Silver, Gold, Diamond and Enamel Cruciform Reliquary-Pendant

Centered by six Dutch rose-cut diamonds, accented by smaller rose and table-cut diamonds, the reverse applied with polychrome enamel floral motifs against a white enamel background and completed by a concealed compartment, the lid counter-enameled in pale blue; circa 1660. Suspended from a patinated white gold chain weighing approximately 53 dwts, length 32 inches, signed Bulgari.

In very good condition given the age of the piece. The diamonds are near colorless and decorative in quality. Most of the diamonds are Dutch rose-cuts, others are square table-cuts. The enamel is in very good condition and the only noticeable losses are inside the pendant the loop. The silver exhibits tarnish commensurate with age. The reliquary compartment is empty with a hole (possibly a drill hole for the attachment of a holy relic) in the center. The underside of the lid is applied with thick, light blue enamel. The pendant measures approximately 4 x 3 inches. The later white gold has been chain has been patinated to resemble silver, signed Bulgari.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Opulent jewels, resplendent satins and luxuriant furs are the hallmarks of seventeenth-century court attire, symbols that announced the importance of the wearer the moment light tripped across threads of gold. These sartorial signifiers are well-known to us through the portraiture of Rembrandt and Van Dyck, each delicate brushstroke accentuating their precious nature. The reliquary-pendant offered here was born out of this tradition. Its diamonds—remarkably large for the period—signal great wealth while its form and function denote the contemporary interdependence of church and state.    

The French enamellists of the 1600s achieved unparallelled precision in rendering subjects as varied as portraits and street scenes. On the present piece the enamelwork is strikingly similar to those executed in Paris in the 1650s and 1660s, its blushing tulips and curling foliage revealing a fascination with botany and the influence of Dutch still life paintings. The six diamonds forming the pendant’s center speak to an even farther-reaching cross-fertilization of cultures stemming from the Silk Road. Jean-Baptiste Tavernier, the legendary traveler and gem merchant, introduced Europe not only to the great mines of Golconda but also to Mughal gem-cutting techniques. The Indian-inspired ‘Dutch rose cut’ holds particular charm with its double tier of triangular facets bringing to mind overlapping rose petals.

The rarity, intrinsic value and artistry of this piece, placed against the dynamic backdrop of the seventeenth century, elevate this work to a jewel of historic significance.