34 - Adoration of Christ Taken Down from the Cross - Late 17th century

Adoration of Christ Taken Down from the Cross - Late 17th century Oil-enriched tempera on wood Height x width: 39 x 49 cm Frequently associated in Western iconography with the Lamentation over the Dead Christ or the Pietà. The work belongs to a significant transitional period in art history, during which the traditional pictorial canons of Tsarist Russia began to incorporate expressive, dynamic elements of Western origin, while preserving the solemn theological character of the Eastern tradition. The composition is framed by an elegant dark border, embellished with elaborate inscriptions in Old Church Slavonic (Cyrillic script). The scene depicts the moment immediately following the Deposition, focusing on the lifeless body of Jesus, held with devoted care within a pristine burial shroud. Surrounding the central figure of the Savior is a poignant group of mourners: the Virgin Mary, draped in deep red, leans toward her Son in an expression of profound yet dignified grief; she is joined by Mary Magdalene, Saint John the Evangelist, and Joseph of Arimathea and Nicodemus, who support the body. In the background rises the monumental wooden Cross—the theological and visual axis of the martyrdom—bearing a sacred inscription and the symbols of the Passion. Stylistically and chromatically, the painting is distinguished by its meticulous execution and powerful visual impact. The color palette relies on a striking contrast, dominated by warm ochre and umber tones, punctuated by flashes of deep red and vibrant golden highlights that define the geometric folds of the garments. The figures’ features and the anatomical details of Christ are rendered with extreme precision and a delicate, miniature-like quality; gradual tonal gradations, applied over the traditional dark sankir base, imbue the faces with an extraordinary inner, spiritual intensity. The reverse of the wooden panel bears an important document that enhances both its value and its provenance. Affixed to it is the original technical restoration report, dated April 1982. This document confirms the painting’s authenticity, noting the characteristic, deep craquelure that formed naturally over the centuries due to the movement of the wooden support. The assessment from that period details a rigorous conservation process, which included pest control and heat-based consolidation of the wood, the stabilization of loose paint layers onto the gesso ground, and a carefully controlled chemical cleaning—using volatile solvents—to remove oxidized protective varnishes. Losses in the paint layer were addressed through a strictly reversible restoration using watercolors and natural pigments, preserving the material texture and the overall legibility of the work. Today, the icon is structurally stable and exceptionally well-preserved, protected by a light final varnish; it stands as a work of undoubted interest and rarity for international collectors of Russian sacred art. Item condition rating: *** fair. The lot is in fair condition, as there are some missing sections along the edges.