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A VERY LARGE AND RARE ICON WITH THE VISUAL REPRESENTATION OF THE LORD'S PRAYER 'OUR FATHER' AND THE MOTHER OF GOD 'O VSEPYETAYA MATI' Russian, Old Believer's Workshop, circa 1800 Tempera on wood panel. Finely executed on gold ground. The prayer 'Our Father' rendered allegorically over two register and five scenes each one illustrating a verse; beginning from the central scene at the top frieze, God Father encircled by archangels in a double glory standing for: Our Father, who art in heaven. The lower scenes symbolising the verses: Give us today our daily bread and forgive us our trespasses as we forgive those who trespass against us, and lead us not into temptation but deliver us from evil (Adam and Eve in the Paradise). The figures portrayed with elongated proportions. Painted with bright colours. Minor losses. 80.2 x 28.5 cm. LARGE AND RARE ICON WITH THE 'FATHER UNCLE' AND THE MOTHER OF GOD 'O VSEPYETAJA MATI' Russia, Old Believers' workshop, c. 1800 Wooden panel with two reverse sponki. Egg tempera on chalk ground, gold ground. 80,2 x 28,5 cm. Mirror-symmetrical composition with God the Father enthroned in an aureole in the upper part. He holds up his hands in blessing. Nine archangels, standing on clouds, entourage him (Our Father, who art in heaven). In the centre of the picture a round medallion shows the Eucharistic celebration of the apostles (Hallowed be Thy name, Thy kingdom come, Thy will be done). Below left is the Adoration of the Three Kings, below right Adam and Eve in the Garden of Paradise, below them appears Hell (And lead us not into temptation, but deliver us from evil). In the centre men kneel before a table (Give us this day our daily bread). Min. paint chips.

Estim. 3 000 - 6 000 EUR
For sale on Fri 16 Apr
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A MONUMENTAL DATED ICON SHOWING THE ARCHANGELS MICHAEL AND GABRIEL Greek, dated 1716 Tempera on wood panel. Executed on a gold ground. Inscribed and dated '1716' on the lower part of the image. Damages to the borders. 126 x 70 cm. Literature: Exhibition catalogue: Golden light. Masterpieces of the Art of the Icon, Kononklijk Museum voor schone kunsten Antwerpen, 1988, No. 114. Provenance: Christie's London, 29 April 1893. MONUMENTAL DATED ICON WITH THE ARCHIDES MICHAEL AND GABRIEL Greece, dated 1716 Wood panel. Egg tempera on chalk ground, gold ground. 126 x 70 cm. Signed in Greek in the lower centre and dated '1716'. Edges partly damaged. Literature: Exhibition catalogue: Golden Light. Masterpieces of the Art of the Icon, Kononklijk Museum voor schone kunsten Antwerpen, 1988, No. 114. Provenance: Christie's London, 29 April 1983. Please note: this lot has been imported from outside the EU for sale to be sold at auction under Temporary Admission. When Hargesheimer releases such property to buyers in the EU, the buyer will become the importer and Import VAT is payable at 7% on the hammer price. To receive a refund of VAT amounts/Import VAT a non-EU must have registered to bid with an address outside of the EU and provide immediate proof of correct export out of the EU. Exports made by companies from other EU member states will be exempt from VAT if they state their VAT identification number. Please note that this lot was temporarily imported from a third country for the auction. When the work of art is handed over to the buyer by Hargesheimer Fine Art Auctions Düsseldorf, the buyer becomes the importer and owes Hargesheimer Fine Art Auctions Düsseldorf the import VAT at the current rate of 7%. Exempt from VAT are export deliveries to third countries (i.e. outside the EU) and, if the VAT identification number is stated, deliveries to companies in EU member states.

