26.05.2026

A Silver-Gilt and Agate Covered Vase with Cabochons
Russian (or Western European), early 19th century
Height: 18.3 cm
Dimensions of base: 19.2 × 15.2 cm

Of oval form, the agate bowl and lid are mounted in chased silver-gilt bands with scrolling Renaissance ornament and set with cabochon stones. The entire vessel rests on a tripod of finely cast gilt-silver scroll supports terminating in lion-paw feet, on an agate plinth similarly mounted with gilt borders and cabochons.

The design resonates with the revival of Renaissance taste that spread across Europe—and into Russia—during the early nineteenth century. The interplay of semi-precious hardstone, richly chased gilt silver, and classical proportions demonstrates the kind of luxury object admired in aristocratic collections, echoing the tradition of princely hardstone services from Augsburg, Nuremberg, and St. Petersburg.

Comparable Works: Basket-shaped agate vase from the Hermitage’s collection (State Hermitage Museum, inventory ЭРКм-194). https://www.hermitagemuseum.org/digi

Starting price: 2500€
Estimate: 3000-3500€
Hammer Price: €

Faberge. Neoclassical style inkwell.
Silver, cut-crystal, onyx.
Makers marks of «Faberge» and «IP». Petersburg, circa 1908.
Dimensions: 12 x 16.3 x 16.3 cm

A square inkwell composed of a carved onyx base with silver mounts and corner finials, supporting a faceted cut-crystal ink container with a silver hinged cover. The refined combination of hardstone, crystal, and precious metal reflects the luxurious character of Fabergé’s desk accessories, intended both for practical use and as symbols of status and taste.
Julius Alexander Rappoport was one of the most important Fabergé workmasters in St. Petersburg. A trained silversmith of Jewish origin from Kovno (now Kaunas, Lithuania), he established his own workshop in the 1880s and soon entered into exclusive collaboration with the firm of Carl Fabergé.
Rappoport specialized in silver and hardstone objects, including desk sets, tableware, and presentation pieces, often combining richly worked silver with materials such as crystal and nephrite. He regularly performed exclusive commissions for the firm of Carl Fabergé, the most important of which were wedding services for Emperor Nicholas II and for the dowry of Grand Duchess Xenia Alexandrovna, both in 1894.

Starting price: 1500€
Estimate: 2500-3500€
Hammer Price: €

Victor Tissot, La Russie et les Russes. Kiev et Moscou. Impressions de voyage. Paris: Librairie Plon, 1884. Richly illustrated edition with more than 240 gravures, in the original publisher’s decorative red cloth binding with gilt and polychrome cover design depicting Saint Basil’s Cathedral, and imperial double-headed eagle on the rear cover.

A striking late 19th-century travel book on Russia, retaining its highly decorative original binding.

Dimensions: 28.3 × 21 × 4 cm

Starting price: 250€
Estimate: 300-350€
Hammer Price: €

Karl Gahn. Gold Pendant with official archival sketch.
Firm of Carl Gahn
St. Petersburg, late 19th – early 20th century
Gold, rubies, emerald, pearl; engraved and polished
Dimensions: 4.3 x 2.3 x 0.5 cm.
Total weight: 3.1 g

This delicate Art Nouveau pendant combines gold with colored gemstones — rubies, an emerald, and a small pearl. The stylized floral motif and graceful symmetry reflect the refined taste and craftsmanship characteristic of Carl Gahn’s workshop.
Carl August Ferdinand Gahn (1836–1899) was an Austrian-born goldsmith and jeweler who founded the firm K. Gahn in St. Petersburg in 1873. His shop on Nevsky Prospect quickly gained recognition for the sophistication and technical precision of its designs. In 1895, Gahn was appointed Jeweler to the Imperial Court, creating pieces for the Russian royal family and aristocracy. His firm was considered one of the leading jewelry houses of the Empire, standing alongside Fabergé in artistry and reputation.

