Russian Icon with Four Saints - second half of the 19th century

Heigth x width: 37 x 21 cm
Tempera on panel
Icon depicting four standing saints, identified by the Slavonic inscriptions placed above their respective halos. From left to right are Saint Basil the Great, Saint Alexander Nevsky, Saint Irene, and Saint Pelagia, assembled according to a devotional scheme most likely intended for a family or commemorative commission.
Saint Basil the Great is portrayed in episcopal vestments, blessing with his right hand while holding a liturgical chalice in his left, alluding to his authority as one of the Fathers of the Church and to the Divine Liturgy that bears his name.
Beside him stands Saint Alexander Nevsky, depicted as a warrior prince wearing an ermine-lined mantle and princely attire, in a solemn frontal pose. His presence emphasizes his role as a defender of the Orthodox faith and of the Russian nation.
The third figure represents Saint Irene, identifiable by the martyr's palm held in her right hand, symbolizing her Christian witness. The composition concludes with Saint Pelagia, shown with her hands joined in prayer, according to the traditional iconography of the penitent female saints.

The four figures stand against a sumptuous gold-leaf background, finely engraved and tooled with floral and vegetal motifs. Their halos are enriched with elaborate radiating and geometric ornamentation executed through engraving and punchwork. The elegant gilded border, likewise lavishly decorated, enhances the richness of the composition and is characteristic of the finest Russian icon workshops of the second half of the nineteenth century.



Item condition grading: *** fair.
The lot is in a good state of preservation with the normal wear and defects commensurate with its age and use over time. The painted surface is in fair overall condition, displaying widespread age-related craquelure affecting both the ground layer and the paint surface, consistent with the age of the work. Minor surface abrasions, small areas of paint loss, limited wear along the margins, and modest deterioration of the gilding are present, particularly in the engraved areas of the background and halos. Light scratches and localized retouching are also visible, none of which significantly affect the overall legibility of the image.
The wooden panel appears structurally stable and retains its original rear crossbatten, fitted in accordance with the traditional Russian method of construction. The reverse shows the expected signs of age and use, with no evidence of invasive structural restorations.