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

Devotional pendant or reliquary. Oil painting on aventurine, enamel, gold. Spain, 17th century.
Medallion or devotional pendant or reliquary made of aventurine or aventurine with an octagonal shape and faceted fronts, enhanced with a series of enamels combining black and gold, which protect two oil paintings with a Catholic Christian religious theme, located one on each side of the piece . Protected, you can see a very particular Virgin with Child for being inspired by the Icon of the Madonna del Popolo (Rome, Italy), and a simplified Martyrdom of San Lorenzo (the saint, the grill and an angel with a crown and the palm corresponding to the subject). The edges of the piece have been protected with simple metal elements.
The painting of San Lorenzo follows a common composition in the Spanish school, and would recall works such as the painting of the main altar of the Church of San Lorenzo de Huesca, for example, but also others such as the engraving by Marcantonio Raimondi (executed around 1527 ) in some details. The so-called icon of the Madonna del Popolo was well known for being considered as made by Saint Luke, and was brought to the church of the same denomination 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 of Santa Maria del Popolo.
Regarding the material of the piece, a certain type of glass and a type of quartz (which can be green or reddish-brown, and usually has tiny elements of yellow mica that give it golden reflections) is known as aventurine or aventurine. In the first case, it is known that “aventurine” or “stellaria” appears mentioned in the Murano workshops for the first time during the first quarter of the 17th century, in reference to a very complicated production paste (it is said that the name comes from of this circumstance, that is, that its creation was due to luck or luck) that imitates the effects of that stone (from India and Russia at that time) thanks to the inclusion of copper particles, and that it was used as if out of stone (cut) given the complexity of its use in blowing (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 El Prado Museum (Madrid) as it is an oil painting on aventurine or aventurine.
Compare this work 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 from the National Museum of Decorative Arts (Madrid) dated in the 17th-18th centuries; or with the medallion that is also a reliquary that presents an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries of the National Museum of Decorative Arts (Madrid); or with the 16th century Spanish devotional pendant from the Metropolitan Museum in New York with Saint John the Baptist and the Virgin (which combines black and white enamels, in a different way from the present piece); or with the 17th century black and white enamel and gold triangular pendant from the Don Juan de Madrid Institute of Valencia. Weight: 103 grams."

· Size: 9x0.7x8 cms.
ANTIQUES

Ref.: ZF0700
18 KTS GOLD BROOCH WITH ENAMELS AND BRILLIANT"

18 kt gold brooch with enamel and diamonds.
Brooch made of 18 karat gold with a thought shape. The stem has been left with the color of gold, but in a matte finish, while the petals of the flower show an elaborate composition combining various techniques: the base provides the color of the flower thanks to a delicate glaze with a predominance of purple tones, drawing waters for greater naturalism; Each of the four petals has stood out thanks to a decoration that recalls small metal stems combining a white and a more golden tone, and also by means of a series of circular brilliants surrounding them, juxtaposed one to another, in a light-tone setting.
Flower-shaped jewelry was very common in the 19th century, reaching its peak thanks to the trend known as Modernism and Art Nouveau. In this style it was very common to make pieces with one or more flowers, alone or with leaves and stems, make the flower petals with elaborate enamels, and surround it with a series of elements in different metals with an abundance of curved lines, since they are It is about a style characterized by inspiration from nature, the abundance of curved lines, etc.
Enamel is a technique used in jewelry and other arts in which glass is typically fused onto a metal base, resulting in a bright "coat" of vivid colors. It was already known in the ancient Greek and Egyptian civilizations, forming part of the techniques of Phoenicians, Assyrians, Persians, Byzantines, Arabs, Romans, etc. since then. Thanks to the technical innovations brought by the Industrial Revolution, enamel enjoyed a new boom with a difference in colors and uses with respect to the previous one, being able to use new materials in the tinting of glass, better control the temperature in the foundry, novelties in aesthetic taste, etc.
Weight: 31.69 cm.

