Enamel Religious Items

Rare Antique French Gold Bronze, Enamel & Rouge Marble "Benetier" Holy Water Font. Exquisite French Workmanship

Antique large cloisonné enamel wall crucifix with font French, Late 19th Century Height 57cm, width 33cm, depth 7cm This superb decorative cross is designed to hang on a wall, ena...

A rare Russian five color polychrome enamel bronze travel icon depicting scenes from the life of the Prophet Elijah including the Fiery Ascension. The border in cornflower blue enamel and scrolled foliate elements topped by the Old Slavonic inscription- Obraz Sviatovo Proroka Ulii- Image of the Holy Prophet Elijah. In the upper left corner is of the hand of God on a white enamel background signifying the clouds. To the right is the Fiery Ascension of Elijah with his dynamic winged horses on a background of finely hand chased flames with stylized wind gusts. The Prophet holds the reigns in his right hand and reaches out with his left to his follower Elisha with a mantle for the parting of the waters of the river Jordan. The river Jordan takes center stage in the icon as a dramatic element - a wide swath of flowing waves with the scenes from the life of Elijah depicted to its left: The Prophet Elijah in the wilderness; Elijah hides in the desert and is fed by an Angel; and Elijah and Elisha crossing the river Jordan parted by Elijah's mantle. This scarce icon is especially significant for the Old Believers tradition. The Old Believers were the chief makers of bronze icons, created by using fire rather than painted by hand. The veneration of the Prophet Elijah, who through his sacrifice, was able to call for fire from heaven manifests a special connection for the sect. Fire, ogon in Russian, was viewed as a purifier and a link to the Last Judgement and the end of the world. Polychrome enamel icons...

1860's Saints Relics 2" long x 1.5" wide x .25" deep.

Sacred Hearts of Jesus and Mary. Enamel, wood. Spanish school, 19th century. Have damage. Pair of paintings with respective frames enhanced with openwork vegetable carvings that show the Sacred Heart of Jesus and the Sacred Heart of Mary...

Crucifix Cross Cloisonné Enamel Mounted Holy Water French circa 19Z0. All mounted on brass. Will hang on the wall. In good vintage condition with only very minor signs of age.

An antique Catholic gilt bronze travel altar triptych case featuring inside a crucifix cross set within malachite decorations and fine cast floral frami...

Crucifix Cross in decorated in cloisonné enamel mounted on Onyx Europe 1920 Very nice work , all mounted on brass, in good condition due to its age. The cloisonné enamel show very ...

Beautifully hand painted set of 4 Mary & Jesus paintings on porcelain plaques. If you were to spend the rest of your week looking for antique Gothic ph...

A very fine gilt bronze, cloisonné enamel and porcelain holy water stoup French, late 19th century Measures: Height 54cm, width 34cm, depth 9cm This b...

Exquisite antique Russian vermeil silver and cloisonne enamel pendant icon depicting Our Lady of Kazan, Kazanskaya Bogomater. Assayer's mark for Iv...

Enameled bronze elephant incense scupture, figure. Either Japanese Cloissone or French Champleve . No makers markings.

A very nice MCM petite red enamel and brass crucifix / cross on base, circa 1970s. Nice weight and detail. #2475

Christ Pantocrator, A silver-gilt and cloisonné Enamel Russian Icon Moscow, 1892 Icon: 23.5cm high x 20cm wide x 4cm depth. Case: 26.5cm high x 23cm w...

Stunning clock for the collectors of rare and truly stylish Gothic antiques. Gothic wall clocks are a rare find and this more than three feet tall specimen probably is the best an...

Virgin Mary and Baby Jesus enameled wall plaque. French, mid-century. Reproduction from a stained glass window of Reims cathedral (13th century) ...

Stylish and meaningful Gothic mantel clock. This elaborate clock and religious work of art into one dates back to the earliest years of the twentieth century. Standing on the richly...

Cathedral design, sculptural gilt bronze and zinc clock. This sizable, handcrafted, impressive and meaningful clock comes with a variety of Gothic church elements. As a matter of fa...

Antique 19th century Austrian rare and unusual solid silver-gilt and enamel reliquary, pierced and decorated with multicolored enamels, sides set with carved rock crystal panels and ...

This Torah crown is a small (15cm high), exquisitely-crafted and lavishly-decorated piece of Judaica. The Torah – the first of five books of the Hebrew...

This is an exceptional and historic pair of Damascus enameled metalwork vessels or urns. These art objects show signs of rough use and handling through the centuries. Although it is ...

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 ...

One of its fronts presents a textile background under a transparent glass, space that was surely designed to contain relics. The other side has a brightly colored enamel with the Vir...

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...

This extremely fine Russian icon shows the image of Christ Pantocrator, which translates roughly as 'Christ the Almighty'. It's one of the most important images of Christ within Orthodox Christianity...

This fine enamel plaque is notable both for its large size and the exquisite contrast produced between the rich, blue enamel backdrop against the grey foreground, created using the g...

Bronze in its color and gold, lapis lazuli, rock crystal, enamel. In the centre of the work is presented, enthroned, the figure of Mary, with a mantel (fireplace) on her shoulders and hair and holding on her knees the child, who appears addressing one of the angels. The virgin is also sheltered by an ogee arch supported on turned columns, and raised visually by steps. This composition achieves a very striking contrast: the dark bronze figure, in contrast to the lapis lazuli background and the part of the arch and the outside of it, in gilded bronze. Under the steps there is a heraldic enamel shield with a key on an azure background. The angels, kneeling, are flanking this figure, and, appearing in dark bronze, visually share the "category" of religious figures with Mary, while their (lower) position gives more status to both the Mother and Jesus. The rest of the composition is completed with a delicate landscape: constructions and walls on mountains, clouds in the sky, plants, stones, etc. To the outside, another lapis lazuli frame is placed decorated in the corners with appliques, giving way to carved and polychrome wood. The lapis lazuli is a semiprecious stone already known in the seventh millennium BC., found in deposits from the Caucasus to Mauritania. From the end of the middle ages, it increased its export to Europe, its use being more frequent since then both to use it as a pigment in paintings after grinding it (giving rise to the finest and most expensive of the blues, and of the colors in many occasions), as for backgrounds of paintings, incrustations in works of art, jewelry and, a little later, in the well-known "hard stone works". The figure of Mary still shows an influence of Gothic models, although more European than Italian, along with elements that could already show a closeness to the Renaissance: although the nakedness of Jesus is already shown in Gothic works (Madonna with Angels by Fra Angelico ), the creation of space by playing with the cloth in front of Christ can be appreciated in more advanced paintings (Virgin with Child by Domenico Ghirlandaio, National Gallery of London); the presence of a powerful throne can be seen frequently in Italian Madonnas of the Quattrocento (and before), but not quite as presented here. As for the landscape, it is necessary to compare it, for example, with that of the fresco of the Condotiero Guidoriccio de Fogliano (Simone Martini, finished in 1328). This is a work of great technical and aesthetic quality, not to mention the materials chosen for its creation, comparable only to outstanding examples from around the world, such as those preserved in the Palazzo Madama in Torino (Italy), where the coral It also has an important role. It is essential to mention, also, works such as the plate of hard stones (lapis lazuli between them) with a relief of Mary with the Child in...

Emaille de Limoges Plaquette, frame bronze with emaille. Depicting Maria Magdalena, 17th century or earlier.

A rare enamel, gold and rock crystal figure of Emperor Maximilian I by Reinhold Vasters, Aachen, In the Renaissance style, circa 1870. The g...