A Russian Religious Icon From Circa 19th Century

Nineteenth-century Russian icons are among the most approachable categories of Eastern Christian art for collectors and appraisers. They span everything from humble village panels to workshop-made icons with silver-gilt coverings and enamel, and they appear frequently at auction and in estates. This guide explains how to identify a 19th-century icon, read its materials and iconography, recognize condition and restoration issues, and understand the factors that drive value.

What Exactly Is a 19th-Century Russian Icon?

An icon is a devotional image painted according to Orthodox tradition, most often on a wood panel prepared with a gesso ground and painted in egg tempera, then varnished. Russian icons remained stylistically conservative, but the 19th century saw profound changes:

• Expansion of urban and provincial workshops supplying churches and households.
• Greater standardization and some economizing in materials and labor.
• Wide use of metal coverings (oklad or riza) and proliferation of printed icons (chromolithographs) for the mass market.
• Introduction of industrial pigments alongside traditional earths.

“Circa 19th century” typically refers to pieces dating broadly from about 1800 to 1900 (sometimes into the early 20th century when traditions persisted). Within that range, early- and mid-19th-century icons often retain traditional construction features, while late-19th-century examples may reveal cost-saving methods.

Materials and Techniques You Should Recognize

• Panel and carpentry:

  • Wood: Most commonly linden (basswood) in central Russia; birch or pine also appear. Boards were joined for larger icons.
  • Back reinforcements: Traditional icons have one to three sliding dovetail battens (shponki) let into grooves across the back to control warping. Their presence and hand-cut character favor earlier or higher-quality work; late-century cheap icons sometimes lack battens.
  • Front recess: Many panels have a recessed central area (kovcheg) with a raised border (polya). Deep, crisp kovcheg is typical in earlier pieces; shallow or absent in later, cheaper workshop products.

• Ground and paint:

  • Ground: Chalk/gypsum and animal glue ground (levkas), sanded very smooth.
  • Pigments: Egg tempera (yolk emulsion) predominates; faces built from a dark underlayer (sankir) with successive highlights (okhrenie) and fine linework. Gold leaf may be applied on a bole ground for backgrounds and halos.
  • Varnish: Natural resin/linseed oil varnish (olifa), which darkens and can develop a brownish cast over time.

• Metal coverings:

  • Oklad/riza: Repoussé metal covering exposing faces and hands; protects paint and adds splendor. Materials range from tinned copper and brass to silver-gilt; luxury examples carry enamel, niello, or gem settings.
  • Borders and appliqués: Stamped borders (basma) and corner plaques with saints are common.

• Inscriptions:

  • Church Slavonic in Cyrillic, often in abbreviated forms identifying Christ, the Mother of God, and saints. Inscriptions can help pinpoint specific icon types and sometimes include donor or date panels.

• Printed icons (late 19th century onward):

  • Chromolithographs mounted to wood and varnished, often placed under a riza. Under magnification you should see a dot pattern; edges of the paper may be visible where the riza meets the image.

Dating and Attribution Clues

When a date isn’t written (many aren’t), look for these features in combination:

• Panel construction:

  • Early/mid-century: Hand-planed backs, pronounced kovcheg, substantial sliding battens with tool marks.
  • Late-century: Machine-sawn panels, minimal or no kovcheg, fewer or no battens, standardized dimensions.

• Paint handling and palette:

  • Conservative, layered tempera with luminous highlights suggests workshop quality; emergence of brighter industrial pigments (e.g., Prussian blue, chrome yellow) is common by mid-century.
  • Gilding: Laid leaf over bole; later examples sometimes use mixed gilding or stenciled punchwork backgrounds.

• Varnish:

  • Natural varnish (olifa) typically amber to dark brown with age, often uneven and with embedded soot from lamp smoke. Uniform glossy surfaces may indicate later revarnish.

• Oklad hallmarks (if present):

  • Russian silver is commonly marked 84 zolotnik (.875). Expect to find the standard, maker’s Cyrillic initials, and town/assayer marks. The “kokoshnik” woman’s head hallmark appears on late Imperial pieces (broadly 1899–1917). Hallmarks may be on halo edges, borders, or corner plaques.
  • Provincial brass or tinned copper rizas will lack silver hallmarks; gilding is often thin or worn, revealing base metal.

