This angel icon panel, Aggelos Giorgis, is painted in oil and egg on wood with gold leaf. The angel detail is credited to D. Kolioussis and forms part of De Ferranti’s Iconography Collection. De Ferranti describes the artist as a rare find, able to furnish chapel walls with hand-painted icons and religious themes, produce one-off panels for installation art, create complete themed rooms, and work in styles ranging from Greek and Roman Orthodox traditions through Renaissance and Classical painting.

Angel Icon Panel with an Aged Surface

The sacred figure is presented as a self-contained painted artwork whose halo, gold leaf, timber character and hand-painted surface remain visually connected. Byzantine icon traditions rely on clarity of pose and symbolic colour rather than illusionistic depth, and the aged support softens the boundary between image and object. In a contemporary interior, this makes the panel effective against lime plaster, stone, dark timber or quiet painted walls without requiring an ornate surrounding scheme.

The more saturated Aggelos Blue provides a useful colour comparison, while Aggelos Smoked Oak moves into a warmer, more subdued register. Beyond the group, the Fayum Portraits Painted on Wood & Stone show another ancient tradition of painted figures on rigid supports, and Fiore Byzantino Gold & Blue demonstrates how gold and blue operate in Byzantine-inspired mosaic rather than paint.

Position, Light and Visual Breathing Space

Placement should be resolved with the room elevation rather than treated as an afterthought. Consider eye level, surrounding joinery, door heads and sightlines from adjoining spaces. Controlled light can bring out the gold leaf and surface variation without turning the panel into a brightly lit display object. Where several icons are used together, establish spacing and datum lines from scaled drawings first. Final fixing and environmental requirements should be reviewed for the actual support and intended interior.

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