Ca. 1910 exceptional, large, and opulent liturgical tabernacle made of gilt silver and cloisonné enamel by a famous Moscow silversmith Dmitry Shelaputin. The tabernacle is made in a shape of an Orthodox church with an onion dome and four turrets surmounted by enameled crosses.  The front doors are engraved with an image of the Annunciation of the Virgin Mary. The side panels depict Christ as a Prisoner, Prayer of the Cup (the Agony in the Garden), and Christ in Majesty. 

The tabernacle is fully hallmarked throughout and is preserved in superb original condition. 

18th-century angel-form reliquary made of painted and gilded wood with front glass panel housing significant first-class ex ossibus (of the bone) relics of two Unmercenary healers: Saints Cosmas and Damian. The relics are affixed to a red silk background and identified on paper cedulae labels as S. Cosmae Mart. / S Damiani Mart. (Saint Cosmas Martyr / Saint Damian Martyr). On the back, the reliquary is protected by a crisscrossed silk ribbon held in place by four seals of red Spanish wax with clear imprints of a coat of arms of an unidentified Catholic Bishop. The reliquary has damage on the left side where the arm is partially missing. 

19th-century French cruciform  reliquary monstrance made of ebony wood decorated with solid silver finials and rays of light housing a glass-fronted silver theca with particles from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted removable theca placed in the center of the reliquary and identified in Latin as Verae Crucis ([from the] True Cross). The theca is secured by an undisturbed seal of red Spanish wax with an imprint of a coat of arms of Fr. Giovanni Pietro Augustoni O.E.S.A. (†1839), Titular Bishop of Porphyreon and and Sacristan of the Apostolic Palace (1829–1839). It comes with an original matching authetics documents issued and signed by Fr. Augustoni in 1838. The reliquary is housed in its original fitted leather-clad case.

Opulent 18th-century Baroque reliquary monstrance of giltwood decorated with Arma Christi (Instruments of Passion) and housing very large and important relics from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted cruciform cavity located in the center of the monstrance and identified on a paper cedula label as  De Ligno S. Crucis DNJC  (of the wood from the Holy Cross of Our Lord Jesus Christ). On the back, the cavity is secured by four seals of red wax with a perfectly preserved imprint of a coat of arms of Antonio Paganini, Vicar General to Giuseppe Saporiti (+1767), Archbishop of Genoa (1746-1767). Fit for public veneration.

Spectacular large silver crystal-fronted reliquary decorated with opulent floral ornamentation and housing significant first-class ex ossibus (of the bone) relic of Saint Christopher.  Substantial relic is affixed to the background of red silk decorated with paperole ornamentation and identified on a paper cedula label as S. Christopha/ri M. (St. Christopher, Martyr). On the back, the theca is secured with a perfectly preserved seal of red Spanish wax bearing a faint imprint with a coat of arms of an unidentified Catholic Bishop.

An opulent cruciform reliquary monstrance profusely decorated with filligree silver housing extremely large particles from the wood from the True Cross of Jesus Christ. The relics are in the cruciform shape and identified in Latin in red ink on a manuscript cedula label as Lingo SS-mae Crucis D.N.J.C. (Wood from the Most Holy Cross of Our Lord Jesus Christ).  On the back, the reliquary is secured by three undisturbed seals of red Spanish wax with clear imprints of a coat of arms of Monsignor Luigi Del Drago, the Archpriest of the Basilica di Santa Maria Maggiore in Rome (1839-1845). Comes housed in the perfectly preserved original tooled leather-clad silk-lined case of issue.

A large church icon depicting the crucified Christ flanked by the Virgin Mary, St. John the Apostle, St. Mary Magdalene, and St. Longinus the Centurion. In the corners are depicted the Sun and the Moon, behind the Cross are the walls of Jerusalem, and below is the Adam's head. The enameled plaque, just above Christ’s head, reads "The Crucifixion of Our Lord." The abbreviated inscriptions around Christ's head read: "Jesus Christ, King of Glory and Son of God." The heavy parcel-silvered brass revetment cover and the halos are decorated with intricate polychrome enamel. The icon dates to the 18th century and the embellished cover was added in the 19th century.