"

· Size: 7,2 x 4 cm.
ANTIQUES

Ref.: JBR0705
18 KTS GOLD BROOCH WITH GARNETS AND CHRISOBERILES"

18 kt gold brooch with garnets and chrysoberyl.
18-karat gold bow-shaped brooch with the ends of it drawing two triangular shapes and located flanking the center above and below. On the front, it presents a fine decoration in slight relief of vegetal elements combined with a polished luster that leaves certain areas “matt”, with oval faceted garnets alternating with smaller carved chrysoberyl, adding an outstanding color to the piece.
Although the composition starting from a loop was common in 19th century Neoclassical jewelry, this example shows some striking variations on this model: the ends of the loop are placed vertically with respect to the knot of the loop, and the "fabric" is made drawing waves with smooth and shiny edges that add a force to the composition that is not usually present in more traditional models; In addition, the chromatic combination of the gems is another detail to take into account; It does not present pinching elements or joined in scrapie so that they move and soften the firmness of the piece; the closure of the clasp leaves the piece in a horizontal position (something also common in these 19th century elements); and, although the gems of the brooch do show a clearly geometric arrangement, the loop is not rigidly formed on the basis of this, again separating from these neoclassical works of the 19th century and approaching slightly other styles (the asymmetry was characteristic of Rococo art French for a time, and this trend was also well known for the movement of his works).
The aforementioned elements speak of a remarkable care and quality when designing the jewel as well as the choice of materials and the creation of the piece, something common in this type of works, highly appreciated both for its economic value and for its beauty, its showiness, and the reflection of the taste and social position of its owner. The lines of the brooch suggest a feminine destiny, and not a jewel for masculine use.
Weight: 22.85 grams.
"

· Size: 6,8 x 5,3 cms
ANTIQUES

Ref.: JBR2233
NECKLACE "COL CHEMISE" IN 18K ROSE GOLD AND DIAMONDS"

"Col Chemise" necklace, in 18k rose gold and platinum, decorated with 8/8 single cut diamonds. Designed as a necklace to the box, it is made up of a double “Brick link” chain that develops on its front side a ribbon decoration decorated on its bezel with diamonds set on platinum as a crescent festoon to finish creating a shirt collar from the center of which there are two beehive-shaped tassels.
Weight: 135 grm
Diamonds set: 136
Approximate Weight: 6.50 Cts.
Period and style: Chevalier.
Typology: “Col Chemise”, Around 1945-50

"

· Size: int 13x12 cms / long ext 19 cms.
ANTIQUES

Ref.: ZE104
RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with "Flagellation of Christ". Silver, enamel. Century XVI.
Oval locket pendant decorated on the outside with a ready stripe and embossed elements on the edge (with curved profiles and simple engraved scrolls), which features a chain of smooth oval links (all practically the same). On the front and on the back it shows two figurative scenes with striking polychrome.
On the one hand, Christ tied to a tall column is placed in the center of the composition, being beaten by two executioners or soldiers with branches, following a composition common in the 16th century. In the other, the protagonist is in a hole in the pendant protected by glass (since it contains a relic, enhanced by a Latin cross), highlighted in the composition with rays of light and a luminous beam; This element appears supported by an angel and surrounded by little winged heads (common in the Renaissance) floating among clouds, and has been accompanied by Saint Joseph with the Child and the Florida Rod, and Saint Anthony of Padua (also with the Child and a bouquet of flowers).
This type of jewelry always had a great value both for the materials in which they were made and for their religious content. Despite this (or perhaps because of this same appreciation) not many examples of quality and in good condition are preserved, being possible to find them only in important private collections and in prominent museums such as the Fundación Valencia de Don Juan de Madrid, the Museo National Decorative Arts of the same city, etc., or old religious centers such as the Convent of the Descalzas Reales in Madrid.
Weight: 160 gr"

· Size: 8x1x10 cms.
ANTIQUES

Ref.: ZF0396
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GOLD AND ENAMEL DEVOTIONAL PENDANT OR RELIQUARY. MALLORCA SCHOOL, SPAI...

Reliquary or devotional pendant. Gold, enamel. Mallorcan school, 17th century.
Devotional gold pendant decorated with edge enamels in various shades that shows, on the one hand, Saint John the Baptist as a Child accompanied by the Lamb, and, on the other, Santa Marta de Betania on the dragon. The gold piece that frames the aforementioned images has a ring at the top, as well as a composition of vegetal elements alternated with architectural motifs.
Compare for example with the pieces in the collection of the Valencia de Don Juan Museum (Madrid); the 17th century Spanish reliquary pendant from the Metropolitan Museum in New York with the Adoration of the Shepherds (inventory 17.190.1002); or the gold, diamond and enamel pendant with the Immaculate Conception found in Ranger's House (London); or the so-called Custodian Angel Medal dated 1630 (National Museum of Decorative Arts, Madrid); or with an enamelled gold scapular of the Virgin of Carmen de Los Realejos (although it is dated around 1730-1740). Weight: 37 grams."

