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РУССКИЕ И ГРЕЧЕСКИЕ ИКОНЫ И ДЕКОРАТИВНО-ПРИКЛАДНОЕ ИСКУССТВО Четверг 15 Декабря 2011 года в 8 вечeрa Отель Four SeasonsЛимассол, Кипр

Transcript of РУССКИЕ И ГРЕЧЕСКИЕ ИКОНЫ И ДЕКОРАТИВНО-ПРИКЛАДНОЕ...

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Dynamic Works develops high-standard browser-based applications. Since its inception in 2003, DW has followed a dynamic growth path and quickly become a reliable ‘world class’ partner for organisations wishing to utilise proven state of the art technology. DW has always been built solely upon customer satisfaction, resulting in increased deployment of Web, Intranet, Extranet, CRM and Business Management solutions across many industry segments. DWs’ Dagship products, EasyConsole wCMS

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Gold magazine addresses the international and local English-speaking business community in Cyprus, international and local high net worth investors, and the professionals who provide services for them. A key objective of Gold is to promote Cyprus as an international business and investment centre and, by extension, to promote the professionals oEering services in this sector. Le magazine is written for a global audience of senior business, political and Fnancial decision-makers. Gold Magazine is published by IMH.

H,&"0%&&%( 0 1997 6";< SPI Group (=+%.-/0%-+'-% 0 A5/,*#.<-6*) -%."+%*+ &% 120 -1&/%3 $" 0,*#< #'-< ' (02(*+,( ";&'# ') 0*;<?'3 ,$'-+"013 6-<$$, , $*-*;"01#' "$*-%7'(#' 0 $-"')0";,+0*, $-";%8* ' ;',+-'.<7'' ,0"*6" $"-+C*2( .-*&;"0. M-<$$% 02%;**+ '2' <$-%02(*+ ."2** >*# 350 .-*&;%#', 0/25>%( 0,*#'-&" ')0*,+&1* 0";">&1* .-*&;1 /%/ :+"2'>&%( ' N",/"0,/%(. SPI Group ,+%2% )&%>'+*24&1# '6-"/"# # ' '&+*6-%+"-"# ,$'-+&13 ' 0'&&13 /"#$%&'9, $-'".-*+( 15 $-"')0";'+*2*9, '#$"-+*-"0, ;',+-'.45+"-"0 ' -")&'>&13 +">*/ $-";%8 .

Founded in 1997, the SPI Group (headquartered in Luxembourg) operates across 120 markets all over the world and is one of the world’s leading spirits groups with primary operations in the production, sale and distribution of its portfolio of spirit brands. Le Group owns or manages over 350 brands, including its global vodka brands such as the

iconic Stolichnaya and Moskovskaya. SPI Group has been a strong acquirer and integrator of spirits and wine companies, having completed 15 acquisitions of producers, importers, distributors and retailers of beverages.

!"#$%&'( «O6"-%», ');%5?%( 0 N",/0* -<,,/"()1>&19 8<-&%2 «@22%;%», ' 02%;*5?%( ;0<()1>&1# $"-+%2"# ellada-russia.ru ellada-russia.gr, .12% ,");%&% #*8;<&%-";&"9 6-<$$"9 $-"C*,,'"&%2"0 0 ".2%,+' 8<-&%2',+'/' ' #%-/*+'&6%. P*(+*24&",+4 /"#$%&'' «O6"-%» &%7*2*&% &% ")&%/"#2*&'* -",,'9,/"9 ".?*,+0*&&",+' $-%/+'>*,/' ," 0,*#' ,C*-%#' ,"0-*#*&&"9 8')&' M-*7'' ' !'$-% - $"2'+'/"9, I/"&"#'/"9 ' '&0*,+'7'"&&1#' 0")#"8&",+(#', % +%/8* /<24+<-"9, ',/<,,+0"#, +<-')#"#, ',+"-'*9, -*2'6'*9, ".-%)"0%&'*#, ,$"-+"# ' #&"6'# ;-<6'#. Q%>'&%( , #%-+% 2007 6";%, %24#%&%3 «@22%;%» 01$<,/%*+,( 5 -%) 0 6"; +'-%8"# 20-25.000 I/)*#$2(-"0. : 2011 6";% 6*&*-%24&1# ,$"&,"-"# 8<-&%2% 01,+<$%*+ C"&; G.G.:%00';'. R"-+%2 ellada-russia ,+%2 -*%24&"9 $2"?%;/"9 ".?*&'( #*8;< 6-%8;%&%#' +-*3 ,+-%&, 6;* &*$-*-10&" -"8;%5+,( ' -*%2')<5+,( ,"0#*,+&1* '&'7'%+'01 01,"/"9 ".?*,+0*&&"9 )&%>'#",+'.

Agora Ltd. is a company established by an international team of professionals in journalism and marketing. Agora is the Moscow publisher of the Russian-language review Ellada and owner of the bilingual site ellada-russia.ru /ellada-russia.gr. Agora’s activities aim at familiarising the Russian public with all aspects of contemporary Greek and Cypriot life. Since 2007 Ellada has been issued Fve

times per annum with a print run of 20,000-25,000 copies. Le I.I. Savvidi Fund sponsors the journal. Le site ellada-russia is an active communication platform between Cypriots, Russians, and Greeks and serves as a hub where matters of public interest are regularly initiated and implemented.

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*+A PORTABLE DIPTYCH SHOWING THE HODEGETRIA MOTHER OF GOD WITH STS. NICHOLAS AND HARALAMBOSGREEK, 18TH CENTURYChrist seated on His Mother’s forearm, turning his gaze away from the viewer and blessing with both hands, the archangels Michael and Gabriel crowning the Mother of God, the latter pointing to her Son while facing the onlooker; the other wing portraying the two saints frontal, full-length, each gesturing in benediction and carrying a Book of Gospels, the image of Christ appearing in the open skies above to bless the saints; rendered in vivid colours, the haloes and garments’ details in gold!"#$%&$&'()*("(+*,-(./

0)1-**231-**

*+

,+A DOUBLE REGISTER ICON WITH OLD TESTAMENT EPISODES AND SELECTED SAINTSGREEK, CIRCA 1650A privately commissioned icon, depicting on the upper section Daniel the Prophet in the lions’ den, kneeling and extending his hands in prayer, to the left the three youths aided by an

rendered with bright shades, the deeper, saturated foregrounds complemented by gold skies3*("()*,-(./

031***241***

,+

-+ST. GEORGE WITH THE BOY FROM MYTILENEGREEK (AEGEAN OR ASIA MINOR), 18TH CENTURYRiding a white, rearing horse, plunging his spear through the serpent’s mouth, the boy clutching onto his saddle and carrying a wine carafe, since he was rescued the moment he was about to serve wine to the pasha, the princess Elisaba to the right and her parents observing the gallant deed from the upper storey of the tower+),5("(67,+(./

0+1***2)1***

-+

.+ST. PROKOPIOSGREEK, CIRCA 1900The youthful, early 4th-century great martyr, depicted on horseback, attired in full armour, carrying a lance, against a realistically rendered landscape and golden skies, the Divine manifested through the light beams on the upper left corner+5("(+*,5(./

0+1***2)1***

.+

/+STS. THEODORE TYRON AND THEODORE STRATELATESGREEK, CIRCA 1700 (?)Turning towards each other, the saints wearing military garments and bearing spears, St. Theodore Stratelates also holding a shield and trampling a bleeding snake, their facial features boldly rendered+*("(63(./

061+**2615**

/+

0+A QUADRIPARTITE ICON WITH THE CRUCIFIX IN THE CENTRE, SURROUNDED BY FOUR PORTRAITS OF THE MOTHER OF GODRUSSIAN (NIZHNY NOVGOROD), CIRCA 1750

colour palette, the silver oklad with gilt areas and cut-out, applied haloes)*("(+-(./

0+1-**2)1-**(

0+

1+MOTHER OF GOD OF KAZAN WITH A SILVER OKLAD AND CUT-OUT GILT HALOESRUSSIAN, THE OKLAD WITH MAKER’S MARK TBD IN CYRILLIC, ST. PETERSBURG, 1848; THE ICON DATING TO THE MIDDLE OF THE 18TH CENTURY)*,-("(+4,-(./8(9:;<&'()*,=("(+4,5(./

0+1+**2)1+**

Note: The icon is accompanied by a second panel that reproduces the original and can be used when the original is exhibited without the oklad.