• Script and typology:

  • Familiar 19th-century types include Virgin of Kazan, Vladimir, Tikhvin, Smolensk; Christ Pantocrator; St. Nicholas; Guardian Angel; selected feasts; Deesis rows; and calendar icons. Old Believer workshops often favored conservative, miniaturist styles and meticulous inscriptions.

• Frames and cases:

  • Traditional protective cases (kiots) in wood and glass, sometimes with gilt carving. A kiot alone doesn’t date an icon but can indicate original domestic or chapel use.

No single trait dates an icon conclusively; weigh construction, paint, inscriptions, and metalwork together.

Iconography and Subjects That Affect Value

Subject matter is a primary driver of interest and price:

• Highly collected types:
  • The Mother of God (major wonderworking types such as Kazanskaya, Vladimirskaya, Tikhvinskaya) and Christ Pantocrator.
  • Feasts and festal sets; Deesis with Apostles; detailed Menology (calendar) icons.
• Popular saints:
  • St. Nicholas of Myra (exceedingly common), St. George, Sts. Peter and Paul, Seraphim of Sarov (canonized 1903, late examples), and regional saints.
• Narrative complexity:
  • Icons with multiple registers, border scenes, and inscriptions generally command stronger prices than single-figure icons of similar size and quality.
• Old Believer traditions:
  • Icons associated with Old Believer communities can be exceptionally fine, with exacting drawing and restrained palettes; they are often desirable to connoisseurs.

When reading inscriptions, identify:

• Title banners above the main subject (e.g., “Образ Пресвятыя Богородицы Казанския”).
• Abbreviations for Christ (IC XC), the Mother of God (MP ΘY in Greek, or Russian equivalents), and saint names (“Св.” for Saint).
• Dedication or donor plaques that can include dates and names; these enhance provenance.

Condition, Restoration, and Conservation Risks

Icons are layered objects—wood, gesso, paint, metalwork—and each layer ages differently.

Common conditions:

• Wood movement: Warping, splits along the grain, or loss of battens. Old wormholes (inactive) are common; active infestation is rare but serious.
• Ground and paint: Craquelure, cleavage, and flaking; losses to high points; abrasion of facial highlights; “icon rash” (scattered losses) where the riza rubbed the paint.
• Varnish: Darkened, crazed olifa; smoke deposits; later overvarnish. Overcleaning can leave faces chalky and overbright.
• Overpaint/restoration: Oil or modern retouch over tempera, especially in faces and gold grounds; filled losses; entire repainting to “freshen” the icon for sale.
• Metalwork: Dents and tears in thin repoussé; detached elements; aggressive polishing removing original gilding; reassembled rizas not original to the panel.

Conservation guidance:

• Stabilize, don’t strip. Never remove a riza or varnish without a conservator; hidden paint can be fragile.
• Maintain moderate humidity (about 45–55%) and stable temperature; avoid direct heat and sunlight.
• Dust with a soft, dry brush. Do not use solvents or household cleaners.
• Store upright with backing support; avoid airtight plastic wraps that trap moisture.

Authentication and Red Flags

As the market grew, so did imitations and assembled pieces:

• Printed under riza: Chromolithographs masquerading as paintings—look for dot patterns, crisp mechanical hatching, and paper edges beneath the metal opening.
• “Face prints”: Printed faces inserted into otherwise hand-painted icons; inconsistencies in technique between face and garments.
• Artificial aging: Uniformly dark varnish without depth; contrived craquelure; worm channels filled with dark wax; clean bare wood on the back paired with excessively “dirty” front.
• Mismatched riza and panel: Halo openings not aligning with the painted nimbus; cut edges of paint abraded by a non-original riza; screw holes that don’t match wear patterns.
• Faux hallmarks: Stamped numbers imitating “84” without proper town/assayer marks; soft, blurred marks; incorrect Cyrillic maker’s initials; plating over base metal.

