A few examples of appraisal values for
THE RESURRECTION

• J. & R. LAMB CARRARA MARBLE AND
  J. & R. LAMB CARRARA MARBLE AND MOSAIC ALTAR J. & R. Lamb Studios, New York, circa 1900. Carved marble with classical columns and relief carved script. Inlaid mosaic tiles with stylized flowers, cross and chalice on an iridescent gilt ground. The George H. McKnight Memorial Altar On June 17, 1907 this beautiful marble altar was dedicated to the memory of The Rev. Dr. George H. McKnight, rector of Trinity Church for thirty-six years, 1869-1905. The following description was offered by The Rt. Rev. Henry C. Potter, Bishop of New York, in his dedicatory sermon:"The altar is of the finest white Italian marble, the length being seven feet, standing on a space about nine feet long. "The mensa (table top) has in it an inlaid cross in green marble and is supported in front at the ends by two massive columns of white marble with carved capitols of the lily motif in high relief. The panel in front of the altar is of Venetian mosaic, the field being gold with the resurrection of lilies in pure white and leaves and stems of rich green. In the center of the field is a cross with the eternity circle treated in red with a superimposed chalice in silver, the whole producing a rich and beautiful effect in tone and color." The memorial was designed by Charles R. Lamb and executed and erected by the firm of J. & R. Lamb.
• A RUSSIAN ORTHODOX FEASTDAY ICON
  A RUSSIAN ORTHODOX FEASTDAY ICON Late 18th century, tempera and gilt on panel, the center depicting The Resurrection with Twelve Apostles, surrounded by twelve holy feasts, including: The Nativity of the Theotokos, The Exaltation of the Cross, The Presentation of the Theotokos, The Nativity of Christ, The Baptism of Christ, The Presentation of Jesus at the Temple, The Annunciation, The Entry into Jerusalem, The Ascension of Christ, Pentecost, The Transfiguration of Jesus, and The Dormition of the Theotokos, all within an ornate floral frieze border.
• A RUSSIAN ORTHODOX ICON CELEBRATING
  A RUSSIAN ORTHODOX ICON CELEBRATING THE HOLY FEASTS Late 18th century, tempera and gilt on panel, the center depicting The Resurrection, surrounded by twelve holy feasts, including: The Nativity of the Theotokos, The Exaltation of the Cross, The Presentation of the Theotokos, The Nativity of Christ, The Baptism of Christ, The Presentation of Jesus at the Temple, The Annunciation, The Entry into Jerusalem, The Ascension of Christ, Pentecost, The Transfiguration of Jesus, and The Dormition of the Theotokos, all within an intertwining geometric paneled border.
• CHINESE EXPORT JESUIT WARE
  CHINESE EXPORT JESUIT WARE RESURRECTION TEACUP Qianlong Era, circa 1740-50 "The Resurrection of Christ," executed in en grisaille enamels with gilt accents and monogram letters "MES," and gilt spearhead border, image taken from one the many prints of the subject, taken from the Gospels, showing Christ triumphant and the sleeping soldiers, 2 1/2 in. H. This and other Jesuit Ware was produced in vast amounts during this period, as the Qianlong emperor heavily cracked down on the practice of Christianity in this era.
• ENGLISH NEEDLEWORK PICTURE, 18TH
  ENGLISH NEEDLEWORK PICTURE, 18TH C.English needlework picture, 18th c. , of the Resurrection of Christ with tomb in the background and scalloped floral border in gold thread, mounted on a later silk ground, (embroidered area) 14" x 18 1/2". Condition: Overall good condition with some fading to faces. Modern frame.