Spectacular Russian Orthodox icon depicting the Severed Head of St. John the Baptist resting on a platter. An 18th-century central panel was embellished in 1803 by adding borders depicting parents of St. John the Baptist - St. Zechariah and St. Elisabeth and by covering the icon in an elaborate gilt silver cover with the halo further decorated with glass crystals. The inscription on the bottom part of the icon is the Orthodox hymn sung during liturgy dedicated to the Beheading of St. John. The icon's cover is stamped with a hallmark of a silversmith Yegor Antipiev in Moscow and 1803 date. 

Large icon depicting the New Testament Trinity of Jesus Christ, God the Father, and the Holy Spirit above. Jesus is pictured on the left seated with a closed book of the Gospels, God the Father as the venerable old white-bearded man on the right, between them the traditional Russian eight-pointed cross. Above them the Holy Spirit appears as a dove in divine light. 

Attractive large oval glass-fronted brass reliquary theca housing significant and important relic of Saint Valentine of Rome, Bishop and Martyr. Very large (3 cm or 1  1/4 inches long) first-class ex ossibus (of the bone) relic is affixed on a background richly decorated with gilt paper and silk flowers and identified in a fancy cut paper cedula label as Ex Oss S. Valentini Mart. (Of the bone of Saint Valentine, Martyr). On the back, the theca is secured by a seal of red Spanish wax with an imprint of a coat of arms of Cardinal Bernardino (†1807), the Archbishop of Senigallia and an important official of the Vatican Curia. 

An attractive French glass-fronted frame of lacquered wood containing a facsimile third-class touch relic of the Holy Nail of Jesus Christ. The relic is certified by a seal of red Spanish wax bearing an imprint of the Monastery of the Holy Cross of Jerusalem in Rome. 

The reliquary frame contains an original matching authentics document stating the following:

We attest to each and every one reading the present document that the enclosed three iron nails fastened with red silk ribbons to the secure seals, were placed near the Sacred Nail, the very sacred relic with which Our Lord Jesus Christ was nailed to the cross, that We, the Cistercians preserved in the inner chapel of the urban Basilica of the Holy Cross in Jerusalem, and the nails were made artistically to be elaborate so that it may seem very similar to the original. This document is issued in Rome in our Monastery of the Holy Cross in Jerusalem on July 2, 1870.

In addition, the reliquary frame contains the following items:

1. A cloth ribbon -  3rd class touch relic of the Column of Flagellation of Christ inscribed MISURA DELLA COLONNA DI CRISTO NRO SIGNORE ALLA QUALE FU FLAGELLATO (A Measure Of The Pillar Of Christ Our Lord At Which He Was Flagellated);
2. A mother-of-pearl pilgrim's cross from the Holy Land;
3. A dried up branch from an olive tree with a hand written label Olivier de Terre Sainte (Olive from the Holy Land);
4. An engraving with a depiction of the relic of the Titlo from the Cross of Jesus housed in the Basilica of the Holy Cross in Jerusalem in Rome;
5. An envelope with a pebble relic from the Sepulcher of Christ;
6. Two envelopes with a pebble relic from the Column of Flagellation of Christ;
7. An envelope with a pebble relic from the Grotto of Gethsemane.

The reliquary is suitable for private and public veneration. 

The icon is depicting Christ's Descent Into Hades and Anastasis (Resurrection). Christ is shown in two scenes – above in the act of Resurrection and below in his descent into Hades, breaking down the doors of Hell, binding Satan and rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament, David and Solomon wearing the crowns, John the Baptist with the scroll in hand. Feast day: Easter Sunday. 

18th-century Russian icon in silver revetment cover depicting rare iconography of the New Testament Trinity of Jesus Christ, God the Father, and the Holy Spirit above blessing St. John the Chrysostom. Hallmarked with a Moscow town mark, CA. 1776 assayer's mark, and maker's initials. Ca. 1849 inscription on the back explains the icon's provenance. 

A fine Russian icon depicting Christ in the Tomb also known as King of Glory and Humility of our Lord. This iconography is one of the most ancient images of Christ taking its origins from the 12th century  Byzantium. On the icon, Christ is depicted half-figured, standing in His tomb against the background of the Cross with His head is bowed and eyes are closed. The image is surrounded by the text in Old Slavonic from the Orthodox liturgy of the Great Entrance.

The image on the icon “King of Glory” seems to speak of the connection between the soul and body, death and resurrection, and the transition of Christ from earthly life to his resurrection. The icon symbolizes the earthly suffering of Christ for all mankind and His ascension. In Byzantium and Ancient Rus', the icon of Christ in the Sepulcher was a festive icon of Good Friday.