· Size: 5x1.8x4 cms
ANTIQUES

Ref.: ZF0698
VICTORIAN 18 KTS GOLD BRACELET WITH AMETHYST. XIX CENTURY"

Victorian 18 kt gold bracelet with amethyst. XIX century.
Victorian 18-carat gold bracelet composed of a body of hawsers with pearls in the center, placed in pairs and alternated with small pieces highlighted with a vegetal element in slight relief of classicist influence. The jewel clasp is hidden in the front, covered by the central piece of the bracelet. This consists of a piece of gold with vegetal shapes, scrolls and flowers in relief, finished off in the upper part by a trilobed shape that responds to a 19th century Neo-Gothic influence. In the center of this part is a slightly faceted oval amethyst in an oval shape, finely set so as not to detract from the composition of the closure. Two chains hang from this central element, adding the usual movement that used to be found in 19th century jewelry in numerous pieces.
The so-called Victorian Era begins, officially, in 1837 with the coronation of a young Queen Victoria in England, and would end in 1901 with the death of the same 82 years old. It was the period of greatest development of the Industrial Revolution, a detail that also influences jewelry with important technological advances (hydraulic energy, steam engines, gas, etc. influence the machinery to be used). Advances in machinery make it possible to slightly lower costs in jewelry, obtain new cuts in gems with a greater number of facets (thanks to a higher speed in the lathes), novelties in alloys (reduction of the gold bands since 1854 in England, introduction of galvanization ...), etc. As for the designs, these were always marked by the taste of Queen Victoria. Thus, in general, three stages are distinguished: the Early Victorian or Romantic Period (c. 1837-1860), with frequent inspiration from the world of nature; the Middle Victorian or Great Period (c. 1860-1885), marked by mourning for the death of the Queen's mother and her husband Alberto in the same year and the Civil War in the United States among other events, influenced by the archaeological discoveries of the moment and the technical innovations in the enameling and granulation of gold, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discoveries of diamond mines in Africa, which made stones cheaper by allowing more frequent use in jewelry, more frequent use of ivory and soft color combinations, and a reduction the size of the works as a general rule.
Weight: 25.93 grams.
"

· Size: 18 cms
ANTIQUES

Ref.: J2121A
18 KTS GOLD BROOCH WITH GARNETS"

18 kts gold brooch with garnets.
18-karat gold brooch formed by a symmetrical composition based on loops and scrolls with a fine decoration in light relief of vegetal elements with a slight reminder of Neoclassic works. At the top there is a circular faceted garnet, accompanied by three ovals (the central one with gold pearls around it) in the central part (these stand out thanks to the presence of other circular carved gems), and another one with a teardrop shape. the bottom. From this body hang, thanks to four rings, two gold cords with scale-shaped links, which end in tassels, recalling textile examples often used in curtains and other elements both in the 19th century and later.
Jewelry with hanging elements joined "in scrapie" so that they move when they are attached or placed was common in 19th century jewelry, with the aim of adding some movement and avoiding the rigidity of the pieces, adding a touch of originality to compositions. At this time, the composition based on classicist plant elements accompanied by flowers and lace was common. Comparing with the present example, this one is more reminiscent of models inspired by works that follow a style known as Neo-Renaissance for following the artistic style that was born in Italy in the 15th century, with those scrolls and the powerful composition based on smooth shapes and scrolls, also responding to this relationship the fine vegetal elements in relief already mentioned. However, the chromatic combination achieved by the gems provides the softness required by the aesthetic taste of the time, without the striking contrasts most characteristic of the oldest jewelery that has been preserved.
Weight: 19.4 grams.

"

· Size: 8x4 cms.
ANTIQUES

Ref.: JBR1713
DIAMONDS AND WHITE GOLD RING. 20TH CENTURY.