• GROUP OF MISCELLANEOUS BOOKS ON
  GROUP OF MISCELLANEOUS BOOKS ON ANTIQUITYComprising: Lord Macaulay, Lays of Ancient Rome with Ivry and the Armada Erasmus, Moriae Encomium or The Praise of Folly Plato, The Republic The Destruction of Jerusalem, an Absolute and Irresistible Proof of the Divine Origin of Christianity Elias Boudinot, A Star in the West; or, A Humble Attempt to Discover the Long Lost Ten Tribes of Israel G.K. Chesterton, The Resurrection of Rome The largest 9 5/8 x 6 1/2 x 1 1/2 in. (6 pcs). Condition All with general wear, a couple with losses to covers. No further information is available for this lot.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• PAIR OF RUSSIAN ICONS DEPICTING THE
  PAIR OF RUSSIAN ICONS DEPICTING THE RESURRECTION7 x 4 5/8 in. Condition Fading, craquelure, staining and losses. A few drill holes to the reverse.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• RELIGIOUS ICON, 18TH C. "The
  RELIGIOUS ICON, 18TH C. "The Cardinal Feast Days, May", egg tempera on wooden panel, 20 3/4" x 16 7/8". Losses, repaired and stabilized. Depicting the Complete Resurrection and Descent into Hell at center. The lower right hand corner depicts St. Peter rushing up from his boat to meet Jesus, who still needs to eat after his resurrection, they feast on fish at the shore. From the top left corner, clockwise: The Old Testament Trinity; Birth of the Virgin; The Presentation of the Virgin to the Temple; The Annunciation; The Presentation of Jesus at the Temple; The Transfiguration; Exaltation of the Holy Cross (Patriarch Makarios raises the Holy Cross in his two hands. Two Deacons flank him holding his robe. He is flanked by the Emperor Constantine the Great and Empress Helena; in the background is the basilica of the Resurrection built by Constantine in Jerusalem. The Dormition; The Ascension (not the usual depiction: the Virgin is included in this iconography as a symbol representing the Church); the principal place is given to the Mother of God, who is flanked by two angels with wings in white. Christ ascends in glory seated in an aureole, supported by two angels, a group of apostles, one kneeling and two standing to the right of the Virgin.
• RUSSIAN ICON DEPICTING THE
  RUSSIAN ICON DEPICTING THE RESURRECTION, c. 1900, painted in the Western style, with Christ outside the tomb and gilded border, 10 1/2 x 8 5/8 in.
• A GERMAN GILT METAL MOUNTED MOCHA
  A GERMAN GILT METAL MOUNTED MOCHA STONE TABLE SNUFF BOX circa 1760, with a hinged rectangular enamel lid painted with The Resurrection of Christ, the tapering and curved sides in finely figured stone with gilt metal mounts engraved with leafage and flowers, 10cm wide Provenance: Bt. Laurence Gould Antiques, London NW2 on 9th June 2011.
• Three Russian Double Sided
  Three Russian Double Sided Lacquer Travelling Icons, 19th century each parcel gilt tempera on lacquer panel depicting: 1)The Entrance of Jesus to Jerusalem and the Resurrection of Lazarus, 2)The Ascension of the Lord and The Week of All Saints, and 3)Transfiguration and the Miracle of St. Michael, respectively 6.9 x 6 in — 17.4 x 15.2 cm
• PRINTS, HENDRICK GOLTZIUS (lot of
  PRINTS, HENDRICK GOLTZIUS (lot of 6) Hendrick Goltzius (Dutch, 1558-1617), "The Mocking of Jesus," "Ecce Homo," "The Flagellation of Christ," "Christ Carrying the Cross," "The Crucifixion," and "The Resurrection," from "The Passion," (circa 1596/97), engravings, each initialed in plate, three with a crowned coat of arms watermark (The Mocking of Jesus, the Flagellation of Christ, and Christ Carrying the Cross), sheet: 7.75"h x 5"w, largest mat: 15.75"h x 12"w
• LOUIS HECTOR LEROUX O/B PAINTING OF
  LOUIS HECTOR LEROUX O/B PAINTING OF CLEOPATRA ENTHRONED...Louis Hector Leroux (France, 1829-1900) oil on board classical revival style portrait painting depicting a woman, possibly Cleopatra, seated on a marble throne adorned in a classical draped garment and jewelry, including a snake bracelet on her right arm, with an upswept hairstyle. She is seated next to a barrel of scrolls against a dark background with classical architectural details dimly illuminated by a lantern in the top left corner. Signed "Hector LeROUX" to footstool. Housed in a contemporary giltwood frame with a linen liner. Sight: 19 1/2" H x 12 1/4" W. Framed: 25 3/4" H x 18 3/4" W. Biography: Hector Leroux was born in Verdun, France in 1829. In 1857, he was awarded a second-place prize in Rome for his composition on the theme of the Resurrection of Lazarus. This success allowed him to be a resident at the Villa Medici in Rome. During his stay in Rome, he became a member of the Caldarrosti group (a group of French artists living in Rome). A painter with a passion for Antiquity, Leroux painted a work for the Salon de la Société des Artistes Français, Paris in 1881 entitled "Herculaneum, 23 August, year 79", which is on display today at the Musée d'Orsay. Condition: Overall very good condition with no visible retouching. Some light crackle; minute abrasion to paint layer measuring 1/8" to subjects forearm; and some light surface wear. Frame with slight gilt loss to corners.
