Traveling icons were made at a time when journeys were long and arduous, and places of worship few and far between. Pious Christians would therefore take with them their own  More »

Traveling icons were made at a time when journeys were long and arduous, and places of worship few and far between. Pious Christians would therefore take with them their own icons for private worship while on the road. The main theme of this handsome panel centers around the more mystical aspects of Christianity. At the top is the Exaltation of the Holy Cross by high-ranking members of the Orthodox Church, dressed in their splendid vestments. From the upper left corner clockwise is the Resurrection, the Ascension of Christ, the Dormition ('falling asleep') of the Virgin Mary, and the Virgin enthroned. These four scenes emphasize the crucial idea of life after death, of the coming kingdom of God, and salvation for all mankind. It is no wonder then that such icons as this one brought comfort to weary travelers on their earthly andspiritualjourneys.-(PF.5244)Sectionofa Brass Traveling Icon -PF.5244Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 7" (17.8cm) high x 4.25" (10.8cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Brass   « Less

The image of the Virgin Mary is seen here with her head tilted to the right, as she holds an open book. On it is written, "Lord, full of grace, Lord Jesus, my Son, my God,  More »

The image of the Virgin Mary is seen here with her head tilted to the right, as she holds an open book. On it is written, "Lord, full of grace, Lord Jesus, my Son, my God, hear the prayers of your Mother." The intricate foliage surrounding her is set against an effective background of dark and light blue, which gives an even greater perspective to the low relief of the figure. As a result of the divine revelation by the angel Gabriel (the Annunciation), Mary gave voice to the song of praise and thanksgiving known as the Magnificat, "My soul doth magnify the Lord, and my spirit hath rejoiced in God my savior." (Luke I, 39 - 56). On the reverse is the empty cross, with Jerusalem behind, depicted as a medieval Russian town. Both the front and back of this icon appear as if from a page of a precious illuminated manuscript-- turned to bronze, and thus becoming as eternal as the faith for which it was made. - (PF.5246)Section of an Enameled Brass Traveling Icon - PF.5246Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 5" (12.7cm) high x 4.75" (12.1cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Enameled Brass   « Less

The human and divine life of Christ is depicted on this icon in five separate panels. The upper area represents the purely mystical union of Christ with God the Father,  More »

The human and divine life of Christ is depicted on this icon in five separate panels. The upper area represents the purely mystical union of Christ with God the Father, overseen by the Holy Spirit in the form of a dove, thus forming the Holy Trinity. This marked the culmination of Christ's earthly ordeals and suffering, once having risen to the right hand of God as part of the Divine Being. Below, from left to right, is the presentation of the infant Jesus in the temple, His baptism by St. John the 'Forerunner', Jesus' entry into Jerusalem and His transfiguration. The richly ornamented reverse of the icon shows the empty cross with Jerusalem depicted as a medieval Russian town in the background. Each of these scenes on the front combine the natural with the supernatural, making the viewer a part of both, and both a part of faith and reverence. -(PF.5249)Sectionofan Enameled Brass Traveling Icon - PF.5249Origin: Russia Circa: 1750 AD to 1900 ADDimensions:7.25(18.4cm) high x 4.25"(10.8cm)wide Collection:Russian Icons Style:Russian Orthodox Medium:Enameled Brass   « Less

This fascinating panel is one of three others comprising a four part icon designed for the "Feast Days and the Exaltation of the Mother of God." This theme occupies the upper  More »

This fascinating panel is one of three others comprising a four part icon designed for the "Feast Days and the Exaltation of the Mother of God." This theme occupies the upper portion, showing the Virgin Mary at the center, surrounded by adoring saints and watched over by God the Father. The scene on the upper left depicts the "Mother of God Tikhvin" with Alexander Svirsky, Cyril Belozersky and four bishops. Next is the "Mother of God of Vladimir" with the 'Holy Fools' Maxime and Basil and four saintly Metropolitians of Moscow--Peter, Jonah, Alexei and Philip. The panel below depicts the "Mother of God of the sing of Novgorod" with Antony Rimlyanin, Archbishop Leonty and other saints. The last panel shows the "Mother of God of Smolensk" with Anthony and Theodosius of the Monastery of the Caves in Kiev. In each section the figures are grouped in such a way as to allow for an area of landscape below the portrait of the Madonna. By using blue and green paint for earth and sky, and white for clouds, the very fine perspective is achieved, which adds a touch of realism to essentially metaphysical concepts. Herein lies the beauty of this icon in the blending of the supernatural with the real to make both seem a natural part of the lives of devout Christians. - (PF.5250)   « Less

The scene on the upper left panel depicts the union of God the Father with the risen Christ, watched over by the Holy Spirit in the form of a dove. Opposite is the Exaltation  More »