Estim. 40 000 - 80 000 EUR
For sale on Fri 16 Apr
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A LARGE ICON SHOWING THE ARCHANGEL MICHAEL Greek, 16th century Tempera on wood panel. Executed on a gold ground. The halo ornately punched. Losses to the borders. 71 x 52.5 cm. Literature: Exhibition catalogue: Van een anderen wereld, Kononklijk Museum voor schone kunsten Antwerpen, Antwerp 1997, no. 66. Provenance: Christie's London, 13 December 1995, lot 374. LARGE SIZE ICONCONE WITH THE INCENSE MICHAEL Greece, 16th century Composite of two panels. Egg tempera on chalk ground, gold ground, nimbus ornamentally punched. 71 x 52,5 cm. Smaller losses of substance in the margins. Literature: Exhibition catalogue: Van een anderen wereld, Kononklijk Museum voor schone kunsten Antwerpen, Antwerp 1997, no. 66. Provenance: Christie's London, 13 December 1995, lot 374. Please note: this lot has been imported from outside the EU for sale to be sold at auction under Temporary Admission. When Hargesheimer releases such property to buyers in the EU, the buyer will become the importer and Import VAT is payable at 7% on the hammer price. To receive a refund of VAT amounts/Import VAT a non-EU must have registered to bid with an address outside of the EU and provide immediate proof of correct export out of the EU. Exports made by companies from other EU member states will be exempt from VAT if they state their VAT identification number. Please note that this lot was temporarily imported from a third country for the auction. When the work of art is handed over to the buyer by Hargesheimer Fine Art Auctions Düsseldorf, the buyer becomes the importer and owes Hargesheimer Fine Art Auctions Düsseldorf the import VAT at the current rate of 7%. Exempt from VAT are export deliveries to third countries (i.e. outside the EU) and, if the VAT identification number is stated, deliveries to companies in EU member states.

Estim. 35 000 - 70 000 EUR
For sale on Fri 16 Apr
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A MONUMENTAL ICON SHOWING THE ARCHANGEL MICHAEL Macedonian, circa 1600 Tempera on wood panel with kovcheg. Executed on a gold ground. The archangel Michael is represented frontally. With his right hand he raises a sword up high and in the left is the sphaira with the monogram of Christ. Losses, minimally restored. 84.2 x 49.2 cm. Literature: Exhibition catalogue: Golden light. Masterpieces of the Art of the Icon, Literature: Golden light. Masterpieces of the Art of the Icon, Kononklijk Museum voor schone kunsten Antwerpen, 1988, No. 113. MONUMENTAL ICON WITH THE ARCHITECT MICHAEL Macedonia, c. 1600 Heavy hardwood panel. Kovcheg, egg tempera on chalk ground, gold ground. 84,2 x 49,2 cm. Missing parts in the margins, min. rest. Literature: Exhibition catalogue: Golden light. Masterpieces of the Art of the Icon, Kononklijk Museum voor schone kunsten Antwerpen, 1988, No. 113. Please note: this lot has been imported from outside the EU for sale to be sold at auction under Temporary Admission. When Hargesheimer releases such property to buyers in the EU, the buyer will become the importer and Import VAT is payable at 7% on the hammer price. To receive a refund of VAT amounts/Import VAT a non-EU must have registered to bid with an address outside of the EU and provide immediate proof of correct export out of the EU. Exports made by companies from other EU member states will be exempt from VAT if they state their VAT identification number. Please note that this lot was temporarily imported from a third country for the auction. When the work of art is handed over to the buyer by Hargesheimer Fine Art Auctions Düsseldorf, the buyer becomes the importer and owes Hargesheimer Fine Art Auctions Düsseldorf the import VAT at the current rate of 7%. Exempt from VAT are export deliveries to third countries (i.e. outside the EU) and, if the VAT identification number is stated, deliveries to companies in EU member states.