• FRIDA KAHLO "AUTORRETRATO" MIXED
  FRIDA KAHLO "AUTORRETRATO" MIXED MEDIAFrida Kahlo (Mexico, 1907 - 1954) unframed watercolor, pastel, & charcoal on paper depicting a portrait of Frida Kahlo and titled "Autorretrato", executed in 1941. Measures 18-1/2" in height with width of 12-1/2" & signed to lower left "Frida Kahlo 1941". All measurements are approximate. Complete with certificate of authenticity & letter of provenance, please see photographs. Provenance: comes from the estate of a prominent Texas collector. Magdalena Carmen Frida Calderon (Frida Kahlo) was born on July 6, 1907 in Mexico City, the daughter of a German Jewish father & a Mexican mother. She lived her adult life in the shadow of her husband, famed muralist & Mexican national hero Diego Rivera whom she had known since childhood. They embarked on their violent courtship following his divorce from his second wife. The were both temperamental & noisy Communists, & she proudly proclaimed that she had never been expelled from the communist party, as Diego was. He was obese, unfaithful, & psychologically abusive, yet Frida retaliated with her own bisexual affairs. Kahlo once called Rivera "the other accident" in her life, and she lamented her inability to possess him completely. A grisly accident occurred when she was a teenager: a streetcar hit the bus in which she was riding and drove a handrail into her abdomen and out her vagina. As a result her pregnancies resulted in miscarriages and abortions. Semi-crippled and in constant pain, she required several ghastly operations and enough liquor to make her a probable alcoholic. She was extremely loyal to her country; she altered her birthdate to coincide wth the start of the 1910 Mexican Revolution, and to her politics; at her cremation a hammer and sickle was draped over the casket. She didn't enjoy a long enough career to make it into the coffee-table books while she she was still alive. In 1939, after Kahlo returned to Mexico & after some success with exhibitions of her work in Paris & New York, she & Rivera divorced. Her health deteriorated, yet she continued to paint. She and Rivera remarried in 1940, but her physical condition worsened. After her death she was transformed from the "wife of Diego Rivera" to the art world's version of Sylvia Plath, in many opinions. The resurrection of Kahlo started in the 1970s, when her work began to generate excitement in the women's liberation movement. But there always has been much controversy about the worth of her work. She was hailed by the Surrealists and unabashedly admired by Picasso; yet in Mexico itself there are many who feel she is over-rated. She is the subject of numerous biographies, exhibitions and documentary films, not to mention souvenir T-shirts, calendars and posters. For women and feminists, especially, she is a heroine who overcame great odds to create an identity for herself in art. She died in 1954.
