Fifteenth Century Reliquary Pendant with Christ on the Cross

ROSARY BEAD WITH WENDEKOPF Germany, 16th century Bone Weight 12 grams; dimensions 29 × 23 × 24 cm A double-sided bead made of bone with a finely carved head of Christ on one side an...

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...

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...

RELIQUARY PENDANT WITH PEARL Spain or Spanish Netherlands, c. 1620 Gold, rock crystal, enamel, pearl, bone relics Weight 12.9 grams; dimensions 40 ...

OCTAGONAL RELIQUARY PENDANT Probably Italy, c. 1600 Fire-gilded brass, glass, velvet, ink on paper Weight 63.2 grams; dimensions 82 × 47 × 21 mm (with loop) Physical description: Double-sided pendant in octagonal form made of fire-gilded brass. Both sides of the pendant with deep profiled frames with glass. The slightly indented side panels comprise openwork friezes with symmetrical scrollwork. On the front is dark red velvet, onto which tiny bone relics of saints (now missing) would have been attached. Labels on a lace-like paper silhouette remain, with names written in ink, mostly faded; only “S. Agnes” is legible. The back is hinged and when opened reveals a velvet-lined interior and paper insert with floral decorations on a turquoise ground, on which fragments of bones are attached. Baluster shaped base for shield-like pendant loop and ring. This reliquary pendant is difficult to situate historically because it is a composite object. It represents traditional handwork in the form of a paper cutout, combined with a jeweler’s beautiful fire-gilt brass case. The work of paper cutting, painting, and ornamentation, sometime combined with needlework, is comparable to work still being done in the nineteenth century by nuns and pious ladies. It is prayerful work, a devotional exercise in itself, and shows reverence to the tiny relic fragments that it would have framed and honored. Early versions of this sort of handiwork might be found in the meticulous displays sometimes called “Paradise Gardens.” These were made, beginning in the sixteenth century, by the nuns at Mechelen, in northern Belgium, in multimedia handwork displays of sewing and gluing, combining relics with paper, cloth, glass, metal wire, and found materials. These textured and pious displays were then combined with paintings and cases by professional artists and artisans, as in the example in Cassel. Unfortunately, because of water damage, only one of the labels of the original relic displayed in this reliquary is legible, inscribed “S. Agnes” at the center top; the other names are faded. Presumably the deep velvet-lined box would have also held an assortment of relics other than the ones that were visible through the glass, and perhaps there would have been another display in the glass on the other side of the pendant. There is a second paper insert, this one decorated with a turquoise ground and silhouette flowers to which bone fragments seem to be still attached. The octagonal case, in contrast to the paper cutout, is not at all “home-made.” It has an openwork frieze in scrollwork patterns familiar from enamel work and other metalwork done for European courts and nobility. It is not unlike cases for expensive watches...

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...

Fine and rare Dali Christ of Saint John of the Cross 18 Karat gold statuette, circa 1970s. Signed Dali and PA. 4.5 inche tall and w...

Technical Description of the Gold and Silver Sculpture by Salvador Dalí Location: Spain Material: Precious Metal: Solid 18-karat gold Pedes...

An iconic piece that will put your faith boldly on display, this shimmering cross-shaped pendant is truly luxurious. A 14K White Gold setting provides the perfect backdrop for the 2....

FRANK MEISLER LADY ON THE MOVE/Contemporary Woman Figurine Size: H24 x W21 x L11 cm – 2.7kg Limited Edition Metal Alloys with silver/gold plated elements. Rotating marble base. Th...

18 Karat Tricolor Gold Crucifix With Engraved Details. 1 Inch Long Including Bale. Finished Weight Is 1.4 Grams.

Antique Bronze Jesus Portrait Medallion Plaque by Henri Miault, French Catholic and Christian Gifts An antique bronze medallion with a portrait of Jes...