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.

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ICON “CHRIST PANTOCRATOR” WITH SILVER OKLAD BY THE FIRM OF P.A. OVCHINNIKOV RUSSIA, MOSCOW, 1866

ICON “CHRIST PANTOCRATOR” WITH SILVER OKLAD BY THE FIRM OF P.A. OVCHINNIKOV RUSSIA, MOSCOW, 1866

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PINE FOREST. GAVRIIL PAVLOVICH KAMENSKY (1853–1912). 1897

PINE FOREST. GAVRIIL PAVLOVICH KAMENSKY (1853–1912). 1897

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Chamber icon of the Almighty in a gilded silver frame, 1908-1917.

Chamber icon of the Almighty in a gilded silver frame, 1908-1917.

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1 kopeck Coin. Copper. 1840

1 kopeck Coin. Copper. 1840

Copper 3 kopecks 1915.

Copper 3 kopecks 1915.

NUDE RECLINING WOMAN, RUSSIA, LATE 19TH CENTURY

NUDE RECLINING WOMAN, RUSSIA, LATE 19TH CENTURY

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Icon Selected Holidays. Palekh. XIX century.

Icon Selected Holidays. Palekh. XIX century.

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RUSSIAN SILVER BOWL WITH PLIQUE-À-JOUR ENAMEL. KHLEBNIKOV FIRM. MOSCOW, EARLY 20TH CENTURY

RUSSIAN SILVER BOWL WITH PLIQUE-À-JOUR ENAMEL. KHLEBNIKOV FIRM. MOSCOW, EARLY 20TH CENTURY

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VASE WITH CRYSTAL INSERT. IVAN KHLEBNIKOV. MOSCOW, 1908 - 1917

VASE WITH CRYSTAL INSERT. IVAN KHLEBNIKOV. MOSCOW, 1908 - 1917

THE FEODOROVSKAYA MOTHER OF GOD ICON IN A GILT SILVER MOUNT WITH ENAMELS. WORKSHOP OF VASILY SEMYONOV RUSSIA, MOSCOW, 1890

THE FEODOROVSKAYA MOTHER OF GOD ICON IN A GILT SILVER MOUNT WITH ENAMELS. WORKSHOP OF VASILY SEMYONOV RUSSIA, MOSCOW, 1890

A solemn analogion icon of the Feodorovskaya Mother of God, created in Moscow in 1890. The image belongs to the most venerated Marian shrines traditionally associated with the protection of the family and dynastic continuity. The Virgin is depicted with the Christ Child in the iconographic type known as “Eleusa,” where the gentle touching of their faces emphasizes intimacy and prayerful contemplation. The faces are executed in a warm ochre-brown palette with subtle modeling of light and shadow characteristic of Moscow icon painting of the late nineteenth century.The icon is encased in a gilt silver mount executed at the factory of Vasily Semyonov in Moscow. The mount represents a highly refined example of Moscow silversmithing of the late nineteenth century. The repoussé work on silver forms a sculptural pattern of the folds of the maphorion and chiton, creating a striking interplay of light across the metal surface. The crowns, borders, and corner elements are decorated with polychrome enamels featuring delicate vegetal and geometric ornamentation, rendered in the characteristic decorative manner of the Moscow school.Marks: Maker’s mark “VS” in Cyrillic for Vasily Semyonov; Moscow silver hallmarks of 84 standard; Assay mark with the initials “L.O” beneath a dividing line and the date “1890” for Olex Lev Fyodorovich, assay master of Moscow; State assay mark with the coat of arms of the city of Moscow.Dimensions: 31 x 27 centimeters.Material: Wood, tempera painting; gilt silver, enamel.Condition: Good.Provenance: Private collection.

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Vase Golden ruby with gold ornament. Imperial Glass Factory, Russia, 1830-1840s

Vase Golden ruby with gold ornament. Imperial Glass Factory, Russia, 1830-1840s

Silver serving set: fork and knife in their own case. Riga 1908-1917.

Silver serving set: fork and knife in their own case. Riga 1908-1917.

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ICON OF SAINT NICHOLAS THE WONDERWORKER IN CLOISONNÉ ENAMEL OKLAD, ART NOUVEAU STYLE. EARLY 20TH CENTURY

ICON OF SAINT NICHOLAS THE WONDERWORKER IN CLOISONNÉ ENAMEL OKLAD, ART NOUVEAU STYLE. EARLY 20TH CENTURY

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PAIR OF CANDELABRA WITH FIGURES OF PARADISE BIRDS RUSSIA, 19TH CENTURY

PAIR OF CANDELABRA WITH FIGURES OF PARADISE BIRDS RUSSIA, 19TH CENTURY

STATE PORTRAIT OF EMPEROR ALEXANDER I RUSSIA, FIRST HALF OF THE 19TH CENTURY

STATE PORTRAIT OF EMPEROR ALEXANDER I RUSSIA, FIRST HALF OF THE 19TH CENTURY

SILVER LETTER OPENER WITH A PEASANT FIGURE, KARL FABERGÉ FIRM, MOSCOW, 1880s

SILVER LETTER OPENER WITH A PEASANT FIGURE, KARL FABERGÉ FIRM, MOSCOW, 1880s

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SET OF SIX CLOISONNÉ ENAMEL SILVER TEASPOONS IN A PRESENTATION CASE. GRACHEV BROTHERS RUSSIA, SAINT PETERSBURG, LAST QUARTER OF THE 19TH CENTURY