1+

2+THE ENTRY OF THE MOTHER OF GOD TO THE TEMPLERUSSIAN, 19TH CENTURYSts. Joachim and Anna accompanied by a procession of virgins, presenting their daughter to Zachariah, the High Priest of the Temple; the Mother of God portrayed for a second time in the composition, seated on the top of the staircase under a ciborium,

gracefully with saturated colours, the architecture in the background painted in pastels with gold details)6("(+4(./

0-1***2=1***

2+

3+THE NATIVITY OF CHRISTRUSSIAN, 18TH CENTURYIn the centre of the composition the Mother of God seated next to the sarcophagus-shaped manger; to the left the Three Wise Men offering their gifts to the newborn Infant, a pair of holy

in the dark skies above, the summit of the mountain surrounded by angels, in the foreground a shepherd conveying the news of Christ’s birth to Joseph, two maids preparing the Baby for

rendered with deep colours, the subjects of the depicted events listed on the border )+("(+5(./

0-1***2=1***

3+

*4+SAINT NICHOLASRUSSIAN, THE FIGURES DATING TO CIRCA 1600 (INSET IN AN 18TH CENTURY PANEL)

Mother, presenting the Saint with the Book of Gospels and the Bishop’s omophorionrendered, the drapery of his garments formed by intricate chrysography )+,-("(+=(./

0)1***231***(

*4+

**+AN ICON IN THREE REGISTERS WITH THE ANASTASIS ON THE TOP FLANKED BY THE KAZANSKAYA AND ST. NICHOLAS AND A SELECTION OF PRIVATE SAINTSRUSSIAN (TVER?), LATE 17TH CENTURYA privately commissioned icon including the patron’s chosen subjects; the Anastasis being the only Christological Feast on the panel, St. Nicholas holding a predominate position among the saints as he appears on the same register with the Mother of God of Kazan; executed traditionally mainly with deep

)6,5("(+=(./

0615**2+13**

**+

*,+A DEISIS INCLUDING THE HIERACHS STS. BASIL AND GREGORYRUSSIAN, EARLY 17TH CENTURYChrist “the King of Kings” crowned, seated on an elaborate throne with cushions and a suppedaneum, raising his right hand

and St. John the Baptist and additionally by the Church Fathers, Sts. Basil and Gregory; executed in the traditional manner with dark colours on dazzling gold; the inclusion of the two Hierarchs suggesting that the icon was privately commissioned6=,-("(66,5(./

0=1***271***

*,+

*-+THE MOTHER OF GOD OF KORSUNRUSSIAN, CIRCA 1600A close-up image of the Mother of God tenderly embracing her Son, Christ pressing his cheek against hers, gesturing in blessing and holding a closed scroll; the elongated facial features, the sombre colours with dense gold highlights, and the gilded background all drawing on the traditional Byzantine aesthetics+4,-("(67,=(./

06+1***26-1***

*-+

*.+THE NATIVITYRUSSIAN, CIRCA 1600

Mother of God reclining on a couch in front of the grotto with Christ laying in a manger attended by the ox and ass; to the left the Three Magi presenting their gifts, two angels on the upper part announcing the event, a shepherd conveying the news to Joseph in the foreground and to the left the newborn Baby

with ochre and red colours, the details highlighted in white, the haloes and wings of the angels in gold)),3("(+=,5(./

0+-1***2)*1***

*.+

*/+THE WORSHIP OF THE MOTHER OF GODRUSSIAN, 17TH CENTURYThe icon does not depict a single biblical event, instead it forms a complex image that celebrates the role of the Mother of God in the incarnation of the Christ by using elements from a number

of the Mother with the Child on her lap, surrounded by a deep green, ovoid glory, against a mountainous terrain; the upper half of the icon drawing on the episode of the Nativity, including the three Wise Men who proceed from the left in order to meet the newborn King, the latter responding by signing in benediction; an angel on the upper left corner gazing in amazement at the open heavens, and opposite, a second angel announcing the Nativity to a young Shepherd; the lower part of the part of the image deriving from the icons of Axion Estin, where a

of Maiuma and John of Damascus, both presenting scrolls inscribed with exaltations to the Mother of God; lastly, the caves

salvation looking upwards at the Mother of God and suggesting the participation of the Underworld in her adoration; the icon

mostly with shades of red and green on ochre background)6("()=,-(./

0+-1***2)-1***

*/+

*0+THE APOSTLES’ CREEDRUSSIAN (MSTERA), 19TH CENTURYA visual representation of the Symbol of Faith, also known as the Apostle’s Creed, since according to the Christian tradition it was jointly composed by Christ’s twelve disciples; hence

of the Apostles; starting from the upper left corner, the scenes correspond to the following verses:1. I believe in one God, the Father Almighty, Maker of heaven and earth, and of all things visible and invisible.2. And in one Lord Jesus Christ, the Son of God, the Only-begotten, begotten of the Father before all ages. Light of Light; True God of True God; begotten, not made; of one essence with the Father, by Whom all things were made;3. Who for us men and for our salvation came down from heaven, and was incarnate of the Holy Spirit and the Virgin Mary, and became man.

suffered, and was buried.5. And the third day He rose again, according to the Scriptures;6. And ascended into heaven, and sits at the right hand of the Father;7. And He shall come again with glory to judge the living and the dead; Whose Kingdom shall have no end.8. And in the Holy Spirit, the Lord, the Giver of Life, Who proceeds from the Father; Who with the Father and the

prophets.9. In one Holy, Catholic, and Apostolic Church.10. I acknowledge one Baptism for the remission of sins.11. I look for the resurrection of the dead;12. And the life of the world to come.)3("(+5(./

06+1***26-1***

*0+

*1+AN IMAGE OF A RUSSIAN ICONOSTASISRUSSIAN, LATE 18TH CENTURY

latter bearing domes with crosses; the lower register showing the Royal and Deacons’ Doors and between them the icons of the Mother of God, the Old Testament Trinity and favourite saints, below each icon appears an image of a podea; the frieze

Calendar Feasts on each side; the next tier featuring the Apostles advancing towards the central image of the Deisis, the two upper rows crowded with Prophets praying to Christ in Majesty and Lord Sabaoth; the semi-circular images above showing scenes from the Passion Cycle, staring from the left, the Betrayal of

the Lamentation and the Prayer at the Mount of Olives; the two images behind portraying selected saints; the image executed in saturated colours with gold details on ochre background)-("()6(./

041***251***

*1+

*2+*2+A DOUBLE SIDED ICON SHOWING ST. NICHOLAS AND THE MANDYLIONRUSSIAN (PALEKH), LATE 18TH CENTURYThe ogee upper part of the panel responding to an inverted stepped form at the bottom; one side portraying St. Nicholas,

features expressing a meditative state of mind, blessing and bearing a Book of Gospels with an elaborate gold and gemmed cover, his phellonion with an intriguing cruciform pattern, the omophorion with two large crosses; the other side, depicting the face of Christ Not Made by Human Hands, with a short beard and well-groomed hair, imprinted on a green cloth lifted by two angels, both sides with ochre background)*,=("(67,=(./

06+1***2641***

frontreverse

*3+A DEISISRUSSIAN, 18TH CENTURYChrist seated on an striking throne, decorated with exuberant foliage, complemented by a matching suppedaneum, signing in

by His Mother and St. John the Baptist, both leaning towards Him, gesturing in supplication and unrolling scrolls inscribed with prayers; the classical composition painted traditionally, the facial features rendered in detail, the drapery of the garments emphasized by white highlights, the red and white rims of the haloes standing out against the dazzling gold background )6,+("()4,6(./

051***26+1***

*3+

,4+AN IMPRESSIVE ICON OF ST. JOHN THE BAPTST AND FIVE PATRON SAINTSRUSSIAN (PALEKH), 19TH CENTURY

large wings, standing on a barren, rocky summit, raising his right hand in blessing and bearing in his left a scroll, together

saint chosen by the icon’s patron, beginning from the left, the military St. Dimitry, followed by Sts. Nifon, Feodot, Paisiy and

delicate brushstrokes, the striking chrysography of his wings highlighted by greens and blues7*("(-=(./

071***26)1***

,4+

,*+MOTHER OF GOD OF THE BURNING BUSH WITH THE FAMILY PATRONS STS. SERGEI AND TATIANA ON THE BORDERRUSSIAN (PALEKH), 19TH CENTURY

Mother of God holding Christ, on her lap an image of Mount Sinai with the Heavenly Ladder and a portrait of Christ as the “King of Kings”, shown against two rhombuses, the blue one representing the unconsumed Bush, the red standing for the

Four Evangelists, surrounded by the angelic powers; the corners illustrating the visions that the prophets Moses, Isaiah, Ezekiel and Jacob had about the Burning Bush; the family saints Sergei and Tatiana on the border in supplication to the central image;

against the gold background)6,-("(+4,3(./

0651***2+31***

,*+

,,+THE BAPTISM OF CHRISTRUSSIAN, 18TH CENTURYOn the vertical axis, Christ standing in the waters of the river Jordan, wearing a loin cloth, leaning forward to receive by John’s blessing the grace of the Holy Spirit, the latter shown in the form of a dove in a circular mandorla on the golden skies, the radiating, heavenly segment above denoting the presence of God the Father; three angels on the right bank of the river attending the event, the leading one offering Christ a cloth; the deep colours of the composition contrasting with the shiny gold of the sky, the haloes, and the wings of the angels)-,-("()*,-(./

051***26+1***

,,+

,-+CHRIST PANTOKRATORRUSSIAN (MOSCOW), CIRCA 1900Turning His gaze away from the onlooker, His hair arranged over His right shoulder, wearing a chiton of orange-pink shades embellished with pearl and gem-studded trimmings, the himation in complementary green with gilt highlights-),5("(33,-(./

031***241***

,-+

,.+A DOUBLE-SIDED PROCESSIONAL ICONRUSSIAN, 18TH CENTURYShowing on one side the Mother of God with a jewelled crown, her garments adorned with wavy patterns and three cherubs on her forehead and shoulders, Her Son reaching out to embrace Her, his himation exposing his left shoulder and leg; the other side portraying St. John the Baptist with long, dishevelled hair and large wings, diplaying a scroll and a chalice with the minute,

