Silvering Free Stock Images

Include:

Picture Frame, Textile, Painting, Art

ÐŸÐµÑ€ÑˆÐ° Ð¿Ð¾Ð». XVIII ÑÑ‚. ÐšÐ¸Ñ—Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 109 Ñ… 76 Ñ… 4 (Ð² Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–). The Intercession with the portrait of Hetman Bohdan Khmelnytsky. The first half of the 18th c. Kyivshchyna. Tempera, oil, silvering, gilding on three-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐŸÐµÑ€ÑˆÐ° Ð¿Ð¾Ð». XVIII ÑÑ‚. ÐšÐ¸Ñ—Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 109 Ñ… 76 Ñ… 4 (Ð² Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–). The Intercession with the portrait of Hetman Bohdan Khmelnytsky. The first half of the 18th c. Kyivshchyna. Tempera, oil, silvering, gilding on three-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Horse, Textile, Art, Creative Arts

Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVII ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 85 Ñ… 3. Saint George Killing the Dragon. Mid-17th c. Galychyna. Tempera, silvering, gilding, engraving on gesso-grounded four-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVII ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 85 Ñ… 3. Saint George Killing the Dragon. Mid-17th c. Galychyna. Tempera, silvering, gilding, engraving on gesso-grounded four-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Textile, Art, Painting, Religious Item

Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð¿Ð°Ð²Ð¾Ð»Ð¾ÐºÐ° Ð¿Ð¾ ÑÑ‚Ð¸ÐºÑƒ Ð´Ð¾Ñ‰Ð¾Ðº, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. 90 Ñ… 61 Ñ… 2. The Baptism. Mid-16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, canvas on the joint of panels, stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð¿Ð°Ð²Ð¾Ð»Ð¾ÐºÐ° Ð¿Ð¾ ÑÑ‚Ð¸ÐºÑƒ Ð´Ð¾Ñ‰Ð¾Ðº, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. 90 Ñ… 61 Ñ… 2. The Baptism. Mid-16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, canvas on the joint of panels, stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Face, Painting, Art, Victorian Fashion

