- 243
a russian icon of the annunciation, moscow school, 18th century
Estimate
8,000 - 12,000 USD
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Description
- 20 5/8 x 16 1/4 in.
- 52.4 x 41 cm
Condition
good condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The icon probably comes from the Festival Row of a small church, and it shows the event of the announcement of the good news delivered by the Archangel Gabriel as taking place within a building interior. In spite of the many Baroque elements present in the painting style of this icon, its iconography conforms to the original Byzantine representations of the event. The architectural interior reflects certain opulence and the figures are given mass with flowing clothing and round faces. The fullness with which the figures are conceived and the copious modeling of the faces is certainly derived from the Imperial Court style established in Moscow by Simon Ushakov.