A monumental triptych-kuzov centered with an icon of the Passion of the Mother of God and selected Orthodox feasts, Moscow, circa 1670- 1700. The ogee-shaped surmount contains an image of the Trinity with cherubim, seraphim, the Deisis, and symbols of the Evangelists and is held in place with a stepped gilt or painted wood frame. The flanking doors are set with a split scene of the Annunciation in the uppermost, half-ogee form registers. The left door is further set with an icon of the Anastasis above the Nativity of Christ; the right with the Transfiguration above the Dormition of the Mother of God. The icons on the doors are mounted with framing strips of gilded silver on which are engraved the title of each scene or scrolling floral ornament. The borders of these strips are chased in a pattern of beaded borders. The carved wood case is bound in leather with iron mounts. The exterior corners set with pierced mounts with sheets of mica over gold silk brocade, most likely Italian.

A fine icon depicting Our Lady of Smolensk in gilded silver and enamel oklad revetment cover. Hallmarked with a Moscow city mark dating 1908-1917 for 84 zolotniks (875/1000) purity silver, and silversmith's mark in Cyrillic “ДШ” for workmaster Dmitry Shelaputin. 

Spectacular amethyst-cluster reliquary decorated by parcel-gilt silver flowers and pearls housing important first-class relic of the Hair of the Blessed Virgin Mary. Surmounting the reliquary, the 18th-century theca is housing the precious relic affixed on the background of silk and framed by a braided gilt silver wire ornamentation. The relic is identified in Latin on a manuscript paper cedulae labels as Ex Capillis // B. Mariae V. (Of the Hair of the Blessed Virgin Mary). On the back, the theca is secured by a seal of red Spanish wax with an imprint of a coat of arms of the Archdiocese of Milan.

A fine church icon depicting the Annunciation with 15 Orthodox feasts, Volga Region (Kostroma?), the second half of the 18th century. Fifteen Orthodox Church and an image of the New Testament Trinity along the borders surround the central scene depicting the Annunciation of the Virgin Mary set against a sumptuous architectural landscape. 

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 fine icon depicting the New Testament Holy Trinity (Soprestolie), Moscow (?), ca. 1650-1700 painted in the tradition of the late Stroganov School. The Holy Trinity depicted within an arch-shaped frame set with cherubim, seraphim, and symbols of the Four Evangelists with the background of partially-gilded stylized plants. The ground is stripped to gesso.

Large reliquary housing a historically important ex cranio (of the skull) first-class relic of Martyr Saint Fructuosus of Tarragona. A substantial relic is affixed to a cloth-covered stand with two ribbons of gilt silver brocade held in place by five seals of red Spanish wax. The precious relic is identified in French on a typed paper cedula label as Saint Fructueux de Tarragone (Saint Fructuosus of Tarragona). In addition, there is a black paint identification on the relic itself as "St Fructuosus / Anno Domini 1745." The authentic document affixed to the bottom of the stand, states the following:

I understanding, Jean Louis Reulet, pastor of Vignolle and born in Limoux, give this holy relic of(?) Fructuosus from Tarragona, the Martyr to the church St Martin in Limoux. This Holy relic was given to me by the abbot Perna..(?) Rodrigo from ...(?). I certify this relic to be genuine and come from the Spanish monastery and I give this in the church for veneration. Signed in Limoux the 7th of March 1821”

An unusual staurorotheke icon centered with a gilt metal crucifix set within a shaped, recess against a porcelain ground painted with figures of the Mother of God, saints, prophets, and cherubim. This panel set within a gilded silver border set with paste gems imitating rose-cut garnets. The silk-velvet covered frame set with cast and chased gilded silver cherubim. The wood back exposed revealing 19th-century metal screws. Struck on the underside with partially obscured Cyrillic maker’s marks -Lavrov (ЛАВРОВЪ) with Moscow hallmark dated 1847 and 84 (.875) silver standard. The cherubim further marked with 84 silver standard.