• FRIDA KAHLO "AUTO RETRATO" PASTEL
  FRIDA KAHLO "AUTO RETRATO" PASTEL DRAWING, C 1941Frida Kahlo (Mexico, 1907 - 1954) unframed pastel drawing on paper depicting a portrait of Frida Kahlo and titled "Auto Retrato" or "Self Portrait", executed in 1941. Measures 15-7/8" in height with width of 13-1/2" & signed to uppper right "Mexico Frida Kahlo 1941". All measurements are approximate. Complete with certificate of authenticity & letter of provenance, please see photographs. Also included is the original bill of sale signed by Friday Kahlo, wherein this piece was originally purchased by the actress Paulette Goddard on January 3, 1941. This piece was probably a commissioned piece, note dates. (See photographs for this as well.) Provenance: comes from the estate of a prominent Texas collector, who's family had acquired it as a gift from the actress Paulette Goddard. Magdalena Carmen Frida Calderon (Frida Kahlo) was born on July 6, 1907 in Mexico City, the daughter of a German Jewish father & a Mexican mother. She lived her adult life in the shadow of her husband, famed muralist & Mexican national hero Diego Rivera whom she had known since childhood. They embarked on their violent courtship following his divorce from his second wife. The were both temperamental & noisy Communists, & she proudly proclaimed that she had never been expelled from the communist party, as Diego was. He was obese, unfaithful, & psychologically abusive, yet Frida retaliated with her own bisexual affairs. Kahlo once called Rivera "the other accident" in her life, and she lamented her inability to possess him completely. A grisly accident occurred when she was a teenager: a streetcar hit the bus in which she was riding and drove a handrail into her abdomen and out her vagina. As a result her pregnancies resulted in miscarriages and abortions. Semi-crippled and in constant pain, she required several ghastly operations and enough liquor to make her a probable alcoholic. She was extremely loyal to her country; she altered her birthdate to coincide wth the start of the 1910 Mexican Revolution, and to her politics; at her cremation a hammer and sickle was draped over the casket. She didn't enjoy a long enough career to make it into the coffee-table books while she she was still alive. In 1939, after Kahlo returned to Mexico & after some success with exhibitions of her work in Paris & New York, she & Rivera divorced. Her health deteriorated, yet she continued to paint. She and Rivera remarried in 1940, but her physical condition worsened. After her death she was transformed from the "wife of Diego Rivera" to the art world's version of Sylvia Plath, in many opinions. The resurrection of Kahlo started in the 1970s, when her work began to generate excitement in the women's liberation movement. But there always has been much controversy about the worth of her work. She was hailed by the Surrealists and unabashedly admired by Picasso; yet in Mexico itself there are many who feel she is over-rated. She is the subject of numerous biographies, exhibitions and documentary films, not to mention souvenir T-shirts, calendars and posters. For women and feminists, especially, she is a heroine who overcame great odds to create an identity for herself in art. She died in 1954.
• 2 EARLY 20TH C AMERICAN CARVED
  2 EARLY 20TH C AMERICAN CARVED PLAQUES2 Early 20th c. American carved bas-relief plaques. 1. Christ Bearling Cross 2. The Resurrection. 13 x 21 1/2 x 6 1/2''; 16 x 21 1/2''
• FINE LARGE RUSSIAN ICON OF
  FINE LARGE RUSSIAN ICON OF RESURRECTIONFine large Russian icon of the resurrection and great feasts, centering scene of the resurrection within individual scenes of the twelve great feasts, tempera and gilt on panel. Wear and losses consistent with age, old restorations. 17 1/2" high, 15 1/2" wide. Condition: Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition.
• TRIPTYCH BRONZE GOTHIC DESIGN
  TRIPTYCH BRONZE GOTHIC DESIGN TRAVELING ICON19th century, likely Russian, depicting the resurrection of Christ in central panel. 13" high, 10 1/2" wide (open). Expected age and use wear. We offer in-house packing and shipping of this item to an address in the United States for $45via USPS Priority Mail. The price includes insurance up to $5000. Tracking information will be sent to your email address. International buyers are responsible for arranging third party shipping.
• CIRCA 1890-1900 'RESURRECTION'
  CIRCA 1890-1900 'RESURRECTION' EASTER EGG, IMPERIAL POR...ovoid, centered with a scene of the Resurrection, initialed A lower right , the obverse with the apparition of an angel to Mary Magdalene at the tomb, with original silk ribbon; height of egg: 7.5 cm (3 in.) PROVENANCE Collection of A. J. Marino, likely acquired from Hammer Galleries, New York, circa 1934 Thence by descent in the family to the present owner CONDITION In stable repaired condition (old diagonal repaired crack). Inspection under UV light shows old retouching, mainly confined to the borders. Silk ribbon fragile.
• CHINESE EXPORT JESUIT WARE TEACUP
  CHINESE EXPORT JESUIT WARE TEACUP Qianlong Era, circa 1740-50 "The Resurrection of Christ," executed in en grisaille enamels with gilt accents and monogram letters "MES," and gilt spearhead border, image taken from one the many prints of the subject, taken from the Gospels, showing Christ triumphant and the sleeping soldiers. 2 1/2 in. H. This and other Jesuit Ware was produced in vast amounts during this period, as the Qianlong emperor heavily cracked down on the practice of Christianity in this era.
