Russian Icon Depicting the Mother of God of Iver with a Silver Riza - St. Petersburg, 1836

Height x width: 19 x 14,5 cm
Tempera on panel with silver riza
The icon on panel depicts the Mother of God of Iver (Iverskaya), one of the most celebrated miracle-working images in the Russian Orthodox tradition, derived from the ancient icon preserved at the Monastery of Iviron on Mount Athos.
The Virgin is portrayed half-length, holding the Christ Child on her left arm. Christ raises His right hand in blessing while holding a scroll of the Holy Scriptures in His left. The Virgin's head is gently inclined towards her Son, in accordance with the traditional iconographic scheme that emphasizes the intimate spiritual relationship between the Mother of God and Christ.
The painting is covered by a finely executed silver riza, repoussé and chased with an elegant ornamental repertoire of floral motifs, delicate scrolling foliage, and punched decorative details. In keeping with a characteristic feature of nineteenth-century Russian icon production, only the faces and the right hand of the Virgin, together with the face of the Christ Child, remain visible.
Particular prominence is given to the elaborate radiant halos applied to both figures and to the Imperial crown placed upon the Virgin's head, elements that emphasize the regal dignity of the Mother of God.
The lower border bears the identifying inscription in Church Slavonic: "Изображение Пресвятыя Богородицы Иверския", translated as "Image of the Most Holy Mother of God of Iver."

The riza is fully hallmarked with the 84 zolotniks (875/1000) silver marks, used in St. Petersburg in  1836, assayer Mikhail Mikhailovich Karpinsky, and the maker's mark of an unidentified silversmith.



Item condition grading: **** good.
The silver riza is in good overall condition, displaying natural surface oxidation, minor wear consistent with its age, and slight deformations along portions of the outer edges. The repoussé decoration is well preserved, and all hallmarks remain clearly legible.
The visible painted surface exhibits minor craquelure, light surface abrasions, and small localized areas of retouching, all consistent with the age and conservation history of the icon. The wooden panel is structurally sound and retains its original pair of sliding rear battens (šponki). The reverse displays the normal signs of age and long-standing devotional use.