3+,-("()4,)(./

031-**2-1-**

,.+

front back

,/+A PORTABLE DIPTYCH WITH THE WARRIOR SAINTS GEORGE AND DEMETRIOSNORTHERN GREEK, CIRCA 1700The wings opening to reveal the equestrian, youthful saints performing the miracles for which they are most famous; to the

the dragon in the foreground, the rescued princess observing the event, along with the saint on horseback, the boy from Mytilene, still holding the jar from which he was going to serve the Ottoman pasha who had kept him captive; the opposite wing

building in the background probably referring to the tower of Thessaloniki as a reference to the Saint’s patron town; in both instances the blessing hand of God emerging from the open skies!"#$%&$&'(+6,)("(6)(./

031-**241-**

,/+

,0+ST. TRYPHONGREEK, 17TH CENTURYThe youthful saint portrayed frontal, with short dishevelled hair, wearing a gold chiton and bright red himation, carrying a martyr’s cross and displaying a sickle, one of the major agricultural tools used by farmers, gardeners and winegrowers, of whom he is patron+6("(64(./

031-**241-**

,0+

,1+A PORTABLE TRIPTYCH SHOWING A SELECTION OF ECCLESIASTICAL FEASTS AND PATRON SAINTSRUSSIAN, 18TH CENTURY

and a scene from the Last Supper, the entire composition overlooked by Lord Sabaoth and two family saints on the border; the wings showing the Nativity of Christ, his Presentation to the Temple and Baptism, the Dormition of the Mother of God and two groups of private saints; executed predominantly in reds, greens with gold for the backgrounds and decorative details!"#$%&$&'()+,4("(67,-(./

0-1-**2=1-**

,1+

,2+THE TRANSFIGURATION OF CHRISTGREEK, CIRCA 1700Christ gesturing in benediction, standing on the peak of Mount

Peter, John and James; the icon executed with bright colours, the edges of the rocky mountains delineated in white, the golden skies framed by an arch decorated with foliate scrolls supported on columns; the arrangement emulating the carved wooden setting of an iconostasis-3,3("()+,7(./

031-**2-1-**

,2+

,3+THE TRANSFIGURATION OF CHRIST WITH A FAMILY PATRON ON THE BORDERRUSSIAN, 17TH CENTURY

by the Prophets Elijah and Moses in prayer, both depicted for a second time in smaller scale behind their main images, each guided by an angel; the lower part focusing on the prostrated

Christ’s ecstasy; to the left and right Christ accompanying His disciples before and after the event; the heavenly part of the composition rendered with pastel and light colours, the events of the earthly realm depicted with solid, deeper shades)6("(+-,+(./

0)1***231***

,3+

-4+A CRUCIFIX INSERTED IN A PANEL, FLANKED BY IMAGES OF THE DEPOSITION AND LAMENTATION, WITH STS. PETER AND ANNA ON THE BORDERRUSSIAN, 19TH CENTURYStanding to either side of the Cross the Three Marys and Christ’s disciple, John, with the Centurion; on the border the patron saints Peter and Anna, against a gilt background painted to emulate silver and enamel design of the time)-,-("()*(./

0+1-**2)1-**

-4+

-*+THE DEPOSITION AND LAMENTATION OF CHRISTRUSSIAN, 18TH CENTURYThe large-scale cross dominating the upper section of the icon, Nicodemus, Joseph of Arimathea and John the Evangelist removing the lifeless body of Christ, the Mother of God kissing her Son’s hand, attended by the other Marys; the lower

the unction stone, where the body of Christ is laid the utensils in the foreground containing the scented oils used during the preparation of the body prior to the burial; the balanced composition rendered with a combination of pastel and saturated colours accentuated in gold3+("())(./

0)1***231***

-*+

-,+THE ANASTASIS WITH A SILVER BASMARUSSIAN, MID-19TH CENTURYThe lower part depicting Christ’s descent into the Underworld where he raised Adam, Eve and the Righteous people of the Old Testament; the upper section focusing on His resurrection from

and the Betrayal, and further down the Holy Women at the

by silver revetments in the shape of aureoles +5,=("(+-,3(./

031-**241-**

Provenance: Purchased from the Temple Gallery in 2005, stock no. 733

-,+

--+THE MYSTIC MARRIAGE OF ST. CATHERINEITALO-BYZANTINE, 17TH CENTURY

a chiton with embroidered foliate patterns, her deep red maphorion ornamented with gold trimmings, Christ gazing at the onlooker; the youthful St. Catherine crowned, holding a palm branch, the facial features emphasized with red highlights, the gold background creating an illusion of depth >?$(@<%$;()*,-("(+3(./8(AB#?(CD</$(3*,4("()=(./

031-**2-1-**

--+

-.+THE CIRCUMCISION OF CHRISTDALMATIAN, 18TH CENTURYA rare representation showing in an interior space the High Priest of the Temple performing the circumcision of the Child, attended by His family and another Priest reciting from a book; inserted in the foreground an icon showing a Church Father, probably the patron of the person who commissioned the icon; the faces rendered boldly with dark shades, the drapery of the garments shaped by rich chrysography3-("()3,-(./

0)1***231***

-.+

-/+STS. EVSTATHIOS AND STYLIANOSGREEK, DEDICATED 1800

contra-postal posture, carrying a palm branch and a cross; St. Stylianos with a long beard, dressed in ecclesiastical garments, supporting a swaddled baby and displaying a scroll, traditionally painted, on gold ground+5,=("(+6,-(./

0+1-**2)1-**

-/+

-0+THE ENTRY OF THE MOTHER OF GOD TO THE TEMPLE PRESENTED IN AN ELABORATE CARVED WOODEN AND POLYCHROME SETTINGGREEK (IONIAN ISLANDS), CIRCA 1700The High Priest standing at the entrance to the Temple, receiving the Mother of God, the latter accompanied by her parents and

rendered with dark shades, the haloes, garments and background richly rendered in gold, the carved and polychrome frame

Mandylion, crowned by two cherubs-*("()-,-(./

0-1-**241-**

-0+

-1+THE ANNUNCIATIONMELCHITE, DATED 1882The Mother of God interrupting her reading and in a contra-postal stance turning to observe the angel’s arrival; the latter shown on clouds, holding a blooming branch, pointing with

the buildings of a town in the background, against dazzling golden skies))("(+3(./

061-**2+1***

-1+

-2+"""THE ENTHRONED MOTHER OF GOD SURROUNDED BY OLD AND NEW TESTAMENT FIGURESMELCHITE, 18TH CENTURYHolding Christ on her knees, the throne exuberantly carved, attended by St. John the Baptist and the Prophet Elijah; the lower frieze portraying the emperor St. Constantine and

equestrian saints George and Demetrios, both under

complimentary reds and greens on dazzling gold+7("(+)(./8()6("(+-,-(./(B%.;E&B%F(#?$(CD</$

0+1-**2)1-**

-2+

-3+TOPOGRAPHY OF THE HOLY LANDPALESTINIAN, DATED 1870A pilgrimage artefact from the Holy Land, which summarises visually the places visited by the Christian pilgrims; the representation of the events that had taken place at the respective locations, thus sanctifying the latter, reminded the pilgrim/owner of the painting of his experience to the Holy Land and more importantly, kept alive in his memory the religious episodes that occurred there; possession of such an artefact further proved that the owner travelled to the Holy Land.The composition organised around the most important pilgrimage site of the Holy Land, that of the basilica which houses the places of Christ’s martyrdom; therefore, the central

and Resurrection and the services performed at the chapels to commemorate these events; to the left and right there are two oversized images of the Hodegetria and Jesus Christ bearing a globus cruciger adorned with a realistically rendered sun and moon; above them images from the life of the Mother of God and the Passion Cycle respectively, illustrated below are the Dormition of the Mother of God and the Life-Giving Source, and opposite the Baptism and a Stylite saint; the bottom register starting with an Old Testament story from the life of Lot, followed by the equestrian St. George with a corresponding image of St. Demetrios further down, in between, an image of the Lamentation and St. George the New Martyr from Ioannina, then, a bigger compartment illustrating the Nativity of Christ including the arrival of the Three Wise Men; the upper frieze

to the left the Sin of the Forefathers and their Expulsion from Paradise, to the right the martyrdoms of St. Stephen and Prophet Isaiah, followed by the Ascent of Prophet Eljah; right below the Last Judgment; painted with oil on canvas, the vibrant image executed with bright colours; an inscription in the compartment of the large icon of the Mother of God recording that the artefact was acquired by the pilgrim Magdalene in the year 1870G<B%#$&(HEDC<.$'(6+4("(73(./

0=1***271***

-3+

.4+ARCHANGEL MICHAEL

!"#$%&

)3,-("(+7,+(./

06+1***26-1***

.4+

.*+ST. MARY OF EGYPTRUSSIAN, 16TH CENTURYPortrayed frontal, half-length, turning her eyes away from the onlooker, raising her hand to her chest, the emaciated body of the saint partially covered by a greenish-blue chiton, her mature features and grey hair rendered in dark outlines and brighter shapes for the curved areas, the golden halo with a red rim, on an ochre ground)*,=("(+4(./

