Enameled Reliquary Pendant – 18th Century, Gilt Silver

Elegant 18th-century reliquary in solid silver, finely hand-engraved, with ornamental decoration typical of Baroque religious art. Its oval shape features floral and symbolic details...

A refined and devotional 17th-century sterling silver reliquary featuring a delicate reverse glass painting of the Virgin Mary. This exqui...

A rare and sacred 17th-century sterling silver reliquary, exquisitely crafted and preserving relics of multiple unidentified saints. This devotional object reflects the spiritual int...

Interesting religious reliquary in gilt solid silver filigree, dating from the 19th century. This is a piece of exquisite craftsmanship, featuring an openwork design of plant motifs ...

On one side of the pendant, Christ appears tied to a tall column in the center of the composition, being whipped by two sayones or soldiers with branches, following a customary compo...

Mary Magdalene and John the Baptist. Possibly mallorquin. One of the glasses is fractured. Oval pendant ornamented in its outline by turned gold loops and small metallic pearls. On ...

This early 18th-Century Spanish Rococo period silver-filigree double-sided pendant with dangle features miniature colorful enamel devotional paintings on both sides of a white porcelain centerpiece, which are associated with an April birth. One side depicts a mountain landscape with a haloed richly-robed dark woman holding a lap-seated dark child and a holy orb...

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...