by silver wire ornamentation and identified in Latin on a fancy manuscript cedula label as Ex Oss. S. Joachim, Pat. B.M.V.  (of the bone of  St. Joachim Father of the Blessed Virgin Mary). On the back, the theca is secured with a seal of red Spanish wax bearing an imprint of a coat of arms of Fr. Francesco Maria Ginori (†1775), Bishop of Fiesole, Italy (1736–1775).

The icon is depicting seven selected Orthodox Saints: St. Andrew the Apostle, St. Qeen Helena, St. Nicholas of Myra, St. Maria, St. Stephen the Protomartyr, St. John the Theologian and St. Paraskevi the Friday surmounted by vignette images depicting the Dormition of the Most Holy Mother of God and Miracle of St George Slaying the Dragon. 

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right. The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labor and are heavy laden, and I will give you rest.”

St. Gregory the Great is depicted on the right border. 

Large Russian Imperial porcelain Easter Egg with hand-painted wild flowers and a traditional writing in Russian "Christ is Risen!" Light scratches on the surface, otherwise very good original condition. 

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power, i.e., the ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the blessing gesture with his right. The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labor and are heavy laden, and I will give you rest.” 

The border saints are the Virgin Mary and St. John the Baptist forming the Orthodox Deisis. 

The icon depicts the following eight miracle-working Madonnas surrounding the Orthodox Deisis: Our Lady of Kazan, Our Lady of the Unexpected Joy, Sooth My Sorrow Mother of God,  Soothing of the Evil Hearts Mother of God, Theodorovsky Mother of God, Our Lady of Częstochowa, Our Lady of Tikhvin, Our Lady of Akhtyrsk. A row of full-figured local saints is depicted below them.

The 4-part icon is painted on gold and tooled ground depicting Our Lady of Smolensk, St. Nicholas the Wonderworker of Myra, and four Selected Saints in the lower registers: St. Prince Alexander Nevsky, St. Dmitrius of Thessaloniki, St. Panteleimon the Unmercenary Healer, and St. Princess Olga.

Saint John the Baptist was a Jewish itinerant preacher in the early first century AD who is revered as a significant religious figure in Christianity, Islam, and other faiths. He is called a prophet by all of these traditions and is honored as a saint in many Christian traditions. The Orthodox faithful believe that John was the last of the Old Testament prophets, thus serving as a bridge between that period of revelation and the New Covenant. They also teach that, following his death, John descended into Hades and there once more preached that Jesus the Messiah was coming, so he was the Forerunner of Christ in death as he had been in life. Eastern Orthodox churches will often have an icon of St. John the Baptist in a place of honor on the iconostasis, frequently mentioned during the Divine Services. Every Tuesday throughout the year is dedicated to his memory.

The Annunciation of the Blessed Virgin Mary, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation.

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right.

The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labour and are heavy laden, and I will give you rest.”

Large Russian Imperial porcelain Easter Egg with hand-painted wild irises and flowers and the abreviation XB for traditional Russian Easter greeting "Christ is Risen!". Very good original condition. 

The icon depicts the crucified Christ flanked by mourners and surmounted by God the Father, framing the icon in four parts. They depict Christ Pantocrator, St. Michael the Archangel and Chief Commander of the Heavenly Host, St. unmercenary healer Pantaleon (Panteleimon), and St. Paraskeve of Iconium (Friday). 

Large Russian Imperial porcelain Easter Egg with hand-painted wild roses and flowers. Very good original condition. 

The Elevation of the Holy Cross is one of the Great Feasts of the Orthodox Church, celebrated on September 14. This feast is also referred to as the Exaltation of the Cross. This feast commemorates two events: The finding of the Cross by the Empress Helen (the mother of St. Constantine the Great) on Golgotha in 326 AD, the place where Christ was crucified and The recovery of the Cross on which Jesus Christ was crucified from the Persians. The Elevation took place on March 21, 630 AD, when Emperor Heraclius entered Jerusalem amidst great rejoicing and, together with Patriarch Zacharios (609-632), transferred the Cross of Christ with great solemnity into the temple of the Resurrection, joyously held up for veneration by the Christian faithful.

The icon depicts the greatest of the Eastern Orthodox Church's feasts  - the Resurrection of Jesus, called Pascha (Easter),  surrounded by Twelve Principal Orthodox Feasts: 1. Nativity of the Most Holy Mother of God 2. the Presentation of the Theotokos 3. the Annunciation, 4. the Nativity of Christ 5. the Baptism of Christ - also called Theophany or Epiphany,  6. the Transfiguration, 7. the Dormition of the Most Holy Mother of God, 8. The Old Testament Trinity, 9. the Ascension of Christ, 10. the Exaltation of the Cross, 11. the Entry into Jerusalem,  and 12. the Presentation of Jesus at the Temple.

