ANTIQUES

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DECORATIVE ANTIQUES

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DEVOTIONAL PENDANT. OIL ON AVENTURINE, ENAMEL, GOLD… SPAIN, 17TH CENTU...

Devotional pendant or reliquary. Oil painting on aventurine, enamel, and gold. Spain, 17th century. This medallion, pendant, or reliquary is made of aventurine, with an octagonal shape and faceted edges. It is enhanced with a series of enamels combining black and gold, which protect two oil paintings on Catholic religious themes, one on each side of the piece. The paintings depict a Virgin and Child, quite unique for being inspired by the Madonna del Popolo icon (Rome, Italy), and a simplified Martyrdom of Saint Lawrence (showing the saint, the gridiron, and an angel with a crown and palm branch). The edges of the piece are protected with simple metal elements. The painting of Saint Lawrence follows a composition typical of the Spanish school, and is reminiscent of works such as the altarpiece of the Church of San Lorenzo in Huesca, for example, although it also shares some details with others, such as the engraving by Marcantonio Raimondi (executed around 1527). The so-called icon of the Madonna del Popolo was widely known for being attributed to Saint Luke, and it was brought to the church of the same name by Gregory IX from the Sancta Sanctorum of the Lateran Palace after a flood caused a terrible plague in the city, and through a solemn procession with the image to Santa Maria del Popolo. Regarding the material of the piece, aventurine refers to a specific type of glass and a type of quartz (which can be green or reddish-brown and often contains tiny elements of yellow mica that give it golden reflections). In the first case, "aventurine" or "stellaria" is known to appear in Murano workshops for the first time during the first quarter of the 17th century, in reference to a very complicated paste to produce (it is said that the name comes from this circumstance, that is, that its creation was due to luck or fortune) that imitates the effects of that stone (originating from India and Russia at that time) thanks to the inclusion of copper particles, and which was used as if it were (cut) stone given the complexity of its use in glassblowing (practically impossible). And, dealing with this material, it is necessary to mention “The Nativity” by Pietro da Cortona, dated around 1656, which is kept in the Prado Museum (Madrid) because it is an oil painting on aventurine. Compare this piece with the reliquary medallion with an image of the Virgin painted on aventurine, dated between 1600 and 1633, in the Lázaro Galdiano Museum (Madrid); with another devotional medallion in gold and aventurine in the National Museum of Decorative Arts (Madrid), dated to the 17th-18th centuries; or with the reliquary medallion depicting an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries, also in the National Museum of Decorative Arts (Madrid); or with the 16th-century Spanish devotional pendant in the Metropolitan Museum of New York depicting Saint John the Baptist and the Virgin (which combines black and white enamels in a manner different from the present piece); or with the 17th-century triangular pendant in black and white enamel and gold from the Valencia de Don Juan Institute in Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0700
RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with "Flagellation of Christ". Silver, enamel. 16th century. Oval reliquary pendant decorated on the exterior with a plain band and relief elements on the rim (with curved profiles and engraved simple scrolls), featuring a chain of smooth, oval links (all virtually identical). The front and back display two figurative scenes with striking polychromy. On one side, Christ is depicted in the center of the composition, bound to a tall column and being whipped by two henchmen or soldiers with branches, following a composition common in the 16th century. On the other side, the focal point is a niche in the pendant protected by glass (since it contains a relic, highlighted by a Latin cross), emphasized in the composition with rays of light and a beam of luminosity; this element appears held by an angel and surrounded by winged heads (common in the Renaissance) floating among clouds, and is accompanied by Saint Joseph with the Child and the Flowering Staff, and Saint Anthony of Padua (also with the Child and a bouquet of flowers). These types of jewelry have always been highly valued, both for the materials used in their creation and for their religious significance. Despite this (or perhaps because of it), few examples of high quality and in good condition survive, and they can only be found in important private collections and prominent museums such as the Valencia de Don Juan Foundation in Madrid, the National Museum of Decorative Arts in the same city, etc., or in historic religious centers like the Royal Convent of the Barefoot Nuns in Madrid. Weight: 160 gr

· Size: 8x1x10 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0396
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century A devotional pendant made of silver in the shape of a Latin cross, decorated on the outside with simple scrolls, points, pearls, and other classically inspired elements, as well as a ring for wearing the piece around the neck. The front has seven oval openings (the one at the intersection of the arms being the largest) protected with clear glass; the back is smooth, with the silver in its natural color. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from the 16th and 17th centuries, and preserved in private collections. The present jewel displays profiles with much more movement than these two, although the motifs and the simplicity of the lines reflect classical influences. These types of jewels held great value for their owners, both for the materials from which they were made and for their contents, considered sacred and protective. Despite this high value (or perhaps precisely because of it), few examples of good quality and in good condition have survived. Similar medallions to this one are found only in a few important institutions such as the Valencia de Don Juan Foundation in Madrid, the National Museum of Decorative Arts (Madrid), the Lázaro Galdiano Museum (Madrid), the Museum of Beliefs and Popular Religiosity of the Aragonese Pyrenees (Abizanda, Huesca), the Metropolitan Museum of Art (New York), and others. They are also found in prominent religious institutions such as the Cathedral of Santiago de Compostela and the Royal Convent of Las Descalzas Reales in Madrid.

