Antique Double Sided Rosary Bead with Head of Christ and Skull Carved in Bone

Reliquary Pendant with Christ on the Cross Germany, c. 1480–1500 Gilded silver Weight 35 grams; dimensions 69 × 46 × 8 mm A mixture of forms gives t...

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...

Cameo with Double Portrait of Cosimo I de Medici and Camella Martelli Cameo, Northern Italy, late 16th century; mount with pin 18th century and later Gold, onyx Weight 3.7 gr.; 14.88 mm. Two-layered onyx cameo (white on translucent pale brown) with jugate heads facing to the right looking upwards. The male head with short curly hair, beard and moustache wears a tunic draped around his neck and shoulders. The female head in the background has her hair tied back. They are cut in the white layer of the stone with translucent pale brown background. The cameo is convex on the reverse and open-set in a pendant with plain gold collet and rounded edges. A long gold pin is attached to the pendant loop and the opposite end has a section of coiled wire Literature: Portraits of Roman Emperors were popular and highly fashionable during the Renaissance period, rulers would often be portrayed like their ancient counterparts, also as a double portrait with spouse, or known as jugate heads. The individual features of the couple portrayed here suggest it could be a double portrait of Cosimo I de Medici (1519-1574) at a slightly older age and his second wife Camilla Martelli, Duchess Consort of Florence (1545-1590) whom he married in 1570. Bust sculptures of Cosimo de Medici in the Galleria Uffizi by Baccio Bandinelli...

BADGE WITH ST. JAMES THE GREAT Northern Spain, 16th century Silver, jet Weight 18.2 grams; dimensions 44 × 43 × 12 mm Round pendant with high-relief image of St. James the Great of Santiago de Compostela carved in jet. The saint is flanked by two pilgrims (their heads defaced); each holds a staff and rosary in his hand. Silver mount with plain flat backplate, corded wire surround and toothed edge as setting. Four pendant loops for sewing onto a hat or cloak. According to the Roman naturalist Pliny, jet, the material of which this pin was made, prevented snakebite and was “thrown up by the sea.” The first quality would certainly have been reassuring for a pilgrim who owned this object and who had to make long journeys over unfamiliar terrain. The second quality made jet an especially fitting material to honor St. James, given that his body arrived in Spain mysteriously, carried there “by the sea” from the Holy Land. Santiago de Compostela was a major center for jet carving from the late Middle Ages, and highly polished jet was a desirable and common material for pilgrimage souvenirs. One even finds scallop shells, the pilgrim’s badge...

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...

Gimmel Fede RIng with Inscription "GAGE D'AMITIE" Probably England, c. 1750 Gold, ruby and diamonds Weight 6.5 gr., US size 8.25, UK size Q ½ This gold ring...

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Beautifully Carved Smoky Quartz Skulls in Double Line Necklace. Each skull was carved in Germany from a very fine Smokey Quartz, the clarity is immaculate...

This beautiful rosary has a sterling silver bead for each prayer and a lovely cross at the bottom. The necklace is eighteen inches long and then has the Y and then the drop of the cr...

This necklace is handmade with 14K gold and bead cut diamonds. You can prefer it also with yellow/green diamonds.

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