The scene on the upper left panel depicts the union of God the Father with the risen Christ, watched over by the Holy Spirit in the form of a dove. Opposite is the Exaltation of the Holy Cross by high ranking members of the Orthodox Church. From far left following clockwise the panels depict: The presentation of the baby Jesus to the temple; baptism of Christ by St. John the Baptist in the river Jordan; Jesus' Resurrection and Ascension; His entrance into Jerusalem; the Virgin Mary enthroned; and the Dormition ('falling asleep') of Mary. Though two more panels were originally attached, the scenes represented here constitute the core of the Christian faith, beautifully depicted by a master artist with the full fervor of faith and devotion. - (PF.5261)Diptych Traveling Icon - PF.5261Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 7" (17.8cm) high x 8.25" (21.0cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Brass   « Less

Russian Silver Traveleing Icon - SP.600Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 3.75" (9.5cm) high Collection: Russian Icons Style: Russian Traveleing Icons  More »

Russian Silver Traveleing Icon - SP.600Origin: Russia Circa: 1750 AD to 1900 AD Dimensions: 3.75" (9.5cm) high Collection: Russian Icons Style: Russian Traveleing Icons Medium: Silver   « Less

Russian Brass Traveleing Icon SP.601Origin:Russia Circa:1750ADto1900ADDimensions:4.75(12.1cm)highx4.25(10.8cm)wide Collection Russian Icons Style:Russian Traveleing Icons  More »

Russian Brass Traveleing Icon SP.601Origin:Russia Circa:1750ADto1900ADDimensions:4.75(12.1cm)highx4.25(10.8cm)wide Collection Russian Icons Style:Russian Traveleing Icons Medium: Brass   « Less

From this icon Jesus Christ looks upon us as if from heaven. Yet, He also sees us from the human level as well, deep into our hearts, offering His blessings with His right  More »

From this icon Jesus Christ looks upon us as if from heaven. Yet, He also sees us from the human level as well, deep into our hearts, offering His blessings with His right hand. In His left He holds an open book upon which is written, "and the golden hour will come, when the kingdom of kingdoms will rule." On either side of Christ is the inscription "Lord Theocrator". Set against a black background covered with delightful foliage, the figure stands out even more vividly. Touches of white add further dimension and serves to direct the eyes to the intense expression of Christ, whose eyes seem both open and shut, appropriate to a nature that was both human and divine. - (SP.602)Section From an Enameled Brass Traveleing Icon - SP.602Origin: Russia Circa: 1750 AD to 1900 ADimensions: 5.5" (14.0cm) high x 5.25" (13.3cm) wide Collection: Russian Icons Style: Russian Traveleing Icons Medium: Enameled Brass   « Less

This lovely image of the Virgin and Child is based upon the 'Mother of God of Kazan' icon, famous for symbolizing the suffering of the Russian people. Western influence is  More »

This lovely image of the Virgin and Child is based upon the 'Mother of God of Kazan' icon, famous for symbolizing the suffering of the Russian people. Western influence is apparent in the decorative and delicate border of grape vines. The pose of the Virgin and the representation of the Christ child are also very reminiscent of Western Medieval art. Set against a lovely enamelled background of pale blue, the color associated with the Virgin Mary, the detailed figures in low relief are beautifully modelled and very expressive. Within the small area of this icon is a wealth of emotion: of a human mother's love for her child, and a divine spirit of woman adoring the only begotten Son of God. - (PF.5205)The Mother of God of Kazan - PF.5205 Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 4.5" (11.4cm) high x 3.75" (9.5cm) wide Collection: Russian Icons Style:Russian Orthodox Medium:Enameled Brass   « Less

This head belonged to a small group, now gathered in the Barakat collection (see LO.882 and LO.883), discovered in a sealed room in the cellar of an Anglican church in the  More »

This head belonged to a small group, now gathered in the Barakat collection (see LO.882 and LO.883), discovered in a sealed room in the cellar of an Anglican church in the city of Colombo in Ceylon, in 1998, when engineers were underpinning the foundations. The church originally belonged to the Catholic Portuguese, and was passed over to the Dutch Reformists in the first quarter of the 18th century.The style of the head would seem to place it just prior to the Dutch conquest. During the 16th and 17th centuries the practice of keeping the beard prevailed among the Roman Catholic clergy, especially amongst the foreign missionaries involved in the establishment of the Far Eastern Missions. This group of heads are stylistically affine to the early Jesuit and Franciscan iconography employed prevalently during the 17th century in India, after the foundation of the Catholic mission in Goa by St Francis Xavier, when not only the Christ but also saints, such as St Xavier and Thomas the Apostle, were often portrayed long-bearded. Furthermore, towards the end of the Catholic presence in Ceylon (ended 1658) wooden heads and large saintly figures were indeed used not only as votive images in churches, but also as didactic vehicles in the Natya Nadagam (Nativity) plays, to introduce the Christian religion to the indigenous public.Wooden Head of Christ - LO.881Origin: Ceylon Circa: 1600 AD to 1800 ADDimensions: 13.5" (34.3cm) high x 7.5" (19.1cm) wide Collection:Portugese Style:Indo Portuguese Medium:Wood, Gesso   « Less