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Period: 17th Century
Late Renaissance Octagonal Gilded Brass Reliquary Pendant with Velvet Interior
Located in Chicago, IL
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...
Category
Italian Antique 17th Century More Objets d'Art and Vertu
Materials
Brass
Renaissance Reliquary Pendant with Pearl and Enameling
Located in Chicago, IL
RELIQUARY PENDANT WITH PEARL
Spain or Spanish Netherlands, c. 1620
Gold, rock crystal, enamel, pearl, bone relics
Weight 12.9 grams; dimensions 40 ...
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Spanish Renaissance Antique 17th Century More Objets d'Art and Vertu
Materials
Pearl, Gold, Enamel
Art Deco Brooch Vintage Pin Onyx & Diamond brooch pin 18KT white gold Old Europe
Located in Jupiter, FL
Rare Art Deco brooch pin made with a large onyx and a single diamond in the center, the diamond is Old European cut. The brooch year is unknown.
CENTER STONE: NATURAL DIAMOND
CARAT:...
Category
Art Deco Antique 17th Century More Objets d'Art and Vertu
Materials
Onyx, Diamond, 18k Gold, White Gold
Renaissance Cameo Pendant
Located in New Orleans, LA
The cameo at the center of this exceptional pendant is a stunning example of the art of gem engraving during the Renaissance. It likely dates to the early 17th century and features a sacrificial scene inspired by the Greco-Roman era. The central flaming altar is flanked by two figures preparing to sacrifice a ram, while a figure in a lion skin blowing horns stands in the left corner. The carver brilliantly uses the natural layers of the stone to achieve the illusion of shadow and musculature on the figures. A second, smaller cameo is set at the top of the pendant, while a myriad of multi-colored gems, pearls and enamel adorns the 18K gold setting. A large Baroque pearl suspended from an enamel dragon finishes the design, which embodies the opulence and theatricality of jewels from the Renaissance age.
Cameos and intaglios were highly popular amongst wealthy connoisseurs in Renaissance Italy, and owning the finest pieces was the privilege of princes. Although they were often elaborately mounted for display alone, cameos were also frequently worn as pendants, surrounded by enameled and stone-set gold frames. Such pieces were particularly prized by the Medici and Lorraine families, many of which can now be seen at the National Archeological Museum in Florence.
Very few Renaissance cameos...
Category
Italian Renaissance Antique 17th Century More Objets d'Art and Vertu
Materials
Multi-gemstone, Pearl, 18k Gold, Enamel
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