1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Anastasia and Juliana. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ...ÐŸÐ¸ÑˆÐ½Ð¸Ð¹ Ñ€Ð¾Ð·ÐºÐ²Ñ–Ñ‚ Ð±Ð°Ñ€Ð¾ÐºÐ¾ Ñƒ Ð¿ÐµÑ€ÑˆÑ–Ð¹ Ð¿Ð¾Ð»Ð¾Ð²Ð¸Ð½Ñ– XVIII ÑÑ‚. Ñ…Ð°Ñ€Ð°ÐºÑ‚ÐµÑ€Ð¸Ð·ÑƒÑ”Ñ‚ÑŒÑÑ Ð¿Ñ€Ð°Ð³Ð½ÐµÐ½Ð½ÑÐ¼ Ð´Ð¾ Ð²Ð¸Ñ‚Ð¾Ð½Ñ‡ÐµÐ½Ð¾Ð³Ð¾ Ñ€Ð°Ñ„Ñ–Ð½Ð¾Ð²Ð°Ð½Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ. Ð—Ð° Ð½Ð¾Ð²Ð¸Ð¼Ð¸ ÐµÑÑ‚ÐµÑ‚Ð¸Ñ‡Ð½Ð¸Ð¼Ð¸ Ñ– Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¼Ð¸ ÐºÐ°Ð½Ð¾Ð½Ð°Ð¼Ð¸ Ð½Ð°Ð¿Ð¸ÑÐ°Ð½Ð¾ Ð¿Ð°Ñ€Ð½Ñ– Ñ–ÐºÐ¾Ð½Ð¸ Ð²ÐµÐ»Ð¸ÐºÐ¾Ð¼ÑƒÑ‡ÐµÐ½Ð¸Ñ†ÑŒ - "ÐÐ½Ð°ÑÑ‚Ð°ÑÑ–Ñ— Ñ– Ð†ÑƒÐ»ÑÐ½Ñ–Ñ—" Ñ‚Ð° "Ð’Ð°Ñ€Ð²Ð°Ñ€Ð¸ Ñ– ÐšÐ°Ñ‚ÐµÑ€Ð¸Ð½Ð¸" (1740-Ñ– Ñ€Ñ€.). Ð“Ð°Ð»Ð°Ð½Ñ‚Ð½Ð° ÑÐ²Ñ–Ñ‚ÑÑŒÐºÑ–ÑÑ‚ÑŒ ÑÐ²ÑÑ‚Ð¸Ñ…, Ð²Ð¸ÑˆÑƒÐºÐ°Ð½Ð¸Ð¹ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸Ñ Ñ–Ð· Ð³Ñ€Ð°Ð¹Ð»Ð¸Ð²Ð¾ÑŽ Ð¼ÐµÐ»Ð¾Ð´Ñ–Ñ”ÑŽ Ð´Ð¾Ñ€Ð¾Ð³Ð¾Ñ†Ñ–Ð½Ð½Ð¸Ñ… Ñ„Ð°Ñ€Ð±, Ð¿Ñ€Ð¸Ð¼Ñ…Ð»Ð¸Ð²Ð¸Ð¼Ð¸ Ñ€Ð¸Ñ‚Ð¼Ð°Ð¼Ð¸ Ð»Ñ–Ð½Ñ–Ð¹, Ð±Ð°Ð³Ð°Ñ‚ÑÑ‚Ð²Ð¾Ð¼ Ð¾Ñ€Ð½Ð°Ð¼ÐµÐ½Ñ‚Ð°Ð»ÑŒÐ½Ð¸Ñ… Ð²Ñ–Ð·ÐµÑ€ÑƒÐ½ÐºÑ–Ð² Ñ” ÐºÐ»Ð°ÑÐ¸Ñ‡Ð½Ð¸Ð¼ Ð·Ñ€Ð°Ð·ÐºÐ¾Ð¼ Ð±Ð°Ñ€Ð¾ÐºÐ¾Ð²Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ Ñ‚Ñ–Ñ”Ñ— Ð´Ð¾Ð±Ð¸. Ð›Ð°Ñ€Ð¸ÑÐ° Ð§Ð»ÐµÐ½Ð¾Ð²Ð° ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Anastasia and Juliana. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ...ÐŸÐ¸ÑˆÐ½Ð¸Ð¹ Ñ€Ð¾Ð·ÐºÐ²Ñ–Ñ‚ Ð±Ð°Ñ€Ð¾ÐºÐ¾ Ñƒ Ð¿ÐµÑ€ÑˆÑ–Ð¹ Ð¿Ð¾Ð»Ð¾Ð²Ð¸Ð½Ñ– XVIII ÑÑ‚. Ñ…Ð°Ñ€Ð°ÐºÑ‚ÐµÑ€Ð¸Ð·ÑƒÑ”Ñ‚ÑŒÑÑ Ð¿Ñ€Ð°Ð³Ð½ÐµÐ½Ð½ÑÐ¼ Ð´Ð¾ Ð²Ð¸Ñ‚Ð¾Ð½Ñ‡ÐµÐ½Ð¾Ð³Ð¾ Ñ€Ð°Ñ„Ñ–Ð½Ð¾Ð²Ð°Ð½Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ. Ð—Ð° Ð½Ð¾Ð²Ð¸Ð¼Ð¸ ÐµÑÑ‚ÐµÑ‚Ð¸Ñ‡Ð½Ð¸Ð¼Ð¸ Ñ– Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¼Ð¸ ÐºÐ°Ð½Ð¾Ð½Ð°Ð¼Ð¸ Ð½Ð°Ð¿Ð¸ÑÐ°Ð½Ð¾ Ð¿Ð°Ñ€Ð½Ñ– Ñ–ÐºÐ¾Ð½Ð¸ Ð²ÐµÐ»Ð¸ÐºÐ¾Ð¼ÑƒÑ‡ÐµÐ½Ð¸Ñ†ÑŒ - "ÐÐ½Ð°ÑÑ‚Ð°ÑÑ–Ñ— Ñ– Ð†ÑƒÐ»ÑÐ½Ñ–Ñ—" Ñ‚Ð° "Ð’Ð°Ñ€Ð²Ð°Ñ€Ð¸ Ñ– ÐšÐ°Ñ‚ÐµÑ€Ð¸Ð½Ð¸" (1740-Ñ– Ñ€Ñ€.). Ð“Ð°Ð»Ð°Ð½Ñ‚Ð½Ð° ÑÐ²Ñ–Ñ‚ÑÑŒÐºÑ–ÑÑ‚ÑŒ ÑÐ²ÑÑ‚Ð¸Ñ…, Ð²Ð¸ÑˆÑƒÐºÐ°Ð½Ð¸Ð¹ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸Ñ Ñ–Ð· Ð³Ñ€Ð°Ð¹Ð»Ð¸Ð²Ð¾ÑŽ Ð¼ÐµÐ»Ð¾Ð´Ñ–Ñ”ÑŽ Ð´Ð¾Ñ€Ð¾Ð³Ð¾Ñ†Ñ–Ð½Ð½Ð¸Ñ… Ñ„Ð°Ñ€Ð±, Ð¿Ñ€Ð¸Ð¼Ñ…Ð»Ð¸Ð²Ð¸Ð¼Ð¸ Ñ€Ð¸Ñ‚Ð¼Ð°Ð¼Ð¸ Ð»Ñ–Ð½Ñ–Ð¹, Ð±Ð°Ð³Ð°Ñ‚ÑÑ‚Ð²Ð¾Ð¼ Ð¾Ñ€Ð½Ð°Ð¼ÐµÐ½Ñ‚Ð°Ð»ÑŒÐ½Ð¸Ñ… Ð²Ñ–Ð·ÐµÑ€ÑƒÐ½ÐºÑ–Ð² Ñ” ÐºÐ»Ð°ÑÐ¸Ñ‡Ð½Ð¸Ð¼ Ð·Ñ€Ð°Ð·ÐºÐ¾Ð¼ Ð±Ð°Ñ€Ð¾ÐºÐ¾Ð²Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ Ñ‚Ñ–Ñ”Ñ— Ð´Ð¾Ð±Ð¸. Ð›Ð°Ñ€Ð¸ÑÐ° Ð§Ð»ÐµÐ½Ð¾Ð²Ð° ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Basket with Christmas decorations

