What is the history of 18th-century Russian Orthodox icon painting?

During the 18th century, Russian icon painting evolved as traditional Byzantine visual rules integrated subtle Western European stylistic influences. Regional schools, such as those along the Volga River, maintained traditional egg tempera techniques and inset metal crosses while introducing richer colour palettes and detailed architectural backdrops.

What materials were traditionally used to construct Russian Orthodox icons?

Icons were constructed on seasoned wooden panels, often carved with a recessed central field called a kovcheg. The wood was coated with gesso, painted using mineral pigments bound with egg yolk tempera, and sometimes fitted with cast bronze or silver inserts before being sealed with an oil varnish.

How can authentic 18th-century Russian icons be identified?

Authentic period icons feature natural wood shrinkage, hand-cut joinery, stepped back borders, and layered egg tempera painting displaying faint craquelure. Inset metal elements typically show uneven casting, manual chasing, and natural oxidisation consistent with age.

How can a religious icon be styled within a contemporary interior design scheme?

Religious icons serve as focal points when displayed against neutral backdrop walls, integrated into gallery wall arrangements, or positioned inside dark wood bookcases alongside classical literature and antique brass objects.

How should tempera and wood icons be preserved and maintained?

Keep wooden icons in stable environments with consistent humidity to prevent panel warping or paint flaking. Dust gently using a soft, dry camel-hair brush, avoiding chemical cleaners, water, or abrasive polishes.

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Russian Orthodox Icon

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Early 18th-century Russian Icon, Volga Masters (Circle), the Crucifixion - Tempera on Wood with Silver and Gilt

Name: Early 18th-century Russian Icon, Volga Masters (Circle), the Crucifixion - Tempera on Wood with Silver and Gilt
Brand: Antique
SKU: SA1142307
Price: 1900 GBP
Availability: InStock

18th century

For Sale by Brave Fine Art

Description

This exquisite and exceedingly rare early 18th-century Russian Staurotek icon depicts The Crucifixion of Christ with an assemblage of saints, together with a 19th-century copper-cast eight-pointed cross, inserted in the central recess.

Due to the exceptional nature of this piece, we consulted Ilya Kushnirskiy, the Director of the Russian Icon Collection, who in turn contacted Anastasia V. Likhenko, Curator at the State Tretyakov Gallery, Moscow. Ms Likhenko kindly provided a detailed essay, in which she concluded that “this Staurotek, with its copper-cast cross, possesses significant historical, artistic, and collector's value.” Her paper will be included with the sale.

Staurotek icons, also known as Staurotheke, are specific to Eastern Orthodox Christianity and often depict a Crucifixion scene, with an elaborately decorated cross set within the image. Popular during the 18th and 19th centuries, metal icons offered both portability and durability, enabling the owner to carry a token of their faith at all times. They often survived continual use and, as such, were passed down through generations of the same family.

Here, in this early example, the figures are especially finely rendered and include, from left to right, a woman in a pink maphorion, the Mother of God, St. John the Theologian in a pink himation, and St. Longinus in a silver armour and a green tunic. They’re standing before a view of Jerusalem, and beneath a greenish sky with two seraphim and ‘luminaries’ (the sun and moon). It’s extraordinary that the original gilding is still present on the robes of the saints and the wings of the seraphim, while the armour of St. Longinus retains its original silver.

The cross itself is cast in copper and depicts Christ’s crucifixion with various associated symbolism. Above, is the image of God, together with a dove, to represent the Holy Spirit. At the foot lies the skull of Adam. The various inscriptions have been translated in Ms Likhenko’s paper, which also contains an attribution as follows:

“The elegance of proportions, the incredible subtlety of the painting, and the unique work with gold and silver indicate that the master who painted the scene of the Crucifixion from this Stavroteka was well acquainted with high-class examples of the Volga, and possibly Moscow art (for example, the Yaroslavl icon of the Crucifixion from the middle of the 17th century in the Andrei Rublev Museum, Moscow, or the Yaroslavl Crucifixion from the 1680s in a private collection, Moscow).”