Use magnification and raking light to study paint layers and tool marks; UV light can reveal later retouches and varnish layers. For high-value icons, cross-section analysis and pigment testing by a conservation lab can be decisive.

Valuation Factors and Market Expectations

While each icon is unique, the following tend to govern price:

• Subject and rarity: Complex festal or calendar icons and revered Mother of God types command premiums. Generic St. Nicholas icons are common and price accordingly unless of exceptional quality.
• Quality of painting: Precision of drawing, modeling of flesh (from sankir through highlights), gilding quality, and overall harmony distinguish better workshop or master-level pieces.
• Size: Larger icons usually bring more, but small, exquisitely painted examples can outpace large mediocre ones.
• Oklad/riza: Genuine silver-gilt rizas with hallmarks significantly increase value, especially with cloisonné enamel by notable firms; brass or tinned copper add less.
• Condition and originality: Untampered surfaces with honest age are prized. Extensive overpaint or mismatched rizas reduce value.
• Provenance: Church inventories, family histories, and earlier sale records strengthen credibility and appeal.

Very general ranges (subject to region and venue):

• Small hand-painted 19th-century panel without riza, honest wear: low hundreds to low thousands.
• Mid-size icon with fine painting, good condition: low to mid thousands.
• Icons with silver-gilt riza (84 standard), decent enamel: several thousands to the high five figures depending on maker and quality.
• Exceptional workshop pieces or rizas by top firms can command substantially higher prices.

Appraisals should document construction, iconography, inscriptions, metalwork marks, condition, and any analysis undertaken.

Practical Checklist

• Identify subject and inscriptions:
  • Read the title and saint names; confirm the specific icon type.
• Examine construction:
  • Look for kovcheg and sliding battens; note board species and tool marks.
• Assess paint and varnish:
  • Confirm egg tempera; observe craquelure, highlights, and any overpaint under UV.
• Inspect the riza (if present):
  • Locate and record hallmarks (84, kokoshnik, maker, town/assayer); test alignment with the image.
• Check for prints:
  • Magnify faces and garments for dot patterns; verify layered brushwork.
• Evaluate condition:
  • Note splits, losses, flaking, abrasions, and varnish state; avoid aggressive cleaning.
• Consider quality and market:
  • Judge drawing finesse and gilding; compare with recent, comparable sales in your region.
• Document provenance:
  • Photograph front, back, and marks; record any inscriptions or dedications.

FAQ

Q: How can I tell if the image is egg tempera rather than oil or a print? A: Tempera shows thin, matte layers with crisp, calligraphic linework and fine stippled highlights over a darker underlayer. Under magnification you should see brush-laid strokes without a dot matrix. Oil overpaint tends to be glossier and sits on top of the original paint; UV light often makes later oil retouch fluoresce.

Q: What is an oklad or riza, and does it always belong with the icon? A: It’s a metal cover shaped to the painted image, exposing only faces and hands. Original rizas were tailor-made for a panel; later marriages are common. Check alignment, witness marks, and screw holes. Hallmarks on silver rizas (84 zolotnik, kokoshnik, maker/town marks) help date and authenticate the metalwork, but they don’t automatically date the painted icon.

Q: The varnish is very dark. Should I clean or remove it? A: Do not attempt removal yourself. Darkened olifa is normal and part of the icon’s history. A trained conservator can evaluate whether careful surface cleaning or selective varnish reduction is safe. Improper cleaning can irreversibly abrade highlights and gilding.

Q: Are wormholes a deal-breaker? A: Old, inactive wormholes are common and mainly cosmetic. Look for fresh frass (powder) or soft wood to indicate active infestation. Structural splits and losses to the ground and paint are more serious; they affect stability and value.

Q: Is it okay to polish a silver riza? A: Light, judicious cleaning is best. Frequent or aggressive polishing can remove original gilding and crisp detail. Avoid dip solutions. If tarnish obscures hallmarks or detail, consult a metals conservator for safe methods and to document the marks before treatment.

A thoughtful, methodical examination—starting with subject and construction, then moving through paint, metalwork, and condition—will position you to identify, authenticate, and value a Russian religious icon from the 19th century with confidence.