Null Russian school, workshops of the Old Believers, first half of the 19th cent…

Description

Russian school, workshops of the Old Believers, first half of the 19th century. "The Virgin of Burning Bush. Tempera on panel. Measurements: 31 x 26 cm. The Virgin of the Burning Bush is one of the most complex and symbolic icons of the Marian theme in orthodox iconography. It alludes to the passage of the same name from the Old Testament. On the symbolic level it develops different facets of Christian worship related to the appearance of Christ, based on the Old Testament stories. This Old Testament Epiphany was commemorated by the creation of a chapel in honour of the Burning Bush, which was built behind the altar of the Cathedral of St Catherine's Monastery at the foot of Mount Sinai. The iconography is known from proto-Christian times, when the Praying Virgin, or in some cases the Odigidria, was depicted enclosed in the Burning Bush, with Moses kneeling and contemplating her. In the mid-16th century, coinciding with the rule of Ivan the Terrible, the icon of the Virgin of the Burning Bush changed its appearance and was enriched with symbols and allegories. At that time Old Russia was undergoing a major expansion of its territory towards Siberia, Astrakhan and Kazan. Russia has become the most important Orthodox centre in the world. The Virgin and the Burning Bush came to be depicted half-length, holding the Child Jesus in her arms, within a two-coloured eight-pointed star, which is composed of two rectangles, red, symbolising the Burning Bush, and green, which in some cases can be emerald-green, as in the case of the icon at auction, symbolising the growing bush. In the corners of the green rectangle we find the angels, protectors of the Virgin, and on the green clouds rest the elements of nature. In the corners of the red rectangle are the tetramorphs, and in the red clouds are the corresponding evangelists. In the corners of the icon rest four independent miniatures, alluding to different prophets, which in turn enrich and complete the Epiphany. Variations can be found. In the case of the icon of interest, these are Moses in the upper left corner, the prophet Isaiah in the upper right corner, Ezekiel in the lower right corner, and finally Jacob's ladder in the lower left corner. On the four sides of the icon is Jesse with the tree, on the lower side, on the left and right, Alexius of Constantinople and Saint Catherine respectively. The composition is crowned by the representation of God the Father. In turn, the abundant inscriptions in the spaces between the scenes accompany the visual iconography, explaining each scene. This interest in explaining biblical scenes by means of inscriptions developed in Moscow around the middle of the 16th century in intellectual ecclesiastical circles and became very popular in the iconography of the Old Believers. Other symbols that indicate that this icon belongs to the workshops of the Old Believers are the blessing with two fingers and the inscription of the name of Jesus Christ in the form of the abbreviation "IC XC".

30

Russian school, workshops of the Old Believers, first half of the 19th century. "The Virgin of Burning Bush. Tempera on panel. Measurements: 31 x 26 cm. The Virgin of the Burning Bush is one of the most complex and symbolic icons of the Marian theme in orthodox iconography. It alludes to the passage of the same name from the Old Testament. On the symbolic level it develops different facets of Christian worship related to the appearance of Christ, based on the Old Testament stories. This Old Testament Epiphany was commemorated by the creation of a chapel in honour of the Burning Bush, which was built behind the altar of the Cathedral of St Catherine's Monastery at the foot of Mount Sinai. The iconography is known from proto-Christian times, when the Praying Virgin, or in some cases the Odigidria, was depicted enclosed in the Burning Bush, with Moses kneeling and contemplating her. In the mid-16th century, coinciding with the rule of Ivan the Terrible, the icon of the Virgin of the Burning Bush changed its appearance and was enriched with symbols and allegories. At that time Old Russia was undergoing a major expansion of its territory towards Siberia, Astrakhan and Kazan. Russia has become the most important Orthodox centre in the world. The Virgin and the Burning Bush came to be depicted half-length, holding the Child Jesus in her arms, within a two-coloured eight-pointed star, which is composed of two rectangles, red, symbolising the Burning Bush, and green, which in some cases can be emerald-green, as in the case of the icon at auction, symbolising the growing bush. In the corners of the green rectangle we find the angels, protectors of the Virgin, and on the green clouds rest the elements of nature. In the corners of the red rectangle are the tetramorphs, and in the red clouds are the corresponding evangelists. In the corners of the icon rest four independent miniatures, alluding to different prophets, which in turn enrich and complete the Epiphany. Variations can be found. In the case of the icon of interest, these are Moses in the upper left corner, the prophet Isaiah in the upper right corner, Ezekiel in the lower right corner, and finally Jacob's ladder in the lower left corner. On the four sides of the icon is Jesse with the tree, on the lower side, on the left and right, Alexius of Constantinople and Saint Catherine respectively. The composition is crowned by the representation of God the Father. In turn, the abundant inscriptions in the spaces between the scenes accompany the visual iconography, explaining each scene. This interest in explaining biblical scenes by means of inscriptions developed in Moscow around the middle of the 16th century in intellectual ecclesiastical circles and became very popular in the iconography of the Old Believers. Other symbols that indicate that this icon belongs to the workshops of the Old Believers are the blessing with two fingers and the inscription of the name of Jesus Christ in the form of the abbreviation "IC XC".

