Saint Seraphim of Sarov (Seraphim Sarovsky), Early 20th century

Egg tempera on panel

Height x width: 31.5 x 26.5 cm

One of the most beloved and venerated mystics and miracle-workers in Russian history—canonized officially in 1903, yet already widely celebrated in popular devotion throughout the 19th century—this ascetic monk-saint is depicted in a half-length, frontal portrait. He wears a white epitrachelion (stole) adorned with prominent orange crosses, along with a monastic stole; his right hand is held to his chest in an intimate, devotional gesture, while his left hand displays a small prayer rope with dark beads (lestovka or chotki). His facial features—defined by a thick gray beard and long, flowing hair—capture the penetrating gaze of the renowned anchorite from the Sarov Monastery with extraordinary academic realism and profound spiritual gentleness. A unique feature of this piece for collectors is the inclusion of two patron saints (or family intercessors), rendered as full-length figures within small, vertical recessed panels (kovcheg) carved directly into the side margins. On the left, one can identify the winged figure of the Guardian Angel (Angel Khranitel), dressed in a pristine white tunic and holding a processional cross; on the right stands the hieratic figure of the Holy Martyr Zinaida (Svyataya Muchenitsa Zinaida)—a celebrated saint of early Christianity—depicted with her traditional attributes, draped in a finely folded mantle, with her hands clasped over a Gospel book. In terms of ornamentation and materiality, the icon is distinguished by an extraordinary and sumptuous treatment of the gold background—entirely worked with a burin, punched, and incised in faux relief with scale patterns and foliate scrolls that emulate the precious metal riza (protective covers) of the period. It is framed by a thick, Neo-Byzantine border, embossed with floral scrolls and—at the four corners—cartouches featuring calligraphic inscriptions in blue and red enamel; the cartouche at the center of the lower margin bears the saint’s identifying inscription ("СВТЫ. ПРП. СЕРАФИМЪ"). The painting style is deeply influenced by a refined, late-imperial naturalism, evident in the soft, nuanced rendering of the flesh tones and the volumetric interplay of the drapery—elements that engage in a magnificent dialogue with the geometric brilliance of the gilded backgrounds.