The icon is finely painted and is covered by a thick silver revetment cover hallmarked with the town mark of Saint-Petersburg, assayer's mark dated 1857, and maker's mark Ф.В for Feodor Verkhovtsev (active 1819-1867). 

The icon is depicting theree Christian Martyrs - St. Mary Virgin, St. Alexander of Rome, and St. Queen Alexandra. The iscription on the back dated 1912 indicates a gift from the nuns to their mother superior. 

St. Theodora Martyr and St. Gabriel the Archangel are depicted full figured standing under the miracleworking icon of Our Lady of Kazan.

Spectacular and important 18th-century large cruciform silver reliquary theca decorated with intricate floral filigree ornamentation housing unusually large particle relics of the wood from the True Cross of Jesus Christ. The precious relics are displayed in a cruciform shape and identified in Latin as D.N.J.C. (Our Lord Jesus [Christ]).  On the back, the reliquary is secured with a seal of red Spanish wax bearing an imprint with a coat of arms of an unidentified Roman Catholic Bishop. The reliquary is accompanied by a silk-lined .case of gilt-tooled Florentine leather. 

19th-century French large cruciform  reliquary monstrance made of  wood decorated with solid silver caps and center detail and housing a theca with particles from the wood from the True Cross of Jesus Christ. The substantial relics are displayed in a  crystal-fronted silver theca placed in the center of the reliquary. On its back, the theca is secured by an undisturbed seal of red Spanish wax with an imprint of a coat of arms of an unidentified Roman Catholic Cardinal. The base of the monstrance has a hallmarked solid-silver plaque with the following inscription in French:

"The oak from which this cross is made is contemporary with the birth of Christianity, it was found near Sombernon, a few years ago in a Roman aqueduct whose construction dates back to the conquest of Gaul, it owes its black color to its long stay underground. [dated] 1851."

19th-century French cruciform  reliquary monstrance made of ebony wood decorated with hallmarked solid silver fleur-de-lis finials and housing a theca with particles from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted removable theca placed in the center of the reliquary and surrounded by a cruciform micromosaic depicting the Instruments of Passion (Arma Christi). The theca is secured by an undisturbed seal of red Spanish wax with an imprint of a coat of arms of the Order of Friars Minor.

A large ca. 18th century cruciform altar reliquary monstrance of gilt wood housing relics from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted  cavity located in the center of the monstrance where they are affixed in a cruciform shape to the background of red silk. On the back, under a protective lid, the cavity is secured by a seal of red wax with a perfectly preserved imprint of a coat of arms of an unidentified Roman Catholic Bishop.  Suitable for public veneration.

Elaborate Baroque 18th-century monstrance of gilt wood with crossed Arma Christi surmounted by carved wooden canopy containing oval silver glass-fronted theca housing relic of the Passion of Jesus Christ: particles of the Wood from the True Cross. The relics are mounted in cruciform shape on a background of red silk and surrounded by gold burst and twisted silver wire decoration. They are identified on elaborately cut out paper cedula label as Ex Lingo SS-mae Crucis D.N.J.C. (From the wood of the Most Precious Cross of Our Lord Jesus Christ). The theca is authenticated on the back with perfectly preserved red wax seal of Francesco Gaetano Incontri (†1781), the Archbishop of Florence (p. 1741-1781). 

A 16th-century icon depicting the Descent Into Hades and Anastasis (the Resurrection). Christ is shown in two scenes – above in the act of Resurrection and below in his descent into Hades, breaking down the doors of Hell, binding Satan and rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament, David and Solomon wearing the crowns, John the Baptist with the scroll in hand. Feast day: Easter Sunday.

18th-century oval silver double-crystal reliquary theca decorated on the top with bow-shaped silver wire ornamentation and housing relics of the Twelve Apostles of Christ centered around the relic of the True Cross. The relics are affixed to a gold silk background decorated with gilt paperolle, silver wire, and floral ornamentation and identified on manuscript cedulae labels as St. Peter the Apostle, St. Paul the Apostle, St. Andrew the Apostle, St. James the Great the Apostle, St. Philip the Apostle, St. [Jude] Thaddeus the Apostle, St. Matthew the Apostle, St. Bartholomew the Apostle, St. Matthias the Apostle, St. Simon the Apostle, St. James [the Less] the Apostle, and St. Thomas the Apostle. On the back, the theca is secured with a well-preserved seal of red Spanish wax bearing an imprint of an unidentified Roman Catholic Bishop.

