The Transfiguration, Moscow, probably 16th Century with later restoration

The icon still has its original gilt background. There are some restorations from the 19th century and some modern retouching. A large part of Elijah's mantle has been restored and the three faces of Christ, Elijah and Moses have been restored also. There are many holes due to the fact that the icon once had a silver riza. We would advise prospective buyers to view.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The icon depicts Christ in frontal pose wearing a snow-white garment, radiating light. He stands on top of a steep mountain and makes a blessing gesture with his right hand while holding a closed scroll of Scripture in his other hand. The Prophets Elijah and Moses are standing on His left and right side. Elijah, depicted with long hair and a long beard, turns to Christ in prayer whilst holding a closed scroll of Scripture in his left hand. Moses, depicted with a balding forehead and a short beard, also turns to Christ. In his hands he holds the stone tables. At the foot of the mountain are the three disciples, in animated poses conveying astonishment. From left to right they are James, John and Peter. All three disciples can be recognised by their clothes and their characteristic features. Peter, right, half-kneeling, appears to be the only one of them who is looking at Christ, making gestures of amazement. James, left, falls to the ground on his back, hiding his face with his hands. John, in the middle, falls prostrate on the ground, turning his back on the Transfiguration.

The Transfiguration of Christ on Mount Thabor is described in the Gospels of Matthew (17: 1-9), Mark (9:2-9) and Luke (9:27-36). Christ appears in his divine form to his disciples Peter, John and James: ....his face did shine as the sun, and his raiment was white as the light. And, behold, there appeared unto them Moses and Elijah talking with him....and behold a voice out of the cloud, which said, This is my beloved Son.... And when the disciples heard it, they prostrated themselves....(Matt. 17:2-6). The feast of the Transfiguration is celebrated in the Orthodox Church on the 6th of August.

In Constantinople, in the third and fourth decade of the fourteenth century, the nature of the 'divine light' that appeared on Mount Thabor was the issue of great controversy between the Archbishop of Thessalonica, Gregory Palamas, and the monk Varlaam. According to Gregory Palamas it was possible to partake in Christ's glory through the divine light. His mystic writings played an important role in determining the way this biblical story was depicted in iconography.

The poses and gestures of the disciples express fright and fear in a dramatic manner. James has fallen backwards and puts both his hands before his eyes to protect them against the dazzling light. John has fallen forward onto the ground and puts one hand before his face. Peter is sitting on his knees and is the only one of them who is looking up at Christ. His right arm is raised as if he wants to speak. The earliest known example of this variant is the tabletka, probably made in Tver, dating from the second quarter of the 15th century. During the last quarter of the 15th century a number of important iconostasis icons of the same composition were made: the Thabor icon from the Kirilov monastery (ca. 1497), the Thabor icon from the Saviour's Church 'in the woods' of the Moscow Kremlin (ca. 1490-1495) and the Thabor icon from the Uspenskij Cathedral of the Volotovo field in Novgorod (last quarter of the 15th century). The Thabor on the tabletka of the Sofia Cathedral in Novgorod also has the same composition (ca. 1500).