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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
The Holy Mandylion (Spas Nerukotvorny) is an outstanding example of late 19th-century Russian Orthodox art, in which strict canonical tradition is harmoniously combined with the virtuoso craftsmanship of the Moscow silversmithing school. The image of Christ, executed in tempera on wood, is distinguished by the soft modelling of the features, profound inner concentration, and a penetrating, contemplative gaze. The composition is complemented by two angels holding the cloth bearing the miraculous image, reinforcing the theological meaning and emphasising the idea of divine revelation and heavenly protection.The icon is set within a sumptuous silver-gilt oklad created in 1894 in the renowned Moscow workshop of Ivan Filippovich Tarabrov. The oklad is richly adorned with cloisonné and champlevé enamels. The halo surrounding the face of Christ is decorated with an intricate ornamental design featuring deep blue, red, and white tones set against a gilt and blue ground. A distinctive characteristic of Tarabrov’s workshop is the use of gold foil beneath the red enamel, producing a luminous depth of colour and an inner radiance.The cloth (ubrus) bearing the image of Christ is embellished with finely chased decoration on a silver ground, its edges framed by raised ornamental patterns on gilt surfaces. The corner plaques are adorned with vegetal motifs executed in filigree with enamel infill. The fields of the oklad are further enriched with elegant high-relief vegetal ornamentation and bordered by engraved bands, lending the composition harmony and refinement. Every detail of the oklad testifies to exceptional precision of execution and refined artistic taste, enhancing the sacred and solemn character of the image.Marks: Cyrillic letters “IT” – maker’s mark of the silversmith Ivan Filippovich Tarabrov; Assay mark with the initials of the assay master “L•O” (Oleks Lev Fyodorovich) positioned above the date “1894”; Moscow city mark depicting Saint George slaying the dragon.Technique and materials: Wood, tempera; silver, gilding; cloisonné and champlevé enamels; chasing, engraving, filigree.Dimensions: 31.5 × 28 cm.
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MOUNTAIN CRYSTAL BOWL WITH GOLD MOUNT BY FABERGÉ SAINT PETERSBURG, 1880–1890
MOUNTAIN CRYSTAL BOWL WITH GOLD MOUNT BY FABERGÉ SAINT PETERSBURG, 1880–1890
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Leather portfolio with silver overlay. Russia, 1908-1917.
Leather portfolio with silver overlay. Russia, 1908-1917.
Bidding is completed
A lady`s mirror, decorated with an enamel pattern. 20th century.
A lady`s mirror, decorated with an enamel pattern. 20th century.
Bidding is completed
A delightful gold pendant with diamonds in Art Nouveau style. Russia. The turn of the 19th-20th century.
A delightful gold pendant with diamonds in Art Nouveau style. Russia. The turn of the 19th-20th century.
Bidding is completed
Decorative dish Ivan Tsarevich and the Gray Wolf.
Decorative dish Ivan Tsarevich and the Gray Wolf.
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ICON “SAINT NICHOLAS THE MIRACLE WORKER” RUSSIA, SECOND HALF OF THE 19TH CENTURY
ICON “SAINT NICHOLAS THE MIRACLE WORKER” RUSSIA, SECOND HALF OF THE 19TH CENTURY
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ICON OF THE MOTHER OF GOD “THE SIGN” WITH SELECTED SAINTS RUSSIA, SECOND HALF OF THE 19TH CENTURY
ICON OF THE MOTHER OF GOD “THE SIGN” WITH SELECTED SAINTS RUSSIA, SECOND HALF OF THE 19TH CENTURY
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KAZAN ICON OF THE MOTHER OF GOD WITH THE CHRIST CHILD RUSSIAN EMPIRE, SECOND HALF OF THE 19TH CENTURY
KAZAN ICON OF THE MOTHER OF GOD WITH THE CHRIST CHILD RUSSIAN EMPIRE, SECOND HALF OF THE 19TH CENTURY
Bidding is completed
KAZAN ICON OF THE MOTHER OF GOD RUSSIAN EMPIRE, 19TH CENTURY
KAZAN ICON OF THE MOTHER OF GOD RUSSIAN EMPIRE, 19TH CENTURY
Bidding is completed
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
A large ceremonial kovsh executed in silver with gilding and cloisonné polychrome enamels. The body is formed with pronounced gadrooning, each facet adorned with elaborate floral compositions of flowers and scrolling foliage. The enamels are applied on alternating grounds of green, white, and blue, creating a richly rhythmic decorative surface. The upper section is encircled by a continuous frieze of leafy and floral arabesques in cloisonné enamels set against a matte gilt ground. The interior is fully gilt, emphasizing the ceremonial character of the object. The handle and front panel are similarly decorated with floral motifs in cloisonné polychrome enamels on a sky-blue ground. The form and ornamentation reflect the Neo-Russian style combined with elements of Art Nouveau, characteristic of the Moscow school in the early 20th century.Marks: Complete maker’s mark «P. Ovtchinnikoff» with the double-headed eagle – insignia of Purveyor to the Imperial Court; State assay mark of the Moscow Assay District, 1908–1917, depicting a woman’s head in a kokoshnik facing right within an oval cartouche, accompanied by the silver standard mark “84” and the Greek letter delta (Δ), identifying the Moscow Assay District.Dimensions: Height – 13.5 cm; Length – 29.5 cm; Width – 15.5 cm.Weight: 895 g.Condition: Good. Minor wear consistent with age and use. The enamels are well preserved, without evident losses. Light surface wear to the gilding consistent with age and handling.Provenance: Private European collection.