Starting price: 600€
Estimate: 700-900€
Hammer Price: €

Faberge. Gold cufflinks.
Gold, guilloche and cloisonné enamel, ruby.
Makers mark of «OP», Moscow, circa 1890s.
Total weight: 9.4 g

Gold cufflinks decorated with translucent red guilloché enamel framed in white enamel. The equilateral triangular design emphasizes clarity and symmetry. The reverse side features a cabochon stone in ruby, echoing the color of the enamel.
Knut-Oskar Pihl (1860–1924) was a Finnish jeweler and head master of the Moscow branch of the House of Fabergé between 1887 and 1897. At the age of six, Pihl was sent from Finland to St. Petersburg to live with his uncle, a watchmaker. He later trained in the workshop of the renowned Finnish jeweler August Holmström. His skill and precision so impressed Holmström that in 1887 he arranged the marriage of his daughter Fanny to Pihl and recommended him to Carl Fabergé.
See similar: https://www.sothebys.com/en/auctions/ecatalogue/2009/russian-art-n08538/lot.297.html
https://collectiononline.kreml.ru/entity/OBJECT/444161?rubrics=3169211&index=11

Starting price: 2500€
Estimate: 3000-3500€
Hammer Price: €

Art Nouveau Style Gold, Opal Matrix and Gem-Set Cameo Brooch Pendant

An unusual gold brooch pendant designed as an openwork oval frame enclosing a female profile cameo, carved in opal matrix with vivid blue iridescence and set against a darker natural stone ground. The flowing mount is highlighted with seed pearls and further accented with coloured stones, including pink and blue gems and a small green stone. The reverse fitted with a brooch pin, while the suspension loop allows the piece to be worn also as a pendant.

The reverse bears a 585 mark, indicating 14 karat gold.

Accompanied by an older handwritten gemmological note in Estonian. According to this note, the piece was described as set with opal matrix, pearls, rubies, a garnet, a blue sapphire, and small diamonds; this attribution is not independently confirmed and should be treated as provisional pending modern gemmological examination.

A decorative and distinctive jewel, likely inspired by late 19th- to early 20th-century Art Nouveau models.

Material: 14K gold (marked 585)
Stones: opal matrix cameo, pearls, assorted coloured stones
Dimensions: 6.8 × 4.8 × 1.1 cm
Weight: 29.9 g

Starting price: 8000€
Estimate: 10000-15000€
Hammer Price: €

Art Deco Style Platinum, Aquamarine and Diamond Pendant Necklace

An impressive platinum pendant necklace of strongly geometric Art Deco style, centered by a large emerald-cut aquamarine within an architectural diamond-set frame, the stepped outline further enriched with diamond-set side panels and a diamond-set articulated surmount. The pendant is suspended from a platinum chain with decorative openwork links, complementing the period-inspired design.

The reverse and side views show pierced and millegrain-style detailing characteristic of high-quality geometric jewel mounts. The clasp appears marked 950, consistent with platinum fineness, while the accompanying 2008 appraisal describes the jewel as solid platinum.

Accompanied by a 2008 Dover Diamonds Appraisal, which describes the necklace as set with one genuine blue aquamarine of approximately 40.00 carats and 90 European-cut diamonds of approximately 4.50 carats total, graded H–I color, VS clarity; the appraisal also notes a gross weight of approximately 28.7 grams, pendant length of about 2¼ inches, chain length of about 20 inches, and an appraised value at that time of USD 17,500. A separate gemmological note in Estonian appears to repeat broadly similar information, including aquamarine, diamonds, approximately 40 pcs, H/I color, VS clarity, and a combined stone weight notation around 4.50 ct, but this handwritten note is not fully legible in all parts. These documents are useful supporting papers, though I cannot independently confirm the exact stone weights, natural origin, or grading without a modern gemmological report.

Material: platinum
Stones: one large emerald-cut aquamarine, numerous diamonds
Pendant length: approx. 2¼ in. / approx. 5.7 cm
Chain length: approx. 20 in. / approx. 50.8 cm
Weight: approx. 28.7 g
Auction Comparison:
For comparison, Bonhams sold an Aquamarine and Diamond Pendant/Necklace, circa 1940 in the Knightsbridge Jewels sale on 26 November 2025 as Lot 361, for £20,480 including premium. Bonhams described that example as set with a step-cut aquamarine weighing approximately 27.70 carats and diamonds totaling approximately 3.00 carats. By contrast, the present necklace is accompanied by an appraisal describing its aquamarine at approximately 40.00 carats, indicating a substantially larger center stone than the Bonhams example.