Medium Russian Imperial porcelain Easter Egg with hand-painted wild flowers and traditional Russian "Christ is Risen!". Very good original condition. 

Medium Russian Imperial porcelain Easter Egg with hand-painted wild flowers. Very good original condition. 

Metal icon of four-folding panels depicting “Twelve Principal Orthodox Feasts and Miracle-working Madonnas.”

The icon depicts realistically rendered Christ as Pantocrator ( "Almighty" or "All-powerful") - pictured half-figured blessing with his right hand while holding an Orb and a Cross in his left hand

The unusual iconography depicting a child led to Heaven by two angels with the New Testament Trinity in the upper part of the icon. 

The icon depicts the Resurrection of Christ surrounded by three madonnas on the upper row" the Virgin Mary with Child, Our Lady of the Unburnt Bush, and Our Lady of the Sign, and five saints in the middle and lower rows: Saint Nicholas the Wonderworker of Myra, Saints Zosima & Sabbatius founders of the Solovetsky monastery, Saint unmercenary healer Pantaleon (Panteleimon), Saint John the Baptist, and Saint Michael the Archangel. 

Saint Nicholas of Myra  (†343), was a historic 4th-century Saint and Greek Bishop of Myra. Because of the many miracles attributed to his intercession, he is also known as Nicholas the Wonderworker . He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, and thus became the model for Santa Claus. His reputation evolved among the faithful, as was common for early Christian saints. Saint Nicholas is the patron Saint of sailors, merchants, archers, thieves, children, and students in Greece, Belgium, France, Romania, Bulgaria, Georgia, Albania, Russia, the Republic of Macedonia, Slovakia, Serbia, and Montenegro. He is also the patron saint of Aberdeen, Amsterdam, Barranquilla, Bari, Beit Jala, Fribourg, Huguenots, Kozani, Liverpool, Paternopoli, Sassari, Siggiewi, and Lorraine. His feast day is 6 December.

Christ Pantocrator is one of the most common subjects in Russian iconography, and its iconography follows a traditional pattern. In these icons, Christ is depicted as a powerful and majestic figure, with his right hand raised in blessing and his left hand holding an open book of the Gospels. The term "Pantocrator" means "Almighty" or "Ruler of All," and the image of Christ in this role conveys his power and authority as the divine judge and ruler of the world. The icon portrays Christ with a stern expression, indicating his righteous judgment and the seriousness of his message. The icon's composition features Christ's head and shoulders in the center of the image, with his body slightly turned to the right. He is shown wearing a red tunic and blue mantle, with his long hair and beard flowing around his face. The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labor and are heavy laden, and I will give you rest.”

Overall, the iconography of Christ Pantocrator is a powerful and striking representation of Christ's authority and judgment and a reminder of the spiritual power and majesty of the Christian faith. 

The icon depicts of the Resurrection of Christ. 

Saint Nicholas of Myra  (†343), was a historic 4th-century Saint and Greek Bishop of Myra. Because of the many miracles attributed to his intercession, he is also known as Nicholas the Wonderworker. He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, and thus became the model for Santa Claus. His reputation evolved among the faithful, as was common for early Christian saints. Saint Nicholas is the patron Saint of sailors, merchants, archers, thieves, children, and students in Greece, Belgium, France, Romania, Bulgaria, Georgia, Albania, Russia, the Republic of Macedonia, Slovakia, Serbia, and Montenegro. He is also the patron saint of Aberdeen, Amsterdam, Barranquilla, Bari, Beit Jala, Fribourg, Huguenots, Kozani, Liverpool, Paternopoli, Sassari, Siggiewi, and Lorraine. His feast day is 6 December.

Christ is shown in his Descent into Hades, breaking down the doors of Hell, binding Satan and rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament,  Feast day: Easter Sunday.

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right.

Oval hand-painted finift porcelain plaque in gilt brass frame depicting the Resurrection of Christ. Some hairline cracks and vintage repairs on porcelain. 

Half-lenght portrait of St. Mark the Evangelist from the Royal doors of the Iconostasis.

Small Russian Imperial porcelain Easter Egg with hand-painted image of Risen Christ. Very good original condition. 

Small Russian Imperial porcelain Easter Egg with hand-painted wild flowers and traditional Orthodox Easter greeting "Christ is Risen!". Very good original condition. 

Medium Russian Imperial porcelain Easter Egg with hand-painted wild flowers and an abbreviation XB for a traditional Orthodox Easter greeting "Christ is Risen!". Very good original condition. 

Small brass-cast travel icon depicting the Descent of Christ Into Hades. Christ is shown breaking down the doors of Hell rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament. Feast day: Easter Sunday. Decorated with 2-color enamel.