0641***2+*1***

.*+

.,+ST. MENAS WITH A SCENE DEPICTING HIS MARTYRDOMNORTHERN GREECE, 18TH CENTURYA large panel illustrating the Martyr and Wonder-Worker on a

green cape, carrying a lance, turning towards the viewer while his horse advances ahead in a green meadow; the lower part of the composition showing in smaller scale the martyrdom of the saint – a Roman soldier cutting his head off with a sword; the features of the saint outlined with dark, grey shades, the gold background decorated with recurring stamped patterns, the two red roundels on the upper part including the initials of the saint’s name5)("(-),-(./

0631***2651***

.,+

.-+.-+THE PROPHET ELIJAH IN THE DESERTRUSSIAN, 16TH CENTURYBy the bank of the river Jordan, the old prophet seated on a rock at the mouth of the cave where he resided in the wilderness, leaning on a staff, holding a closed scroll, looking upwards to observe the black raven which brought him food; his grey hair

face; attired in a light green robe and a traditional scarf, covered by a mantle made of animal skin, the rocky landscape barren

the Guardian Angel, standing on clouds, wearing a ceremonial tunic and a bright red himation, holding a staff and an orb in the name of Christ, the raised border in gold)6,)("(+=(./

03*1***2-*1***

..+..+A DEISISNORTHERN GREEK, CIRCA 1600

with red and blue cushions and matching suppedaneum, his hand raised in blessing, supporting the Gospels on his knee, His Mother and John the Baptist inclining their heads towards Him, gesturing in supplication; the facial features and expressive

bold outlines, the drapery rendered with stylized graded tones, the background gold7*,5("(-7,)(./

03-1***2--1***

Provenance: Sold at Christie’s London, 9 June 2008, Sale 7596, Lot 132Literature: Catalogue of the exhibition Golden Light. Masterpieces of the Art of the Icon, Koninklijk Museum, (Antwerp, 1988), no.13

./+THE MOTHER OF GOD GLYKOFILOUSACRETAN, 16TH CENTURYThe Child wearing a chiton and an himation with intense chrsysography, revealing his bare leg as he reclines in his Mother’s arms, holding a closed scroll with both hands and stretching his neck to reach his Mother’s cheek; the Mother of God leaning forward to meet her Son while turning her sad gaze away from the viewer; her green headdress and matching robe covered by a deep red maphorion, its drapery shaped by brighter shades, with gold decoration on the shoulders, forehead and hems; executed traditionally, the facial features accentuated by

+=,=("(+),)(./

0-*1***24-1***

./+

.0+MOTHER OF GOD CONSOLAZIONEVENETO-CRETAN, 16TH CENTURYPortrayed half-length, the Mother of God leaning towards the Christ Child, the latter seated on her right forearm, raising one hand in blessing and holding a closed scroll in the other; the Mother of God unusually dressed in garments of green and brown, wearing a white, transparent veil under her maphorion, fastened with a circular brooch, the haloes with punched decoration of foliate patterns)),=("(+=,)(./

0+-1***2)-1***

.0+

.1+.1+MOTHER OF GOD OF THE INVIOLATE MOUNTAINRUSSIAN, SECOND HALF OF THE 18TH CENTURYChrist on her lap, gently enfolding Him with her raised hands, the Child caressing His mother, His left shoulder and leg uncovered, the faces painted conventionally in sombre colours, the gold crown of the Mother of God delineated in black and embellished by simulated gem decoration)6,-("(+4,+(./

06=1***2++1***

.2+

.2+THE CENTRAL PART OF A PORTABLE ICONOSTASISRUSSIAN (MOSCOW SCHOOL), CIRCA 1600Organised in three tiers, the bottom one portraying Christ the Saviour in Majesty, his throne with a curved back and a pedestal,

a double glory, the inner oval in dark green, the outer of diamond shape with the Beasts of the Apocalypse on the four corners; the

the Anastasis, the former taking place under an arched sky including the darkened sun and blooded moon in the spandrels, the latter happening before a split, rocky mountain; the uppermost section of the arrangement focusing on the central image of the Mother of God of the Sign against starry skies matching those of the

his son Solomon, both displaying scrolls with exaltations to the Mother of God; the elongated, balanced composition, rendered meticulously with dark shades for the faces, greens and reds for the scenes and dazzling gold in the background )=,5("(65,7(./

0+*1***2)*1***

.3+.3+THE MAJOR ECCLESIASTICAL FEASTS WITH THE FOUR EVANGELISTS ON THE CORNERRUSSIAN, 18TH CENTURYA rare representation of the subject, which in addition to the traditional central scene and twelve surrounding episodes, includes three more images that appear less commonly in the iconography: at the beginning of the narrative on the upper left corner, the Birth of the Mother of God, followed by her Presentation to the Temple and on the bottom register, the Raising of Lazarus; the top of the composition showing a medallion visualizing the Apocalypse, in particular refering to the Four Horsemen as per John’s Book 6:1-8; portrayed below the vision of Revelation, the New Testament Trinity; the corners of the panel occupied by images of the Evangelists in their scriptoria; the detailed composition executed meticulously with a variety of colours on gold ground, the ochre border inscribed with the titles of the represented events)6,-("(+=(./

06+1***26-1***

/4+/4+PATERNITAS (THE FATHERHOOD)RUSSIAN (MSTERA SCHOOL), SECOND HALF OF THE 19TH CENTURYGod the Father with grey locks and a beard, portrayed frontally, seated on billowing clouds, His feet resting on a red seraph, his arms extended, gesturing in benediction, on his lap his Son in precisely the same posture, above Christ’s head, the Holy Spirit

glory, symbolising the Divine wisdom; the Son’s gold tripartite halo matching His garments and standing out against the pastel colours of the Father’s vestments, the latter with ornate gem-encrusted hems=6,6("(-)(./

0+*1***2)*1***

/*+CHRIST EMMANUELRUSSIAN, 19TH CENTURYA bust-length portrait of Christ, facing frontal, with short, curly hair and a prominent tripartite halo, wearing red regal garments, on ochre ground)6,+("(+4,-(./

031-**2-1-**

/*+

/,+ARAPETSKAYA MOTHER OF GODRUSSIAN, LATE 18TH CENTURYDepicted half-length, facing the viewer, supporting her Son with one hand and pointing to Him with the other, the Child stretching out to grab His Mother’s veil while she faces the onlooker; the volume of their traditional garments rendered with rich gold brushstrokes, the maphorion of the Mother of God featuring gold clouds and three medallions with cherubs-),5("(3),+(./

0)1-**231-**

/,+

/-+/-+THE POKROVRUSSIAN, 19TH CENTURYThe composition organized in two levels; the upper part showing the Mother of God in her role as humanity’s intercessor to her Son, spreading her veil and holding a scroll inscribed with a prayer, attended by a group of saints; Christ emerging through the clouds on the upper left corner; the lower plane depicting

the Tsar and St. Andrew the Fool in Christ, followed by the

background; the icon painted meticulously with bright colours and gold details)3("(+=,+(./

0-1***2=1***

/.+/.+THE APPEARANCE OF THE MOTHER OF GOD TOST. SERGIUS RADONEZHRUSSIAN, MIKHAILO KOZMIN, 23 JUNE 1804Leaning on a staff, accompanied by Sts. Peter and John the Theologian, the Mother of God gesturing in speech toSt. Sergius, the latter together with his disciple, Mikhei, bowing before her, behind, St. Nikon under a canopy, next to an altar raising his hands in astonishment as he observes the incident;

by bright shades; the three monks to the right dressed in darker garments, St. Sergius and Nikon wearing the Great Schema, the buildings in the background bearing decoration in simulated relief; the roundel above including the Old Testament Trinity; on the borders, the family patrons Nicholas, Gregory the Theologian and Gregory of New Caesarea; the icon executed masterly; the inscription on the lower border reading “This icon was written in the year 1804 from the Nativity of Christ, in the month of June on the 23rd day. The Moscow icon–painter Mikhailo Kozmin”.)6("(+4(./

06-1***2+*1***

//+//+ST. SOPHIA “GOD’S WISDOM” IN ADORATION BY THE MOTHER OF GOD AND ST. JOHN THE BAPTISTRUSSIAN, 18TH CENTURY

God holding a roundel inclusive of His image as a Child, and to the right St. John the Baptist signing in benediction and holding an open scroll, above, the blessing Christ; further up, the open skies revealing the (the Throne of the Last Judgment) attended by six angels in supplication; painted mainly with deep colours, limited bright accents and gold for the haloes and the wings3*("()3,+(./

051***26+1***

/0+

/0+A PRIVATE SILVER TRIPTYCHRUSSIAN, 1910Portraying an image of Christ Pantokrator, wearing a tripartite halo, blessing and holding an open Book of Gospels, the

13:43 respectively; the outside right wing inscribed with the dedication date of 8 May 19107("(6+(./($"#$%&$&

031***241***

/1+/1+A PRIVATE TRIPTYCH IN A SILVER SETTINGRUSSIAN, 19TH CENTURYThe central panel depicting a spiritual subject, the All-Seeing Eye of God, containing in the inner circle an image of the blessing Christ, the second ring including the Eyes which see in all directions, the third adorned with rays featuring on its upper part the Mother of God Orans and the last circle inhabited by three cherubs, four medallions on the corners representing the Beasts of the Apocalypse, on the summit of the composition a

the side wings portraying the Arabeskaya and Vladimirskaya

rendered, the garments emphasized with chrysography, on terracotta backgrounds!"#$%&$&'(+3,-("(66(./