Auction is over for this lot. See the results

You may also like

Estim. 6 000 - 8 000 EUR

261 17th century FLEMISH school, workshop of Jan Brueghel II Virgin and Child in a garland of flowers Copper Height: 36.5 cm Width: 29.5 cm Old restorations

Estim. 3 000 - 4 000 EUR

Russian icon from the Old Believers' Workshop, 19th century.. "Resurrection of Christ, descent into hell and his life in 16 hagiographic scenes". Tempera on panel. Measurements: 43 x 36 cm. Christ's descent into hell is one of the most important representations in Christian iconography. This passage was known in Ancient Rus since the 11th century, although it gained maximum popularity in the second half of the 14th century. Iconography of this New Testament passage finally developed in the 17th century in Moscow workshops. In this period, the icon reached its maximum complexity, combining the passages of the New and Old Testament, and in turn, composing in one the scenes of the resurrection and the descent of Christ to hell. The icon of interest, attracts the viewer's attention in a spiral, concentrating maximum attention on the central register, where, through a complex and dynamic composition, the resurrection and the descent into hell are narrated simultaneously. In both cases the figure of Christ with golden mandorla, is surrounded by various saints, apostles, and Old Testament characters such as Adam, who is recognized as a bearded man holding the hand of Christ. In turn, this scene is surrounded by a frame of 16 hagiographic scenes, which tell different passages of the New Testament, mostly of Marian content, although there are some scenes that tell the life of Christ. Each scene is accompanied by an inscription located on the border of the icon, where in turn, in the corners of it, are the four evangelists. The visual characteristics of the icon, help to deduce its chronological period, as the end of the XVII century. At the same time it contains several features typical of medieval Russian iconography, which, in sum, may indicate that this icon belongs to the workshops of the Old Believers. Among them, the eight-pointed crosses, the blessing with two fingers, and, most importantly, the inscriptions on the border. The Old Believers were a group of the Orthodox, who after Nikon's church reforms of 1654, decided to follow their opponent Avvakum, defending the traditional foundations of the Orthodox Church. Fleeing persecution, they settled in the villages of Pomorie, near the Urals and in Siberia, although by the 18th century they began to settle in the northern areas near Moscow. The Faith of the Old Believers was legalized in 1905 only, boosting the interest within the Russian Empire for the discovery of the national religious heritage, as well as developing the collecting of ancient icons, never experienced until then.