Starting price: 20000€
Estimate: 25000-30000€
Hammer Price: €

Pilgrimage Icon of Saint Catherine the Great Martyr. 
Palestine, late 19th century.
 Stone, oil paint.
 Dimesniosn: 14.5 × 11 cm.
A pilgrimage icon painted on a naturally shaped stone plaque, depicting Saint Catherine the Great Martyr standing full-length against a simplified landscape ground. The saint is shown crowned and haloed, vested in richly ornamented garments, with her traditional attribute of the martyr’s wheel placed beside her. The irregular contour of the support, together with the plain reverse fitted with a suspension loop, preserves the character of the object as a devotional souvenir brought from the Holy Land.
Such icons, acquired by pilgrims in Jerusalem and other sacred places, held a particular place in Russian Orthodox devotional culture. They functioned not only as commemorative eulogiae, but also as intimate objects of private piety. Kept in domestic icon corners, donated to churches and monasteries, or handed down as family relics, they were valued for their direct material connection with the sacred geography of Palestine. In works of this kind, the tangible substance of the stone itself, often believed to have come from the banks of the River Jordan or other holy sites, intensified the devotional meaning of the image and transformed a modest painted object into a cherished relic of pilgrimage.

Starting price: 4000€
Estimate: 5000-7000€
Hammer Price: €

ICON OF THE MOTHER OF GOD KHTITORISSA OF VATOPEDI WITH SAINTS JOHN THE THEOLOGIAN AND PARTHENIOS, BISHOP OF LAMPSAKOS
Greece, Mount Athos (?), late 18th to early 19th century. 
Wood, levkas, tempera
. Dimensions: 28.5 × 23 cm
Provenance: formerly in the possession of the Greek monk Parthenios.
This icon presents a refined and unusually elaborate variant of the Vatopedi Khtitorissa iconography. The Virgin enthroned with the Christ Child occupies the center of the composition, while two angels descending in cloud-borne segments place a crown upon her head. In the miraculous prototype of the Vatopedi monastery, the crown belongs to the revetment; here it has been fully integrated into the painted image, lending the composition greater ceremonial splendor. The Christ Child, instead of the customary scroll, holds a Gospel bound in a precious cover, a variant known in later painted replicas of revered miracle-working icons.
At either side of the central group stand two full-length saints, compressed into the narrow vertical spaces between the principal composition and the side margins. To the viewer’s right appears Saint John the Theologian, accompanied below by his symbolic eagle. To the left stands Saint Parthenios, Bishop of Lampsakos. Along the lower border runs a cursive owner’s inscription which may be translated: “Supplication of the servant of God, the monk Parthenios.” The icon was most likely ordered by an Athonite monk named Parthenios, probably a member of the Vatopedi monastery, who wished to possess an image of the monastery’s venerated wonderworking shrine, joined with the figure of his name saint, Saint Parthenios of Lampsakos, shown in prayerful intercession before the Mother of God.
The inclusion of Saint John the Theologian may also reflect the patron’s Greek devotional identity. The Evangelist’s close association with the island of Patmos, where according to tradition he received and wrote the Apocalypse, would have carried particular resonance for a Greek monk and pilgrim milieu. The icon thus unites personal piety, monastic devotion, and local sacred geography within a single, carefully conceived image.

Starting price: 3500€
Estimate: 4000-6000€
Hammer Price: €

Rare memorial pilgrim Cross with the Crucifixion
Palestine, probably Jerusalem, second half of the 19th century
Wood, mother-of-pearl; carved and pierced relief
Dimensions: 22 x 13,5 x 5,5 cm.
A wooden four-ended cross with expanded, shaped terminals, clad on the front and along the edges with finely carved mother-of-pearl plaques. At the center is a high-relief representation of the Crucified Christ. Above His head appears the titulus with the inscription INRI, while below is the skull of Adam, the traditional symbol of Golgotha and of Christ’s redemptive sacrifice. The four terminals contain carved representations of the Evangelists, each shown seated within an architectural setting. Pierced borders and radiating mother-of-pearl elements lend the object a refined silhouette and enhance the shimmering quality of its surface.
This type of object belongs to the group of Christian pilgrimage souvenirs known as eulogiae, that is, blessed devotional keepsakes acquired at major sacred centers. In 19th-century Palestine, especially in Jerusalem, workshops produced a wide range of such objects in mother-of-pearl, from small crosses and icons to more elaborate liturgical works. The present example is characteristic of that tradition in both material and iconography.
Of particular importance is the handwritten Cyrillic inscription on the reverse, now partly faded. It may be read approximately as identifying the object as a “Jerusalem cross” given to Hieromonk Father Polycarp of the Russian monastery on Mount Athos “as a blessing and in remembrance of the most holy places.”

