Icon The Sign and the bystanders saints. Middle of the XIX century.

Icon The Sign and the bystanders saints. Middle of the XIX century.
Icon under frame on silver, wood, gesso, tempera.

Brass pressed frame with remnants of silvering, second baroque style.

Icon "Image The Sign and the bystanders saints” is painted in a traditional manner, the figures are painted out quite thoroughly for image under frame, with the details on the vestments and the selected coloring. Saint Claudia and St. Olga Equal-to-the-Apostles are among the bystanders, which are not often found in depictions of family patrons.

 Preservation: One metal adornment covering the halo of an icon is lost, one is secured with a bolt. Panel without strips of wood on the back of an icon, wood plucking along the right side with part of the panel coming off, chiseled gesso. There are abrasions of the paint layer and the gesso in the places where the faces and the frame converge. From bottom to top in the middle of the panel there is a crack of about 8 cm with the collapse of the gesso and the paint layer.

Book dimensions: 22х26

Middle of the XIX century. Central Russia.

Experts’ consultation:

Belik Zhanna Grigoryevna, Ph.D. in Art history, senior official of the department of expertise and art appreciation decisions of Andrey Rublev Museum, certified expert of the Ministry of Culture Trufanova Olga Evgenyevna, manager of scientific restoration department of Andrey Rublev Museum, associate professor of restoration chair of St.Tikhon's Orthodox University.

圣像：“预兆”和前面站的神圣的人物。十九世纪中叶。镀银圣像，树，白底漆，水胶颜料。

 带有镀银残余物的冲压黄铜圆筒，第二巴洛克风格。圣像“预兆”和前面站的神圣的人物写的在传统 的风格，这些人物画得相当仔细法衣的细节和选定的颜色。站在前面的是圣克劳迪娅和奥尔加公主，她们在家庭赞 助人的形象中并不常见。

情况: 一顶皇冠丢失，一顶用螺栓固定。没有销钉的木板，沿着右侧有一块木质劈开了，板的一部分脱落，白底漆在摇摇 欲坠。磨损的油漆层和白底漆在脸部和装饰板交汇的地方。木板中间从下到上有一条约八厘米的裂缝。

像图书尺寸：22х26

十九世纪中叶。中俄罗斯。

专家建议：

别利克然纳，艺术学副博士，安德烈鲁布烈夫博物馆的鉴定部门和艺术学鉴定的负责人。文化部认证专家。

特鲁法诺瓦奥利加，安德烈鲁布烈夫博物馆的科学修复部主任，东正教神圣吉洪人文大学的修复教研组副教授。