Diamond and white gold ring. Twentieth century.
White gold ring with marks and a total of 35 stones (1.22 cts total) arranged around a larger central stone and drawing a spiral based on lines formed by three circular stones, with the faceted surfaces of all the Diamonds neatly arranged and showing as little of the metal as possible. Weight: 4,36 gr."

· Size: 2x1x3 cms.
ANTIQUES

Ref.: Z5598A
18 KTS GOLD BROOCH WITH CHRISOBERILS AND AMETHYSTS"

18 kt gold brooch with chrysoberyl and amethysts.
This clasp is formed from two circular bands on the sides, flanking another one in the shape of an oval with the major axis vertically arranged on the two sides. The three elements have been enhanced with fine simplified plant elements and a cresting on the outer front, and serve as a background for a fine composition of plant and floral elements reminiscent of classicism on a glossy background combined with areas and plant elements in matte (with a very delicate minced luster). On this background, and to highlight it even more, a series of faceted gems of different sizes and sizes have been arranged: two squares (chrysoberyl) at the ends next to faceted oval amethysts; In the central area, a composition has been arranged alternating the same types of stones (these highlighted by gold pearls) with chrysoberyl in pairs and amethysts in oval and larger sizes) and fine leaves with polished luster.
The mentioned plant elements located on the base bands are reminiscent of 19th century Neoclassicist works. However, both the composition and the aforementioned three-element base is not common in jewelery of this time, nor is the marked chromatic contrast achieved by the gems that the brooch presents or the fact that a rigid one is not followed. symmetry in the arrangement of some of the various decorative plant elements. In addition, there are certain details in the plant elements on the sides that are slightly reminiscent of 18th century Rococo decorative motifs, although they present the movement and depth very attenuated (practically as it was done when this style was taken in the 19th century as model).
The aforementioned elements speak of a remarkable care and quality when designing the jewel as well as the choice of materials and the creation of the piece, something common in this type of works, highly appreciated both for its economic value and for its beauty, its showiness, and the reflection of the taste and social position of its owner. The shapes of the brooch suggest a feminine use of it.
Weight: 12.47 grams.

"

· Size: 5,2 x 3,9 cms
ANTIQUES

Ref.: JBR1712
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century
Devotional pendant made of silver and in the shape of a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classicist inspiration, as well as a ring to wear the jewel around the neck. The front has seven oval holes (the one where the larger arms cross) protected with transparent glass; the back is smooth, with the material in its color.
Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without scrolls and other decorations, dated between the 16th and 17th centuries, kept in private collections. This jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences.
This type of jewelery was of great value to its owners, both for the materials in which they were made and for their content, considered sacred and protective. Despite this high value (or precisely because of this), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan de Madrid, the National Museum of Decorative Arts (Madrid), the Lázaro Galdiano (Madrid), the Museum of Popular Beliefs and Religiosity of the Aragonese Pyrenees (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid."

· Size: 6,5x10 cms.
ANTIQUES

Ref.: ZF0190
18 KTS GOLD BROOCH IN LOSANGE WITH CABOCHON GARNET"

18 kt gold brooch in lozenge with garnet cabochon.
Rhomboid brooch decorated with plant elements and gold pearls in a particular arrangement of holes inspired by scallops, with a symmetrical and balanced composition. In the center and surrounded by gold bands (concave, fine cord ...), the oval, smooth garnet is presented, with an eight-pointed star in the center highlighted by white elements (a larger pearl in the center surrounded by eight other smaller) contrasting and highlighting the gem. On the back, it presents a particular figurative decoration with a hunting dog carrying a bird in its jaws.

Weight: 14.60 grams.
"

· Size: 5,3x4 cms.
ANTIQUES

Ref.: JBR1732
DEVOTIONAL PENDANT. GOLD. POSSIBLY, 19TH CENTURY.