Christmas-tree decorations in the basket on the red cloth. Christmas-tree decorations in the basket on the red cloth

New-year`s tree decorations

Christmas-tree decorations over red background. Close-up. Christmas-tree decorations over red background. Close-up.

New-year`s tree decorations

Christmas-tree decorations. Close-up. Christmas-tree decorations. Close-up.

Human Body, Textile, Temple, Art

ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 32 Ñ… 2. The Nativity. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded canvas pasted to hollowed lime-wood panel, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 32 Ñ… 2. The Nativity. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded canvas pasted to hollowed lime-wood panel, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Steel wineglass

Series. Steel wineglass on white

Art, Event, Victorian Fashion, Plucked String Instruments

1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Barbara and Catherine. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Barbara and Catherine. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Dress, Art, Religious Item, Cope

1730-Ã‘â€šÃ‘â€“ Ã‘â‚¬Ã‘â‚¬. ÃÅ¸ÃÂ¾ÃÂ»Ã‘â€šÃÂ°ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, ÃÂ¾ÃÂ»Ã‘â€“Ã‘Â, ÃÂ¿ÃÂ¾ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ°, ÃÂ½ÃÂ° ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 118 Ã‘â€¦ 85 Ã‘â€¦ 11,5. The Intercession. 1730s. Poltavshchyna. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel, silvering on the framing. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. 1730-Ã‘â€šÃ‘â€“ Ã‘â‚¬Ã‘â‚¬. ÃÅ¸ÃÂ¾ÃÂ»Ã‘â€šÃÂ°ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, ÃÂ¾ÃÂ»Ã‘â€“Ã‘Â, ÃÂ¿ÃÂ¾ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ°, ÃÂ½ÃÂ° ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 118 Ã‘â€¦ 85 Ã‘â€¦ 11,5. The Intercession. 1730s. Poltavshchyna. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel, silvering on the framing. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003.