Estim. 1 800 - 2 000 EUR

Russian icon, probably Moscow or northern schools, second half of the 19th century. "The Protection of the Mother of God" or "The Virgin of Pokrov". Tempera, gold leaf on board. It presents restorations. Measurements: 35 x 30 cm. "The Virgin of Pokrov" is one of the iconographies of the Russian Orthodox Church, although it describes events that took place in Constantinople around 910. A priori the story was taken from the biography of Andrew of Constantinople, who together with his disciple Epiphanius, saw the Mother of God flying over the Church of St. Mary of the Blanquernas, covering the believers with her omophorion, as a symbol of protection. On several occasions the story was modified, the last being the version of Bishop Demetrius of Rostov, composed towards the end of the XVII century, and which said that among those who saw the miracle were John the Baptist, John the Apostle, Andrew of Constantinople, and King Leo the Wise. The significance of this miracle is that the Mother of God protected the city of Constantinople against the Muslim invasion. The prototype of the icon of the protection of the Mother of God, or, in Russian, of Pokrov, develops around the 14th century, although it will have more repercussion in the following centuries. There are two main typologies of the representation of this scene. One, the oldest, belongs to the Novgorod school. The other, the one we have in front of us, was developed in the Rostov and Suzdal school, and was finally implemented in the Moscow school. The latter typology is distinguished by the Mother of God depicted in the central register, in front of the church. The omophorion, or the "pokrov", with which she protects the believers, she holds in her two hands, instead of being held by the two angels, as would be depicted by the Novgorod painters. Apart from the apostles, different martyrs, and Andrew of Constantinople, in the lower central register, just below the Virgin, there is a character typical of the Rostov school, Roman the Méloda, the author of several songs dedicated to the Virgin Mary. It is worth noting that on both sides of the scene we see St. Alexius of Rome, or St. Alexius the Beggar, and the martyr Anisia of Thessalonica. The characteristics of the auctioned lot are very peculiar, and help to determine the approximate date and even the school with great accuracy. The central figure of the Virgin appears with her face slightly turned to the left, while in the traditional version it is usually frontal. Together with the very ornamental typography, and the painted clouds, imitating archaic stylistics, it can be concluded that it is an icon painted in the workshops of the northern schools, or rather in the Muscovite workshops, both styles with many points in common. Most probably it is about the so-called "fedoseevtsy" painters, who were the Old Believers from the North of Russia, who settled in Moscow, in the Preoobrazhenskoe cemetery, around 1771, and organized an icon-painting workshop there.

Estim. 2 500 - 2 700 EUR

Russian icon from the Old Believers' Workshops, 19th century. "Resurrection of Christ, Christ's Descent into Hell, and his life in 28 hagiographic scenes". Tempera on panel. It shows humidity damage, loss of pictorial layer and a crack in the panel. Measurements: 53 x 42,5 cm. Christ's descent into hell is one of the most important representations in Christian iconography. This passage was known in Ancient Rus since the 11th century, although it gained maximum popularity in the second half of the 14th century. Iconography of this New Testament passage finally developed in the 17th century in Moscow workshops. In this period, the icon reached its maximum complexity, combining the passages of the New and Old Testament, and in turn, composing in one the scenes of the resurrection and the descent of Christ to hell. The icon of interest, attracts the viewer's attention by its complex structure, concentrating maximum attention on the central register, where, through a complex and dynamic composition, the resurrection and the descent into hell are narrated simultaneously. In both cases the figure of Christ with golden mandorla, is surrounded by various saints, apostles, and Old Testament characters, such as Adam, who is recognized as a bearded man holding Christ's hand. In this section, the allegory of hell, represented as an eye, and polychrome in reddish tones, is very striking. The central register is surrounded by two rows of hagiographic scenes, which relate Marian passages, the life of Christ, and his passions. Each of these twenty-eight scenes is astonishing for its pictorial quality, great detail, and architectural richness. Among this horror vacui, a series of details stand out, which help to classify this icon as belonging to the workshops of the Old Believers. For example, the abundance of diverse inscriptions in the frames of the scenes-miniatures, and the typology of the eight-point cross, and with a skull on the feet of Jesus Christ, or the blessing with two fingers, are the most evident signs. The Old Believers were a group of the Orthodox, who after Nikon's ecclesiastical reforms of 1654, decided to follow their opponent Avvakum, defending the traditional foundations of the Orthodox Church. Fleeing persecution, they settled in the villages of Pomorie, near the Urals and in Siberia, although by the 18th century they began to settle in the northern areas near Moscow. The Faith of the Old Believers was legalized in 1905 only, boosting the interest within the Russian Empire for the discovery of the national religious heritage, as well as developing the collecting of ancient icons, never experienced until then.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]