Locket pendant. Gold, drawing, glass. Possibly 18th century
Oval devotional pendant with a gold box decorated with concave half mirrors on the front, a piece at the top with a flower on each side and a ring to be worn around the neck, and vegetable elements in slight relief on the side. It contains, protected by transparent glass, a black drawing with the face of Christ, with the Crown of Thorns, made on canvas.
The drawing on canvas that it contains shows an Ecce Homo, a very frequent passionate iconography since the Baroque. The tradition of the episode it represents comes from the Gospel of Saint John, after Jesus appeared before Pilate and when he brought Christ out to the crowd ("Here is the Man", "Ecce Homo"). In this work only the Crown of Thorns is appreciated because it only shows the face. The theme is still fashionable in the 18th century and later, in a large number of variants.
This type of jewelry always had a great value both for the materials in which they were made and for their religious content. Despite this (or perhaps because of this same appreciation) not many examples of quality and in good condition are preserved, being possible to find them only in important private collections and in prominent museums such as the Fundación Valencia de Don Juan de Madrid, the Museo National Decorative Arts of the same city, etc., or old religious centers such as the Convent of the Descalzas Reales in Madrid."

· Size: 3x4,5 cms.
ANTIQUES

Ref.: ZF0193
14KTS GOLD BROOCH WITH THREE GARNETS

14 kt gold brooch with three garnets.
Lady brooch made of 14 kt gold formed by base shapes arranged in the shape of a knot, leaving waves on the outer profile, with the surface decorated with fine plant shapes of leaves and flowers. Simple vegetable scrolls have been arranged in the center, framing two teardrop-shaped garnets flanking another oval central garnet. The fastening element on the back has the clasp to go, in principle, vertically.
Weight: 17.11 grams."

· Size: 6 x 4 cms
ANTIQUES

Ref.: JBR1432
GOLD AND PEARLS DEVOTIONAL PENDANT. 18TH CENTURY.

Locket pendant. Gold, pearl and miniature. Century XVIII.
Oval devotional pendant with a miniature in delicate colors that shows an Immaculate woman dressed in a red tunic and blue mantle, above the quarter of the crescent moon, and placed on a heavenly landscape with clouds, a horizon line and two elements on the sides to complete the composition . The jewel has a gold edge, with a smooth band and a very elaborate exterior that combines the same material with small pearls of different sizes, forming elements similar to flowers. One of the larger sides of the oval has a gold ring to be worn around the neck located on the back of the piece, an area in which a red textile that protects the miniature can also be seen.
The dogma of the Immaculate Conception defends that the Virgin was conceived without Original Sin, and was defined and accepted by the Vatican in the Bull Ineffabilis Deus, of December 8, 1854. However, Spain and all the kingdoms under its political rule defended before this belief. Iconographically, the representation takes texts from both the Apocalypse (12: "A great sign appeared in the sky, a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars") and from the Lauretan Litanies prayed after the rosary and containing epithets of Mary taken from the Song of Songs of King David. Uniting both texts and after an evolution that already began at the end of the Gothic period, a very simple and recognizable typology is reached that presents the Virgin on the lunar quarter, with the stars on her head and dressed in light (with a halo on the head only or on the whole body), normally dressed in white and blue in allusion to purity and eternity (although it can also appear in red and blue, in relation to the Passion then), her hands on her chest almost always and represented young as a rule."

· Size: 4,5x5 cms.
ANTIQUES

Ref.: ZF0191
RELIQUARY PENDANT. SILVER, ENAMEL. 17TH CENTURY.

Locket pendant. Silver, enamel, textile. XVII century.
Polygonal pendant of important size and silver frame in its color decorated with small pearls of the same material located in the corners of the edge that has a ring at the top to be able to hang it or carry it. One of its fronts has a textile background under a transparent glass sheet, probably designed to contain relics. The other has an enamel of bright colors in which the Virgin Mary is shown in three quarters, with the naked Child Jesus in her arms and loving figures cut out on a landscape background with classicist architectural elements (ribbed shaft column on pedestal, with moldings) and details of a natural landscape (thus being able to link the moment with the Rest on the Flight into Egypt; compare also with works such as the Virgin and Child by Anton van Dyck from the Cerralbo Museum in Madrid or the oil painting from The Walters Art Museum, or the engraving of Paulus Pontius following Van Dyck models –where the elements coincide in arrangement with those of the medallion-, for example).
This type of jewelry always had a great value both for the materials in which they were made and for their religious content. Despite this (or perhaps because of this same appreciation) not many examples of quality and in good condition are preserved, being possible to find them only in important private collections and in prominent museums such as the Fundación Valencia de Don Juan de Madrid, the Museo National Decorative Arts of the same city, etc., or old religious centers such as the Convent of the Descalzas Reales in Madrid."