A fancy cruciform silver pendant housing a smaller reliquary housing large particle relics of the Wood from the True Cross of Jesus Christ. The relics are displayed in a cruciform shape within a smaller glass-fronted silver reliquary cross inserted into a larger silver pendant decorated on the back with the image of Crucified Christ.  On the back, the reliquary is secured with a seal of red Spanish wax bearing an imprint with a coat of arms of the Order of Saint Augustine (Augustinian Hermits). The relic is accompanied by the original matching authentics document issued in Rome by Fr. Daniel Delgado of a Virgin Rosary of the Order of Saint Augustine in 1932 in which the relic is described as Ligno Sanctissimu Crucis Domini Nostri Jesu Christi ([of the] Wood from the Most Precious Cross of Our Lord Jesus Christ).

18c large oval glass-fronted silvered brass reliquary theca housing relics of the Wood from the True Cross of Jesus Christ surrounded by eleven Arma Christi (Instruments of Passion) relics.

The relics are as follows: 

1. (Center) - Of the Wood from the True Cross
2. De Scala Cruciae - from the Holy Stairs of the Cross
3. De Spina - Of the Thorn from the Crown of Thorns
4. Monte Calvariae - Pebble from the Mount Cavalry
5. De Spongia - Of the Holy Sponge
6. De Lingo Mense - Of the Wood from the Table of the Last Supper
7. De Pane Bened. - Of the Blessed Bread
8. Sacre Monte Sion - Pebble from the Mount Zion 
9. ex Veste Alba - From the White Garment
10. De Linteo - Of the cloth [of the Holy Shroud]
11. De Col. flag, D.N.J.C. - from the Column of Flagellation of Our Lord
12. De Sepulcre D.N.J.C. - from the Holy Sepulcher of Our Lord 

The relics are affixed to the ground of blue silk, surrounded by gilt paperolle ornamentation and identified in Latin on manuscript cedulae labels.  On the back, under a protective cap, the reliquary is secured by a seal of red Spanish wax bearing an imprint with a coat of arms of Fr. Antonino Serafino Camarda O.P. (†1754), Bishop of Rieti, Italy (1724–1754).

A fine 18th-century silver pectoral cross housing seven precious relics of Christ's Passion centered around a relic of the True Cross. The relics are placed in the inner compartments covered by a hinged lid  held in place by a silver capped screw and identified in Latin on typeset cedulae labels as:

1. S. Spinensis Coronae D.N.J.C. - of the Crown of Thorns of our Lord Jesus Christ
2. S. Sceptrum D.N.J.C. - of the Reed Scepter  of our Lord Jesus Christ
3. [of the Wood of the True Cross of our Lord Jesus Christ]
4. S. Sudarii D.N.J.C. - of the Sweat Cloth (the Veil of Veronica) of our Lord Jesus Christ
5. S. Hasta D.N.J.C. - of the Spear of our Lord Jesus Christ
6. S. Spongia D.N.J.C. - of the Holy Sponge of our Lord Jesus Christ
7. S. Clav. D.N.J.C. - of the nail [from the Cross] of our Lord Jesus Christ
8. The last relic is unfortunately lost

The cross has a depiction of Christ on the front and back and is hallmarked on the ends of the cross's arms with an 18th-century mark of a silversmith from Napoli, Italy.

Rare 18th-century silver glass-fronted theca containing five significant threads from the Holy Shroud of Jesus Christ also known as the Shroud of Turin. The relics are affixed to a gilded paper starburst on the red silk background, surrounded by gold and silver wire ornamentation, and titled in 18th-century bi-color ductus as De Sindone DNJC (from the Shroud of Our Lord Jesus Christ). Theca is secured on the back by a perfectly preserved seal of red Spanish wax bearing a clear imprint of the coat of arms of an unidentified Roman Catholic Bishop.