Estim. 28 000 - 56 000 EUR
For sale on Fri 16 Apr
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Estim. 800 - 1 600 EUR
For sale on Fri 16 Apr
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AN IMPORTANT AND MONUMENTAL ICON SHOWING THE LAST JUDGEMENT Russian, 17th century Tempera on wood panel with kovcheg. This monumental icon visualizes in detail the text of Revelation. It begins with the preparation of the Throne in the center of the composition, where the instruments of the Passion and the closed Gospels are placed on an altar attended by two angels and groups of saints. Above, Christ the Savior is shown on a throne supported by fiery wheels descending from Heaven flanked by his Mother and John the Baptist in supplication. To the left and right the Apostles are portrayed seated, each holding an open Book. The row behind depict holy figures and crowds of angels. The upper part of the panel illustrates scenes of Paradise; to the left is the celestial banquet, to the right, are two angels unfurling the deep blue skies that include the sun and the moon. Below, against a series of circular glories, there is a visual narrative of God the Father sending his Son for a second time to earth in order "to judge the living and the dead" as promised in the Nicene Creed. The lower half of the icon depicts Hell; it is dominated by a large snake, the personification of the Devil, bearing rings, each representing a sin, and angels with spears that push the sinners to chastisement and torture; to the left and right of this central composition, two vertical arrangements show respectively the ascent of Just Monks to Paradise and the expulsion of the sinners to the fiery fields of Hell and the mouth of multi-headed, devouring beast. The icon is meticulously rendered with deep colors, the scenes on the upper part are structured around clusters and swirling clouds, the ochre background is inscribed with the text of the Apocalypse. Areas of restoration. 145 x 122 cm. Literature: Icona. Volto Del Mistero, Milan 1991, 120. Exhibited: Icona. Volto Del Mistero, Milano 1991, 120. MEANINGFUL AND MONUMENTAL ICON WITH THE LATEST COURT Russia, 17th century Composite of three boards with two reverse sponki. Kovcheg, levkas, egg tempera on chalk ground, partial gilding. 145 x 122 cm. Multi-layered and complex composition. In the centre of the upper half of the picture Christ is enthroned as the judge of the world, he is flanked by the Mother of God, John the Baptist as well as apostles and archangels. Above the enthroned Christ appears the New Testament Trinity. In the center of the picture, angels line the altar with the true cross. To the left and right are the Old Testament prophets and kings. Below left, the Apostle Peter opens the door to Paradise for the righteous. The left margin illustrates the monks who have lived a pious life and ascend to the Heavenly Jerusalem, where they are welcomed by angels. Along the right margin is the fall of the damned into hellfire. In the lower right corner, the impious beggars, monks and peasants, the unfaithful wives, the sinful priests, bishops, princes and kings are led by Satan on a chain into the mouth of the hell monster, and in small panels the punishments for the damned are shown. A snake rises from the mouth of the hell monster and tries to grab Adam's heel. On its body are enumerated the deadly sins for which one is punished in hell. Elaborately inscribed at the borders, with a Church Slavonic pictorial titulus at the top. Partial rest. Literature: Icona. Volto Del Mistero, Milan 1991, 120. Provenance: Belgian private collection.

