Null The image of the Protection of the Most Holy Theotokos. Midthird quarter of…

Description

The image of the Protection of the Most Holy Theotokos. Midthird quarter of the 19th century. Possibly Vetka. The image, especially revered in Rus`, is a centric, Novgorod composition, in which the memory of getting rid of the Slavic raid on Constantinople in the 7th century is recorded. Then the weekly veneration of the protection of the Mother of God, which grew into a religious procession, saved the city. This solemnly fixes the upper case of the icon. In the lower one, the sweet singer Roman before the emperor and the queen sings hosanna to the Mother of God and Her intercession. In the right stamp, behind the pillar - the scene of the prophetic visitation of Roman by the Mother of God. Clean and precise writing on gold depicts the outline of a temple with five domes, with a bell tower and an annex at the top. The catchy pictorial coloring, including the upcoming ones (St. Nicholas, Evdokia, Agripina and the Archangel Radeniya) is similar to the manner of the Vetka masters of the middle third quarter of the 19th century. Icon dimensions: 44x37 cm. Width: 37cm, Height: 44cm, Depth: 3.5cm, Weight: 5kg, Condition: Good, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-7884

165

The image of the Protection of the Most Holy Theotokos. Midthird quarter of the 19th century. Possibly Vetka. The image, especially revered in Rus`, is a centric, Novgorod composition, in which the memory of getting rid of the Slavic raid on Constantinople in the 7th century is recorded. Then the weekly veneration of the protection of the Mother of God, which grew into a religious procession, saved the city. This solemnly fixes the upper case of the icon. In the lower one, the sweet singer Roman before the emperor and the queen sings hosanna to the Mother of God and Her intercession. In the right stamp, behind the pillar - the scene of the prophetic visitation of Roman by the Mother of God. Clean and precise writing on gold depicts the outline of a temple with five domes, with a bell tower and an annex at the top. The catchy pictorial coloring, including the upcoming ones (St. Nicholas, Evdokia, Agripina and the Archangel Radeniya) is similar to the manner of the Vetka masters of the middle third quarter of the 19th century. Icon dimensions: 44x37 cm. Width: 37cm, Height: 44cm, Depth: 3.5cm, Weight: 5kg, Condition: Good, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-7884

Auction is over for this lot. See the results

You may also like

Estim. 800 - 1 000 EUR

Egyptian Faience Block Bead with Bes and Amun. New Kingdom, 19th-20th Dynasty, 1279-1081 B.C. Rectangular bead with reserved image of Bes to one face, hieroglyphs to the reverse giving the legend 'beautiful praise (of) Amun'. Cf. Petrie, W.M.F., Button and Design Scarabs, London, 1925, pl. XXX, no. 1122, for a similar Bes design on a block bead. 1.31 grams, 13 mm (1/2 in.). Ex Emile Bouillon Bey, c. 1880. From the Gaston Maspero Archaeological Fund. with Hotel des Ventes du Perigord, Bergerac, 24 June 2007. Property of a French collector. Bes became one of ancient Egypt's most popular apotropaic deities from the New Kingdom onwards. Despite his somewhat fearful appearance, Bes was the patron and protector of pregnant women and children. He was also believed to protect from snakes. [No Reserve]

Estim. 1 500 - 1 800 EUR

Russian icon of the 19th century. "The Protection of the Mother of God" or "The Virgin of Pokrov". Tempera on panel. Silver It has a silver frame, 19th century. Measurements: 31 x 27 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, which said that among those who saw the miracle were John the Baptist, John the Apostle, Andrew of Constantinople, and King Leo the Wise. It is precisely the iconography of the icon of interest. The meaning 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, the Mother of God of Pokrov, develops around the 14th century, although it will have more impact in later 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, she holds it 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 to the right of Roman the Mede, we see St. Alexius of Rome, or St. Alexius the Beggar, and the martyr Anisia of Thessalonica. The composition of the auction icon is very peculiar, as it breaks with the iconographic tradition of representing the Virgin in the compositional center of the image, also building a symmetrical pattern between the characters. In this case, the composition is divided into two horizontal registers, which have no compositional link between them. And the center of attention of the upper scene, the main and most important one, is shifted to the left corner, where the Pantocrator is located. All the characters, including the Virgin holding the mofório is turned in three quarters towards the appearance of the God. In this way, the iconographic protagonist changes completely, and instead of being previously the Virgin, now it is Jesus Christ. This type of composition is very rare. The icon of interest follows almost identically the composition of one of the most representative icons of the Protection of the Mother of God with this modified composition. It refers to the icon located in the arch-famous St. Basil's Cathedral, located on Red Square in Moscow. The icon has an antique frame of embossed silver, decorated with natural and floral motifs.

Estim. 8 500 - 9 000 EUR

Italian school; late sixteenth century. "Madonna and Child". Oil on canvas. Relined. Measurements: 121 x 94 cm; 123 x 105 cm (frame). In this canvas the author represents a scene very repeated in the History of Art especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and Baroque periods, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

Estim. 2 000 - 2 500 EUR

Italian school; late seventeenth century. "Madonna and Child". Oil on canvas. Measurements: 27 x 23 cm. In this canvas the author represents a scene very repeated in the History of Art, especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and the Baroque, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

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]