031-**241-**

/2+/2+THE NARRATIVE OF CHRIST’S NATIVITYRUSSIAN, 17TH CENTURYA detailed, visual narrative of Christ’s Nativity and its subsequent happenings; the rocky cave on the upper part of

manger next to her, attended by three angels in adoration, to the opposite side, two servants bathing the newborn baby; further to the left, the Three Magi on horses following the guiding star carried by an angel in the skies; then, as if they travelled behind the hill, portrayed again to the right; a second angel approaching a group of sleeping shepherds in order to deliver the good news; the same angel appearing again in the middle of the arrangement in order to convey the news to another shepherd, the latter

Magi, the second representing the walls of the city and the Flight of the Holy Family to Egypt; the lower left corner showing King Herod enthroned, instructing a Roman soldier, the Massacre of the Innocents in the foreground, above to the right, St. Elizabeth and her son John hiding in a cave beyond the cliff; the complex

)-,-("(+7(./

0+*1***2)*1***

/3+/3+THE MOTHER OF GOD OF THE KIEVAN CAVESRUSSIAN, FIRST HALF OF THE 17TH CENTURYHolding her Son in a manner of presentation, the Mother of God seated on a substantial, wooden throne with chrysography, complemented by cushions and a suppedaneum, the structures

by St. Anthony and his disciple St. Theodosius, both displaying

bearing green haloes, the garments rendered in saturated colours, the folds shaped by white accents)6,+("(+=(./

06-1***2+*1***

04+04+THE MOTHER OF GOD OF VLADIMIRRUSSIAN, CIRCA 1600Depicted in the traditional iconography, holding Christ and gesturing to Him with her left hand, the Child embracing her and resting His cheek to her face while looking into her eyes, the faces executed in deep tones according to the traditional style of icon painting, the eyes sparkling with white lights, Christ’s orange tunic with delicate gilt striations, the maphorion of the Mother of God with gold stars on the forehead and shoulders, trimmed with a gilt band and tassels)6,)("(+4(./

0++1***2+-1***

0*+0*+THE ANASTASIS WITH A FAMILY SAINT ON THE BORDERRUSSIAN, EARLY 18TH CENTURYOn the vertical axis of the composition Christ amidst a circular green glory, trampling the gates of the Underworld, pulling Adam out of his sarcophagus, Eve raising her covered hands in

Solomon and David, St. John the Forerunner preaching about Christ’s coming in Hades as he had done during his presence on Earth, and Prophet Moses; in the foreground, two angels

showing the resurrection of Christ from the Tomb attended by sleeping Roman soldiers; the left border featuring a family patron; the composition rendered in warm colours, mainly shades of red and complimentary greens, accentuated with gold details throughout; applied with a silver basma of hammered foliate scroll design)+,)("(+=(./

06-1***2+-1***

0,+0,+THE ASCENSION OF CHRISTRUSSIAN, 18TH CENTURY

of Christ on each side, against a rocky landscape, the skies dominated by Christ on clouds ascending in the heavens, his aureole lifted by a pair of angels, the balanced arrangement eloquently rendered with saturated colours, the golden haloes of

)-,-("()-(./

06+1***26-1***

0-+0-+THE DORMITION OF THE MOTHER OF GODRUSSIAN, WORKSHOP OF A.M.THIRIKOV, CIRCA 1700The lifeless body of the Mother of God lying on a bier, Christ in

a swaddled infant, surrounded by a crowd of apostles, believers and angels, in the background, two constructions suggesting that the event occurred in an interior space, a seraph hovering above the head of Christ, in the foreground, an angel attacking the sacrilegious Jeremiah daring to touch the body of the Mother of God; executed in deep colours, the volume of the garments depicted in gold)-,5("()6,+(./

0631***2651***

0.+0.+A DOUBLE-SIDED CARVED WOODEN BENEDICTION CROSS PRESENTED IN A SILVER FILIGREE SETTINGGREEK (MOUNT ATHOS), 18TH CENTURYThe cross representing Christological events where the divinity of Christ is manifested (Epiphanies); including on one side

of Christ to the Temple below, the other side showing the Baptism of Christ, the New Testament Trinity and the Pentecost, complemented by the four Evangelists and selected saints; carved in boxwood, mounted in a low-grade silver-gilt setting, placed on a marble base+*,5(./(?BF?($".;E&B%F(#?$(/<DI;$

031-**2-1-**

front back

0.!+0.!+

GREEK (MOUNT ATHOS), 18TH CENTURYOne side showing Christ the Vineyard; Himself in the core of the image raising his hands in blessing, with the open Bible before Him, the two surrounding circles portraying the Apostles and selected saints, including Jonah coming out of the whale’s mouth, the chiselled inscription reciting John 15:1, I am the vineyard; the reverse showing the enthroned Mother of God holding Christ surrounded by a multitude of prophets, their open scrolls exalting Her virtues, the inscription above quoting the beginning of the hymn, ; the pendant

the light to go through and emphasise the forms shaped by the

the pendantDiameter of the pendant: 6.8 cm, including the ciboria: 10.4 cm

0-1***2=1***

front back

0/+0/+

GREEK, DATED 1888Looking upwards to the heavens, signing in benediction and carrying the Book of Gospels, dressed in Episcopal garments

omophorion with crosses and

the saint complemented by a cut-out rayed halo, framed by a raised strigilated border; the face executed in sombre colours; the back of the icon bearing a Greek inscription that pertains its dedication; dated 1888.64,-("(66,-(./

0-1***2=1***

Notes:St. Spyridon (ca.270–348) was born in Asha, Cyprus. He was originally a shepherd, hence the reed hat he appears with on the icons. St. Spyridon became the Bishop of Tremithous. He participated in the First Ecumenical Council of Nicaea (325) where he performed a miracle that proved the Trinitarian doctrine and defeated Arianism. In fact, by using a piece of pottery, he demonstrated how it was possible for one

and only dust remained in his hand.When the Arabs took Cyprus, St. Spyridon’s relics were translated to Constantinople and following the capture of the City by the Ottomans, they were removed to Corfu, where they remain to this day.St. Spyridon is the patron of the potters, the island of Corfu and also the Russian Family of the Tolstoys. Regarding the latter, the Grand Prince of Moscow Basil II (1425–1462) presented a gold cross containing relics of the Saint to Andrei Tolstoy. This reliquary has been kept by the senior member of the Tolstoy family, and is now with the Count Nikolai Tolstoy in the UK.

actual size

00+00+THE FOUR METROPOLITANS OF MOSCOWRUSSIAN, 17TH CENTURYPortrayed are the Holy Metropolitans Peter (1308-1326), Alexei (1354-1378), Jonah (1448-1461) and Philip I (1464-1473), all haloed and dressed in elaborate liturgical vestments, embroidered and applied with pearl-emulating ornaments, Jonah and Philip additionally wearing the Episcopal omophorion, holding a Book of Gospels in their veiled hands; the Mandylion appearing in the ogee upper part; their features rendered in the typical 17th century style with soft, red shades, on a light green background)+,-("(+=,+(./

0)-1***23*1***

01+01+THE MOTHER OF GOD OF KAZANRUSSIAN, 17TH CENTURYShown bust-length, the Christ Child standing in front of her with one hand raised in benediction and the other covered by His himation, rendered traditionally, the expressive faces executed in deep brown tones, the rounded areas conveyed through bright shading, the garments with intense gilt striations, the maphorion of the Mother of God further ornamented with stars on the

incised line on gesso background)6,=("(+=,)(./

0+*1***2+-1***

02+02+THE DORMITION OF THE MOTHER OF GODRUSSIAN, MIDDLE OF THE 17TH CENTURYThe composition organised around the bier with the corpse of the Mother of God; on the vertical axis, Christ in an ovoid glory,

of a swaddled infant; surrounded by the Apostles and other mourners; at her head St. Peter, at her feet St. Paul; tall buildings

wings; executed in saturated colours, predominantly shades of red, the faces rendered with graded tones of brown and ochre,

)6,-("(+=,5(./

0651***2+31***

03+03+A VITA ICON OF ST. PANTELEIMONRUSSIAN, 18TH CENTURYThe youthful saint holding a compartmented medicine box and a long-handled spatula, surrounded by twelve events narrating

highlights and dividing borders; the ochre border listing the subjects of the represented scenes 33("()4(./

0-1***2=1***

14+

14+STS. ZOSIMA AND SAVATII PRESENTING THEIR MONASTERY TO THE MOTHER OF GOD OF THE SIGN, WITH A GILT BASMARUSSIAN, CIRCA 1700The two great ascetics dressed in monkish vestments including the Great Schema, implying that they have reached the highest level of monastic life, turning towards each other, holding a model of the monastery they founded, St. Zosima additionally displaying an open scroll inscribed with a prayer, both looking up to the heavens where an image of the blessing Mother of God of the Sign is revealed; the lake in the foreground alluding to the landscape around Solovetsky island; with a brass riza )6("(+4(./