An attractive oval glass-fronted silver reliquary theca housing sizable particle relics of the wood from the True Cross of Jesus Christ. The relics are displayed in a cruciform shape surrounded by silver wire ornamentation and identified in Latin on a manuscript cedula label as Ex Lingno SS. Crucis D.N.J. (of the wood from the Most Holy Cross of our Lord Jesus [Christ]).  On the back, the reliquary is secured with a seal of red Spanish wax bearing an imprint with a coat of arms of Cardinal Antonio Ligi-Bussi O.F.M. Conv. (†1862), Titular Archbishop of Iconium and Vicegerent (auxiliary Bishop) of the Diocese of Rome, Italy (1862). The relic is accompanied by the original matching authentics document issued by Monsignor Ligi-Bussi in 1862.

The triptych is executed on gold ground depicting in the central panel Holy Greatmartyr Demetrius on horseback dressed as a Roman soldier striking Satan underneath with walls of Thessaloniki behind them. The image is flanked on side panels by the full-figured depictions of Archangels Michael and Gabriel. The side panels close to a carved depiction of a double-headed Byzantine eagle. 

Incredibly rare touch relic made from the silver object that touched the most powerful and mysterious Passion relic - The Holy Spear of Jesus also known as the True Lance. The reliquary is affixed to the original  authentics document dated 1758 and issued and hand-signed by Fr. Nicola Manciforte (†1762), Bishop of Ancona. 

The document written in Latin translates as:

"...that this silver tip of a Lance, tied to this [letter] with a ribbon of red color, and secured with a small Seal of ours impressed in Spanish Wax, touched the Very Sacred Point of the Lance with which the Side of the Savior was pierced while he was hanging on the Cross; that it exists amongst the rest of the quite famous Relics, by the possession of which our Church was distinguished as the Cathedral of St. Cyriacus; and that it rouses and fosters the piety of the Faithful wondrously well, and draws them to itself...."

The Holy Spear is also known as the Holy Lance is the name of the very spear that had pierced Christ’s side when he hanged on the cross. The first person to refer to this as the Holy Spear was pilgrim Antoninus of Piacenza in 570 AD. While describing the holy places of Jerusalem, he said that in the Basilica of Mount Zion, there was the crown of thorns which Our Lord was crowned and the spear which was used to strike Him in the side. It was rediscovered by the European army of the First Crusade in the city of Antioch on June 15th, 1098, but eventually ended up in the treasury of Constantinople. It is documented, that the holy relic of the True Lance passed through Ancona (an Italian city on the Adriatic side of the Peninsula), in 1492 on its way from Bayezid II the Turkish Sultan (whose father obtained it in 1451 during the conquest of Constantinople) to Pope Innocent VIII by the hand of Pierre d'Abusson, Grand Master of the Knights of Rhodes. The Pope placed it the Treasury of the old St. Peter's Basilica in Rome with the volto santo where it is held in great veneration. It is now in one of the great piers of the present St. Peter's Cathedral and in front of it, over the image of Longinus is inscribed "The Spear of Longinus, which Innocent VIII, the Chief Pointif received from Bayezid Sultan of the Turks; Urban VIII transferred it to a decorated shrine rasing an image and erecting the shrine beneath." (see for more information: Relics from the Crucifixion: Where They Went and How They Got There. By J. Charles Wall.)

Since there are no records of the Cathedral of Ancona retaining a part of the True Lance when it was passing through the town on its way to Rome, it is believed that the offered relic was obtained by melting a larger silver object that touched the tip of the True Lance in 1492. A number of analogous documented reliquaries are known, but their number is extremely small and they are in very high demand because of the impossibility of making new touch relics from the True Lance held in the Vatican after it was transferred to the pier of St. Peter's basilica in the 17th century.

Oval glass-fronted silvered brass pendant reliquary theca housing ex Palio (of a coat) relic of Saint Joseph, Husband of the Blessed Virgin Mary. The relic is affixed to a multicolor silk ground surrounded by silver wire and gilt paperolle ornamentation and identified in Latin on manuscript cedula label as Ex Pal: S. Jos.  (of a coat of Saint Joseph).  On the back, under a protective cap, the theca is secured with a seal of red Spanish wax bearing an imprint of a coat of arms of Fr. Tiburzio Cortese (†1823), Bishop of Modena, Italy (1786-1823). The relic is accompanied by the original matching authentics document issued and sealed by the order of Bishop Cortese in 1807.

Large oval glass-fronted silver reliquary theca housing relics from the Holy Wood of the True Cross of Jesus Christ. The relics are affixed to a profusely decorated red silk background in a cruciform shape and identified on a paper cedula in the upper part as ex Lignum SS. Crucis. (from the Wood of the Most Holy Cross [of Our Lord Jesus Christ]). On the back, under a protective cap, the theca is protected by a seal of red wax with a clear imprint of a coat of arms of a Catholic Cardinal. 

