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.

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.

Large and finely painted icon of the Resurrection and the Descent into Hell (Anastasis). 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 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.

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.

Клейма - мастер Лавров, Москва, 1846.

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.

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. 

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.