Temple, Religious Item, Art, Painting

1680-1685. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€ÐµÐ»ÑŒÑ”Ñ„, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ ÐºÑ–Ð¾Ñ‚Ñ–: 144 Ñ… 119 Ñ… 19. Saint Nicolas with Scenes from his life. 1680-1685. Sloboda Ukraine. Oil, tempera, gilding, silvering on gesso-grounded two-piece lime-wood panel, relief, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1680-1685. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€ÐµÐ»ÑŒÑ”Ñ„, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ ÐºÑ–Ð¾Ñ‚Ñ–: 144 Ñ… 119 Ñ… 19. Saint Nicolas with Scenes from his life. 1680-1685. Sloboda Ukraine. Oil, tempera, gilding, silvering on gesso-grounded two-piece lime-wood panel, relief, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Christmas gift

Christmas gift composed by red box and necklace of stones

Textile, Painting, Art, Wall

ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. Ð’Ð¾Ð»Ð¸Ð½ÑŒ. Ð”Ð¾ÑˆÐºÐ° ÐºÐ¾Ð¼Ð±Ñ–Ð½Ð¾Ð²Ð°Ð½Ð° (Ð»Ð¸Ð¿Ð¾Ð²Ð°, ÑÐ»Ð¸Ð½Ð¾Ð²Ð°), Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–: 117 Ñ… 74 Ñ… 4,5. The Exaltation of the Holy Cross. Late 17th c. Volyn. Tempera, engraving, gilding, silvering on gesso-grounded two-piece combined panel (lime-wood and fir-wood). ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. Ð’Ð¾Ð»Ð¸Ð½ÑŒ. Ð”Ð¾ÑˆÐºÐ° ÐºÐ¾Ð¼Ð±Ñ–Ð½Ð¾Ð²Ð°Ð½Ð° (Ð»Ð¸Ð¿Ð¾Ð²Ð°, ÑÐ»Ð¸Ð½Ð¾Ð²Ð°), Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–: 117 Ñ… 74 Ñ… 4,5. The Exaltation of the Holy Cross. Late 17th c. Volyn. Tempera, engraving, gilding, silvering on gesso-grounded two-piece combined panel (lime-wood and fir-wood). ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Art, Cartoon, Illustration, Beard

ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 82 Ã‘â€¦ 50 Ã‘â€¦ 2. Saint Nicolas. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, stamping. ...Ãâ€“ÃÂ°ÃÂ½Ã‘â‚¬ÃÂ¾ÃÂ²ÃÂ° ÃÂ¿Ã‘â‚¬ÃÂ¸ÃÂ·ÃÂµÃÂ¼ÃÂ»ÃÂµÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ·Ã‘â€“ÃÂ², Ã‘Ë†ÃÂ¸Ã‘â‚¬ÃÂ¾Ã‘â€šÃÂ° ÃÂ´ÃÂµÃÂºÃÂ¾Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¸ÃÂ²ÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ¼ÃÂ¸Ã‘ÂÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ³ÃÂ°ÃÂ»ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¸Ã‘â€¦ ÃÂ¼ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃ‘â‚¬Ã‘â€“ÃÂ², ÃÂ±ÃÂµÃÂ·ÃÂ¿ÃÂ¾Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ½Ã‘Â Ã‘â€°ÃÂ¸Ã‘â‚¬Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€”Ã‘â€¦ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂ²Ã‘â€“Ã‘â€šÃÂ¾ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’Ã‘â€šÃ‘â€šÃ‘Â ÃÂ·Ã‘Æ’ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ÃÂ»ÃÂ¸ Ã‘ÂÃ‘ÂÃÂºÃ‘â‚¬ÃÂ°ÃÂ²Ã‘Æ’ Ã‘ÂÃÂ°ÃÂ¼ÃÂ¾ÃÂ±Ã‘Æ’Ã‘â€šÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€šÃÂ¾ÃÂ³ÃÂ¾Ã‘â€¡ÃÂ°Ã‘ÂÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’. ÃÂ¢ÃÂµÃÂ½ÃÂ´ÃÂµÃÂ½Ã‘â€ Ã‘â€“Ã‘Â ÃÂ´ÃÂ¾ ÃÂ¿ÃÂ¾ÃÂ´ÃÂ¾ÃÂ»ÃÂ°ÃÂ½ÃÂ½Ã‘Â ÃÂ°ÃÂ±Ã‘ÂÃ‘â€šÃ‘â‚¬ÃÂ°ÃÂ³ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂ¾Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃÂ½ÃÂ¾Ã‘â€” ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ ÃÂ²ÃÂ¸Ã‘ÂÃÂ²ÃÂ»Ã‘ÂÃ‘â€Ã‘â€šÃ‘Å’Ã‘ÂÃ‘Â Ã‘Æ’ ÃÂ¿Ã‘â‚¬ÃÂ°ÃÂ³ÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘â€ Ã‘â€“ÃÂ² ÃÂ¿ÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ°Ã‘â€šÃÂ¸ Ã‘â‚¬ÃÂµÃÂ°ÃÂ»Ã‘Å’ÃÂ½Ã‘â€“ Ã‘ÂÃÂ¿ÃÂ¾Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ÃÂµÃÂ¶ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ½ÃÂ°ÃÂ²ÃÂºÃÂ¾ÃÂ»ÃÂ¸Ã‘Ë†ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ¾ÃÂ²ÃÂ¸Ã‘â€°ÃÂ°, ÃÂ¾ÃÂ»Ã‘Å½ÃÂ´ÃÂ½ÃÂ¸Ã‘â€šÃÂ¸ ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’ÃÂ¶ÃÂµÃÂ½ÃÂ¸ÃÂ¹ Ã‘â‚¬ÃÂµÃÂ»Ã‘â€“ÃÂ³Ã‘â€“ÃÂ¹ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€“ÃÂ´ÃÂµÃÂ°ÃÂ» ("ÃÂ¡ÃÂ²Ã‘ÂÃ‘â€šÃÂ¸ÃÂ¹ ÃÅ“ÃÂ¸ÃÂºÃÂ¾ÃÂ»ÃÂ°", "Ãâ€™ÃÂ¾Ã‘ÂÃÂºÃ‘â‚¬ÃÂµÃ‘ÂÃ‘â€“ÃÂ½ÃÂ½Ã‘Â", "ÃÂ¤ÃÂ¾ÃÂ¼ÃÂ° Ã‘â€“ Ãâ€™ÃÂ°Ã‘â‚¬Ã‘â€žÃÂ¾ÃÂ»ÃÂ¾ÃÂ¼Ã‘â€“ÃÂ¹" Ã‘â€šÃÂ° Ã‘â€“ÃÂ½. - ÃÂ´Ã‘â‚¬Ã‘Æ’ÃÂ³ÃÂ° ÃÂ¿ÃÂ¾ÃÂ»ÃÂ¾ÃÂ²ÃÂ¸ÃÂ½ÃÂ° XVI Ã‘ÂÃ‘â€š.). Ãâ€ºÃÂ°Ã‘â‚¬ÃÂ¸Ã‘ÂÃÂ° ÃÂ§ÃÂ»ÃÂµÃÂ½ÃÂ¾ÃÂ²ÃÂ° ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 82 Ã‘â€¦ 50 Ã‘â€¦ 2. Saint Nicolas. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, stamping. ...Ãâ€“ÃÂ°ÃÂ½Ã‘â‚¬ÃÂ¾ÃÂ²ÃÂ° ÃÂ¿Ã‘â‚¬ÃÂ¸ÃÂ·ÃÂµÃÂ¼ÃÂ»ÃÂµÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ·Ã‘â€“ÃÂ², Ã‘Ë†ÃÂ¸Ã‘â‚¬ÃÂ¾Ã‘â€šÃÂ° ÃÂ´ÃÂµÃÂºÃÂ¾Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¸ÃÂ²ÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ¼ÃÂ¸Ã‘ÂÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ³ÃÂ°ÃÂ»ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¸Ã‘â€¦ ÃÂ¼ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃ‘â‚¬Ã‘â€“ÃÂ², ÃÂ±ÃÂµÃÂ·ÃÂ¿ÃÂ¾Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ½Ã‘Â Ã‘â€°ÃÂ¸Ã‘â‚¬Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€”Ã‘â€¦ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂ²Ã‘â€“Ã‘â€šÃÂ¾ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’Ã‘â€šÃ‘â€šÃ‘Â ÃÂ·Ã‘Æ’ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ÃÂ»ÃÂ¸ Ã‘ÂÃ‘ÂÃÂºÃ‘â‚¬ÃÂ°ÃÂ²Ã‘Æ’ Ã‘ÂÃÂ°ÃÂ¼ÃÂ¾ÃÂ±Ã‘Æ’Ã‘â€šÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€šÃÂ¾ÃÂ³ÃÂ¾Ã‘â€¡ÃÂ°Ã‘ÂÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’. ÃÂ¢ÃÂµÃÂ½ÃÂ´ÃÂµÃÂ½Ã‘â€ Ã‘â€“Ã‘Â ÃÂ´ÃÂ¾ ÃÂ¿ÃÂ¾ÃÂ´ÃÂ¾ÃÂ»ÃÂ°ÃÂ½ÃÂ½Ã‘Â ÃÂ°ÃÂ±Ã‘ÂÃ‘â€šÃ‘â‚¬ÃÂ°ÃÂ³ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂ¾Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃÂ½ÃÂ¾Ã‘â€” ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ ÃÂ²ÃÂ¸Ã‘ÂÃÂ²ÃÂ»Ã‘ÂÃ‘â€Ã‘â€šÃ‘Å’Ã‘ÂÃ‘Â Ã‘Æ’ ÃÂ¿Ã‘â‚¬ÃÂ°ÃÂ³ÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘â€ Ã‘â€“ÃÂ² ÃÂ¿ÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ°Ã‘â€šÃÂ¸ Ã‘â‚¬ÃÂµÃÂ°ÃÂ»Ã‘Å’ÃÂ½Ã‘â€“ Ã‘ÂÃÂ¿ÃÂ¾Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ÃÂµÃÂ¶ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ½ÃÂ°ÃÂ²ÃÂºÃÂ¾ÃÂ»ÃÂ¸Ã‘Ë†ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ¾ÃÂ²ÃÂ¸Ã‘â€°ÃÂ°, ÃÂ¾ÃÂ»Ã‘Å½ÃÂ´ÃÂ½ÃÂ¸Ã‘â€šÃÂ¸ ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’ÃÂ¶ÃÂµÃÂ½ÃÂ¸ÃÂ¹ Ã‘â‚¬ÃÂµÃÂ»Ã‘â€“ÃÂ³Ã‘â€“ÃÂ¹ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€“ÃÂ´ÃÂµÃÂ°ÃÂ» ("ÃÂ¡ÃÂ²Ã‘ÂÃ‘â€šÃÂ¸ÃÂ¹ ÃÅ“ÃÂ¸ÃÂºÃÂ¾ÃÂ»ÃÂ°", "Ãâ€™ÃÂ¾Ã‘ÂÃÂºÃ‘â‚¬ÃÂµÃ‘ÂÃ‘â€“ÃÂ½ÃÂ½Ã‘Â", "ÃÂ¤ÃÂ¾ÃÂ¼ÃÂ° Ã‘â€“ Ãâ€™ÃÂ°Ã‘â‚¬Ã‘â€žÃÂ¾ÃÂ»ÃÂ¾ÃÂ¼Ã‘â€“ÃÂ¹" Ã‘â€šÃÂ° Ã‘â€“ÃÂ½. - ÃÂ´Ã‘â‚¬Ã‘Æ’ÃÂ³ÃÂ° ÃÂ¿ÃÂ¾ÃÂ»ÃÂ¾ÃÂ²ÃÂ¸ÃÂ½ÃÂ° XVI Ã‘ÂÃ‘â€š.). Ãâ€ºÃÂ°Ã‘â‚¬ÃÂ¸Ã‘ÂÃÂ° ÃÂ§ÃÂ»ÃÂµÃÂ½ÃÂ¾ÃÂ²ÃÂ° ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003

