Search

Start Over Collection place Central Asia Person depicted Mary (mother of Jesus)
Hearst Museum object titled Cross, accession number 7-5501, described as Cross; metal; traveling; blue enamel background; central part is crucifixion; top line above arms reads in translation: “The crucifixion of our Lord God Jesus Christ, Son of God”; Five scenes above surround scene with words, in translation: “The Lord Sabaoth Holy Ghost; angels of the Lord; King of Glory”; Four figures at base left to right represent St. Mary (Mary Magdalen), Mother of God, St. John the Evangelist and the Centurion Longimus. Four cherubs at top. Height 21.4 cm. (Skull at the base indicates location of the actual crucifixion (Golgotha), Greek corruption of Hebrew for “Place of the Skulls.” Cost $125.00.
Hearst Museum object titled Diptych, accession number 7-5618, described as Traveling icon, diptych; brass; scene on back of left half; Golgotha; inside left: Mother of God with Christ child being venerated by two saints; inside right: St. Nicholas flanked by Jesus on left; Mother of God on right; curvilinear design back of right half; width 6 cm., height 2.7 cm.
Hearst Museum object titled Icon, accession number 7-5502, described as Icon; metal; blue and white enamel background; four paneled; each panel has five scenes. Traveling icon, 19th century of “Twelve Holy Days and Four Miraculous Icons of the Virgin. See acquisition envelope for additional information. Width 41.2 cm, height 17.4 cm.
Hearst Museum object titled Icon, accession number 7-3540, described as Icon; large central figure; has been overlaid with plates obscuring painting; 2 horizontal braces from sides, large background icon identified by Alexa Saunders (11-2-1964) as St. Nicholas the Miracle Worker. 9.25 x 11.75 inches. This is a “family icon.” It was often hung in a corner (the right corner facing the door- the krasni or prekrasni ugol). The overlay of smaller metal icons is of fairly recent origin judging from the use of nails and screws although the metal icons themselves are very old. It was customary for all members of Orthodox families to each be named after a saint or a martyr. Usually the largest and finest icon therefore was of the saint or martyr after whom the father or head of family was named. The other saints (i.e. those patron saints of the rest of the family) surrounded the central figure even as a family surrounds a father. The largest metal enamel central icon (traces of white enamel remaining) can be described thus: Top portion: classic icon called “Glorification of the Virgin.” Left top: Saints Alexander and Cyril. Left bottom: Saints Antony and Theodosius. Right top: Vassily (the other member saints’ name is obscured). Right bottom: Again St. Anthony - the other saints’ name is undecipherable. The different aspects of the icons of the Virgin are: The Virgin of Novgorod The Virgin of Kazan The Virgin of Pechersk Skorbiashchenskaya Virgin The small icons surrounding the central one are all of different patron saints of the family, St. Nicholas appearing most often . The small folding icon at the very top is that of St. Nicholas again. This type of icon was sometimes worn on a chain about the neck or folded and carried about on trips. Probably no older than 17th century.
Hearst Museum object titled Icon, accession number 7-5475, described as icon; cast brass and enamel; depicts “Mother of God Jesus Christos”; Greek inscriptions as follows: left “Mother”, top right “of God”, lower right “Jesus Christos”; foliage and grape clusters with blue enamel found in self frame; height 11.3 cm, width 9.8 cm. Holy image associated with worship.
Hearst Museum object titled Icon, accession number 7-5498, described as Icon; metal; replica of “The Philanthropy of the Most Holy Mother of God”; six cherubs above God the Father in the clouds; below are the Virgin Mary, four angels and Jesus; people at base; height 13 cm.
Hearst Museum object titled Icon, accession number 7-3543, described as Enameled icon; brass; 1 of set; hinges filed off, rest missing; religious scenes including crucifixion. Five scenes depicted: A- The Crucifixion: Christ on cross surrounded on the top by angels who minister to Him while He is dying. His mother Mary and probably Mary Magdalen on the left and St. John and the Centurion Longinue on the right. B- Annunciation- Angel Gabriel announcing to Mary that she would be the Mother of God. C- Nativity- 2 angels on top; one on the right (angel of Annunciation) hanging Christmas Message to a young shepherd. Three Wise Men on the left of the Virgin holding their gifts. Virgin in center, Christ beside her in a crib, into which an ox and an ass are looking. Virgin looks down to lowest tier where old man (Isaiah) walks up to St. Joseph. One midwife pours water into basin, another holds Christ Child in her lap. D- Birth of St. Nicholas the Miracle Worker- Top tier- saint’s mother resting. Bottom tier- Baptism of St. Nicholas. E- St. Nicholas going t school for first time, with his uncle the abbot of a monastary.
Hearst Museum object titled Icon, accession number 7-5468, described as Icon; wood; painted; Virgin Mary and Christ child (Hodegetria type, c.f. 7-3542); late (circa 1800 at earliest), but high quality for period; height 38.6 cm, width 30.3 cm. Cost $600.00.
Hearst Museum object titled Icon, accession number 7-3542, described as Icon; silver; gilded or brass overlay; painting is complete under ver lay; Virgin and Child surrounded by 18 small paintings and 18 inscriptions on medallions telling story of icon; 54 cm x 43.5 cm. Possible from Moscow (Muscovite) School, 18th century. The central panel is a copy of the Tikhvin icon of the Virgin and Child (venerated since ca. 1383 A.D.), while the surrounding panels portray events and miracles connected with the original icon. Iconographically, this rendering of the Mother and Child is known by the name of “Virgin Hodegetria,” or “Pointer of the Way,” because Mary indicates the Child with the right hand, while the Child performs the blaessing with His right hand. An icon of this type is called Kleyma because of the separate paintings around the margin. The painting is overlaid with a silver basma, probably 19th century, with brass medallions upon which are inscribed commentaries on the small paintings. The commentary is in Church Slavic but under a very strong Russian influence. The original icon is venerated on the 26th of June by the Julian calendar (July 9 Gergorian calendar.
Hearst Museum object titled Icon, accession number 7-3541, described as Icon of “Our lady of Vladmir”; Virgin and Child in tempera and gesso on wood; gilded silver basma; cloisonne halo with cloisonne collar pendant; halo has glass and amber (?) ornamentation; Virgin’s face damaged; height 30.2 cm, width 26 cm.

Limit your search

View distribution

Current results range from 1900 to 1900

View larger Year collected

View distribution

Current results range from 1902 to 1967

View larger Accession year