55 - Russian multi-scene icon depicting the Transfiguration, the Mother of God "Joy of All Who Sorrow," Saint Nicholas of Myra, and interceding saints - 19th century

Russian multi-scene icon depicting the Transfiguration, the Mother of God "Joy of All Who Sorrow," Saint Nicholas of Myra, and interceding saints - 19th century Egg tempera on panel Height x width: 44.5 x 37 cm An exceptional and solemn example of a multi-panel devotional icon, masterfully orchestrated to unite one of the greatest Christological mysteries with the Marian and hagiographic imagery most cherished in Orthodox devotion. The complex visual architecture of the panel is organized into an upper register, dominated at its center by a spectacular depiction of the Transfiguration of the Lord on Mount Tabor (Preobrazheniye Gospodne)—as solemnly proclaimed by the large, calligraphic inscription in Old Church Slavonic along the upper edge ("ПРЕОБРАЖЕНІЕ ГДНЕ"). The scene portrays Christ, resplendent in brilliant white garments, set within a radiant orange-and-gold mandorla; He is flanked on rocky peaks by the prophets Moses and Elijah, while at the foot of the mountain, the three apostles—Peter, James, and John—lie prostrate, blinded by the theophany. This central composition is symmetrically flanked by two vertical panels featuring full-length intercessory saints—chosen by the patrons—who are identified by inscriptions: Saint Blaise the Bishop (Svjatyj Vlasij) on the left, dressed in scarlet and gold liturgical vestments, and the Holy Martyr Theodosia (Svjataja Feodosija) on the right, draped in a dignified brown maphorion. The lower register is divided into two large, sumptuous sections of exceptional visual impact. The section on the left features the profound and moving iconography of the Mother of God, "Joy of All Who Sorrow" (Vseh Skorbjaščih Radost'): the Virgin stands as a full-length figure within a mandorla of golden light, surrounded by winged angels who bring comfort, garments, and spiritual relief to the throngs of the sick, the crippled, and the destitute—arranged in a pyramidal formation at her feet. The section on the right is entirely occupied by a monumental, hieratic, half-length depiction of Saint Nicholas of Myra (Nikola Čudotvorec). He is portrayed with a stern, penetrating gaze, wearing a dark phelonion adorned with an intricate pattern of crosses, along with a broad omophorion; in his left hand, he holds an open Book of the Gospels, featuring beautifully illuminated text in Old Church Slavonic. Above him, small celestial medallions (clipei) of Christ and the Virgin Mary—alluding to the miraculous event at the Council of Nicaea—are also depicted. Running along the entire bottom edge is a solemn, calligraphic inscription in dark Cyrillic characters, which serves as a liturgical seal and identifies the primary subjects of the icon. Stylistically, the work reveals the hand of a master miniaturist of the highest caliber, as evidenced by the extraordinary precision with which the dozens of tiny figures in the Pokrov (intercession scene) are rendered. H.E. Most Rev. Francisco-Javier Lozano Sebastián, Titular Archbishop of Penafiel and Apostolic Nuncio Emeritus. Item condition grading: **** good.The lot is in a good state of preservation with the normal wear and defects commensurate with its age and use over time. Losses.