9 - Russian Icon with Four Saints - second half of the 19th century

Russian Icon with Four Saints - second half of the 19th century Tempera on panel Height x width: 37 x 21 cm The icon depicts four standing saints, identified by the Slavonic inscriptions above their respective halos. From left to right are Saint Basil the Great, Saint Alexander Nevsky, Saint Irene, and Saint Pelagia, arranged according to a devotional composition most likely intended for a family or commemorative commission.Saint Basil the Great is portrayed in episcopal vestments, blessing with his right hand while holding a liturgical chalice in his left, alluding to his authority as one of the Church Fathers and to the Divine Liturgy that bears his name.Beside him stands Saint Alexander Nevsky, depicted as a warrior prince wearing an ermine-lined mantle and princely attire, in a solemn frontal pose. His presence emphasizes his role as a defender of the Orthodox faith and of the Russian nation.The third figure represents Saint Irene, identifiable by the martyr’s palm held in her right hand, symbolizing her Christian witness. The composition concludes with Saint Pelagia, shown with her hands joined in prayer, in accordance with the traditional iconography of penitent female saints.The four figures stand against a sumptuous gold-leaf background, finely engraved and embossed with floral and plant motifs. Their halos are adorned with elaborate radiating and geometric ornamentation created through engraving and punchwork. The elegant gilded border, likewise lavishly decorated, enhances the richness of the composition and is characteristic of the finest Russian icon workshops of the second half of the nineteenth century. Item condition rating: *** fair. The lot is in good condition, with normal wear and defects commensurate with its age and use over time. The painted surface is in fair overall condition, showing widespread age-related craquelure affecting both the ground layer and the paint surface, consistent with the work’s age. Minor surface abrasions, small areas of paint loss, limited wear along the margins, and modest deterioration of the gilding are present, particularly in the engraved areas of the background and halos. Light scratches and localized retouching are also visible, none of which significantly affect the overall legibility of the image. The wooden panel appears structurally stable and retains its original rear crossbatten, fitted in accordance with the traditional Russian method of construction. The reverse shows the expected signs of age and use, with no evidence of invasive structural restorations.