Medium: Tempera on wood with silver and gilt

Overall size: 6” x 11” / 15cm x 28cm

Year of creation: c. 1720

Provenance: With Richardson & Kailas, Specialist in Icons (2001) / Private collection, UK.

Condition: Cleaned. Areas of fine and settled craquelure. The paint layer is stable. Various scuffs, abrasions and losses as expected given its use.

Our reference: BRV2091

Physical Dimensions

Height

28cm (11.02")

Width

15cm (5.91")

Depth

4cm (1.57")

Declaration

Brave Fine Art has dated this Russian Orthodox Crucifixion Icon to the 18th Century.

Reference Numbers

Sellingantiques Reference

SA1142307

Description

“

Due to the exceptional nature of this piece, we consulted Ilya Kushnirskiy, the Director of the Russian Icon Collection, who in turn contacted Anastasia V.

Brave Fine Art

Likhenko, Curator at the State Tretyakov Gallery, Moscow. Ms Likhenko kindly provided a detailed essay, in which she concluded that “this Staurotek, with its copper-cast cross, possesses significant historical, artistic, and collector's value.” Her paper will be included with the sale.

fig 1. An 18th-century Russian Orthodox wooden icon featuring a central inset cast metal crucifix flanked by tempera painted figures against a city skyline. — fig 1. Early 18th-century Russian Icon, Volga Masters (Circle), the Crucifixion - Tempera on Wood with Silver and Gilt

Staurotek icons, also known as Staurotheke, are specific to Eastern Orthodox Christianity and often depict a Crucifixion scene, with an elaborately decorated cross set within the image. Popular during the 18th and 19th centuries, metal icons offered both portability and durability, enabling the owner to carry a token of their faith at all times. They often survived continual use and, as such, were passed down through generations of the same family.

fig 2. An 18th-century Russian Orthodox wooden icon featuring a central inset cast metal crucifix flanked by tempera painted figures against a city skyline. — fig 2. Early 18th-century Russian Icon, Volga Masters (Circle), the Crucifixion - Tempera on Wood with Silver and Gilt

Here, in this early example, the figures are especially finely rendered and include, from left to right, a woman in a pink maphorion, the Mother of God, St. John the Theologian in a pink himation, and St. Longinus in a silver armour and a green tunic. They’re standing before a view of Jerusalem, and beneath a greenish sky with two seraphim and ‘luminaries’ (the sun and moon). It’s extraordinary that the original gilding is still present on the robes of the saints and the wings of the seraphim, while the armour of St. Longinus retains its original silver.

fig 3. An 18th-century Russian Orthodox wooden icon featuring a central inset cast metal crucifix flanked by tempera painted figures against a city skyline. — fig 3. Early 18th-century Russian Icon, Volga Masters (Circle), the Crucifixion - Tempera on Wood with Silver and Gilt

The cross itself is cast in copper and depicts Christ’s crucifixion with various associated symbolism. Above, is the image of God, together with a dove, to represent the Holy Spirit. At the foot lies the skull of Adam. The various inscriptions have been translated in Ms Likhenko’s paper, which also contains an attribution as follows:

fig 4. An 18th-century Russian Orthodox wooden icon featuring a central inset cast metal crucifix flanked by tempera painted figures against a city skyline. — fig 4. Early 18th-century Russian Icon, Volga Masters (Circle), the Crucifixion - Tempera on Wood with Silver and Gilt

“The elegance of proportions, the incredible subtlety of the painting, and the unique work with gold and silver indicate that the master who painted the scene of the Crucifixion from this Stavroteka was well acquainted with high-class examples of the Volga, and possibly Moscow art (for example, the Yaroslavl icon of the Crucifixion from the middle of the 17th century in the Andrei Rublev Museum, Moscow, or the Yaroslavl Crucifixion from the 1680s in a private collection, Moscow).”