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LOT 1939
Russian Orthodox Bronze Travel Icon with Saint George
CIRCA 1700 A.D.
3 3/8 in. (71 grams, 87 mm).
Showing Saint George on horseback, dispatching the dragon with a spear thrust; the Saint dressed in a soft cuirass and seated on a high-ended saddle secured by breast, rump, and belly straps; on the right, the walls of Trebisonda and on the bottom right the princess; Old Slavic inscription on the top, reciting Saint George of Cappadocia (Свято́й Гео́ргий Каппадоки́йский); at the top, the Christ Mandylion inscribed inside a cross.
ProvenanceAcquired from Chris Martin-Zakheim, Iconastas, 5 Piccadilly Arcade, London SW1.
From the private collection of a West London, UK, gentleman, formed since the early 2000s.
Cf. Eighme Ahlborn, R., Beaver-Bricken Espinola, V., Russian Copper Icons and crosses from the Kunz Collection: Castings of Faith, Washington, 1991, nos.25819.254, p.76, for similar iconography.
FootnotesAccording to the Christian tradition, Saint George would have lived between the end of the 3rd century and the beginning of the 4th century: born into a noble Christian family, he became an officer in the Roman army and was then named a prefect by Diocletian. But when the same emperor decided to resume the persecutions, Saint George became a victim despite his important political rank. His role in the development of the faith is so important that he is included among the Great Martyrs of the Eastern Church and his fight against the dragon becomes a symbol par excellence of the fight for good which defeats evil.
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Dogon Iron Multiple Oil Lamp Stand
Circa 19th century A.D.Estimate: £400 - 600 (+bp*)
Opening Bid: £200
Iron flat-section shaft with three tiered cross-bars, the two lowest each with five iron lamp-bowls to the forward face; above, a U-shaped bar with a lamp bowl at each upper end; top of the shaft developing to an anthropomorphic torso with ellipsoid head and two narrow arms raised vertically; chain around the neck with hand-forged extinguishing spoon; mounted on a square base; Dogon, Mali, workmanship. 6.25 kg total, 132 cm including stand
From the private collection of Dr Hans-Joachim Koloss, Berlin, Germany, 1975-2002. Gorny & Mosch, Munich, Germany, auction 279, no.410. Accompanied by a copy of the Gorny & Mosch invoice and illustrated catalogue listing. Accompanied by a copy of the German cultural export licence.
The figure is probably a Nommo, a primordial ancestral spirit in Dogon cosmogony. A Nommo is usually considered to be amphibious, hermaphroditic and fish-like. They are typically depicted in Dogon art with a humanoid upper torso, and a fish-like lower torso and tail. -
Iron Musket Ball Scissor Mould and Musket Balls
18th-19th century A.D.Sold for (Inc. bp): £33
Comprising a two-part mould with pivoting handles and six lead musket balls. 140 grams total, 1.1-13 cm
From a private Tyneside collection, formed since the early 2000s. -
Painted Wooden Icon with the Virgin of Vladimir
Russia, 18th century A.D.Estimate: £1,200 - 1,700 (+bp*)
Opening Bid: £600
With veiled head and wearing a fringed golden maphorion mantle over a dark blue robe with gold cuffs, inclined towards the infant Jesus supported by her right hand; monograms and titling, on each side of her head 'ΜΡ ΘΥ' (Μήτηρ (τοῦ) Θεοῦ = Mother of God), over the child inscription in Greek letters 'ΙϹ ΧϹ' (ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ = Jesus Christ), three letters (only two visible) inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O ѾN' = The Only One who always exists); rectangular wooden board with mounting bar to reverse; Moscow School; old label on the back with inscription in Dutch 'A209 Moeder Gods van Wladimir'. 1.3 kg, 35.7 x 31 cm
Acquired on the UK art market. Private collection, London, UK.
The original icon prototype of these smaller icons was the icon of the Virgin Mother of Vladimir with the infant Jesus (the original preserved in the Tretyakov Gallery, Moscow), probably the most famous icon of Russia, which was thought to have been created in Constantinople in the early part of 1100s. This image is sometimes referred to as the ‘tenderness icon’, with artists attempting to show the close relationship of mother and son with their cheeks touching as they embrace.