0+1-**2)1-**

1*+

1*+THE HOLY MONK KASSIAN FROM UGLICH FLANKED BY TWO FAMILY PATRONSRUSSIAN, CIRCA 1700The 15th century monastic saint shown frontal, raising one hand in blessing and holding an open scroll in the other, wearing a full monkish attire, his elderly features eloquently rendered with deep colours, Christ in blessing depicted on the upper border and on the sides, two family patrons )+("(+4,)(./

061-**2+1***

1-+

1-+SAINT BLAISERUSSIAN (MOSCOW), CIRCA 1700The Church Father with a long beard, portrayed frontal, half-length, signing in benediction and holding a closed Gospel Book, an inscribed scroll resting on his left forearm, dressed in Episcopal garments decorated with crosses, on an olive background )6,5("(+-,-(./

061-**2+1***

1,+THE FOUNDERS OF THE KIEVAN CAVES MONASTERY, STS. ANTONIY AND THEODOSIY IN SUPPLICATION TO THE MOTHER OF GODRUSSIAN, SECOND HALF OF THE 18TH CENTURYThe icon privately commissioned as suggested by the presence of the patron St. George on the border; the Mother of God holding her Son seated on a luxurious throne complemented by a cushion with pearl-emulating decoration and a suppedaneumTheodosius, both displaying scrolls and raising their hands in prayer)6,-("(+=,-(./

061-**2+1-**

1,+

1.+THE APPEARANCE OF THE MOTHER OF GOD OF POCHAEV TO KING JOBUKRAINIAN, 19TH CENTURYThe Mother of God of Pochaev, crowned, holding her Son in a manner similar to the Glykophilousa, standing on a hill, to the left St. Job the Wonderworker, who served as Abbot of the

realistic earthly realm, the heavens made of gold leaf )-,=("()6(./

061+**2614**

1.+

1/+THE NEW TESTAMENT TRINITYRUSSIAN, 19TH CENTURY

clouds, his feet resting on a globe representing the earthly realm, extending His arms in blessing, the infant Christ on His lap signing in benediction and holding an open Book, above Him the Holy Spirit in the form of a dove; in the foreground a red seraph with extended wings and at the sides four cherubs; the body of the Father beaming with light on the gold background)-,-("()*,=(./

0+1-**2)1-**

1/+

10+

10+THE GUARDIAN ANGEL RUSSIAN, CIRCA 1600Standing on a cushion, portrayed frontal with spread wings,

of God appearing in the celestial fragment above, the wings standing out against the muted background due to their dense gold brushstrokes )6,+("(+=(./

0+1***2)1***

11+

11+ST. JOHN THE BAPTIST SURROUNDED BY FOUR EPISODES FROM HIS LIFE AND TWO FAMILY PATRONS ON THE BORDERRUSSIAN, CIRCA 1800

Wilderness”, his large, golden wings extended, blessing and holding an open scroll together with a chalice containing his

side; the Guardian Angel and a female martyr representing the patrons of the person who commissioned the icon; Lord in benediction emerging in the open celestial segment)-("()6(./

0+1***2)1***

12+

12+THE HOLY PATRIARCH GERMOGENIS RUSSIAN, 19TH CENTURYDressed in full patriarchal attire complemented by the klobuk with a seraph on the forehead and a pendant displaying the instruments of the Passion, holding a pastoral staff++,)("(65(./

05**261+** 13+

13+ST. PARASKEVA RUSSIA, CIRCA 1750The female martyr raising her hands to her chest in a gesture of prayer, turning her eyes away from the onlooker, Christ portrayed in blessing on the upper left corner)6,6("(+4,5(./

061-**2+1***

24+A WOOD CARVING OF ST. NIL STOLBENSKYRUSSIAN, CIRCA 1800+3,-("(63(./

05**261***

24+

2*+THE CRUCIFIX IN RELIEF ON A WOODEN PANELRUSSIAN, 19TH CENTURY

details; the cross crowned by the tabula ansata, a circular glory of beams emanating from its centre; the lower part occupied by the summit of Golgotha, inclusive of the scull and bones of Adam, scattered throughout with rock fragments, the background stippled; the layer of red preparation visible in numerous areas under the gilding)3("(+5(./

061+**2+1+**

2*+

2,+

2,+A GLASS ICON OF ST. GEORGEROMANIAN, 19TH CENTURYTypical of Romanian folk religious art, the image painted on the back of the glass thus reversing the standard image of St. George; advancing from the opposite direction, the beardless saint killing the dragon, to the left the kneeling princess in supplication, executed in a stylized manner with bright colours>?$(F;<HH(HEDC<.$(+3,-("(63(./8(B%.;E&B%F(#?$(CD</$()-("()*

061+**2615**

2-+2-+A CARVED WOOD AND POLYCHROME ICON OF STS. GEORGE AND DMITRIYROMANIAN, 18TH CENTURY

a white and black horse respectively, advancing towards each other, in a contra-postal posture turning towards the viewer, St. George to the left plunging his long spear into the mouth of the coiling dragon and opposite, St. Demetrios piercing the neck of

the arched summit, the columns with Corinthian capital and the laurel leaves at the bottom–all carved in high relief, painted in gold, the faces of the saints portrayed realistically36("(+7,+(./

031***241***

2.+

2.+THE MOTHER OF GOD OF TIKHVIN FLANKED BY THE GUARDIAN ANGEL AND ST. ANNARUSSIAN, 18TH CENTURYFinely rendered, the faces with muted colours, the eyes in honey-brown, the dazzling golden haloes contrasting with the dark maphorion of The Mother of God)-,3("()6(./

0+1-**2)1-**

2/+

2/+THE MOTHER OF GOD OF POTCHAEV IN SUPPLICATION BY SELECTED SAINTSRUSSIAN, LATE 18TH CENTURYWearing a shoulder-length veil typical of the Mother of God of

blessing image of Lord Sabaoth present in the open skies above)-,)("()*,-(./

061)**2615**

20+

20+THE MOTHER OF GOD OF THE BURNING BUSHRUSSIAN, LATE 18TH CENTURYIn the centre of the eight-pointed star the Mother of God surrounded by angels in medallions, dressed in blue like

showing angels with attributes of the Akathist, on the corners against green meadows are Old Testament events related to the Sinai desert)-,+("()*(./

0)1***231***

21+

21+THE MOTHER OF GOD “SOOTHER OF SORROWS”RUSSIAN (MSTERA?), 19TH CENTURYChrist reclining on the lap of his Mother, unfolding an inscribed scroll, the border featuring the Guardian angel and the special family saints, Symeon, Antipa and Pelagia, the vestments embellished with gold gems emulating trimmings)6("(+=(./

0613**2615**

22+

22+ST. NIL STOLBENSKIY WITH LAVRARUSSIAN (ST. PETERSBURG), 18TH CENTURYThe elderly ascetic in full monastic attire including the Great Schema, holding prayer beads, standing on the banks of lake Seliger, in the background the monastery he founded, two angels descending from the heavens to present an icon of the Vladimirskaya)4,+("()6,6(./

061-**2+1***

23+

23+ARCHANGEL GABRIEL WITH TWO FEMALE SAINTSRUSSIAN, 19TH CENTURYTo the left the Kievan princess, St. Olga, Equal of the Apostles, crowned and holding a sword, to the right the ascetic St. Paraskeva in prayer, above, Christ appearing amidst the clouds;

wings dominating the central part of the image; the background rendered realistically)*("(+=(./

061+**2615**

34+

34+STS. ZOSIMA AND SAVATIIRUSSIAN (WESTERN UKRINIAN), 18TH CENTURY

garments, turning towards each other, St. Zosima holding a closed scroll, St. Savatii carrying prayer beads, in the background their monastery, on the top Christ in blessing, holding a cross-bearing orb)6("(+-,+(./

0)1***231***

3*+

3*+THE BLESSED CHIEF COMMANDERS MICHAEL AND GABRIELMOUNT ATHOS (RUSSIAN MONASTERY?) 18TH CENTURYArchangel Michael shown as a warrior, wearing a helmet, holding a shield and a long lance with cruciform banner,

Archangel Gabriel dressed in a green chiton and pink cape,

Sabaoth as the Creator of the Universe on the top)6,4("(+4,=(./

061-**2+1***

3,+

3,+ARCHANGEL MICHAEL WEIGHING THE SOUL OF A DECEASED PERSONMELKITE, 18TH CENTURY

dominating the entire image, trampling a deceased person, carrying a sword and a pair of scales; the schematic composition rendered with bright colours and gold3),+("()+,4(./

061-**2+1***

3-+

3-+THE MONASTIC ST. SAVVASNORTHERN GREECE, 18TH CENTURYFrontal, full-length, blessing and displaying an open scroll inscribed with a verse pertaining to the monastic life, his garments rendered with saturated colours, against a gold background, the lower part

)4,+("(+4(./

0+1***2)1***

3.+

3.+SAINT JOHN CHRYSOSTOMGREEK (ASIA MINOR), 18TH CENTURYThe Church Father shown frontal, wearing ecclesiastical vestments including the Episcopal stole decorated with crosses, against red and blue background and golden skies)*,=("(++,-(./

061)**261=**

3/+ THE NEW TESTAMENT TRINITYGREEK, 18TH CENTURYChrist and God the Father seated on a throne formed by grey

crowned, vested in liturgical garments and himatia, gesturing in benediction, between them a globus cruciger, the closed

Testament, the Holy Spirit as a dove in a double mandorla hovering above, the inscriptions in Greek majuscule reading,

