Greek Saint Paraskevi Icon

A large icon depicting the Virgin holding the Christ on her lap on a gilt background, both nimbate, the haloes with punched foliate decoration; the Virgin wearing a carmine red maphorion embellished with golden embroidery and fringes, elaborate cuffs and neckline to the himation; the Christ seated on the lap, holding his right arm out and making the blessing sign with his hand, left hand holding an open scroll inscribed in Greek πνευμα κυριου επ εμε ου ενεκεν εχρισεν με ευαγγελιζεσθαι πτωχοις απεσταλκεν με for 'The Spirit of the Lord is on me, because he has anointed me to proclaim good news to the poor' (Luke 4:18-21), the green chiton and orange himation embellished with red folds; Greek inscription 'ΜΡ ΘΥ' for 'Mother of God' flanking the Virgin's halo, 'IC XC' for 'Jesus Christ' to the right of the Child and inside his nimbus 'O Ѿ N' for 'The Only One who always exists'; some restoration. 4.3 kg, 60 x 42.5 cm

very good condition; tempera on wood panel; vertical crack minimally restored.

Property of a London lady, part of her family's collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by searcher certificate no.11572-198599.

In the Orthodox church, the spaces between the columns close to the central doors of the Iconostasis (Holy Doors) are occupied by two proskynesis icons, representing Christ giving his blessings to the right and to the left the Virgin Mary, with or without the infant, or in interceding position known as Virgin Chalkoprateia type.

An icon of Hodegetria with the Virgin wearing a red maphorion embroidered with gold, a dark veil and a dark chiton with double gold embroidery on the cuffs; holding the Child on her left arm and gesturing towards him with the right hand; the Child wearing a yellow brown, gold-woven chiton, holding a scroll in his left hand, while the right one is making the gesture of blessing; the angels Michael and Gabriel to the left and right of the Virgin; on each side of the head of the Virgin inscriptions 'ΜΡ' and 'ΘΥ' (Μήτηρ (τοῦ) Θεοῦ = Mother of God), inscription in Greek letters 'IC XC' (IHCOYC XPICTOC = Jesus Christ) above the child, three letters inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O ѾN' = The Only One who always exists); the names of the angles inscribed next to each figure (Aghios Michail and Aghios Gavriil). 869 grams, 29.8 x 24 cm



Property of a London lady, part of her family's collection.

The painting is a copy of the famous replica of the Hodegetria of Constantinople, a Byzantine icon of 14th century, repainted by the icon painter Dionisi in 1482, and today preserved in State Tretyakov Gallery, Moscow. The original icon was destroyed by the Turks at the capture of Constantinople in 1453. The replica was venerated as an 'original' real Hodegetria in the Ascension Convent in Kremlin, Moscow. The icon led the liturgical processions on June 23, August 26, May 21 and October 22 in which the Patriarchs and the Russian Tsars took part.

A carved marble figural panel depicting a religious scene, probably St. Francis of Assisi receiving the Holy Stigmata; a kneeling figure in loose-fitting cowl and habit with knotted cord to the waist, arms spread and head raised towards a chiaroscuro sunburst with a figure at the centre, wearing a loincloth and affixed to a plain cross, borne up by three pairs of wings attached to the shoulders and thighs; below, a second, smaller figure holding a book; all in a landscape with a tree at right behind the larger figure; mounted on a custom-made stand. 75 cm high including stand



English private collection.

The scene probably represents the events just prior to the end of the life of St. Francis of Assisi: while he was praying on a mountain with his companion, Brother Leo, he is said to have had a vision of a seraph (a six-winged angel on a cross) which gave him the gift of the stigmata, the five wounds of Christ. The apparition caused a deterioration in Francis's health and no cure could be found, so the saint spent the remaining days of his life dictating his spiritual message to Leo, who preserved the record of these events.