• RUSSIAN COMPOSITE ICON CENTRAL
  RUSSIAN COMPOSITE ICON CENTRAL SCENE OF THE RESURRECTION SURROUNDED BY TWELVE ADDITIONAL SCENES, MOST DEPICTING THE LIFE OF CHRIST O...RUSSIAN COMPOSITE ICON Early 20th Century Central scene of the Resurrection surrounded by twelve additional scenes, most depicting the life of Christ or Mary. Captioned in Cyrillic. 10.5" x 8.75".
• AFTER SALVADOR DALI THREE
  AFTER SALVADOR DALI THREE LITHOGRAPHSAFTER SALVADOR DALI (Spain, 1904-1989) three lithographs from the story of Tarot: "The Resurrection," "Pilgrim's Journey (The Fool)," and "Wealth, Health, Fame and Love." Each pencil signed lower right, edition number ICXLV/CL, 62/250, and 55/400. Images measure 23" x 16", 23" x 17", and 23" x 17". In matching gilt wood frames; 39" x 30.5" overall.
• RUSSIAN ICON, THE RESURRECTION
  RUSSIAN ICON, THE RESURRECTION AND DESCENT INTO HARUSSIAN ICON, The Resurrection and Descent into Hades, hand painted on wood with gilding. The icon measures 14" x 12.25". In a wood frame; 18.75" x 17" overall.
• MANNER OF PIETRO BIANCHI: "JESUS
  MANNER OF PIETRO BIANCHI: "JESUS BEFORE THE CROSS"Jesus Before the Cross Holding the Resurrection Banner oil on canvas with inventory number verso "Q74," sticker "G8183/3," and card from Adamson-Duvannes Galleries 25 1/4 x 18 3/4 inches; 31 3/4 x 25 1/2 inches frame Condition:
• FLEMISH RELIEF-CARVED PANEL OF
  FLEMISH RELIEF-CARVED PANEL OF THE RESURRECTIONoak; in a later frame; 12 1/2 x 8 3/4 inches; 16 3/4 x 11 1/2 inches frame Condition:
• ALBRECHT DURER (1471 - 1528): THE
  ALBRECHT DURER (1471 - 1528): THE RESURRECTIONwoodcut, framed under glass; Provenance: The Kelton Collection, The Estate of Richard Kelton, Los Angeles, CA; 15 1/2 x 11 inches; 24 x 19 1/2 inches frame Condition:
• ALBRECHT DüRER (GER. 1471-1528),
  ALBRECHT DüRER (GER. 1471-1528), DIE GRABLEGUNG (THE ENTOMBMENT) AND DIE AUFERSTEHUNG (THE RESURRECTION) (MEDER 153/154), TWO WOODCUTSAlbrecht Dürer (German 1471-1528), Die Grablegung (The Entombment), and Die Auferstehung (The Resurrection): From The Small Passion, (Meder 153 and 154) ,Each a woodcut, 1509-11, each with monogram; the first, with old German text on verso, the second with Latin text on verso; each trimmed to plate and with scattered spots of foxing. Framed as one.* Sheet size of each: 129 x 98 mm (5-1/8 x 3-7/8 in),, Dimensions: Sheet size of each: 129 x 98 mm (5-1/8 x 3-7/8 in)
• AFTER ALBRECHT DURER (1471 - 1528):
  AFTER ALBRECHT DURER (1471 - 1528): THE RESURRECTIONwoodcut on wove paper, matted and framed under acrylic; Provenance: The Kelton Collection, The Estate of Richard Kelton, Los Angeles, CA; 15 1/2 x 10 1/4 inches sheet; 23 1/4 x 18 inches frame Condition:
• ICON, GREEK, PROBABLY 18TH C. OR
  ICON, GREEK, PROBABLY 18TH C. OR EARLIER, "THE RESURRECTION OF CHRIST", TEMPERA ON PANEL, DEPICTS ANGELS AND SOLDIERS, SOME WEAR/LOS...Icon, Greek, probably 18th C. or earlier, "The Resurrection of Christ", tempera on panel, depicts angels and soldiers, some wear/loss, 15 1/4" h. x 10 3/4" w.
