Opulent 17-th century reliquary in a form of a chest of gilt and painted wood with frontal openings and internal vitrine of glass housing very large and historically significant ex ossibus (bone) relics of Saint Cyriacus, Martyr & Bishop of Jerusalem. The relics are identified on a manuscript paper cedula label as S. Corpus S. Ciriaci Epi. et Martire (from the holy body of Saint Cyriac, Bishop and Martyr). The reliquary is recertified in the 19th century with red ribbon secured by seals of red Spanish wax with imprints of a coat of arms of Cardinal Lorenzo Litta  (†1820), the Vicar General of Rome (1818-1820).

This folding shrine replicates in miniature the iconostasis, the screen of icons separating the sanctuary from the nave in Russian Orthodox churches. For Old Believer sects, who were not allowed to maintain churches and who often fled persecution by the official church, portable iconostases like this one preserved the true order and sanctity of the sacred realm. 

This icon is composed of fifteen folding panels, each divided into five registers. In the lowest register of the central panel is the image of the Royal Doors under the image of the Last Supper flanked by the full-figured depictions of the Virgin Mary and St. John the Baptist. Next to them are the archangels Michael and Gabriel and other Saints of the extended Deisis. To the right and left of Michael and Gabriel standing in prayer. The middle register depicts fifteen scenes from the lives of Christ and the Mother of God, laid out in a continuous narrative from left to right. Above them is a row of the locally venerated saints and miracle-working Virgins, after that a row of Apostles and Evangelists. The upper register depicts fourteen Old Testament prophets in three-quarter length. Each prophet holds a scroll (except for Noah, who holds the ark).

The panels are connected to each other with metal hinges and fold on top of each other for transport and storage. The high quality of painting on the solid gold ground indicates that the iconostasis was made to the order of a well-to-do member of the Old Believers' community in Russia. The style is traditional and dates to the second half of the 19th century.

Provenance: Sotheby's London, 2003

18th-century Baroque reliquary in the form of a blessing hand of gilded wood with a front glass window housing significant historically important first-class (of the bone) relics of Saint Onuphrius the Great. The relic is held up vertically inside the reliquary and identified in Latin on a manuscript cedula label as [EXOSS. S.] ONOFRII (From the Bone of St. Onuphrius). The reliquary is secured at the junction of the glass window within the main part of the reliquary with a seal of red Spanish wax with a partially worn out coat of arms of the Roman Catholic bishop. The reliquary has significant surface damage from woodworking insects, especially in the upper part and on a wooden base and a partial loss of gilding. The holy relic is in good original condition with no traces of damage or opening of the sealed part of the reliquary.

Triptych icon depicting the Dormition of the most holy Theotokos depicted in the central panel, flanked by scenes of the Nativity (on the left) and the Baptism of Christ (on the right). The exterior panels show figures of two martyrs and unmercenary healers - Saints Cosmas and Damian.

Oval glass-fronted silvered brass reliquary theca housing significant and extremely rare first-class ex cranio  (from the True Head) relic of Saint John the Baptist. The relic is affixed to a red silk background richly decorated by gilt paperolle ornamentation and identified on a bi-color manuscript cedula as S. Joan Baptae / Praecurs. Dni (Saint John the Baptist, the Forerunner of Our Lord Jesus ). On the back, the theca is secured with a perfectly preserved seal of red Spanish wax bearing an imprint of a coat of arms of Cardinal Bernardino Honorati (†1807), Titular Bishop of Santi Marcellino e Pietro al Laterano in Rome. It is accompanied by original matching authentics document issued and hand signed by Mgr.Honorati in 1802.

Small Baroque reliquary monstrance made of wood with silvered front housing inside of a glass-fronted compartment a significant ex Titulus Crucis  (from the Inscription board on the True Cross) relic of Christ's Passion.  The precious relic is affixed to a background of red silk decorated with gilt paperolle and identified on a fancy-cut manuscript cedula as Tabula Titul[i] Crucis DNJC (From the Titulus tablet of the Cross of Our Lord Jesus Christ). On the back, the relic is secured with a crisscrossed silk cord held in place by four perfectly preserved seals of red Spanish wax each with an imprint of a coat of arms of Fr. Antonio Martini (†1809), Archbishop of Florence (1781-1809).  

Opulent glass-fronted silver and bronze reliquary theca in a shape of the Immaculate Heart of Mary, richly decorated by imitation diamonds and intricately engraved detail, housing substantial ex Subucula  (from the Holy Chemise) relic of the Blessed Virgin Mary.  The relic is affixed to a gilt starburst on a red silk background decorated by gilt silver cord ornamentation and identified on a fancy manuscript cedula label as Ex Subucula B-mae. M.V. (From the Holy CHemise of the Blessed Virgin Mary). On the back, the theca is secured with a perfectly preserved seal of red Spanish wax bearing an imprint of a coat of arms of Father Giuseppe Gaetano Incontri (†1848), Bishop of Volterra (1796-1848). 

The icon type of The Holy Mandylion represents the very 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 which 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.

Finely executed with gold highlights. Two selected saints on the borders are St. Alexey, Metropolitan of Moscow and Saint Olympias the Deaconess. Minimally restored.

Oval glass-fronted silver reliquary theca housing significant ex velo  (from the veil) relic of the Blessed Virgin Mary. The relic is affixed to a silk background richly decorated by gilt paperolle and silver cord ornamentation and identified on a manuscript cedula as B. Marie V. (Blessed Virgin Mary). On the back, under a protective cap, the theca is secured with a perfectly preserved seal of red Spanish wax bearing an imprint of a coat of arms of Father Filippo Mornati (†1778), Bishop of Nepi e Sutri (1754-1778). It is accompanied by original matching authentics document issued and hand signed by Fr. Mornati in 1776.

18th-century oval silver glass-fronted reliquary theca decorated on the outside by filigree ornamentation and housing relics of Saint Mary Magdalene. The relics are affixed to a red silk background decorated with gilt paperolle and identified on manuscript cedulae labels as S. Balthassar Regis. M. / S. Melchior Regis. Mag. / S. Caspar Regis. M. (St. Balthazar King Magus, St. Melchior King Magus, St. Caspar King Magus). On the back, under a protective cap, the theca is secured with a perfectly preserved seal of red Spanish wax bearing an imprint of a coat of arms of an unidentified Catholic bishop.