Antique Architectural Rock Crystal Pendant

Cross Pendant with Rock Crystals Spain or Portugal, late 17th - early 18th century Silver, gold, rock crystal Weight 9.1 gr.; Dimensions 56.3 × 38.8 mm. An elaborate and elegant cross pendant made of silver with rock crystals in closed settings. The center consists of a larger round gemstone surrounded by five irregular-shaped stones forming the cross. The openwork arms have a triangular shape and are formed of facetted rock-crystals in foliate settings. The obverse side of the cross consists of a layer of gold. An extension with two stones and an angular shaped frame is hooked into the pendant loop, probably to be worn on a velvet band. The pendant is in good, wearable condition. After the Reformation, cross pendants were worn mainly in Catholic countries by men, women, and children. During the seventeenth century, the designs became ever more intricate, and the crosses were often embellished with gemstones, such as rock crystals in this example. These were sourced along the Alpine regions of France, Switzerland, Austria, and Southern Germany. The stones gave the appearance of diamonds. The foliate settings are characteristic of late seventeenth- and eighteenth-century jewelry made in Spain...

RELIQUARY PENDANT IN BOOK FORM Probably southern Germany, 1630–40 Gilded silver, verre églomisé Weight 13.2 grams; dimensions 42 × 25 × 12 mm; opens to 40 mm Gilded silver pendant in book form with hinged, lid, corded wire surround, and engraved spine. The front cover of the book is set with a plaque depicting Moses receiving the Law in verre églomisé, and the back cover shows the Sacrifice of Abraham. The scenes are in gold against a red background. When opened, the book reveals two portraits, probably of a husband and wife, wearing seventeenth-century dress. The costumes suggest a date c. 1630-40; the wife holds a daisy. Trefoil-shaped pendant loop on top and bottom, and book clasp. As in the scenario described for the assemblage of these pendant miniature books (see no. 34), this book may have satisfied the desires of a particular patron, perhaps even one of the Jewish faith. The images that have been chosen for the four verre églomisé inserts are somewhat unusual within the group of comparable objects; on the front is Moses, on the back is the Sacrifice of Isaac. On the inside, instead of an iconic or doctrinal image, one sees portraits of the patron and his wife, in their finest dress, contents reminiscent of a modern locket...

AMULET PENDANT WITH FIGA Spain, c. 1620–1630 Jet, silver, and enamel Weight 60.7 grams; dimensions 85 × 49 × 18 mm Large pendant in the shape of a hand carved from jet with a clinched fist in the figa (Spanish higa) gesture. In the palm of the hand is a heart carved in relief and on the back a six-ray star in a circle. The silver mount covers the wrist like a cuff and is decorated with a frilled border, and on the front with collet-set bosses with silver C-scrolls against blue enamel; on the back is a roundel in relief with floral motif. Domed base for the pendant loop in pea-pod form. The figa (also fica or higa) represents an age-old symbol of protection against the evil eye and other demonic threats. Its origins were pagan and buried deep in antiquity. Roman examples, such as one found recently in an archeological excavation in London, also make it clear that the protective qualities are based in a sexual symbolism–particularly the power of the phallus. The Roman bone figa/phallus in effect represents the phallus twice; that is, the gesture made by the figa hand is generally explained as fingers representing the female genitalia (vulva) penetrated by the phallus of the thumb. But other interpretations are less specific, including explanations that the left hand is the feminine principle, and the right hand is the masculine. In Spain, jet figa are common; we see one in the portrait of Anne of Austria the infanta (p. 75). That is not to say that the objects are not sumptuous or treasured. Jet was a very valuable material, and in many examples like this one, the figa is embellished with beautiful enameling or is even gem-studded. Comparable objects occur in equally sumptuous materials such as rock crystal. The enameled setting allows a dating of these objects that otherwise might prove difficult, given that the production of such objects in Spain is so consistent over centuries. Indeed, there is another, even more elaborately carved example in this collection, attached to the “magic belt” (no. 9). That example may belong to an earlier group. That figa includes deeply excavated carving, including on the upper surface, an M-shaped design that Walter Leo Hildburgh links to the heart shape (as it occurs more explicitly on this example). Hildburgh argues that its presence is especially common on these objects and that it originally represented the Sacred Heart of Mary...