Estim. 65 000 - 130 000 EUR
For sale on Fri 16 Apr
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A VERY RARE AND VERY FINE ICON SHOWING THE EUCHARIST Russian, Old Believer's Workshop, circa 1860 Tempera on wood panel with two splints on the back. The haloes made of gold. The faces rendered finely with soft colours. The border elaborately decorated with foliate scrolls and strap work. Border damaged. 40.6 x 35.8 cm. The icon has a unique composition. It thematises one of the The icon has a unique composition. It thematises one of the main sacraments of the Church: the Eucharist, the transformation of the prepared gifts (bread and wine) into the Body and Blood. The purpose of this sacrament is the consecration of the body and blood of Christ. The purpose of this sacrament is to sanctify the faithful, as each communicant carries a particle of Christ, God himself, within him. In terms of content, the icon conceives of this great sacrament as the identity of the Holy Gifts, over which the Eucharistic Prayer is said, to the true Body and Blood of Christ. In the centre of the composition, within a bright red rhombus, is Jesus Christ. Standing at the altar, his right hand is folded in a gesture of blessing, and with his left hand he points to the prosphora (bread) and the chalice containing the wine. A red rhombus is superimposed on a blue square forming an eight-pointed figure with images of angels in the corners. The corners are inscribed in a green globe, framed by baroque elements in the form of branches and flowers. Inside the cartouches is a text from the Gospel that describes the content of the image: "I am the bread that came down from the earth // I am the bread that made my flesh // and I am the bread that drank my blood // and I am the bread that drank my blood // and I am the bread that drank my blood // and I am the bread that drank my blood. My blood // will have eternal life, and I will raise him up at the last day" (John 6: 51,54). In the four corners are representations of the four saints James, Basil the Great, John the Theologian and Gregory Dvoeslov, Pope of Rome. On the left and right are raised angel figures, one holding the chalice with the Holy Gifts (left), the second holding the censer with the burning coals. In the corners are the figures of the four evangelists, writing the Gospel texts. Thus the icon reveals the history of the formation of the doctrine of the Eucharist from the Gospel texts to the performance of the sacrament through liturgy and practice. The theology of the Eucharist was witnessed to in the New Testament, established by Jesus Christ himself at the Last Supper, in the instructions to the disciples and in the references to the administration of the Eucharist in apostolic times, quotations are found in each of the Gospels (Jn. 6: 51-56; Mt. 26: 17-30; Mk. 14: 12-26; Lk. 22: 7-39). The first liturgy was composed by St. James, the Brother of God; three texts are used in the modern Church: the Liturgy of St. Basil the Great, the Liturgy of St. John Chrysostom and the Liturgy of the Sanctified Gifts attributed to St. Gregory Dvoësloff, Pope of Rome. This icon indicates all the authors of the liturgy. An interesting feature of the icon is its possible origin in a workshop of the Old Believers, as witnessed by the writing of Christ's name by IC XC and the double-fingered blessing of Christ. The icon is distinguished by its programmatic character, the author's interpretation of the theme and the uniqueness of the composition. VERY RARE AND VERY FINE ICON WITH CHRIST AND THE EUCHARIST Russia, Old Believers' workshop, c. 1860 Wooden panel with two reverse sponki. Egg tempera on chalk ground, partial gilding. 40,6 x 35,8 cm. Margins dam. The icon has a unique composition. It deals with one of the main sacraments of the church: the Eucharist, the transformation of the prepared gifts (bread and wine) into the body and blood. The purpose of this sacrament is the consecration of the Body and Blood of Christ. The purpose of this sacrament is to sanctify the faithful, as each communicant carries a particle of Christ, God himself, within him. In terms of content, the icon conceives of this great sacrament as the identity of the Holy Gifts, over which the Eucharistic Prayer is said, to the true Body and Blood of Christ. In the centre of the composition, within a bright red rhombus, is Jesus Christ. Standing at the gift table, his right hand is folded in a gesture of blessing, and with his left hand he points to the prosphora (bread) and the chalice containing the wine. A red rhombus is superimposed on a blue square forming an eight-pointed figure, with images of angels in the corners. The corners are inscribed in a green globe, framed by baroque elements in the form of branches and flowers. In the cartouches there is a text from the Gospel that describes the content of the image: ''I am the bread that came down from the earth // I am the bread that made my flesh // u

Estim. 3 000 - 6 000 EUR
For sale on Fri 16 Apr