Medium Russian Imperial porcelain Easter Egg with hand-painted image of Blessing Christ on the front and a traditional Russian Easter greeting "Christ is Risen!" on the back on the gold ground. Minor cosmetic scratches, otherwise very good original condition. 

The icon depicts the the crucified Christ flanked on the left by St.Martha, St. Paul and on the right with St. Mary and St. Anastasia. The vignettes with scenes of the Descent from the Cross and the Burial of Christ are depicted in the upper corners. 

Russian icon showing two Orthodox saints St. Anfimus, Bishop & St. Feoktist Monk depicted full-figured under a dove of the Holy Spirit on a gilt and intricately chased background. Dedication on the back in Russian dated 1914 to Abbess Sofia to commemorate 25th anniversary in position at the Orthodox convent. Significant because of inscription. 

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., the ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right.

Large Russian Imperial porcelain Easter Egg with hand-painted wild flowers and a traditional writing in Russian "Christ is Risen!" Light scratches on the surface, otherwise very good original condition. 

Large Russian Imperial porcelain Easter Egg with hand-painted wild irises and flowers and the abreviation XB for traditional Russian Easter greeting "Christ is Risen!". Very good original condition. 

Large Russian Imperial porcelain Easter Egg with hand-painted wild roses and flowers. Very good original condition. 

The icon is depicting seven selected Orthodox Saints: St. Andrew the Apostle, St. Qeen Helena, St. Nicholas of Myra, St. Maria, St. Stephen the Protomartyr, St. John the Theologian and St. Paraskevi the Friday surmounted by vignette images depicting the Dormition of the Most Holy Mother of God and Miracle of St George Slaying the Dragon. 

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right. The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labor and are heavy laden, and I will give you rest.”

St. Gregory the Great is depicted on the right border. 

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power, i.e., the ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the blessing gesture with his right. The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labor and are heavy laden, and I will give you rest.” 

The border saints are the Virgin Mary and St. John the Baptist forming the Orthodox Deisis. 

Medium Russian Imperial porcelain Easter Egg with hand-painted wild flowers and traditional Russian "Christ is Risen!". Very good original condition. 

Medium Russian Imperial porcelain Easter Egg with hand-painted wild flowers. Very good original condition. 

The Annunciation of the Blessed Virgin Mary, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation.

Metal icon of four-folding panels depicting “Twelve Principal Orthodox Feasts and Miracle-working Madonnas.”

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right.

The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labour and are heavy laden, and I will give you rest.”

In the center, the icon depicts Christ's Descent into the Hades and the feast of the Resurrection, called Pascha (Easter), is the greatest of the feasts of the Eastern Orthodox Church. In addition, there are other Twelve Great Feasts: 1. Nativity of the Most Holy Mother of God 2. the Exaltation of the Cross 3. the Presentation of the Theotokos 4. the Nativity of Christ/Christmas 5. the Baptism of Christ - Theophany, also called Epiphany 6. the Presentation of Jesus at the Temple 7. the Annunciation 8. the Entry into Jerusalem 9. the Ascension of Christ 10. Pentecost 11. the Transfiguration 12 .the Dormition of the Most Holy Mother of God.

Four additional images depicted on the icon are: the New Testament Trinity, Raising of Lazarus, Head of St. John the Baptist, and Beheading of St. John the Baptist.

The Protection (Pokrov) of the Most Holy Mother of God is one of the most beloved Feast days on the Orthodox calendar commemorated on October 1 celebrating the appearance of the Virgin Mary in Constantinople in the 10th century at the time when the people in the city were threatened by the Barbarian invasion. Saint Andrew, the Holy Fool with his disciple Saint Epiphanius, and a group of people, saw the Mother of God, Saint John the Baptist, and several other Saints and Angels during a vigil in the Church of Blachernae, nearby the city gates. The Mother of God approached the center of the church, knelt down and remained in prayer for a long time with her face drowned in tears. Then she took her veil off and spread it over the people as a sign of protection. After the appearance of the Mother of God, the danger was averted and the city was spared from bloodshed and suffering.  On the icon, the Theotokos is depicted standing on a cloud in aureola of green light holding her veil .

