Null Embroidered icon of the Resurrection of Christ, in a repoussé vermeil box. …
Description

Embroidered icon of the Resurrection of Christ, in a repoussé vermeil box. Greece, 1820-1830. Icon woven and embroidered with gold thread, silver thread and small river pearls. The repoussé silver case features a hinged rectangular flap decorated with a double-headed eagle holding in its talons a cross and an Orthodox episcopal crosier beneath an imperial crown, the symbol of the patriarchs of Constantinople. On either side of the eagle, an inscription: Κ[Ύ]Ρ[Ι] * ΛΛΟΣ / Ε[ΛΈΩ] * Θ[ΕΟΎ] / ΑΡ * ΧΙΕ[ΠΊΣΚΟΠΟΣ] / ΚΩΝΣΤ[ΑΝΤΙΝΟΥ] * ΠΌΛΕ[ΩΣ] / ΝΈΑΣ Ρ[Ώ] * Μ[ΗΣ] Κ[ΑΙ] ΟΙΚΟΥ[ΜΕΝΙΚΌΣ] / Π[ΑΤ]Ρ[Ι]Ά* ΡΧΗΣ (Κύριλλος ελέω θεού αρχιεπίσκοπος Κωνσταντινουπόλεως Νέας Ρώμης και οικουμενικός πατριάρχης), (Cyril by the mercy of God Archbishop of Constantinople the New Rome and Ecumenical Patriarch) which corresponds to the full titulature of the Patriarch of Constantinople. To the left of the crown, two depictions of cities, with their symmetrical counterparts to the right, all surmounted by a trophy of arms. The frame of this flap is decorated with horns of plenty, foliage and flowers. The opening reveals the inner icon. The upper part of the case is in the form of a pediment decorated with flowers supporting an imperial crown. The back of the case is equipped with a hinged foot. 27.5 x 21 cm Slightly missing. In a red morocco case framed with gilded iron scrolls. Patriarch Cyril VI (Konstantin Serpedzoglou 1769-1821) was Patriarch of Constantinople from 1813 to 1818. Born in Andrinople, of which he was metropolitan, he was executed there by the Turks in repression of the Greek revolt. The city represented with the double wall is undoubtedly Constantinople, renowned for its multiple ramparts, and the other city could be Andrinople. The trophy of arms is probably an allusion to the armed Greek revolt of 1821. The Resurrection is a symbol of the resurrection of the Greek people, as well as that promised to the unfortunate patriarch (canonized in 1993).

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Embroidered icon of the Resurrection of Christ, in a repoussé vermeil box. Greece, 1820-1830. Icon woven and embroidered with gold thread, silver thread and small river pearls. The repoussé silver case features a hinged rectangular flap decorated with a double-headed eagle holding in its talons a cross and an Orthodox episcopal crosier beneath an imperial crown, the symbol of the patriarchs of Constantinople. On either side of the eagle, an inscription: Κ[Ύ]Ρ[Ι] * ΛΛΟΣ / Ε[ΛΈΩ] * Θ[ΕΟΎ] / ΑΡ * ΧΙΕ[ΠΊΣΚΟΠΟΣ] / ΚΩΝΣΤ[ΑΝΤΙΝΟΥ] * ΠΌΛΕ[ΩΣ] / ΝΈΑΣ Ρ[Ώ] * Μ[ΗΣ] Κ[ΑΙ] ΟΙΚΟΥ[ΜΕΝΙΚΌΣ] / Π[ΑΤ]Ρ[Ι]Ά* ΡΧΗΣ (Κύριλλος ελέω θεού αρχιεπίσκοπος Κωνσταντινουπόλεως Νέας Ρώμης και οικουμενικός πατριάρχης), (Cyril by the mercy of God Archbishop of Constantinople the New Rome and Ecumenical Patriarch) which corresponds to the full titulature of the Patriarch of Constantinople. To the left of the crown, two depictions of cities, with their symmetrical counterparts to the right, all surmounted by a trophy of arms. The frame of this flap is decorated with horns of plenty, foliage and flowers. The opening reveals the inner icon. The upper part of the case is in the form of a pediment decorated with flowers supporting an imperial crown. The back of the case is equipped with a hinged foot. 27.5 x 21 cm Slightly missing. In a red morocco case framed with gilded iron scrolls. Patriarch Cyril VI (Konstantin Serpedzoglou 1769-1821) was Patriarch of Constantinople from 1813 to 1818. Born in Andrinople, of which he was metropolitan, he was executed there by the Turks in repression of the Greek revolt. The city represented with the double wall is undoubtedly Constantinople, renowned for its multiple ramparts, and the other city could be Andrinople. The trophy of arms is probably an allusion to the armed Greek revolt of 1821. The Resurrection is a symbol of the resurrection of the Greek people, as well as that promised to the unfortunate patriarch (canonized in 1993).

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Russian icon from the Old Believers' Workshops, 19th century. "Resurrection of Christ, Christ's Descent into Hell". Tempera, gold leaf on board. Measurements: 18 x 14 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, a canonical image established in the 17th century, represents the resurrection and the descent of Christ into hell simultaneously. The dynamic composition of this small icon has an ascending character, achieved through the superimposition of the saints' nimbuses, which lead the viewer's gaze from the broken portal of hell to the figure of Christ enclosed in the magic mandorla, this being the main image of the whole composition. The mastery of this anonymous painter in depicting architectural and natural details, as well as his use of color, is fascinating. In the painting of Russian icons, color has a very important symbolic charge, sometimes deeper than the images themselves. In the case of the auctioned piece, the predominance of red tones over the rest of the range is evident. The symbolism of red is very heterogeneous, and this icon is a clear example of this, since at the same time it represents both the Passion of Christ and identifies the martyrs with their red chiton, and serves to mark the borders of hell, represented by the open mouth of a monstrous dragon. On the outer border of the icon can be found its title. All the characters are accompanied by the inscriptions, and hold the hand in the position of blessing with two fingers. These features, together with the visual appearance and general stylistics of the icon, lead to the conclusion that it may belong to the workshops of the Old Believers, settled mainly in the Pomorie and Ural area.