The Holy Trinity and One God respectively++("(64(./

0)1***231***(

3/+

30+STS. CONSTANTINE AND ELENAGREEK, CIRCA 1700The founder of the Byzantine Empire and his Mother jointly supporting the True Cross; both crowned, dressed in ceremonial garments accessorised with gold and gem encrusted hems+)("(64,3(./

031-**241-**

30+

31+

31+THE MOTHER OF GOD “THRONE OF CHRIST”RUSSIAN, 18TH CENTURY63,+("(6=,7(./

05**261***

32+

32+THE CROWNED MOTHER OF GOD WITH CHILDRUSSIAN, 18TH CENTURY)3("(+7(./

061-**2+1***

33!+

33!+THE MOTHER OF GOD OF THE KIEVAN CAVESUKRAINIAN, CIRCA 1917)3,-("()*,-(./

04**27**

335+

335+A PAPER ICON SHOWING STS. SIMON AND PANTELEIMON HOLDING AN ICON OF THE MOTHER OF GOD “AXION ESTIN”MOUNT ATHOS (RUSSIAN MONASTERY), CIRCA 191767,5("(64,-(./

0)**23**

*44+

*44+CHRIST PANTOKRATOR WITH A SILVER-GILT OKLAD PRESENTED IN AN ELABORATE CARVED WOODEN AND GILT SETTING, IN A GLAZED KYOTRUSSIAN, 19TH CENTURYBlessing and displaying the open Gospels, realistically rendered, the silver-gilt oklad with stylised tooled decorations,

J%.;E&B%F(#?$(:K9#'(37("()=,-(./

0+1***2)1****4*+

*4*+THE NATIVITY, ANASTASIS, KAZANSKAYSA AND SELECTED SAINTS WITH A GILT PLATED OKLADRUSSIAN (KOSTROMA SCHOOL), CIRCA 1750

the saturated colours of the composition standing out against the blue background+7,)("(+3,-(./

0+1***2)1***

*4,+

*4,+THE MOTHER OF GOD FROM A DEISISRUSSIAN, 18TH CENTURY3*("()3(./

061-**2+1***

*4-+

*4-+ST. JOHN THE BAPTIST FROM A DEISISRUSSIAN, 18TH CENTURY-)("(3+(./

0+1***2)1***

*4.+

*4.+MOTHER OF KAZANRUSSIAN (CENTRAL RUSSIA, VOLGA REGION), CIRCA 1800)=,)("()*,)(./

0+1-**2)1-**

*4/+

*4/+ASCENT OF PROPHET ELIJAHRUSSIAN, 18TH CENTURY)-,+("(+=,+(./

061=**2+1+**

*40+

*40+THE BLESSED PRINCE ST. ALEXANDER NEVSKYRUSSIAN, 19TH CENTURY65("(+)(./

05**261***

*41+

*41+THE MOTHER OF GOD OF VLADIMIRRUSSIAN, CIRCA 1800++,)("(6=,-(./

04**25**

*4/!+

*4/!+THE MOTHER OF GOD OF THE BURNING BUSH RUSSIAN, 18TH CENTURY )-,=("()6,+(./(

0613**2615**

*42+

*42+A PAINTED ENAMEL ICON OF ST. OLGA OF KIEV “EQUAL TO THE APOSTLES”RUSSIAN, 19TH CENTURY

depicted frontal, holding a cross and raising her left hand in a gesture of prayer; dressed in regal garments of Byzantine style, her head cover complemented by a halo, turning her gaze away from the viewer, against realistic skies; rendered masterly with painted enamel on porcelain, set in a brass setting decorated with eight hammered rosettes centred by round turquoise cabochons+),-("(6=,-(./

061-**2+1***

*43+A PORCELAIN EGG WITH A BUNCH OF FLOWERSRUSSIAN, CIRCA 1800

the rest of the surface pink with gold decorative scrolls66,-(./(?BF?

05**261***

*43+

.

**,+A PORCELAIN EGG WITH THE MOTHER OF GOD FROM THE SCENE OF THE ANNUNCIATIONRUSSIAN, 19TH CENTURYStanding, spinning the skein of wool, unusually dressed in a green robe with gilt crosses matching those of her purple maphorion, dense rays emanating from her nimbus, the oval surround framed by lace patterns6+(./(?BF?

061***2+1***

**,+

**4+A PORCELAIN EGG WITH ST. SERAPHIM OF SAROVRUSSIAN, 19TH CENTURY

Looking away from the beholder, his mature face framed by white hair and a beard, raising his hand

a simple rim, on blue ground with gold perimeter6*(./(?BF?

061+**2615**

**4+

***+A PORCELAIN EGG OF ST. MARY MAGDALENERUSSIAN, 19TH CENTURYShown realistically, crossing her hands in prayer, facing down, her pale face covered by a yellow veil, draped in bright red and blue; the hazy background enlightened by her luminous halo7(./(?BF?

061-**2+1***

***+

**-+A PORCELAIN EASTER EGG RUSSIAN, CIRCA 1800

Representing the Resurrection of Christ; an angel holding the tomb slab, the three guards struck by the event fallen on the ground; the gold pattern on the back showing the

white ground=,5(./(?BF?

061-**2+1***

**/+A PORCELAIN EASTER EGG RUSSIAN, 19TH CENTURY

red chiton dominating the image; to the left an angel bearing the marble slab, to the right a fully armed soldier; the reverse in gold,

Gospel and the Tablets of the law7,-(./(?BF?

0+1-**2)1-**

**/+

**.+

**-+

**.+A PORCELAIN EASTER EGG RUSSIAN, 19TH CENTURYIn comparison to the previous lot, this one is limited to the most basic iconographic elements; Christ

an angel supporting the stone and opposite a guard; the back of the Egg in cinnabar inscribed in Cyrillic, Christ is Risen5(./(?BF?

0+1***2)1***

**0+A GOLD AND ENAMEL EASTER EGG SHOWING ST. NICHOLASRUSSIAN, 19TH CENTURY

dressed in Episcopal attire and bearing a gold and gem-studded mitre, his right hand raised in benediction, carrying a large Book of Gospels, the engraved cartouche on the back of the egg including

humility and a teacher of self-control”, with a loop for hanging+,5(./(?BF?

061-**2+1***

**0+

**1+A HAND CROSS PRODUCED IN THE HOLY LAND ESPECIALLY FOR THE RUSSIAN PILGRIMS AND AN OVAL PAINTED ENAMEL PANAGIA-RELIQUARYThe cross: Palestinian, 19th century; carved in high relief on

by His Mother and St. John the Baptist in mourning, above the Holy Spirit in the form of a descending dove against a rayed background, below the skull of Adam; the lower part of the vertical crossbar showing St. Catherine of Alexandria, crowned, holding a sword and a wheel, 20 x 11.7 cmThe Panagia-reliquary: Russian (?), 19th century; depicting the Mother of God of the Passion, opening to reveal a relic which according to the enclosed inscription pertains to the True Cross; the pendant complemented by a long chain; 4 cm high

0-**2=**

**1+

opened

**2+ALOIS GUSTAV ROCKSTUHL (1798-1877), AN OVAL MINIATURE PORTRAIT OF TSAR ALEXANDER II OF RUSSIA, PAINTED IN THE PERIOD 1855-1877Tsar Alexander II of Russia (1818-1881), bust-length, facing right, in red uniform with embroidered collar and epaulettes, wearing the blue moiré silk sash and Star of the Imperial Russian Order of St. Andrew, complemented by numerous other decorations, including the cross of the Order of St. George, signed on the left Rockstuhl, with a gilt rim, set in a black lacquered wooden mount >?$(@9D#D<B#(-,-("(),-(./8(#?$(H$##B%F(66,-("(7,-(./(

031***241***

Note: A comparable portrait, presented in a gilt mount, was sold at Christie’s on 13 June 2007, sale 7507, lot 187.

**2+

**3+A GOLD IMPERIAL PRESENTATION CASE RUSSIAN, MAKER’S MARK OF SERGEI FEDOROVICH VERKHOVTSEV, ST. PETERSBURG, 1880 An oblong cigarette case, the cover applied with a diamond-set Imperial double-headed eagle on the upper left corner, opening by pushing a gold thumb-piece set with a cabochon sapphire, marked inside base, 56 zolotniks 5,-(./(;9%F

0+1-**231***

**3+

*,4+A FINE GOLD-MOUNTED CARNELIAN AND IVORY TABLE SEAL RUSSIAN, CIRCA 1850

oval base (14K), chased with twisted and foliage decoration, the carnelian seal engraved with the double-headed Russian Imperial Eagle >?$(.<D%$;B<%(H$<;'(),=("(),6(./8(9L$D<;;(?$BF?#'(7,+(./

041***251***

Provenance: By repute, Alexander II. Grand Duke George Alexandrovich. Grand Duchess Olga Alexandrovna. Asanta Tamara Gagarina Kulikovsky-Romanov. Byington Collection, Canada.

According to family tradition, the Table Seal belonged to Emperor Alexander II and passed to Grand Duchess Olga Alexandranova from the estate of her brother George. The Seal is apparently acknowledged as belonging in The Byington Collection, see Tzar: The Lost world of Nicholas and Alexandra by Peter Kurth (p.223); and Olga Romanov: Russia’s Last Grand Duchess by Patricia Phenix (p. 296)

*,4+

knowledge, and generally accepted research and scholarship at the time.

d. Estimates of the selling price of the Property lots should not be depended on as the price at which the item will sell or its value on any other grounds.