· Size: 6,5x10 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0190
RELIQUARY PENDANT. SILVER, ENAMEL. 17TH CENTURY.

Reliquary pendant. Silver, enamel, textile. 17th century. A large, polygonal pendant with a silver frame decorated with small pearls of the same material at the corners of the edge, which has a ring at the top for hanging. One side features a textile background under a sheet of clear glass, likely intended to hold relics. The other side has a brightly colored enamel depicting the Virgin Mary in three-quarter view, holding the naked Christ Child in her arms, both figures silhouetted against a landscape background with classical architectural elements (a fluted column on a pedestal with moldings) and details of a natural landscape (thus linking the scene to the Rest on the Flight into Egypt; compare, for example, with works such as the Virgin and Child by Anton van Dyck in the Cerralbo Museum in Madrid, the oil painting in The Walters Art Museum, or the engraving by Paulus Pontius following models by Van Dyck – where the elements coincide in arrangement with those of the medallion). These types of jewelry have always been highly valued, both for the materials used in their creation and for their religious significance. Despite this (or perhaps because of it), few high-quality examples in good condition have survived, and they can only be found in important private collections and prominent museums such as the Valencia de Don Juan Foundation in Madrid, the National Museum of Decorative Arts in the same city, etc., or in historic religious centers like the Royal Convent of the Barefoot Nuns in Madrid.

· Size: 6,5x0.5x8 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0399
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPAIN, 17TH CENTURY.

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decoration of alternating C's and enameled flowers, an interior line of enameled elements in the same colors (ovals and rectangles; this band does not appear on the back) and two fronts. On the front, protected by a sheet of glass, is a painting of, possibly, Saint John the Baptist accompanied by a lamb with a halo and set in a natural landscape (it should be noted that it also resembles works depicting Christ as the Good Shepherd). The back features a pierced plaque with the IHS, the second letter surmounted by a Latin cross and three nails, all surrounded by vegetal motifs, enameled in colors, and mounted on a textile. Experts mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) made in Spanish workshops between around 1620 and 1640, primarily in workshops in Toledo, Salamanca, Cordoba, Seville, etc., and also overseas. Their iconography is generally heavily influenced by the teachings of the Council of Trent.

· Size: 7x0.5x6,5 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1559
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPANISH SCHOOL, 17TH CENTURY.

Devotional pendant. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional pendant or confraternity insignia consisting of a frame with a ring at the top, a band with white enamel ovals, and a crest of alternating wavy and straight triangular rays topped with stars; and two sides. The front features a painted image (possibly Mary Magdalene in Penitence). The back has an openwork plaque with figurative enamel decoration (a monstrance with the Blessed Sacrament, a cross inside, and rays of light emanating outwards, flanked by two angels, all surrounded by further decorative elements). This devotional pendant (which sometimes functioned as a reliquary, allowing small items to be stored between the openwork plaque on the back and the image on the front) is considered by experts to be part of a group of medallions (oval, triangular, octagonal, etc.) made in Spanish workshops (Salamanca, Toledo, overseas, etc.) primarily between 1620 and 1640, but with a long-standing presence in Spanish tradition. Generally, the iconography they display shows a strong influence from the pronouncements of the Council of Trent.

· Size: 6,5x0.5x8 cms
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1558
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPANISH SCHOOL, 17TH CENTURY.

Devotional pendant, Saint Teresa of Ávila. Bronze, enamel, etc. Spanish School, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfastness in the Faith" medal, or a "confraternity badge" due to its shape. It consists of a triangular frame with a ring for hanging and simple enameled elements (juxtaposed "C" shapes, bands, and vegetal motifs), and two fronts, leaving a small space in the center of each that was sometimes used to hold relics. On one side, the typical reverse of this type of piece is visible: the IHS with the second letter surmounted by a Latin cross and three nails, all surrounded by vegetal motifs and enameled in various colors. The front displays a painting of Saint Teresa of Ávila or of Jesus (founder of the Discalced Carmelite Order—a branch of the Order of Our Lady of Mount Carmel—canonized in 1622), based on the portrait painted by Friar Juan de la Miseria in 1576. This type of devotional medallion appears frequently in Barcelona apprenticeship examinations dated around 1620-1630, but examples have also been found in Toledo, Córdoba, Seville, and other cities, as well as in overseas productions. Experts generally mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) produced in Spanish workshops primarily between 1620 and 1640. Their iconography is generally heavily influenced by the teachings of the Council of Trent.

