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LOT 1171:
MONUMENTALE IKONE MIT JOHANNES PRODROMOS IN DER WÜSTE
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Start price:
€
60,000
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MONUMENTALE IKONE MIT JOHANNES PRODROMOS IN DER WÜSTE
Title: MONUMENTALE IKONE MIT JOHANNES PRODROMOS IN DER WÜSTE
Origin: Russland, Umkreis der Moskauer Kreml-Werkstätte, um 1700
Technique: Verbund aus vier Laubholz-Brettern mit zwei Rückseiten-Sponki. Eitempera auf Kreidegrund. Nimbus und Krone vergoldet
Dimension: 178 x 90 cm
A MONUMENTAL ICON SHOWING ST. JOHN THE FORERUNNER IN THE DESERT Russian, Moscow, Circle of the Armoury Chamber, circa 1700 Tempera on wood panel. Finely executed with gold details. Written in red letters in Church Slavonic, the title of the icon reads as follows: St. John the Forerunner. St. John is shown as ‘Angel of the desert’. He is standing in a rocky landscape against a blue background. He is shown in three-quarter view turned to the left and he focuses his gaze in the viewer. His right hand holds an open scroll: ‘And I saw, and bear record that this is the Son of God’ (John 1,34) and ‘Behold the Lamb of God, with take away the sins of the world’ (John 1,29). As a heremit he wears a rough camel-hair garment underneath a loosely falling green mantle lined with pink. John points with his right index finger to the Christ Child, whom he holds in his other hand in an asteriskos. The depiction is known as melismos (Greek for the division) and it symbolises the Eucharistic Sacrifice that Christ will bring. During the celebration of the liturgy, the bread lies in the chalice as a symbol of the Body of Christ. The icon is finely painted with deep, subdued colours, highlighted with linear gold and white brushstrokes. The western style of the painting, with the supple folds of the mantle and the relatively naturalistic portrayal of the face, suggests influences from the Tsar’s workshop in the Kremlin, for example Simon Ushakov and Kirill Ulyanov, who specialised in a more naturalistic way of painting. The large size of the offered icon would suggest that it was most likely once displayed on the Deisis tier of an iconostasis within a large church. Provenance: Lempertz, Köln, Mai 1969; De Wijenburgh, Netherlands; Dutch Private Collection. Christi darstellt. Die schweren Gewandfalten und die fein ausgeführte Malerei der Published: R. Roozemond (Hrsg.): Eikon. Divine Beauty, Echteld 1981, 48-49. Ausstellungskatalog: Het Goddelijke Nabij: Oude Ikonen uit Particulier Bezit, Bijbels Museum Amsterdam, Zwolle 2000, Kat. 48. die ganzfigurige Darstellung des heiligen Johannes in Dreiviertelansicht legen nahe, dass Literature: I. Bentchev: Engelikonen. Machtvolle Bilder himmlischer Boten, München 1999, 187-191. Ausstellungskatalog: Ikonen und ostkirchliches Kultgerät aus rheinischem Privatbesitz, Köln 1990, Kat. 139.
A MONUMENTAL ICON SHOWING ST. JOHN THE FORERUNNER IN THE DESERT Russian, Moscow, Circle of the Armoury Chamber, circa 1700 Tempera on wood panel. Finely executed with gold details. Written in red letters in Church Slavonic, the title of the icon reads as follows: St. John the Forerunner. St. John is shown as ‘Angel of the desert’. He is standing in a rocky landscape against a blue background. He is shown in three-quarter view turned to the left and he focuses his gaze in the viewer. His right hand holds an open scroll: ‘And I saw, and bear record that this is the Son of God’ (John 1,34) and ‘Behold the Lamb of God, with take away the sins of the world’ (John 1,29). As a heremit he wears a rough camel-hair garment underneath a loosely falling green mantle lined with pink. John points with his right index finger to the Christ Child, whom he holds in his other hand in an asteriskos. The depiction is known as melismos (Greek for the division) and it symbolises the Eucharistic Sacrifice that Christ will bring. During the celebration of the liturgy, the bread lies in the chalice as a symbol of the Body of Christ. The icon is finely painted with deep, subdued colours, highlighted with linear gold and white brushstrokes. The western style of the painting, with the supple folds of the mantle and the relatively naturalistic portrayal of the face, suggests influences from the Tsar’s workshop in the Kremlin, for example Simon Ushakov and Kirill Ulyanov, who specialised in a more naturalistic way of painting. The large size of the offered icon would suggest that it was most likely once displayed on the Deisis tier of an iconostasis within a large church. Provenance: Lempertz, Köln, Mai 1969; De Wijenburgh, Netherlands; Dutch Private Collection. Christi darstellt. Die schweren Gewandfalten und die fein ausgeführte Malerei der Published: R. Roozemond (Hrsg.): Eikon. Divine Beauty, Echteld 1981, 48-49. Ausstellungskatalog: Het Goddelijke Nabij: Oude Ikonen uit Particulier Bezit, Bijbels Museum Amsterdam, Zwolle 2000, Kat. 48. die ganzfigurige Darstellung des heiligen Johannes in Dreiviertelansicht legen nahe, dass Literature: I. Bentchev: Engelikonen. Machtvolle Bilder himmlischer Boten, München 1999, 187-191. Ausstellungskatalog: Ikonen und ostkirchliches Kultgerät aus rheinischem Privatbesitz, Köln 1990, Kat. 139.
