拍品专文
The panel should be compared with works by Emmanuel Tzanes (1610-1690), in particular an icon in the Benaki Museum dated 1682, (see M. Chatzidakis, Contribution à l'étude de la peinture post-byzantine in 'l'Héllenisme Contemporain', (Athens, 1953), pl. XVIII, 17, reproduced in Études sur la peinture post-byzantine, (London, 1976)), and another in the Byzantine Museum, Athens (see N. Drandakis, \kO Emmanouhl Tzane Mpounialhs\K, (Athens, 1962), p.162, 43, 154).
In her catalogue to the Charleroi exhibition Theano Chatzidakis remarks upon tremendous similarities between this icon and those in the Byzantine and Benaki Museums. She suggests that "the technical execution must also be paralleled with the work from the workshop of this painter [Tzanes] who was in the habit of producing several copies of each work".
Emmanuel Tzanes Bounialis of Rethymnon moved to Venice in 1655 and remained there until his death in 1690.
For information on the legend of Saint George see footnote to lot 319.
In her catalogue to the Charleroi exhibition Theano Chatzidakis remarks upon tremendous similarities between this icon and those in the Byzantine and Benaki Museums. She suggests that "the technical execution must also be paralleled with the work from the workshop of this painter [Tzanes] who was in the habit of producing several copies of each work".
Emmanuel Tzanes Bounialis of Rethymnon moved to Venice in 1655 and remained there until his death in 1690.
For information on the legend of Saint George see footnote to lot 319.