SET OF SIX CLOISONNÉ ENAMEL SILVER TEASPOONS IN A PRESENTATION CASE. GRACHEV BROTHERS RUSSIA, SAINT PETERSBURG, LAST QUARTER OF THE 19TH CENTURY

RUSSIAN SILVER CLOISONNÉ SHOT CUP. GUSTAV KLINGERT RUSSIA, MOSCOW, 1893

RUSSIAN SILVER CLOISONNÉ SHOT CUP. GUSTAV KLINGERT RUSSIA, MOSCOW, 1893

A Russian silver cylindrical shot cup crafted in 84 silver and richly decorated with polychrome cloisonné enamel. The exterior surface is entirely covered with an elaborate ornamental composition built on symmetrical floral and foliate motifs, incorporating stylized blossoms and scrolling elements characteristic of the Moscow silversmithing tradition of the late nineteenth century. The enamel palette features deep cobalt blue, turquoise, white and red tones, emphasized by the precise rhythm of silver cloisons. The interior surface is smooth, with a natural silver patina, creating a refined contrast with the vivid enamel decoration of the exterior. The object exemplifies a high level of craftsmanship and masterful command of the cloisonné enamel technique.Hallmarks: Maker’s mark “KLINGERT” – Gustav Gustavovich Klingert; Moscow assay mark with silver standard “84”; Assay master’s mark “A.S” – Alexander Alexeyevich Smirnov, dated 1893.Dimensions: Height 6.7 cm; Diameter 5 cm.Weight: 82 g.Condition: Good. Enamel well preserved without losses or chips; silver with a noble patina; minor signs of wear consistent with age.Provenance: Private collection.

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RUSSIAN PRESENTATION SILVER KOVSH IN ART NOUVEAU STYLE. ALEXANDER VYAKOVA. FIRM OF C. FABERGÉ SAINT PETERSBURG, EARLY 20TH CENTURY

RUSSIAN PRESENTATION SILVER KOVSH IN ART NOUVEAU STYLE. ALEXANDER VYAKOVA. FIRM OF C. FABERGÉ SAINT PETERSBURG, EARLY 20TH CENTURY

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Julius Yulievich Klever (son). (1882-1942) Still life with fish . 1911

Julius Yulievich Klever (son). (1882-1942) Still life with fish . 1911

Silver Ruble 1877. Russia - Alexander II.

Silver Ruble 1877. Russia - Alexander II.

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ICON OF THE MOTHER OF GOD OF UMILENIE RUSSIA, MOSCOW, 16TH–17TH CENTURY

ICON OF THE MOTHER OF GOD OF UMILENIE RUSSIA, MOSCOW, 16TH–17TH CENTURY

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SILVER-GILT KOVSH WITH POLYCHROME ENAMELS. PAVEL OVTCHINNIKOV FIRM RUSSIA, MOSCOW, 1908–1917

SILVER-GILT KOVSH WITH POLYCHROME ENAMELS. PAVEL OVTCHINNIKOV FIRM RUSSIA, MOSCOW, 1908–1917

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THE HOLY MANDYLION (SPAS NERUKOTVORNY) IN A SILVER-GILT ENAMELLED OKLAD BY IVAN TARABROV MOSCOW, RUSSIA, 1894

THE HOLY MANDYLION (SPAS NERUKOTVORNY) IN A SILVER-GILT ENAMELLED OKLAD BY IVAN TARABROV MOSCOW, RUSSIA, 1894

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Painting "Shore"

Painting "Shore"

KHARLAMPY DMITRIEVICH KOSTANDI (SECOND HALF OF THE 1860s – AFTER 1917). STORMY SEA RUSSIA, EARLY 20TH CENTURY

KHARLAMPY DMITRIEVICH KOSTANDI (SECOND HALF OF THE 1860s – AFTER 1917). STORMY SEA RUSSIA, EARLY 20TH CENTURY

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Gold ring with diamonds.

Gold ring with diamonds.

Golden powder box. Violettes Paris. Around 1860.

Golden powder box. Violettes Paris. Around 1860.

Silver button (call)

Silver button (call)

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Gold ring with natural sapphire and diamonds

Gold ring with natural sapphire and diamonds

Crystal decanter with a silver neck.

Crystal decanter with a silver neck.

Porcelain coffee pair

Porcelain coffee pair

Order of Isabella the Catholic. Spain

Order of Isabella the Catholic. Spain

Bidding is completed

French bonbonniere with silver lid. Louis Coignet.

French bonbonniere with silver lid. Louis Coignet.

Cup for poached egg

Cup for poached egg

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Russian icon of the Pantocrator on a thick cypress board from the mid-19th century.

Russian icon of the Pantocrator on a thick cypress board from the mid-19th century.

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Louis XVI style showcase

Louis XVI style showcase

SILVER KOVSH WITH PAINTED ENAMEL OVER FILIGREE. 20 ARTEL RUSSIA, MOSCOW, 1908-1917

SILVER KOVSH WITH PAINTED ENAMEL OVER FILIGREE. 20 ARTEL RUSSIA, MOSCOW, 1908-1917

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Painting "Winter"

Painting "Winter"

Silver cup holder. Imperial Russia

Silver cup holder. Imperial Russia

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Porcelain Easter egg.

Porcelain Easter egg.

Porcelain console. Dresden.

Porcelain console. Dresden.

SILVER CABINET FIGURE OF A KNIGHT GERMANY, HANAU, LATE 19TH - EARLY 20TH CENTURY

SILVER CABINET FIGURE OF A KNIGHT GERMANY, HANAU, LATE 19TH - EARLY 20TH CENTURY

Bidding is completed