· Size: 6,5x0.5x8 cms.
ANTIQUES

Ref.: ZF0399
VICTORIAN BROOCH IN 18 KT GOLD WITH AMETHYST"

Victorian brooch in 18 kt gold with amethyst. XIX century.
18-karat gold clasp that has a thin hanging metal chain, finished in a golden safety pin designed to hold decorative elements of little weight or to be fixed to the fabric, providing some movement to the jewel. The center of attention is a faceted cut oval amethyst, finely set so as not to divert attention from the gem's frame. It is made up of an elaborate and delicate composition: in the center of the sides there are four rectangular shaped pieces with curved minor ends, decorated with fine plant elements and classicist souvenir scrolls; these elements are interspersed with two concave volutes that flank a leaf (which also presents a fine vegetable decoration in slight relief); this frame is attached to the gem, visually, a series of elements reminiscent of fine ties with a decoration similar to that of those rectangular pieces mentioned.
Historically, the Victorian Era begins in 1837 with the coronation of a young Queen Victoria in England, and would end in 1901 with her passing. It was the period of greatest development of the Industrial Revolution, something that also influences jewelry thanks to important technological advances in practically all fields (hydraulic energy, the steam engine, gas, etc. influence the machinery to be used) , and the extensive political dominance of England allowed to take into account "exotic" materials from the colonies. Advances in machinery make it possible to slightly lower costs in jewelry, obtain new cuts in gems with a greater number of facets (thanks to a higher speed in the lathes), novelties in alloys (reduction of the gold bands since 1854 in England, introduction of galvanization ...), etc. As for the designs, these were always marked by the taste of Queen Victoria. Thus, in general, three stages are distinguished: the Early Victorian or Romantic Period (c. 1837-1860), with frequent inspiration from the world of nature; the Middle Victorian or Great Period (c. 1860-1885), marked by mourning for the death of the Queen's mother and her husband Alberto in the same year and the Civil War in the United States among other events, influenced by the archaeological discoveries of the moment and the technical innovations in the enameling and granulation of gold, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discoveries of diamond mines in Africa, which made stones cheaper by allowing more frequent use in jewelry, more frequent use of ivory and soft color combinations, and a reduction the size of the works as a general rule.
Measurements: 4.7 x 4.4 cm.
Weight: 21.07 grams.
"

· Size: 4,7 x 4,4 cm.
ANTIQUES

Ref.: JBR0196
GOLD (14kts) BROOCH WITH GARNET AND DIAMOND

14 kt gold brooch with garnet and diamond.
Oval 14-karat gold brooch with an outer edge topped by a cord with gold pearls, decorated on the front with a composition based on curves that leaves smooth spaces for simplified plant motifs and two semicircles on the vertical axis of the minor side that shelter other plant elements. In the center, framed by a band with cords and pearls in gold and with two small pearls on the major axis (in the triangular spaces left by the curves already mentioned), there is a plain cabochon garnet with a star of eight points in the center of the gem (in turn, a diamond appears in the star), achieving a striking color combination. The marked symmetry of the piece is reminiscent of jewelry made in the 19th century following the Neoclassical style.

Weight: 19.81 grams."

· Size: 4,6 x 3,6 cm.
ANTIQUES

Ref.: JBR2568
18 KTS GOLD BROOCH WITH ENAMEL, OPAL AND RUBIES. 1850

18 kt gold brooch with enamel, opal and rubies. 1850.
18-carat gold brooch formed by an elaborate rockery, recalling works made in the 18th century in the Rococo style, enhanced with white and blue enamels. In the center, an oval white opal appears, surrounded by four faceted rubies.
Weight: 7.06 g."

· Size: 4,7 x 3,8 cm
ANTIQUES

Ref.: JBR1141
CAMEO WITH GOLD (9 KTS) FRAME; BROOCH. VICTORIAN ERA, CIRCA 1860.

Cameo with gold frame (9 kts); brooch. Victorian era, around 1860.
Cameo with an openwork gold frame (9 kt) decorated with a symmetrical composition based on opposing "ces", simplified scrolls and veined shapes at the equator of the piece (on both sides). The cameo itself, made in Cassius Cypraea (and therefore of the type known in the 19th century as "coral"), presents a scene from classical mythology: on the left appears the Aurora, accompanied by a winged child with a torch (Phosphor , the morning star) and preceding the chariot of the Sun with four horses, which appears surrounded by the Hours and is driven by Apollo. Note the compositional and iconographic resemblance between the scene and the fresco painted by Guido Reni between 1613 and 1614 in the Casino dell'Aurora Pallavicini (Rome, Italy), entitled "L'Aurora", which, moreover, was often used as inspiration for works on different media throughout the 19th century. Weight: 20,29 gr."

