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Russian art

A magnificent icon of the Feasts with an annual menaion and a two-row cycle of Mother of God icons. Russia.19th century.
A magnificent icon of the Feasts with an annual menaion and a two-row cycle of Mother of God icons. Russia.19th century.
Magnificent holidays with a passionate row, an annual menaion and a two-row cycle of icons of the Mother of God - a kind of encyclopedia of the Mother of God images. A majestic monument to Christianity and late Russian icon painting, where in one image the annual and Mother of God universe of Orthodoxy is revealed, full of sacrifice. With the epicenter of suffering and resurrection, the testimony of all the upcoming saints and with hope in the miraculous images of the intercessor. The Virgin Mary series is interrupted by the marks of Unexpected Joy, Joy of All Who Sorrow, the Sign and Coronation of Mary - milestones of the communion and growth of spiritual truths. The Passion Series is composed of: the Ascension of Mary, the Old Testament Trinity, the Entry into Jerusalem, the Raising of Lazarus, the Washing of the Feet, the Last Supper, the Flagellation of Christ, the Imposition of the Crown of Thorns, the Carrying of the Cross, the Crucifixion, the Descent from the Cross and the Entombment. Particularly attractive is the rare completeness of the lists of icons of the Mother of God, which can serve as an encyclopedia of the Mother of God images. The bright decorative painting on a golden background sounds excitingly solemn and life-affirming. Cypress board, gesso, tempera, gilding. Russia. Second half of the 19th century. Dimensions: 53x44 cm.
Begins 30.11.2024
Silver photo frame with guilloché enamel. Saint Petersburg. I.S. Britsyn. 1908-1917.
Silver photo frame with guilloché enamel. Saint Petersburg. I.S. Britsyn. 1908-1917.
Master of the Faberge company I. Britsyn. Silver photo frame with guilloché enamel. St. Petersburg, 1908-1917. Silver, carving, blue guilloché enamel, beveled glass. Hallmarks: 84 samples, female head in a kokoshnik, facing to the right and code of the St. Petersburg Assay Office, workshop “BRITSYN”, “I.B”. Dimensions: height 10 cm, frame diameter – 9.8 cm, clear diameter – 5.8 cm O. Weight: 248 g. Britsyn Ivan Savelievich (1870-1952). Former employee of the Faberge company in St. Petersburg (“Our former employee.” From the notebook of Eugene Faberge - Tatiana Faberge Archive, Versonne, France). He passed the exam to become a goldsmith in March 1903 and opened his own enterprise, “Russian Enamel” (Malaya Konyushennaya Street, 12), where 10-15 people worked. The companys products were awarded a gold medal at the St. Petersburg Craft Exhibition in 1909. In 1910 – 1917 Ivan Britsyn repeatedly supplied his products to the courts of members of the imperial family and to the Cabinet of His Majesty. Ivan Britsyns products were in constant demand on the English market. He made products made of stone and purple, collaborated with A. Sumin. During the NEP period he had his own workshop (1923). Britsyns products are often exhibited at auctions at the worlds largest auction houses and are listed along with Faberge items. Britsyn managed to create his own creative style, unlike Faberge, the distinctive features of which are original shaping, large guilloche patterns of unexpected geometry and a more contrasting and “thick” palette of enamels. Cigarette cases with pale blue and white transparent enamel are considered Britsyns calling card. Britsyn, one of the few, besides Faberge, made table clocks. The revolution of 1917 interrupted the work of the extraordinary jeweler. Information about his work in the period 1924-1952. are very scarce, but it is known that Ivan Savelyevich continued to work in his specialty.
Begins 30.11.2024
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