Starting price: 2500€
Estimate: 3500-5000€
Hammer Price: €

An unique Byzantine period orthodox silver-gilt, niello and cabochones reliquary with Crucifixion.
Balkans, probably Stenimachos or Philippopolis region, Athonite workshop, 1645.
Silver, gilding, niello, semi-precious cabochons; repoussé, chasing, engraving, punching, niello inlay, stone setting.
Dimensions with suspension ring: 11.5 × 8.5 × 4 cm.
Weight: 272.8 g.
Inscriptions: Greek dedicatory inscription on the reverse, naming the Monastery of the Mother of God Petritsiotissa of Bachkovo, the True and Life-Giving Cross, the donor Hieromonk Matthaios, prohegoumenos, and the date 1645.
A rare post-Byzantine staurotheke-enkolpion, conceived both as a reliquary for a particle of the True Cross and as a pectoral devotional object. The rectangular silver-gilt case is fitted with suspension rings and a chain.
The front cover is decorated with the Crucifixion. Christ is shown on the Cross beneath the titulus with the abbreviated inscription “ΙΝΒΙ”, Jesus of Nazareth, King of the Jews. He is flanked by the Virgin Mary and Saint John, both rendered in engraved and chased linear modelling. The gilded ground is densely punched and enriched with multicoloured cabochons, including green, purple, blue and red stones, probably peridot, amethyst, turquoise or aquamarine, and garnet.
The reverse is ornamented with nielloed foliate scrolls and a central rectangular panel. Around it runs the Greek donor’s inscription, which may be translated as: “Reliquary of the True and Life-Giving Cross of the Monastery of the Mother of God Petritsiotissa of Bachkovo, made at the expense of Prohegoumenos Hieromonk Matthaios, 1645.” In the centre is a stylised flowering branch, a motif connected with the Tree of Life and widely used in post-Byzantine and Balkan ornamental art of the seventeenth century.
The side panels are decorated with alternating bands of floral scrollwork, niello ornament and geometric borders.
The object belongs to the artistic milieu of the Bachkovo Monastery, one of the most important Orthodox centres in the Balkans, founded in the eleventh century and closely connected with Georgian, Byzantine and later post-Byzantine traditions. Reliquary was probably made in a regional goldsmith’s workshop, possibly in Stenimachos or Philippopolis, or in an Athonite workshop. The surviving chain indicates that it was worn on the breast as an enkolpion, serving both a devotional and protective function.

Starting price: 15000€
Estimate: 20000-25000€
Hammer Price: €

Russin Icon of Saint Seraphim of Sarov
Moscow, Ivan Alexeevich Alexeev, 1899-1908.
Tempera on wood, silver oklad, enamel.
Marked: maker’s mark of IAA; 84 zolotnik silver standard, Moscow assay mark. Dimensions: 22,7 x 18 x 3,3 cm.
A refined icon in pseudo-russian style depicting Saint Seraphim of Sarov, shown half-length in monastic habit and epitrachelion, with his right hand placed upon his chest in a gesture of prayerful humility. The saint’s ascetic face, softly modelled and framed by a long pale beard, is set within an elaborate silver oklad, while the halo is enriched with polychrome enamel ornament of stylised foliate scrolls in blue, white, red, and pale green. At the lower border – plaque with the saint’s name in blue cloisonne enamel.
The icon was produced in the workshop of Ivan Alexeevich Alexeev, a Moscow silversmith and owner of a factory founded in 1876, known for silver icons, folding shrines, and other devotional objects in 84 standard silver. Alexeev’s works, marked “И.А.” or “И.А.А.”, are valued for the quality of their execution and for their characteristic combination of silver mounting and enamel decoration.
Comparable items: https://www.sothebys.com/en/buy/auction/2025/faberge-imperial-revolutionary-art-l25113/a-parcel-gilt-cloisonne-and-champleve-enamel-icon-2 https://www.christies.com.cn/en/lot/an-important-cloisonne-enamel-silver-gilt-triptych-icon-6321969/?intObjectID=6321969&lid=3

Starting price: 6000€
Estimate: 8000-12000€
Hammer Price: €

Icon “The Mother of God of Korsun”
Vladimir, 1857
Icon: wood, tempera, gold leaf
Riza: silver 84, chasing, engraving, gilding, niello, enamel, colored stones or glass
Master: F. Che
Dimensions: 33 × 27.5 × 5 cm
Riza weight: 558.5 g

An baroque-style 19th-century Russian icon of The Mother of God of Korsun, covered with a finely worked silver riza richly decorated with chasing, gilded details, and inset colored stones. The engraved inscription identifies the icon as “Korsun Mother of God, 1857.”

