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Linda Hagge's avatar

Iain, take a screen shot of the image and do a Google Image Search. When I did that I got two hits on the exact image, one of which has much more information about where the icon comes from and where it can be found. Both hits are in modern Greek, but can be set to "translate." Another thing you can do from this page is enlarge the image and make a large image JPeg of it. Then you can take it to any photo shop and have them print it in any size you like on any kind of paper, and frame it. I have done that before for images of John Sell Cotman watercolors that are not available commercially. You could of course do this with your original postcard as well.

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Florin Cojocariu's avatar

This is what ChatGPT in deep research mod got. I guess the best option is to contact somehow the Byzantine Museum of Ioannina:

Christ the Judge (1773) — Ioannis Athanasiou

Byzantine Museum of Ioannina

Description of the Icon

Title: Christ the Judge

Painter: Ioannis Athanasiou of Kapesovo

Date: November 18, 1773

Medium: Egg tempera on wood, gold leaf, and modern pigments (e.g. Prussian blue)

Dimensions: 125.5 × 91 cm

Collection: Byzantine Museum of Ioannina (formerly Zosimaia School)

Inventory: Listed as “Jesus Christ the Judge” (cat. no. 27)

Iconography

Christ is seated in judgment at the center in a classic Deësis scene.

Flanked by the Virgin Mary and John the Baptist in intercession.

Surrounded by hosts of saints, apostles, prophets, and angels.

A blue starry realm below His feet, with sun and moon, representing cosmic judgment.

Notable for brilliant scarlet and gold tones, detailed gilding, and rich iconographic layering.

Inscription (in Greek)

1773, (ε)ζωγράφισθη η αγία εικόνα δια χειρός ταπεινού Ιωάννου Αθανασίου Καπεσοβίτου εν μηνί Νοεμβρίω 18

(Painted in 1773 by the humble hand of Ioannis, son of Athanasios, from Kapesovo, on November 18)

Painter: Ioannis Athanasiou (fl. 1760s–1800s)

From Kapesovo, a village in the Zagori region of Epirus.

Trained by his father, the monk-painter Athanasios.

Later collaborated with his son Anastasios (Anagnostis).

Headed a major itinerant painting workshop that decorated numerous Epirote churches.

His work blends:

Traditional Byzantine iconography (egg tempera, hierarchical composition)

18th-century influences (Baroque scrollwork, modern pigments)

Known works include wall frescoes and portable icons in Tsepelovo, Negades, Aristi, Zitsa, and more.

Significance of the Icon

A key example of post-Byzantine Epiriote religious art.

Demonstrates technical innovation:

Use of Prussian blue (early modern synthetic pigment)

Rich gold-powder gilding

Stylistically transitional: merges Orthodox canon with neo-Baroque ornamentation.

Reflects the artistic tastes of cosmopolitan Orthodox patrons in Ottoman Epirus.

Provenance

Originally part of the Zosimaia Academy collection in Ioannina.

Donated to the Byzantine Museum of Ioannina.

Currently exhibited in a carved wood proskynetarion with elaborate floral motifs.

Reproductions and Resources

Museum and Archives

Hellenic Ministry of Culture – National Archive of Monuments (Mobile Monuments Collection)

Contains an official entry and preview image.

Byzantine Museum of Ioannina – Holds the icon as part of its permanent display.

Photography: Eleni Eliadis (as credited on postcard)

Scholarly Sources

Kovala-Demertzi et al., “Pigment identification in a Greek icon…”

Journal of Cultural Heritage 13 (2012): 107–113

Includes pigment analysis, close-up images, and conservation study.

Four Historic Cities in the Western Balkans (2012), p. 93

Mentions Athanasiou and the Zosimaia School’s artistic heritage.

Greek blogs and archives (e.g. Peri Technis, Academy of Athens) document the Kapesovo painting lineage.

Further Reading

On the School of Northwestern Greece and post-Byzantine art in Epirus.

Velimezis Collection (includes icons attributed to Athanasiou).

Local Epirus church inventories and travel guides to museum holdings.

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