· Size: 8x0.5x8 cms
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1557
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPANISH SCHOOL, 17TH CENTURY.

Devotional or steadfast medallion. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfastness in faith" medal, or a "confraternity badge" due to its shape. It consists of a triangular frame with a ring for hanging and simple enameled elements (juxtaposed "C" shapes, bands, and vegetal motifs), and two fronts, leaving a small space in the center of each, sometimes used to hold relics. On one side, the typical reverse of this type of piece is visible: the IHS with the second letter surmounted by a Latin cross and three nails, all surrounded by vegetal motifs and enameled in various colors. The front displays a painted image (Saint Francis of Assisi receiving the Stigmata, or the Stigmatization of Saint Francis of Assisi). This type of devotional medallion appears frequently in Barcelona apprenticeship examinations dated around 1620-1630, but examples have also been found in Toledo, Córdoba, Seville, and other cities. Experts generally mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) produced in Spanish workshops between around 1620 and 1640 (they also proliferated overseas). Their iconography is generally heavily influenced by the teachings of the Council of Trent.

· Size: 8x0.5x8 cms
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1560
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPANISH SCHOOL, 17TH CENTURY.

Devotional or steadfast medallion. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfastness in faith" medal, or a "confraternity badge" due to its shape. It consists of a triangular frame with a ring for hanging and simple enameled elements (juxtaposed "C" shapes, bands, and vegetal motifs), and two fronts, leaving a small space in the center of each, sometimes used to hold relics. On one side, the typical reverse of this type of piece is visible: the IHS with the second letter surmounted by a Latin cross and resting on three nails, all surrounded by vegetal motifs and enameled in various colors. The front displays a three-quarter view of the Virgin Mary (most likely an Immaculate Conception, following the usual iconography) against a natural landscape. This type of devotional medallion appears frequently in Barcelona apprenticeship examinations dated around 1620-1630, but examples have also been found in Toledo, Córdoba, Seville, and other cities. Experts generally mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) produced in Spanish workshops primarily between 1620 and 1640. Their iconography is generally heavily influenced by the teachings of the Council of Trent, and they also proliferated overseas.

· Size: 8x0.5x8 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1548
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPANISH SCHOOL, 17TH CENTURY.

Devotional or steadfast medallion. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfastness in faith" medal, or a "confraternity badge" due to its shape. It consists of a triangular frame with a ring for hanging and simple enameled elements (juxtaposed "C" shapes, bands, and vegetal motifs), and two fronts, leaving a small space in the center of each, sometimes used to hold relics. On one side, the typical reverse of this type of piece is visible: the IHS with the second letter surmounted by a Latin cross and three nails, all surrounded by vegetal motifs and enameled in various colors. The front shows what appears to be an engraving of the Virgin Mary with the Child Jesus in her arms. Note the presence of gilding. This type of devotional medallion appears frequently in Barcelona apprenticeship examinations dated around 1620-1630, but examples have also been found in Toledo, Córdoba, Seville, and other cities. Experts generally mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) produced in Spanish workshops primarily between 1620 and 1640. Their iconography is generally heavily influenced by the teachings of the Council of Trent, and they also proliferated overseas.

· Size: 8x0.5x8 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1549
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPAIN, 17TH CENTURY.

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decoration of alternating C's and flowers in black and white enamel, and an inner line of enamel bands of the same color) and two fronts. The front, protected by a glass plate, features a hand-painted engraving of the Presentation of the Child Jesus in the Temple. The back has an openwork plaque with two figures (likely angels) flanking a chalice from which a Sacred Host protrudes, along with a Cross, all surrounded by vegetal elements in white, black, and blue enamel. Experts mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) made in Spanish workshops between around 1620 and 1640, primarily in workshops in Toledo, Salamanca, Cordoba, Seville, etc., and also overseas. Their iconography is generally heavily influenced by the teachings of the Council of Trent.

· Size: 6,5x0.5x6,5 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1550
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPAIN, 17TH CENTURY.

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decoration of alternating C's and flowers in colored enamel, an inner line of white enamel stripes in two corners and black in the rest) and two fronts. The painted scene that is usually present on the front is missing. The back features an openwork plaque with two palms flanking a chalice from which a Sacred Host with a Cross protrudes, all surrounded by vegetal elements in colored enamels. Experts mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) made in Spanish workshops between around 1620 and 1640, primarily in workshops in Toledo, Salamanca, Cordoba, Seville, etc., and also overseas. Their iconography is generally heavily influenced by the teachings of the Council of Trent.

