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THB19th C. Gilt & Silvered Three-Handed Mother of God Icon
About Seller
686 S Taylor Ave, Ste 106
Louisville, CO 80027
United States
Selling antiquities, ancient and ethnographic art online since 1993, Artemis Gallery specializes in Classical Antiquities (Egyptian, Greek, Roman, Near Eastern), Asian, Pre-Columbian, African / Tribal / Oceanographic art. Our extensive inventory includes pottery, stone, metal, wood, glass and textil...Read more
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About Auction
LiveMar 20, 2025
Explore a world of classical antiquities and ethnographic masterpieces, with treasures from every corner of the globe. Discover Egyptian relics, Greek and Roman artifacts, Etruscan elegance, Near Eastern wonders, and Asian heritage. Marvel at Pre-Columbian marvels, Native American artistry, African tribal expressions, and Oceanic cultural gems. Spanish Colonial legacies, Russian craftsmanship, and a spectrum of fine and visual arts await, offering a captivating journey through history and artistry, connecting cultures across time. Artemis Fine Arts info@artemisgallery.com
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- Lot Description
Eastern Europe, Russia, ca. 19th century CE. A marvelous silvered and gilt wooden icon depicting Bogorodica Trojerucica, also known as Three-Handed Mother of God. The holy pair is shown in the Hodegetria position with Mary holding the Child Jesus while pointing to him as the source of salvation for humankind as a third hand casually protrudes from her robe. But wait - whose hand is this?! Is there someone hiding under her gown? Has Mary grown an extra limb to juggle the impossible task of raising a divine child while God the Father remains the ultimate absentee parent? Nope! The extra hand actually comes from St. John of Damascus, who was falsely accused of treason by the Caliph and, as a punishment, had his right hand cut off. According to tradition, St. John prayed before an icon of the Mother of God, and through her intercession, his hand was miraculously restored. In gratitude, he had a silver third hand added to the icon, giving it the distinctive appearance that led to its name: the Three-Handed Mother of God. Size: 14.6" W x 17.5" H (37.1 cm x 44.4 cm)
Here, Christ is portrayed in a gilt robe, while Mary's is aubergine with silvered fringe and both are surrounded by a lustrous silvered ground. A pair of holy figures flanks the scene, with a Guardian Angel on the left and a male saint, perhaps Mary's father Saint Joachim on the right.
According to tradition, the original Trojerucica icon was in the possession of John of Damascus (675-749) in the early 8th century. John of Damascus, who was the leading proponent of icon veneration in the Church against the opposers - the Iconoclasts - was in the employ of a powerful Caliph. The Byzantine Emperor Leo - an opposer of icon veneration - supposedly had letters forged in John's handwriting, urging Leo to attack the Caliph. These were made available to the Caliph, who on seeing the forgeries, believed them to be genuine. He decided to penalize John for his presumed disloyalty, ordering that his hand be cut off as punishment. According to the tale, because of his prayers before the icon, Mary healed John by miraculously re-attaching the severed hand. In gratitude for this miracle, a silver image of the severed hand was affixed to the icon itself. After this, the icon became known as "three-handed" (Tricherousa), because it had three hands (two of the Theotokos plus one more). Covered in a riza and featuring a painting of Saint Nicholas on the verso, the purported original version of the icon is now found in the Hilandar Monastery on Mount Athos, Greece, and is the most important icon of the Serbian Orthodox Church. Many painters misunderstood and misinterpreted the original icon when making copies for veneration, and instead depicted Mary with three flesh hands, as seen in this example, rather than with two hands and one made of silver.
Provenance: private Los Angeles, California, USA collection
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#192275Condition
Back slats still in place. Three old dowel holes to top periphery, each surrounded by chipping paint. Some loosening to corners and minor chips and abrasions, as well as a few fissures to paint, silvering, and gesso in areas. A couple scattered perforations and minor fading, but, otherwise, intact and excellent with great detail and good remains of gilding and silvering. Suspension wire on verso for display.
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