According to ancient tradition, the original Korsun icon was painted by St. Luke the Evangelist and brought from Ephesus to Kiev by Prince Vladimir after his baptism in 988. The image later resided in Novgorod and then in Moscow’s Dormition Cathedral, where it became one of Russia’s most revered relics.

Another legend connects the icon with St. Euphrosyne of Polotsk, who received it as a gift from the Byzantine Emperor and Patriarch in the 12th century. It was later brought to Toropets by Princess Paraskeva, wife of St. Alexander Nevsky, and became famous for its miracles and protection of the city.

Icons of the Korsun type belong to the “Tenderness” (Umilenie) family, symbolizing the deep spiritual and human bond between the Virgin and the Christ Child.

Starting price: 2500€
Estimate: 3000-3500€
Hammer Price: €

Icon “John the Evangelist”
Yaroslavl, late 18th century
Tempera on wood, gesso, gold leaf and melted gold
Riza: silver (84 zolotniks), gilding, chasing
Moscow, 1814, maker’s mark AG
Dimensions: 33 × 28 × 4.5 cm
Riza weight: 349.5 g

This refined icon depicts Saint John the Evangelist, portrayed in deep reflection as he writes the Gospel under the guidance of an angel. The composition is filled with warmth and psychological depth, characteristic of the Yaroslavl School of the 18th century — one of the most expressive traditions of Russian icon painting.

The Yaroslavl school emerged in the 16th–17th centuries during a period of artistic flourishing. Many of its painters came from artisan backgrounds, which shaped their unique visual language: soft color transitions, emotional faces, and lively gestures. Unlike the austere icons of earlier centuries, Yaroslavl works combined devotion with a deeply human sensibility.

By the 17th century, Yaroslavl had become a major center of iconography. Its artists contributed to the decoration of key cathedrals, including the Assumption Cathedral of the Moscow Kremlin and the Church of Elijah the Prophet in Yaroslavl. Despite the growing influence of Western art, Yaroslavl icon painters preserved traditional techniques and aesthetics well into the 19th century.

The silver-gilt riza in classicism style, crafted in Moscow in 1814, enhances the sacred image with delicate gilding and chased ornamentation, highlighting the saint’s spiritual authority and contemplative grace.

Starting price: 2500€
Estimate: 3000-3500€
Hammer Price: €

Icon of Saint John the Baptist
Central Russia, second half of the 19th century
Tempera on wood
Dimensions: 35.5 × 30.5 cm

A finely painted Russian icon depicting Saint John the Baptist, portrayed half-length and holding a chalice containing the image of the infant Christ — a symbolic reference to his prophecy of the coming of the Savior and his role as the Forerunner. In his left hand, the saint holds a scroll with a passage from the Gospel.

The borders feature Saint Anna on the left and a Guardian Angel on the right, painted within small decorative panels.

Starting price: 400€
Estimate: 500-600€
Hammer Price: €

Russian icon of Saint Joasaph, Bishop of Belgorod.
Central Russia, after 1911.
Wood, gesso, oil; gilding, painted ornament, applied decorative pastiglia.
Dimensions: 31.2 x 27 x 3 cm.
Inscription: along the lower cartouche: “Св. Iоасафъ Еп. Белгород…”
Saint Joasaph, Bishop of Belgorod.
An icon depicting Saint Joasaph of Belgorod in full episcopal vestments, standing frontally within an architectural interior. The saint is shown as a hierarch: in a blue sakkos with floral ornament, omophorion, episcopal mitre and medallion panagia. In his right hand he holds a blessing cross; in his left, a staff with a green veil. In the upper left corner appears Christ Pantocrator in a cloud mandorla, blessing the saint and holding the Gospel.
The border is richly decorated with gilded relief ornament imitating the effect of an enamelled or jewelled frame. Scrolling foliage, dark blue reserves, green and turquoise accents, and rows of small pearl-like beads create a festive ornamental setting.
Saint Joasaph of Belgorod, who died in 1754, was one of the most venerated Russian hierarchs of the eighteenth century. His incorrupt relics and reported miracles formed the basis of a powerful local and national cult, and his official glorification by the Russian Orthodox Church in 1911 led to a broad dissemination of his icons. The present image should therefore be understood in the context of this renewed veneration on the eve of the First World War.

Starting price: 800€
Estimate: 1000-1200€
Hammer Price: €

A Russian brass and enamel icon of “Mother of God of Smolensk”. The mid of the 19th century.
Dimensions: 12.5 x 10 cm.

