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.

Icon of St. Nicholas the Wonderworker of Myra from the Deisis Row of an iconostasis. Circle of Dionysius, Moscow or Rostov, ca. 1500.

Condition: Consistent with age. Extensive craquelure, old restorations, and inpainting are all visible. Areas around the face and nimbus show early signs of lifting.

Ca. 1650-1700 Northern Russian Icon depicting the Miracle of St. George Slaying the Dragon.

A fancy Russian icon of Christ Pantocrator with heavy gilded silver, cloisonné, and champlevé enamel oklad revetment cover. The cover’s borders cast and chased with interlace ornament and the corners are applied with heavy spandrels decorated with foliate forms. The decoration of Christ’s cast and chased garments are unusual in that they include champlevé ornament at neck and cuffs. Similarly, the halo combines stippled and polished grounds in an unusual manner; the enameled foliate elements forming the rays of the halo are reserved against a stippled ground while the remainder of the nimbus is polished. The ground is engraved in a Byzantine-inspired pattern of crosses.

Silver Marks: Struck on underside and garments with maker’s marks ADLER, Moscow hallmarks dated 1878, and 84 (.875) silver standard. Secondary 84 marks and maker’s marks are struck on the spandrels. Provenance: Sotheby’s New York, Silver, vertu and Russian works of art, 18 October 2001, lot 6.

A large vita icon of the Martyr St. Paraskevi of Iconium with scenes from her life, Central Russia, possibly Yaroslavl, ca. 1650-1675.

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.

На иконе представлена Святая Троица в иконографическом типе «Сопрестолие»: три лица Троицы представлены персонифицировано, Бог-Сын восседает одесную Бога-Отца на престоле из сил небесных, вверху между ними – Святой Дух в виде голубя. Этот вариант изображения имеет западноевропейское происхождение, где известен с XII века, в Византии встречается с XIV столетия. Наиболее ранний пример использования иконографии «Сопрестолия» в русской иконописи – знаменитая т.н. «четырехчастная» икона из Благовещенского собора Московского Кремля середины XVI века, где она присутствует в качестве фрагмента композиции четвертого клейма. В XVII столетии изображения «Сопрестолия» стали использоваться как самостоятельный сюжет в иконописи. В первой половине века имел хождение один из его вариантов, который был использован и на данной иконе. В отличие от оригинала Бог-Сын и Бог-Отец сидят перед храмовым престолом с крестом и Евангелием, створы райских врат по сторонам уподоблены по форме вратам иконостаса и имеют изображения серафима, херувима и четырех символов евангелистов. Троица представлена восседающей в раю, очерченном килевидной аркой. Аналогичные решения встречаются в таких памятниках, как икона из собрания П.Д. Корина. Стиль живописи соответствует поздней Строгановской традиции, в связи с чем икону можно датировать второй половиной XVII века и предполагать ее связь с художественной культурой Москвы.

The Nativity of the Theotokos is a Christian feast day commemorating the birth of the Blessed Virgin Mary and universally celebrated on September 8th. The icon depicts Saint Anne reclining in her bed watching the infant Mary being held by a midwife. Mary’s father Joachim is shown standing, thanking God for the successful delivery of his daughter.

Russian Orthodox icon depicting the Presentation of Child Christ to the Temple - one of the major Orthodox Feasts celebrating Christ's encounter with humanity.  The scene is taking place inside the sanctuary, where St. Simeon greets Theotokos, embraces the Child, and prophecies about both: "Jesus will die on the cross and Mary, too, shall have her soul pierced by a sword (Luke 2:34 - 35). The elderly Anna and St. Joseph are pictured standing behind the Mother of God.

The icon depicts the Exaltation of the Cross- on the most important feasts of the Orthodox liturgical year established around the relic of the True Cross, found by Saint Helen and kept in the Church of the Holy Sepulchre in Jerusalem. In the center are Bishop Macarius and another Bishop raising the Cross with the help of two deacons. Empress Helen and her son Emperor Constantine are flanking the group. Behind them, is depicted the Basilica of the Resurrection crowned by five domes (also called the Church of the Holy Sepulchre). 

The icon is a depiction of the Pentecost - one of the main Orthodox Feasts celebrated fifty days after Easter. The twelve Apostles centered around seated Theotokos while the Holy Spirit, depicted as a white dow, descends from above in a fiery cloud. In the foreground - House of the Virgin Mary in Jerusalem. 

A double-sided icon depicting the Image of Savior Not Made by Human Hands (The Holy Mandylion) and the Elevation of the Cross. 

A minea (calendar) icon for the month of October painted in the style of the famous icon-painting village of Mstera, the first half of the 19th century.

A late 19th-century octangular icon of the Holy Trinity (the Hospitality of Abraham) from the Festival Row of an iconostasis, Central Russia. The border engraved, gilded, and painted in imitation of gilded silver and enamel.