Pendant with Virgin Mary as Queen of Heaven Western Europe, Southern Germany (?), Italy (?), c. 1550-1560 Gold, enamel, diamonds, and pearls Weight 13.2 gr; Length 36.9 x 31.2 mm (incl. pearls) This sumptuous image exudes regal power. It portrays the Virgin Mary as Queen of Heaven wearing a dress and crown studded with seven large diamonds and set against a translucent, rich blue celestial background. Far removed from the tender, humble Virgin seen in German and Netherlandish artworks of the period, she is a majestic ruler, mouth sternly set, head tilted upward, and face in full profile. The oval pendant cast in high gold relief with a central medallion, the single figure filling the space, echoes jewelry portraits of the aristocracy during the Renaissance, which similarly offset the ruler’s image against a blue field composed of enamel or lapis lazuli, symbolic of divine power Only the rays of the shining gold halo that emerge behind the Virgin’s head and her long flowing hair (instead of neatly coiffed) distinguish her from female ruler portraits of the period. Three studded pearls, forming an axis, also recall pendants of European rulers. Wealth, royal status, and divine power come together in this opulent pendant. Portraits of the period show similar small oval pendants worn by women in the square of the garment or by men nestled inside multiple chains below the base of the neck. PROVENANCE European Private Collection LITERATURE Compare images from ancient Rome, for example a sardonyx cameo with female head (Kugel 2000, no. 18; Milan, c. 1550), and a pendant with gold, pearls, and enamel in the Staatliche Museum Kassel (Schmidberger/Richter 2001, no. 43; France, c. 1555-1560). For ruler pendants with blue backgrounds see a pendant of King Frances I...

Renaissance Marriage Ring Western Europe, late 16th century Gold, rock crystal, traces of white and black enamel Weight 4.09 g; circumference...

RELIQUARY CROSS PENDANT Balkans (probably Bulgaria), 18th-19th century Gilded silver, glass pastes Weight 40.7 grams; dimensions 74 × 15 × 10 mm Double-sided pendant made of gilded silver filigree in the shape of a Greek cross, with pendant loop. The front and side panels composed of intricate filigree scrolls, globules, and a central rosette. Interspersed are crimped collet settings with corded wire base and red, blue, and green glass-paste gem...

Some like it hot and dramatic which is an accurate description of this large 60ct Victorian Rock Crystal, Garnet and Natural Pearl Pendant. If that is not enough magic, add an original bale, six natural pearls and 11n cts of wine colored garnets. A statement piece indeed that beautifully made and has been cared for for 180 years. A jewel that more than hints and your daring personality and pride in your individuality. The healing properties of crystal are enlightenment and healing of the spirit and promotion of spiritual and physical well being. The word crystal comes from the Greek word krustallos which means ice. It is the sister gem to amethyst and citrine, Perfect condition. 3 1/4 inches high, 1 3/4 inches wide Weight 34 Grams For a Grand Dame...

Rock Crystal Cushion Pendant in 18K Yellow Gold, from "Manhattan" Collection. Minimalist lines yet bold structures is what our Manhattan Collection is all about. Our pieces represent...

A stunning, fine and impressive, rock crystal and 21 karat yellow gold pendant/ brooch; part of our antique jewellery and estate jewelry collections. This stunning antique Victorian pendant/brooch has been crafted in 21k yellow gold. The impressive oval frame is ornamented to the centre with an exceptional rock crystal panel, displaying finely detailed three leaves, accented with floral decoration. This central convex panel is encompassed with a 21k yellow gold frame ornamented with rope twist decorated borders, in addition to an applied scalloped design accented with scrolling and ball motifs. The reverse of the setting is fitted with a push fit glass panel, which allows a personal memento or keepsake to be displayed. This exceptional Victorian rock crystal pendant...

From the mid-19th century comes this delightful rock crystal locket. Meticulously hand fabricated in 18k gold, the glowing rock crystal cover is overlaid with a bright turquoise and ...

I just love this pendant. This pendant is beautiful with a frosted Rock Crystal base set with a Sapphire with Diamond surround. The crystal is set with Diamonds and Sapphires on a s...

An 18 Kt gold serpent set with a turquoise wraps around the top of this icy clear rock crystal prism creating a talisman you will treasure. The crystal is strikingly faceted into an ...