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27. Anatoly Vladimirovich Treskin (Russian, 19051986) Portrait of a young man in jodphurs and riding boots. Watercolor and gouache, signed lower right. Painted ca. 1930's-40's. Contemporary frame and red mat; image measures approx. 19" x 11"; framed overall approx. 29" x 21". 700/1,400 |
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28. Signed Russian Painting, ca. Early 20th Century Interior scene with a boy dancing for his elders. Oil on canvas, signed illegibly on the lower right corner, faintly visible date 1930?; in a newer gilt wood frame; canvas measures approx. 28" x 22"; framed overall approx. 35" x 29". 800/1,600 |
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29. Paul (Pavel Ivanov) Mak (Russian, 1885-1960) Portrait of a woman. Watercolor on paper, signed and dated '47 lower left. Image measures approx. 20" x 6-1/2" in a simple wood frame with brown mat under glass measures approx. 25-1/2" x 11-1/2". The model wears a pretty frock, and stands with a very contemplative expression. 700/1,200 |
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30. Paul (Pavel Ivanov) Mak (Russian, ca. 1885- ca. 1960) "Butler". Watercolor on paper, signed and dated 1935 on the lower right. Image measures approx. 16" x 5-1/2"; matted and framed under glass approx. 21" x 10". A whimsical profile of a man in a short coat and patterned trousers, with an interesting complexion. 600/1,000 |
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31. Icon of Forefather Abel, Russian, 18th Century Forefather Abel icon; pigment on gessoed wood panel. Originally was part of the larger iconostasis. Overall measures approx. 27" x 15". 3,000/6,000 |
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32. Kazan Mother of God Icon, ca. mid-17th Century Egg tempera on gessoed wood. Mother of God Traditionally painted in somber colors. The the Mother of holds the Child in her left arm; his head straight with his right arm extended. Icconographically it falls under the category of Eleusa type (Greek "Pity or Tenderness") or Umileniye. Our Lady of Kazan, also called Theotokos of Kazan is the holy icon which the Russian Orthodox Church probably venerates the most. It has been considered a palladium of Russia for centuries. Two major cathedrals, in Moscow and in St. Petersburg, are consecrated in her name.The icon was discovered on July 8, 1579, underground in the city of Kazan, after the Blessed Virgin Mary herself reportedly revealed its location to a little girl. The icon was credited by the Russian commanders - Dmitry Pozharsky and Mikhail Kutuzov - with helping the country to repel the Polish invasion of 1612, the Swedish invasion of 1709, and Napoleon's invasion of 1812. The original icon was kept in one of the monasteries in Kazan, whereas its ancient and venerated copies have been displayed at the Kazan Cathedrals of Moscow, Yaroslavl, and St. Petersburg. 4,000/5,000 |
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33. St. John the Forerunner, Russian, By Ilya Gorshechnikov, Dated May 16, 1856 St. John the Forerunner rendered as the Angel of the Desert. Hand-written in varnished pigment on gold-leafed and gessoed wood panel. Measures approx. 12" x 10". St. John is depicted with wings as he is a Messenger; he is holding a scroll and a basin with the newborn Savior in his left hand. St. Martyr Eugene is depicted to his right and Saint Martyr Antip on his left. Two thousand years ago, St. John's preaching and baptizing signaled that the time had come for the Lord Jesus to leave His private life in Nazareth and assume a public ministry (Mt. 3:13). In a similar way the death of the Prophet was a sign for the Lord Jesus to go into Galilee and begin preaching, gathering disciples, and healing (Mt. 4:12-17). The title, "Forerunner," is fortuitous in several ways. The Baptist's prophecies forecast that the Lord's ministry would illumine men with the Holy Spirit. St. John's message and work foreshadowed Christ's emphasis on repentance, and the Prophet's death forebode the execution of the Savior. 4,000/5,000 |
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34. Image of the Savior Icon or Savior Not Done by Hand, Russia, ca. 18th Century A very popular icon with the image of Christ on a piece of cloth. Pigment on wood panel. Traditional protective slots on verso. The icon measures approx. 12" x 10-1/2". This subject is taken from the story of Edessus king Abgar. He had been severly ill and sent an ambassador artist to Christ asking for help. The artist tried to paint the portrait of Christ without success. Christ helped him by washing His face and drying it with a sudarium. His Uncreated Image appeared on the cloth. The Holy Image had been transported to Edessa and became the protector of the city. Further legends relate that the cloth remained in Edessa until the 10th Century, when it was taken to Constantinople. In 1204 it was lost when Constantinople was sacked by Crusaders. The fast is on 16(29) August. 2,500/3,500 |
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35. Mother of God Quadripartite Icon, ca. 18th Century Mother of God protector of sinners, Mother of God assuage my sorrow, Mother of God tender emotion, Mother of God seeker of the lost. Egg tempera on wood panel. Overall this icon measures approx. 12" x 10". 2,500/3,500 |
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36. Russian Silver and Enamel Lady of Iberia Icon, Russia, 19th Century Russian icon Lady of Iberia in gilded silver clad with enamel halo, stamped makers hallmark and an assayer 84 zolotniks standard mark, dating the okland to 1899-1908; another assayer mark on the halo; overall the icon measures approx. 7" x 5-1/2". The icon of Our Lady of Iberia, dates back to the 4th Century, when a pious widow of the Byzantine town of Nivea gave the miracle-working original icon to the sea to preserve it from iconoclasts, led by the emperors of the Isaurian dynasty. The icon purportedly "floated" to the gates of a monastery to protect itself from the iconoclasts who sought to destroy it. A copy of the icon was brought to Moscow in 1648 to be placed above the Kremlin's Resurrection Gates. A chapel was built for it on the site in 1660. In the Soviet times the chapel was pulled down in the early hours of July 29, 1929. The icon disappeared and has never been recovered. 2,000/2,500 |
