We realize that we can provide herewith only an incomplete, imperfect picture of the work and creativity of the man, the esteemed personality Alexei Saveliev and that it would be presumptuous of us to try to do otherwise, since this would contradict his self-conception, his humble spirit and modest nature.  We are therefore fully aware that we cannot give an objective evaluation of what he created and strove for.  In fact, on the one hand we feel overtaxed, while on the other we feel it is not our business, neither is it necessary.  We hold the view that his works and deeds speak for themselves.

There are three main factors which should be borne in mind: 

     1. We lack clear information and facts about his childhood and youth, his school
          education and professional training and the first part of his life (1935-1944/48)
          when he worked as make-up artist and photographer at the Kiew Theatre and in the
          film studios of Berlin. 
          He is said to have written a thesis (in English) on the importance of costumes and their
          use in the world of theatre.    
          He has produced remarkable photographs (a series of colour slides – Annual Cycle) for
          a children’s book.
      2. Began his studies in iconography, fresco painting and Old-Christian Art in
          Hamburg 1948-1950/51.  Commenced working as iconographer of so-called “new
          Icons” in Hamburg 1948-1950/51 during which time he was convinced to be heeding a
          Call to be God’s work and his tool, bringing back the valuable burden, the icon, to
          Western Europe.
          Establishment of an Icon Centre in Graach on the Moselle and finally, in Traben-   
          Trarbach – Kautenbach (1976-1983-1993), providing him with a place in God’s divine

       3.We have no general view or substantial knowledge of the mass of icons, frescoes, and
          restorations produced and undertaken by A. Saveliev during the course of almost 40
          years (1953-1993).  There were many sales exhibitions and presentations of his icons
          in Germany and Austria.  Also, many icons were given to private individuals as
          well as churches.  Who knows of them?  What has happened to them?

Revered reader, interested guest, esteemed friend of the icon,

We would herewith like to ask you to kindly inform us if you know something more of the man Alexei Saveliev and his works.  It will help us to provide a clearer picture of the man and to close the gaps in our knowledge.  Perhaps you are in the possession of one or several Saveliev icons. If so, it would be very much appreciated if you could grant us the opportunity to photograph it/them and include it/them in our web pages, whereby by we would naturally include your name as sponsor, if you wish. Perhaps you also have photographs of the icons or of Saveliev himself which you could loan us. 

We thank you for your kind cooperation and support.  .

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