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A MONUMENTAL DATED ICON SHOWING 'ALL SAINTS' Greek, dated 1702 Tempera on wood panel with kovcheg. In the centre of the panel the enthroned Christ displaying the open Gospels Book within a mandorla flanked by the Mother of God and St. John the Baptist. The Orthodox saints portrayed according to their ranking in six registers on both sides. The lower border illustrating the Patriarch Abraham in Paradise and the Good Thief. Finely executed in bright colours on a gold background with ornately punched scrolling foliage. Edges minimally damaged. 89 x 59 cm. MONUMENTAL DATED ICON 'ALL Saints' Greece, Mount Athos, dated 1702 Wooden panel. Kovcheg, egg tempera on chalk ground, gold ground, ornamental hallmarks. 89 x 59 cm. Inscription in Greek dated 1702 at lower margin. In the centre of the composition Christ is enthroned in front of an aureole with the tetramorph. The Mother of God, John the Baptist as well as angels, apostles, church fathers and saints arranged over several rows flank him on both sides. Along the lower rim is the Garden of Paradise with the Good Avenger as well as Abraham holding the Righteous in his lap. Edges slightly worn. Please note: this lot has been imported from outside the EU for sale to be sold at auction under Temporary Admission. When Hargesheimer releases such property to buyers in the EU, the buyer will become the importer and Import VAT is payable at 7% on the hammer price. To receive a refund of VAT amounts/Import VAT a non-EU must have registered to bid with an address outside of the EU and provide immediate proof of correct export out of the EU. Exports made by companies from other EU member states will be exempt from VAT if they state their VAT identification number. Please note that this lot was temporarily imported from a third country for the auction. When the work of art is handed over to the buyer by Hargesheimer Fine Art Auctions Düsseldorf, the buyer becomes the importer and owes Hargesheimer Fine Art Auctions Düsseldorf the import VAT at the current rate of 7%. Exempt from VAT are export deliveries to third countries (i.e. outside the EU) and, if the VAT identification number is stated, deliveries to companies in EU member states.

Estim. 12 000 - 24 000 EUR
For sale on Fri 16 Apr
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A RARE TRAVELLING FOLDING ICONOSTASIS Russian, 19th century Tempera on wood panels with kovcheg. Consisting of fifteen panels. The central panel one twice the size of the others. The upper part of the panels in the shape of onion domes. The central panel showing a royal door depicting the four Evangelists, the Annunciation and the Last Supper. Above this scene the two major feasts (the Cruxification and the Descent of Christ into Hell). In the middle Christ enthroned and flanked by the Kings David and Salomon. The scenes of the fourteen panels grouped over five rows. The top two ranks portraying Old Testament prophets. The third row showing four images of the Mother of God and selected saints in full-length. The fourth register is representing the major feasts of the Ecclesiastical calendar. The lower row depicting an extended Deisis with the Mother of God and St. John the Baptist in three-quarter view flanked by the Archangels Gabriel and Michael, the Three Hierarchs, Metropolitans and Bishops waering liturgical garments and the monastic saints Zosima and Savatii. Finely executed. Minimally restored. 52.5 x 146.3 cm. RARE FOLDING ICONOSTASE (TRAVELING ICONOSTASE) Russia, 19th century. Fifteen individual hardwood panels connected by hinges with ogival upper end. Egg tempera on chalk ground on wood, nimbs gilded. 52,5 x 146,3 cm (opened). The central panel with double-arched finial shows the king's door in the lower section with the four evangelists Matthew, Mark as well as John and Luke arranged in pairs. In the round-arched field above, the Annunciation and the Last Supper complete the royal door. The two rectangular panels above show the two high feasts of the Crucifixion and the Ascension of Christ into Hades. Christ is enthroned at the upper edge of the picture, flanked by the Old Testament kings David and Solomon. The painting of the seven panels to the left and right of the central panel follows a strictly symmetrical structure with five registers on top of each other. The two upper rows show prophets of the Old Testament as three-quarter figures. Below follows a register with four icons of the Mother of God flanked by the full-figure representation of male and female saints arranged in groups of three. The following register shows the high feasts of the Orthodox church year. The lower register shows, in the sense of an extended Deesian representation, the Mother of God (left) and John the Forerunner (right) as full figures facing to the right and left respectively, flanked by the archangels Michael and Gabriel as well as the protomartyrs Stepahnus and Laurentius in deacon's robes surrounded by church fathers and hierarchs. On the outer rim, St. Zosima (left) and Sawatij (right) in monk's robes complete the composition towards the edges. Very rare, completely preserved travel iconostasis. Min. rest.

Estim. 3 000 - 6 000 EUR
For sale on Fri 16 Apr
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