Discover how the value of similar works has evolved over the past 10 years. Art is not only beauty — it's an investment.
Discover how the value of similar works has evolved over the past 10 years. Art is not only beauty — it's an investment.
The Holy Mandylion (Spas Nerukotvorny) is an outstanding example of late 19th-century Russian Orthodox art, in which strict canonical tradition is harmoniously combined with the virtuoso craftsmanship of the Moscow silversmithing school. The image of Christ, executed in tempera on wood, is distinguished by the soft modelling of the features, profound inner concentration, and a penetrating, contemplative gaze. The composition is complemented by two angels holding the cloth bearing the miraculous image, reinforcing the theological meaning and emphasising the idea of divine revelation and heavenly protection.
The icon is set within a sumptuous silver-gilt oklad created in 1894 in the renowned Moscow workshop of Ivan Filippovich Tarabrov. The oklad is richly adorned with cloisonné and champlevé enamels. The halo surrounding the face of Christ is decorated with an intricate ornamental design featuring deep blue, red, and white tones set against a gilt and blue ground. A distinctive characteristic of Tarabrov’s workshop is the use of gold foil beneath the red enamel, producing a luminous depth of colour and an inner radiance.
The cloth (ubrus) bearing the image of Christ is embellished with finely chased decoration on a silver ground, its edges framed by raised ornamental patterns on gilt surfaces. The corner plaques are adorned with vegetal motifs executed in filigree with enamel infill. The fields of the oklad are further enriched with elegant high-relief vegetal ornamentation and bordered by engraved bands, lending the composition harmony and refinement. Every detail of the oklad testifies to exceptional precision of execution and refined artistic taste, enhancing the sacred and solemn character of the image.
Marks: Cyrillic letters “IT” – maker’s mark of the silversmith Ivan Filippovich Tarabrov; Assay mark with the initials of the assay master “L•O” (Oleks Lev Fyodorovich) positioned above the date “1894”; Moscow city mark depicting Saint George slaying the dragon.
Technique and materials: Wood, tempera; silver, gilding; cloisonné and champlevé enamels; chasing, engraving, filigree.
Dimensions: 31.5 × 28 cm.
The image of the Holy Mandylion occupies a central place in Byzantine and Russian iconography. According to ancient tradition, the face of Christ was miraculously imprinted on a cloth and sent to King Abgar of Edessa, making it the first non-hand-made image of Christ. In Russian religious culture, this iconographic type gained particular prominence from the 15th century onward and became one of the principal symbols of Orthodox faith, spiritual protection, and divine presence.
By the late 19th century, the image of the Holy Mandylion had become an integral part of the repertoire of leading icon-painting and silversmithing workshops of the Russian Empire. The Moscow school was especially noted for its decorative richness, combining ancient canonical forms with the aesthetics of the late Imperial style. Founded in the 1870s, the workshop of Ivan Tarabrov achieved wide recognition for its exceptional quality and innovative technical approaches. His works demonstrate masterful handling of enamel, chasing, and gilding, as well as the distinctive use of gold foil beneath enamel layers.
Tarabrov’s oklads were exhibited at major national exhibitions, received high contemporary acclaim, and were acquired for both ecclesiastical and private collections. Today, comparable works are represented in leading museum collections, including the State Historical Museum, the Kremlin Armoury, and the State Tretyakov Gallery. The present icon, dated 1894, belongs to the mature period of the master’s oeuvre and vividly illustrates the defining characteristics of his style: impeccable technical execution, complex ornamental design, stylistic unity, and a rare balance between canonical severity and decorative richness. It stands among the most significant examples of late Russian icon-painting and silversmithing art.
The icon is in good antique condition. The enamels display natural age-related craquelure. The gilding remains bright. No losses observed. The painted surface is stable.
The condition report is provided for informational purposes only.
It is not comprehensive and may not reflect all defects, restorations, alterations, or adaptations, as Antiqon does not perform professional conservation-level assessments. The information is based on a qualified, yet subjective, evaluation by our specialists.Before purchasing, we recommend consultation with an independent expert.Please also consult our Terms and conditions and Glossary A-Z, which contain important information on lot characteristics and sale conditions.