Beard, Textile, Painting, Art

ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 51 Ã‘â€¦ 79 Ã‘â€¦ 3. The Vernicle. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece hollowed lime-wood panel, stamping. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. Ãâ€ºÃÂµÃÂ² ÃÂ¡ÃÂºÃÂ¾ÃÂ¿, Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½ÃÂ¸ÃÂº, ÃÂ¼ÃÂ¸Ã‘ÂÃ‘â€šÃÂµÃ‘â€ Ã‘â€šÃÂ²ÃÂ¾ÃÂ·ÃÂ½ÃÂ°ÃÂ²ÃÂµÃ‘â€ Ã‘Å’, Ã‘â‚¬ÃÂµÃ‘ÂÃ‘â€šÃÂ°ÃÂ²Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¾Ã‘â‚¬ Ã‘â€šÃÂ° ÃÂ´ÃÂ¾Ã‘ÂÃÂ»Ã‘â€“ÃÂ´ÃÂ½ÃÂ¸ÃÂº Ã‘Æ’ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘ÂÃ‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’, ÃÂ½ÃÂ°ÃÂ·ÃÂ¸ÃÂ²ÃÂ°Ã‘â€ ÃÂ°ÃÂ²Ã‘â€šÃÂ¾Ã‘â‚¬ÃÂ¾ÃÂ¼ Ã‘â€ Ã‘â€“Ã‘â€Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¸ ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ°, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ÃÂ° ÃÂ· ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. ÃÂ¡ÃÂºÃÂ¾ÃÂ¿ Ãâ€º.ÃÂ. ÃÅ“ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ ÃÂ¼Ã‘â€“ÃÂ½Ã‘â€“ÃÂ°Ã‘â€šÃ‘Å½Ã‘â‚¬ ÃÅ¸ÃÂµÃ‘â‚¬ÃÂµÃ‘ÂÃÂ¾ÃÂ¿ÃÂ½ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ãâ€žÃÂ²ÃÂ°ÃÂ½ÃÂ³ÃÂµÃÂ»Ã‘â€“Ã‘Â - ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ¾, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ ÃÂ·Ã‘â€“ ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. - Ãâ€Ã‘â‚¬ÃÂ¾ÃÂ³ÃÂ¾ÃÂ±ÃÂ¸Ã‘â€¡: ÃÅ¡ÃÂ¾ÃÂ»ÃÂ¾, 2011. - Ã‘Â. 25. ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 51 Ã‘â€¦ 79 Ã‘â€¦ 3. The Vernicle. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece hollowed lime-wood panel, stamping. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. Ãâ€ºÃÂµÃÂ² ÃÂ¡ÃÂºÃÂ¾ÃÂ¿, Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½ÃÂ¸ÃÂº, ÃÂ¼ÃÂ¸Ã‘ÂÃ‘â€šÃÂµÃ‘â€ Ã‘â€šÃÂ²ÃÂ¾ÃÂ·ÃÂ½ÃÂ°ÃÂ²ÃÂµÃ‘â€ Ã‘Å’, Ã‘â‚¬ÃÂµÃ‘ÂÃ‘â€šÃÂ°ÃÂ²Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¾Ã‘â‚¬ Ã‘â€šÃÂ° ÃÂ´ÃÂ¾Ã‘ÂÃÂ»Ã‘â€“ÃÂ´ÃÂ½ÃÂ¸ÃÂº Ã‘Æ’ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘ÂÃ‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’, ÃÂ½ÃÂ°ÃÂ·ÃÂ¸ÃÂ²ÃÂ°Ã‘â€ ÃÂ°ÃÂ²Ã‘â€šÃÂ¾Ã‘â‚¬ÃÂ¾ÃÂ¼ Ã‘â€ Ã‘â€“Ã‘â€Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¸ ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ°, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ÃÂ° ÃÂ· ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. ÃÂ¡ÃÂºÃÂ¾ÃÂ¿ Ãâ€º.ÃÂ. ÃÅ“ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ ÃÂ¼Ã‘â€“ÃÂ½Ã‘â€“ÃÂ°Ã‘â€šÃ‘Å½Ã‘â‚¬ ÃÅ¸ÃÂµÃ‘â‚¬ÃÂµÃ‘ÂÃÂ¾ÃÂ¿ÃÂ½ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ãâ€žÃÂ²ÃÂ°ÃÂ½ÃÂ³ÃÂµÃÂ»Ã‘â€“Ã‘Â - ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ¾, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ ÃÂ·Ã‘â€“ ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. - Ãâ€Ã‘â‚¬ÃÂ¾ÃÂ³ÃÂ¾ÃÂ±ÃÂ¸Ã‘â€¡: ÃÅ¡ÃÂ¾ÃÂ»ÃÂ¾, 2011. - Ã‘Â. 25.