5) AT THE AUCTION

a. The Auctioneers have the right, at our complete discretion, to refuse admission to the premises or participation in the auction and to reject any bid;

b. Potential Buyers must complete and sign a bidder registration form and

Bidder is accepting personal liability to pay the Purchase Price, including the Buyer’s Premium and all applicable taxes, plus all other applicable charges. Bidders are personally liable for their bid;

been explicitly agreed in writing with the Auctioneers before the commencement of the sale. We will only look to the principal for payment, but Bidders acting as agent are jointly and severally liable with their principal;

d. If Bidders are not able to attend the auction, or bid via an agent or by telephone, Auctioneers will carry out absentee written bids provided they are delivered to us prior to the sale. Bids must be placed in Euros. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on

accepted will have priority. Provided that we have exercised reasonable care in the handling of written bids, we cannot accept liability in any single instance for failing to carry out a written bid or for errors in connection with it arising from situations beyond our reasonable control;

e. If a Bidder makes arrangements with the Auctioneers prior to the start of the auction, we will use reasonable attempts to contact them for them to participate in the bidding by telephone, but we do not accept liability for failure to do so or for errors in connection with telephone bidding arising from situations beyond our reasonable control;

f. Unless otherwise stated, all Property lots are offered subject to a Reserve. The Reserve will not be higher than the low estimate printed in the catalogue. The auctioneer may open the bidding on any lot below the Reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing successive bids or by placing bids in response to other bidders;

g. The auctioneer has the right to exercise discretion in refusing any bid, advancing the bidding or withdrawing any Property lot. In the case of error or dispute, whether during or after the sale, he may take such action as he

any evidence to the contrary, the sale record maintained by the auctioneer will be conclusive;

j. Subject to the auctioneer’s reasonable discretion, the highest Bidder recognized by the auctioneer will be the Buyer. The striking of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of the contract for sale between the Seller and the Buyer. Risk and responsibility for the Property lot passes to the Buyer at the expiration of three calendar days from the date of the sale or on collection by the Buyer if earlier.

6) AFTER THE AUCTION

a. The Buyer must pay the Purchase Price for a Property lot and any Buyer’s Expenses immediately after the sale. This applies regardless if requirements for export, import or other permits apply;

b. If the Artist’s Resale Right Regulations 2006 (EU Directive 2001/84/EC) apply to the Property lot, the Buyer also agrees to pay the Auctioneers an amount equal to the relapse royalty provided for in those Regulations. We are responsible to pay such amount to the artist’s collection agent on behalf of the Buyer;

c. The Buyer will not acquire title to the Property lot until the Purchase Price and Buyer’s Expenses have been received by the Auctioneers in cleared funds. Any earlier release does not affect the passing of title or the Buyer’s unconditional obligation to pay the Purchase Price and Buyer’s Expenses even in circumstances where we have released the lot to the Buyer. We shall be

The type of the relationship between La Parole Divine Limited (hereinafter re-

are outlined below.

1) The Auctioneers’ and Sellers’ legal relationship with prospective Buyers is regulated by:i) these Condition of Sale;ii) the Consignment Agreement for Sellers;iii) any additional notices and terms printed in the sale catalogue as amended by any saleroom notice or the auctioneer’s announcement at the auction.

2) The Auctioneers’ act as agent for the Seller. Therefore, a sale contract is made directly between the Seller and the Buyer. The Auctioneers may own a lot (and in such instances acts in a principal capacity as Seller) and/or may

otherwise.

3) DEFINITIONS

Auctioneers means LA PAROLE DIVINE LTD, a limited a company regis-tered under the laws of Cyprus under reg. No HE 245027 having its registered

Bidder means any person considering, making or attempting to make a bid, by whatever means, and includes Buyers;

Buyer means any person who makes the highest bid or offer accepted by the auctioneer, and includes such person’s principal when bidding as agent;

Buyer’s Expenses means any costs or expenses due to the Auctioneers from the Buyer and any artist’s re-sale right levy payable in respect of the sale of

in respect of any applicable VAT thereon;

Buyer’s Premium means the commission payable by the Buyer on the

Hammer Price above !15,000;

Hammer Price means the highest bid accepted by the auctioneer by the fall of the hammer, or in the case of a post-auction sale, the agreed sale price;

Purchase Price means the Hammer Price and the applicable Buyer’s Premium and VAT;

Reservehas agreed to sell a Property lot;

Seller means the person offering a Property lot for sale (including their agent (other than the Auctioneers), executors or personal representatives);

VAT is Value Added Tax at the current rate.

4) CATALOGUE DESCRIPTIONS AND CONDITION

The Auctioneers sell the Property lots as described or otherwise in the condition they are in at the time of the sale, based on the following methods:

a. Due to the type and age of the lots sold, they will seldom be in perfect condition, and are likely to show signs of wear, damage, restoration or repair. Any reference to condition in a catalogue entry will not equate to a full description of condition. Condition reports are available on request. Each lot offered for sale by the Auctioneers is available for inspection prior to the sale, and we recommend that you always view the Property in person. Illustrations

Property lot;

b. All dimensions of the Property lots in the catalogue entries are approximate.

c. Any statements made by the Auctioneers about any Property lot, whether written or oral, concerning attribution to an artist, school, or country of origin; history; provenance; or any date or period; is not a representation of fact but rather is a statement of opinion. Our opinions have been formed genuinely and in accordance with a reasonable standard of care, taking into account information provided by the Seller, the Auctioneers’ scholarship and technical

!"#$%&%"#'(")('*+,

7) WARRANTYIn addition to the Auctioneers’ liability to Buyers set out in clause 4 of these Conditions, but subject to the terms and conditions of this paragraph, the Auctioneers warrant for a period of one year that if they sell a Property lot

the sale and refund the Buyer the original purchase price paid for the Property lot in the currency of the original sale. A forgery means a Property lot that in the Auctioneers’ reasonable opinion is a fraudulent imitation created to deceive as to authorship or date, and where the Property lot is not described as such in headings printed in UPPER CASE TYPE in the catalogue (as such description may be amended by any saleroom notice or announcement).

The Auctioneers’ warranty does not apply to supplemental material which appears below the upper case type headings of each Property lot and the Auctioneers are not responsible for any errors or omission in such material. The warranty does not apply to any heading which is stated to represent a

a) It does not apply where (i) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts

publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the Property;

original Buyer of the Property lot as shown on the invoice originally issued by the Auctioneers when the lot was sold at auction;

c) The original Buyer must have remained the owner of the Property lot without disposing of any interest in it to any third party;

d) Neither the Auctioneers nor the Seller will be liable for any damages

e) The Buyer must give written notice of claim to us within two years form the date of the auction. The Auctioneers shall have the right to require the Buyer

acceptable to the Auctioneers and the Buyer, before the Auctioneers decides whether or not to cancel the sale under the warranty.

f) The Buyer must return the Property lot to the Auctioneers in the same condition as at the time of the sale.

8) The copyright in all images, illustrations and written material produced by or for the Auctioneers relating to a Property lot including the contents of this catalogue, is and shall remain at all times the property of the Auctioneers and shall not be used by the Buyer, nor by anyone else, without our prior written consent. The Auctioneers and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

9) If any part of these Conditons of Sale is found by any court to be invalid,illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extend permitted by law.

10) The rights and obligations of the parties with respect to these Conditions of Sale, and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed and interpreted by the laws of the Republic of Cyprus. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the Buyer shall be deemed to have

court of the Republic of Cyprus.

entitled to retain items sold until all amounts due to us, have been received in full in cleared funds or until the Buyer has performed any other outstanding obligations as we shall require, including completing any anti-money launder-

-tion, the Auctioneers shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this the Buyer shall collect purchased Property lots within two calendar days from the date of sale unless otherwise agreed between us and the Buyer;

e. Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased Property lot and in selecting third parties for these purposes, we are not liable for the acts or omissions of any such third parties;

f. Unless otherwise agreed by us in writing, the fact that the Buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the Buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is required;

g. If the Buyer fails to make payment in full in good cleared funds within 7 days after the auction, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to the following:

i) hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, and costs for such proceedings to the fullest extent permitted under applicable law;

ii) cancel the sale of the Property lot;

iii) resell the Property publicly or privately on such terms as we shall think

iv) pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer;

Central Bank of Cyprus;

vi) set off any amounts which the Auctioneers owe the Buyer against the outstanding amount remaining unpaid by the Buyer;

vii) where several amounts are owed by the Buyer to us in respect of different transactions to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so authorises;

viii) exercise a lien over any of the Buyer’s property which is in the possession of the Auctioneers. We shall inform the Buyer of the exercise of any such lien and within 14 days of such notice may arrange the sale of such property and apply the proceeds to the amount owed to the Auctioneers;

ix) take such other action as we decide necessary or appropriate.

If we resell the Property under paragraph (iii) above, the defaulting Buyer

originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (iv) above, the Buyer acknowledges that the Auctioneers shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount

Where purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the Buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.

14 Promitheos Street, Agios Dometios, 2370 Nicosia, Cyprus;

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