The icon depicts the greatest of the Eastern Orthodox Church's feasts  - the Resurrection of Jesus, called Pascha (Easter),  surrounded by Twelve Principal Orthodox Feasts: 1. Nativity of the Most Holy Mother of God 2. the Presentation of the Theotokos 3. the Annunciation, 4. the Nativity of Christ 5. the Baptism of Christ - also called Theophany or Epiphany,  6. the Transfiguration, 7. the Dormition of the Most Holy Mother of God, 8. The Old Testament Trinity, 9. the Ascension of Christ, 10. the Exaltation of the Cross, 11. the Entry into Jerusalem,  and 12. the Presentation of Jesus at the Temple.

The icon depicts realistically rendered Christ as Pantocrator ( "Almighty" or "All-powerful") - pictured half-figured blessing with his right hand while holding an Orb and a Cross in his left hand

Cast brass travel icon of three-folding panels depicting “The Twelve Principal Feasts.”

The unusual iconography depicting a child led to Heaven by two angels with the New Testament Trinity in the upper part of the icon. 

Saint Nicholas of Myra  (†343), was a historic 4th-century Saint and Greek Bishop of Myra. Because of the many miracles attributed to his intercession, he is also known as Nicholas the Wonderworker . He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, and thus became the model for Santa Claus. His reputation evolved among the faithful, as was common for early Christian saints. Saint Nicholas is the patron Saint of sailors, merchants, archers, thieves, children, and students in Greece, Belgium, France, Romania, Bulgaria, Georgia, Albania, Russia, the Republic of Macedonia, Slovakia, Serbia, and Montenegro. He is also the patron saint of Aberdeen, Amsterdam, Barranquilla, Bari, Beit Jala, Fribourg, Huguenots, Kozani, Liverpool, Paternopoli, Sassari, Siggiewi, and Lorraine. His feast day is 6 December.

Oval hand-painted finift porcelain plaque in gilt brass frame depicting the Resurrection of Christ. Some hairline cracks and vintage repairs on porcelain. 

The icon depicts of the Resurrection of Christ. 

Saint Nicholas of Myra  (†343), was a historic 4th-century Saint and Greek Bishop of Myra. Because of the many miracles attributed to his intercession, he is also known as Nicholas the Wonderworker. He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, and thus became the model for Santa Claus. His reputation evolved among the faithful, as was common for early Christian saints. Saint Nicholas is the patron Saint of sailors, merchants, archers, thieves, children, and students in Greece, Belgium, France, Romania, Bulgaria, Georgia, Albania, Russia, the Republic of Macedonia, Slovakia, Serbia, and Montenegro. He is also the patron saint of Aberdeen, Amsterdam, Barranquilla, Bari, Beit Jala, Fribourg, Huguenots, Kozani, Liverpool, Paternopoli, Sassari, Siggiewi, and Lorraine. His feast day is 6 December.

Christ is shown in his Descent into Hades, breaking down the doors of Hell, binding Satan and rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament,  Feast day: Easter Sunday.

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right.

Small Russian Imperial porcelain Easter Egg with hand-painted image of Risen Christ. Very good original condition. 

Half-lenght portrait of St. Mark the Evangelist from the Royal doors of the Iconostasis.

Small Russian Imperial porcelain Easter Egg with hand-painted wild flowers and traditional Orthodox Easter greeting "Christ is Risen!". Very good original condition. 

Medium Russian Imperial porcelain Easter Egg with hand-painted wild flowers and an abbreviation XB for a traditional Orthodox Easter greeting "Christ is Risen!". Very good original condition. 

Russian Orthodox eight-ended cross with a scene of the Crucifixion with mourners surmounted by the image of the Old Testament Trinity and the Holy Mandylion. A loop on the top part for hanging or for pectoral wear. 

A 19th-century casting in the style of the 17th century that was popular with the Old Believers community.

Small brass-cast travel icon depicting the Descent of Christ Into Hades. Christ is shown breaking down the doors of Hell rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament. Feast day: Easter Sunday. Decorated with 2-color enamel. 

Small brass-cast travel icon depicting the Descent of Christ Into Hades. Christ is shown breaking down the doors of Hell rescuing Adam and Eve. Behind them follow the kings, the prophets, and the righteous of the Old Testament. Feast day: Easter Sunday. Decorated with 2-color enamel.