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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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A wedding pair of icons in silver frames in the Art Nouveau style. Moscow, early 20th century
A wedding pair of icons in silver frames in the Art Nouveau style. Moscow, early 20th century
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ICON OF CHRIST PANTOCRATOR WITH A SILVER OKLAD BY THE FACTORY OF IVAN SEMYONOVICH GUBKIN RUSSIA, MOSCOW, 1865
ICON OF CHRIST PANTOCRATOR WITH A SILVER OKLAD BY THE FACTORY OF IVAN SEMYONOVICH GUBKIN RUSSIA, MOSCOW, 1865
Bidding is completed
Icon of Saint Alexander Nevsky. Russia 1920
Icon of Saint Alexander Nevsky. Russia 1920
Bidding is completed
Russian icon of the Holy Martyr Antonina, turn of the 19th-20th centuries.
Russian icon of the Holy Martyr Antonina, turn of the 19th-20th centuries.
Bidding is completed
Crystal jug with silver. Early 20th century.
Crystal jug with silver. Early 20th century.
Bidding is completed
ICON OF SAINT BLESSED PRINCE ALEXANDER NEVSKY IN A SILVER OKLAD WITH ENAMELS. RUSSIA, 1895
ICON OF SAINT BLESSED PRINCE ALEXANDER NEVSKY IN A SILVER OKLAD WITH ENAMELS. RUSSIA, 1895
Bidding is completed
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
An outstanding example of late Russian Marinism, Stormy Sea, created by Kharlampiy Dmitrievich Kostandi in the early 20th century, stands among the artist’s most expressive works devoted to the theme of the sea.With remarkable mastery, the artist conveys the raw energy of the raging waters. Foaming waves surge toward a fragile boat, filled with tension, movement, and a sense of inevitability. The sea surface is rendered with striking expressiveness, allowing the viewer to sense the motion of water, gusts of wind, and the charged atmosphere of an approaching storm.At the center of the composition is a small boat with sailors struggling fiercely against the waves. Their tense, determined figures become a powerful symbol of courage, the fight for survival, and hope for salvation. In the distance, along the horizon line, the faint silhouette of a sailing vessel enhances the vastness of space and underscores human vulnerability in the face of nature’s overwhelming force. The contrast between the immensity of the sea and human presence lends the work its dramatic intensity.The color palette is built upon subtle transitions of cool tones, ranging from translucent blues and turquoises to silvery greys. Luminous reflections give the water depth and vibrant movement, while the soft yet energetic brushwork creates a sense of breathing space. This atmospheric treatment aligns Kostandi with the finest masters of the Russian Marinist tradition, while highlighting his individual, restrained, and realist approach in contrast to the Romantic expressiveness of Aivazovsky.Dimensions: 49 × 80 cm (framed 78 × 110 cm)Medium: Oil on canvasSignature: “X. Kostandi”, lower left, consistent with the artist’s known autographsCondition: Good overall condition, with natural age patina and an even craquelure patternProvenance: Private collection. Authenticity confirmed by expert examinations
Bidding is completed
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.
Bidding is completed
Silver Ruble 1877. Russia - Alexander II.
Silver Ruble 1877. Russia - Alexander II.
Bidding is completed
Sketch for a propaganda poster from the 1920s. Tamara Kofengauz.
Sketch for a propaganda poster from the 1920s. Tamara Kofengauz.
269 USD
VLADIMIR KONSTANTINOVICH YANOVSKY (1876–1966). CRIMEAN LANDSCAPE RUSSIA, EARLY 20TH CENTURY
VLADIMIR KONSTANTINOVICH YANOVSKY (1876–1966). CRIMEAN LANDSCAPE RUSSIA, EARLY 20TH CENTURY
Bidding is completed
Silver Ruble of Catherine II, 1770.
Silver Ruble of Catherine II, 1770.
Bidding is completed
SILVER LADLE IN THE STYLE OF RUSSIAN MODERN, 5TH ARTEL OF JEWELERS, RUSSIA, EARLY 20TH CENTURY
SILVER LADLE IN THE STYLE OF RUSSIAN MODERN, 5TH ARTEL OF JEWELERS, RUSSIA, EARLY 20TH CENTURY
Bidding is completed
750 gold ring in Art Deco style with three diamonds.
750 gold ring in Art Deco style with three diamonds.
Bidding is completed
LANDSCAPE WITH A POND IN EVENING LIGHT. A. KONSTANTINOVA RUSSIA, SECOND HALF OF THE 19TH CENTURY
LANDSCAPE WITH A POND IN EVENING LIGHT. A. KONSTANTINOVA RUSSIA, SECOND HALF OF THE 19TH CENTURY
Bidding is completed
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