· Size: 6.5x0.5x6.5 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1551
DEVOTIONAL PENDANT. BRONZE, ENAMEL, ETC. SPAIN, 17TH CENTURY.

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decoration of vegetal elements with fleurs-de-lis in the corners, a band of rectangles with ovals in the centers of the sides and teardrop shapes in the corners facing inwards, on the front; only the cresting is visible on the back) and two front panels. The front panel features what is likely a painted engraving of a Pietà (possibly Our Lady of Sorrows of Granada). The back panel has lost the openwork plaque that this type of pendant usually has. Experts mention a series of confraternity plaques or medallions (oval, rectangular, octagonal, or triangular) made in Spanish workshops between around 1620 and 1640, primarily in workshops in Toledo, Salamanca, Cordoba, Seville, etc., and also overseas. Their iconography is generally heavily influenced by the teachings of the Council of Trent.

· Size: 5.5x0.5x7 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1552
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RIBBON BROOCH. SILVER, STRASS. CA FIRST THIRD 20TH CENTURY.

Bow brooch. Silver, rhinestones. Circa first third of the 20th century. With partial contrast mark. A silver-plated bow-shaped brooch with a pin on the back and a front composed of white stones and lines of fine red stones that accentuate the piece's shape and lines. It bears a resemblance to brooches by Collingwood and Sons (Birmingham, England). It features a small, partial hallmark on the prong., detectedSourceLanguage: es

· Size: 4x1x2,5 cms
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: Z4997
BRONZE AND ENAMEL DOMINICAN ORDER CROSS. 17TH CENTURY.

Cross of the Order of Preachers or habit of Saint Dominic. Gilt bronze, enamel. 17th century. A habit or badge with the fleur-de-lis cross of the Order of Preachers, also known as the Order of Saint Dominic or Dominicans, made of gilt bronze and decorated with black and white enamels on the front (the back is plain, with the metal visible). This emblem was commonly used by members (relatives) of the Tribunal of the Holy Office of the Inquisition, as Pope Gregory IX entrusted this order with the persecution of heretics in the bull "Ille humani generis". The Order of Preachers—Latin: Ordo Praedicatorum, abbreviated OP—also known as the Dominican Order or the Order of Saint Dominic, was founded by Saint Dominic and approved by Pope Honorius III in 1216. Its members, when they do, wear a white habit with a scapular and a rosary of twenty mysteries (formerly fifteen) attached to the waist, and a black cape, worn in the choir. Until the 20th century, the tonsure was common. This type of habit or badge is believed to derive from sewn examples and appears frequently in 17th-century portraits, although, as it is a medal used practically from that time onward, it is difficult to date and relatively abundant.

· Size: 6x0.2x6.5 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF1553
DEVOTIONAL PENDANT, SAINT JAMES THE GREAT. BRONZE. 17TH CENTURY.

Devotional medal, Saint James the Apostle. Gilt bronze. 17th century. A devotional openwork medal depicting Saint James the Apostle in the center, standing on a pedestal and holding a staff and a book, surrounded by a wreath of leaves tied with two bows above and below. Similar examples can be found in the Museum of Pilgrimages in Santiago de Compostela.

· Size: 5x0.5x6 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: Z5091
SILVER CHRISTIAN MEDAL. 17TH CENTURY.

Medal, Evangelist Saint Thomas, Saint Thomas Aquinas, Saint Anne and Saint James. Silver. 17th century. Silver medal in its natural color with marked wear, featuring a washer at the top and a fine polygonal molded frame. Both sides depict religious figures from Christianity, identified by their names in capital letters: the Evangelist Saint Thomas and Saint Thomas Aquinas on one side; Saint Anne and Saint James the Greater (also known as Saint Iacobus) with the Holy Spirit in the form of a dove on the other. Weight: 27 grams.

· Size: 5x0.2x3,5 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF152602
SILVER CHRISTIAN MEDAL, SEMINARIO CONCILIAR DE VALENCIA. SPAIN, CIRCA ...

Medal, Conciliar Seminary of Valencia. Silver. Spain, towards the end of the 19th century. Oval silver medal with Catholic Christian figurative decoration on both sides. One side clearly depicts the Immaculate Conception surrounded by an identifying inscription in capital letters, with the Holy Spirit above her head. On the other side, two male figures kneel before a bishop, and below them appears the inscription “SEMIN CONSULAR”. Weight: 29 grams.

· Size: 4x0.2x6 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF152603

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