• 19TH CENTURY PORTUGUESE COLONIAL
  19TH CENTURY PORTUGUESE COLONIAL PAINTED, GESSOED AND CARVED WOOD SANTOS FIGURE OF CHRIST AFTER THE RESURRECTION, H OVERALL 36 IN. (91.4 CM.)19th Century Portuguese Colonial Painted, Gessoed and Carved Wood Santos Figure of Christ After the Resurrection,, Dimensions: H overall 36 in. (91.4 cm.)
• 19TH CENTURY SPANISH COLONIAL
  19TH CENTURY SPANISH COLONIAL POLYCHROME PAINTED, SILVERED, GESSOED AND CARVED WOOD SANTOS FIGURE OF CHRIST AFTER THE RESURRECTION, H OVERALL 26 IN. (66 CM.)19th Century Spanish Colonial Polychrome Painted, Silvered, Gessoed and Carved Wood Santos Figure of Christ After the Resurrection,, Dimensions: H overall 26 in. (66 cm.)
• 19TH CENTURY SPANISH COLONIAL
  19TH CENTURY SPANISH COLONIAL SCHOOL POLYCHROME ENAMEL PAINTED, GESSOED AND CARVED WOOD SANTOS FIGURE OF CHRIST AFTER THE RESURRECTION ON AN ASSOCIATED BAROQUE STYLE STAND, H OVERALL 26 1/4 IN. (66.7 CM.)19th Century Spanish Colonial School Polychrome Enamel Painted, Gessoed and Carved Wood Santos Figure of Christ After the Resurrection on an Associated Baroque Style Stand,, Dimensions: H overall 26 1/4 in. (66.7 cm.)
• REVERSE-PAINTED GLASS RELIGIOUS
  REVERSE-PAINTED GLASS RELIGIOUS SCENE PROBABLY ENGLAND, 19TH CENTURY 26” X 20.25”. FRAMED 29” X 23.25”.REVERSE-PAINTED GLASS RELIGIOUS SCENE, Probably England, 19th Century, "The Resurrection of a Pious Mother and her Childrln [ sic] at the Last Day". Exceptionally detailed. Dimensions: 26" x 20.25". Framed 29" x 23.25". Provenance: The Estate of Paul and Diane Madden, Sandwich, Massachusetts.
• NEW MEXICAN POLYCHROMED WOOD BULTO,
  NEW MEXICAN POLYCHROMED WOOD BULTO, OF NINO JESUS DE LA RESURRECCION/ CHRIST CHILD OF THE RESURRECTION, IN THE MANNER OF ANTONIO MOLLENO (WORKING DATES 1800 TO 1845)NEW MEXICAN POLYCHROMED WOOD BULTO, OF NINO JESUS DE LA RESURRECCION/ CHRIST CHILD OF THE RESURRECTION, IN THE MANNER OF ANTONIO MOLLENO (WORKING DATES 1800 TO 1845),
• RUSSIAN, 19TH CENTURY, ICON OF
  RUSSIAN, 19TH CENTURY, ICON OF THE RESURRECTION OF CHRIST, EGG TEMPERA AND GESSO ON WOOD PANEL, 16 1/2 X 11 5/8 IN. (41.9 X 29.5 CM.)RUSSIAN, 19TH CENTURY, ICON OF THE RESURRECTION OF CHRIST, Egg tempera and gesso on wood panel Egg tempera and gesso on wood panel Dimensions: 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm.)
• RUSSIAN, POSSIBLY 17TH CENTURY,
  RUSSIAN, POSSIBLY 17TH CENTURY, ICON OF THE RESURRECTION AND DESCENT INTO HELL, EGG TEMPERA AND GESSO ON WOOD PANEL, 14 1/2 X 11 1/2 IN. (36.8 X 29.2 CM.)RUSSIAN, POSSIBLY 17TH CENTURY, ICON OF THE RESURRECTION AND DESCENT INTO HELL, Egg tempera and gesso on wood panel Egg tempera and gesso on wood panel Dimensions: 14 1/2 x 11 1/2 in. (36.8 x 29.2 cm.)