Textile, Rectangle, Art, Painting

ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 31 Ñ… 2. The Annunciation Last quarter of the 16th c. Galychyna. Tempera on gesso-grounded two-piece lime-wood panel, silvering, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 31 Ñ… 2. The Annunciation Last quarter of the 16th c. Galychyna. Tempera on gesso-grounded two-piece lime-wood panel, silvering, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Textile, Art, Painting, Religious Item

ÃÅ¡Ã‘â€“ÃÂ½ÃÂµÃ‘â€ Ã‘Å’ XVII Ã‘ÂÃ‘â€š. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â‚¬ÃÂ¸Ã‘â€šÃ‘Æ’ÃÂ²ÃÂ°ÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘â€šÃÂ¾ÃÂ½ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂµ ÃÂ¿Ã‘â€“ÃÂ´ ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ¾. 100 Ã‘â€¦ 71 Ã‘â€¦ 5 (ÃÂ² ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“). Christ in the Winefat. Late 17th c. Kyivshchyna. Tempera, gold-tinted silvering, engraving on gesso-grounded three-piece lime-wood panel. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. ÃÅ¡Ã‘â€“ÃÂ½ÃÂµÃ‘â€ Ã‘Å’ XVII Ã‘ÂÃ‘â€š. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â‚¬ÃÂ¸Ã‘â€šÃ‘Æ’ÃÂ²ÃÂ°ÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘â€šÃÂ¾ÃÂ½ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂµ ÃÂ¿Ã‘â€“ÃÂ´ ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ¾. 100 Ã‘â€¦ 71 Ã‘â€¦ 5 (ÃÂ² ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“). Christ in the Winefat. Late 17th c. Kyivshchyna. Tempera, gold-tinted silvering, engraving on gesso-grounded three-piece lime-wood panel. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003.

New-year`s tree decorations

Christmas-tree decorations over red background. Close-up. Christmas-tree decorations over red background. Close-up.

Prince William, Prince Richard and their nanny on board HMS King George V, 1946

Amos, Alfred.

Title devised by cataloguer based on inscription.; In album: Photograph albums of Alfred Amos, valet to the Duke of Gloucester, Governor General of Australia, 1945-1960.; Inscriptions: "H.R.H. Prince William, H.R.H. Prince Richard, & nanny"--In ink above image; "On board King George V"--In ink on page.; Condition: Silvering.; Also available in an electronic version via the Internet at: nla.gov.au/nla.pic-vn4660686-s188.

Persistent URL
nla.gov.au/nla.pic-vn4660686-s188. Amos, Alfred.

Title devised by cataloguer based on inscription.; In album: Photograph albums of Alfred Amos, valet to the Duke of Gloucester, Governor General of Australia, 1945-1960.; Inscriptions: "H.R.H. Prince William, H.R.H. Prince Richard, & nanny"--In ink above image; "On board King George V"--In ink on page.; Condition: Silvering.; Also available in an electronic version via the Internet at: nla.gov.au/nla.pic-vn4660686-s188.

Persistent URL
nla.gov.au/nla.pic-vn4660686-s188

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