· Size: 6,5x5,5x1 cms.
ANTIQUES

Ref.: ZE101
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DEVOTIONAL PENDANT. SILVER, TORTOISESHELL, PAINTING ON COPPER, TEXTILE...

Devotional medal. Silver, tortoiseshell, paint on copper, textile, glass. XVII century.
Octagonal flat medal that has a small ring on the upper edge that would allow it to be hung around the neck and is decorated on the outside with a piece of silver in its color (small pearls at the ends of those sides of the polygon, a cord turned to the outer edge, and a composition of waves decorated with lines to look like leaves to the inside on both sides of the piece). On one of its fronts, protected by a piece of transparent glass and highlighted on a green textile background, you can see a small painting on copper of a Madonna and Child with a dark background and two curves that resemble curtains. The other front has a piece of tortoiseshell, engraved with a rhombus inside which the letters "RMA" (Redemptoris Mater, in allusion to the Virgin Mary) appear interspersed and crowned between two star shapes and on two palms joined at the waist. ; Outside of the geometric shape there are simple symmetrical plant elements.
Similar works can be seen in collections of prominent institutions such as the Museo del Traje in Madrid, the Museo Lázaro Galdiano, the Fundación Valencia de Don Juan (Madrid), the British Museum in London, etc.
Weight: 55 gr"

· Size: 8,5x9x0.5 cms.
ANTIQUES

Ref.: ZF0459
CAMEO WITH VICTORIAN GOLD FRAME (CIRCA 1850).

Cameo. Victorian saddle, around 1850.
Cameo with a beveled rose gold frame made of a shell (Cassius Cypraea; hence the type known in the 19th century as “coral”), with a figure sitting on the clouds holding a jug and a bowl from which an eagle eats. The theme, inspired by the classical mythology of Antiquity, is the personification of youth, called Junventas or Juventus (her figure ended up being assimilated with that of the Greek goddess Hebe, who also personified youth and helped the gods by filling their glasses with nectar, hooked Hera's horses, etc.), accompanied by the eagle of Jupiter (Greek Zeus). It is a very frequent theme in 19th century jewelery, especially in cameos, as it is considered the quintessential emblem of the diligent, caring and responsible daughter. Weight: 7.83 grm"

· Size: 4x5x1 cms
ANTIQUES

Ref.: ZE103
14 KTS GOLD BROOCH WITH PENDANT AND 10 GARNETS"

Gold brooch (14kts) with pendant and 10 garnets.
Lady brooch made of 14 karat gold formed by an oval first piece, which is attached to the fabric, with an oval shape. The profile has been highlighted by means of a gold-turned cord, leaving a composition in the upper part: two vegetal forms on the sides, leaving the center for a lobed line (reminiscent of a flower), which frames a composition with a garnet round faceted central, flanked by four other smaller ones, which alternate with gold pearls, placed on another smooth turned cord. From the lower part of this area hangs, "en tremblant", another circular element formed by a disc decorated in fine relief and highlighted by a cord, which also has a central garnet surrounded by four other smaller ones, also alternated by pearls of gold. A pineapple shape hangs from this piece, completing the composition of the jewel, which is reminiscent of Neoclassical works from the 19th century.
Weight: 10.92 g.
"

· Size: 5,9 x 4,3 cms
ANTIQUES

Ref.: JBR1113
RIBBON BROOCH. SILVER, STRASS. CA FIRST THIRD 20TH CENTURY.

Bow brooch. Silver, strass. Towards the first third of the 20th century.
With partial contrast marking.
Brooch in the form of a bow made of silver in its color with a needle on the back and a composition on the front combining white stones and lines of fine red stones enhancing the shape and lines of the piece. It features similarities to Collingwood and Sons (Birmingham, England) brooches. It has a small partial contrast mark on the pick."

· Size: 4x1x2,5 cms
ANTIQUES

Ref.: Z4997