Starting price: 150€
Estimate: 200-250€
Hammer Price: €

Ovchinnikov. Icon of Saint Martyr Panteleimon.
Silver, gold, filigree, gliding, cloisonné enamel, oil painting on wood.
Makers mark of «P. Ovchinnikov» with Imperial warrant. Moscow, 1896.

Dimensions: 10.3 x 9 x 2.2 cm.
Total weight: 290.2 g
Icon of Saint Panteleimon in a silver-gilt oklad by the Ovchinnikov firm. The central is painted in oil on wood; the saint’s nimbus and garments are overlaid and made with 24k gold. The cover is decorated with cloisonné enamel in blue, white, and red, arranged in geometric and floral patterns referring to traditional Russian wooden architecture.
Saint Panteleimon, patron of physicians, was a popular subject in 19th-century Russia. The Ovchinnikov workshop, Imperial Court supplier, was renowned for enamel and silverwork of the highest quality, celebrated at international exhibitions.
See similar:
https://www.sothebys.com/en/auctions/ecatalogue/2011/russian-works-of-art-faberg-and-icons-l11113/lot.634.html
https://www.christies.com/en/lot/lot-5091302

Starting price: 8000€
Estimate: 10000-15000€
Hammer Price: €

Ovchinnikov. A Russian Silver-Gilt and Cloisonné Enamel Travel Icon of St. Vladimir
Maker’s mark “PO”. Moscow, 1899–1908
Silver (84 zolotniks), gilt, cloisonné enamel, polychrome en-plein enamel
Dimensions (with hanger): 10 × 6.3 cm
Weight: 84 g

This finely crafted travel icon depicts St. Vladimir, the Baptizer of Rus’, rendered in enoplein polychrome enamels within an ornate silver-gilt frame. The saint is shown crowned, holding a red cross in his right hand and a sword in his left, symbolizing both his royal authority and his spiritual mission. Above, on the suspension loop, appears the Mandylion—the image of Christ.

The piece was made by the celebrated Moscow workshop of Pavel Akimovich Ovchinnikov, one of the leading jewelers of the Russian Empire. Founded in 1853, Ovchinnikov’s firm was the first in Russia to produce works in the Old Russian style, reviving medieval decorative traditions through cloisonné enamel and filigree.

Renowned for its exceptional craftsmanship and artistry, the Ovchinnikov factory collaborated with prominent Russian artists and architects such as Ippolit Monighetti, Alexander Opekushin, Eugene Lanceray, and Viktor Vasnetsov. The firm supplied the Imperial Court and the Orthodox Church with liturgical items, including altar Gospels, processional crosses, icon covers, chalices, and censers, achieving the highest artistic standards of its time.

Comparable examples:

Sotheby’s, Russian Works of Art, Fabergé & Icons, London, June 2014, lot 507 https://www.sothebys.com/en/auctions/ecatalogue/2014/russian-works-art-faberge-icons-l14116/lot.507.html
Christie’s, Russian Works of Art, Fabergé and Icons, London, November 2014, lot 38 https://www.christies.com/en/lot/lot-5896351

Starting price: 6000€
Estimate: 7000-9000€
Hammer Price: €

Khlebnikov. Russian Icon of Saint Guardian Angel in Neo-byzantine style 

Silver, cloisonné enamel.
Makers mark of «I.KH» with Imperial warrant. Moscow, the end of the 19th century.
Silver, cloisonné enamel (Byzantine technique)

This icon is executed in the Byzantine enamel technique, distinguished by bright polychrome en plein surfaces, deep translucence, and precise detail. The Saint Angle is depicted frontally, holding in the left hand sphere and the cross in the right one. The figure is adorned in richly coloured vestments with enamel in palette of white, blue, yellow and red, framed by a finely worked nimbus with stylised spiral ornament.
The Khlebnikov firm, founded in Moscow in 1867, was one of the foremost Russian producers of silver and enamelware in the late Imperial period. Known as Supplier to the Imperial Court, the workshop gained renown for reviving and modernising ancient Russian and Byzantine decorative traditions. Its masters excelled in cloisonné enamel, producing icons, liturgical objects, tableware, and presentation pieces, many of which were exhibited at international exhibitions and awarded highest prizes.
This plaque exemplifies Khlebnikov’s interpretation of Byzantine heritage, combining medieval artistic vocabulary with the technical perfection and luxurious materials typical of Russian decorative arts at the turn of the century.

Starting price: 800€
Estimate: 1000-1200€
Hammer Price: €