Other Religious Items

18th Century German Martin Luther Holy Bible. This is a rare 1733 German massive folio edition translated by Martin Luther and printed with numerous engravings in red and black by t...

Baby Jesus in wax, music box and movement, made in Italy, 1960s He gently moves his head and opens and closes his eyes. Intact and functioning. Small signs of wear, as per descriptiv...

Last Supper. Silver-plated metal, wood. Spanish school, mid-20th century. Wall painting with a silverplated metal relief depicting the Last Supper (title in the lower area), with Ch...

Niche. Carved and polychrome wood. Possibly Spanish school, 18th century. A table niche made of carved, polychrome, and gilded wood. It features a front door with a key lock and gi...

Museum quality and condition work of religious art with amazing, hand carved details. This amazingly hand carved wooden wall plaque is not only of great quality and condition, it also has a patina that is unlike anything you ever saw. Over the decades we have sold a number of unique and interesting crucifixes, but we had not yet come across one that is inside such a beautiful branches and leaf frame in the Swiss Black Forest style. For us to have found it in this amazing condition again felt like a blessing and we are grateful to be able it to offer it to our 1stdibs clientele first. At the centre of this Christian-work-of-art-wall-plaque and behind the original, mouth-blown convex glass 'window' is an even more detailed sepiolite sculpture of Christ on the cross. The details in this crucifix sculpture...

Eastern Orthodox (Greek) egg-tempora on wood painted icon of \"Mother of God Umilenie\" (modern)

On one side of the pendant, Christ appears tied to a tall column in the center of the composition, being whipped by two sayones or soldiers with branches, following a customary compo...

Last Supper. Oil on panel. Castilian School, 16th century. It has faults. An oil on panel painting depicting a figurative image against a neutral background, with a checkered tile...

One of its fronts presents a textile background under a transparent glass, space that was surely designed to contain relics. The other side has a brightly colored enamel with the Vir...

Virgin with Child. Carved and polychrome wood. Spanish school, 13th century. It has faults. Polychrome wood carving that shows the Virgin sitting on a throne, with her right hand r...

Saint Stephen. Oil on canvas. 17th century, following Aegidius Sadeler's engraving (inspired by Jacopo Palma). The figure of the Saint appears in the ...

The relief was probably a door of the Sagrario. The piece follows a customary decoration in the tabernacles of the Renaissance and the Baroque. Compare, for example, with the sevente...

Devotional pendant; Our Lady of the Gate. Bronze, enamel, glass, etc. Spanish School, 17th and 18th centuries. It has faults. A devotional pendant or confraternity insignia consist...

Angel. Metal in silver finish. XIX century. Angel or archangel figure made of silver metal, and standing on a base that resembles clouds. These types of sculptures were common in the 19th century both for churches and for personal altars...

Naveta. Silver. Possibly Portugal, 18th century. Base with counterweight. With hallmarks. Naveta with oval foot decorated with relief elements and moldings, balustrade foot and body with light boat shape, presenting a hinged lid in the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior base of rockery motifs and plant elements (the same theme is presented on the foot and base) on a background of chopped luster, with an angel's head on two wings in relief towards the peak, accompanied by plant elements (the which protrude from the edge of the lid). Although the shape of the piece follows in general lines the most usual prototypes in these incense containers used in the liturgy, it is necessary to indicate that it was more frequent to find them more similar to a ship. The naveta's belonging to the influence of Rococo is clear both for the lines of the object and for the decoration to which reference has already been made (pebbles, plant elements with movement, volutes with pronounced curves, contrasts between concave and convex lines ... ), as well as it is possible to find some points in common with Portuguese works (presents an auction with an angel head in relief a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750 that is preserved in the Museum of Sao Roque of Lisbon in Portugal, compare with the silver plated censer that the same master made between 1749 and 1751 for the Chapel of San Juan Bautista of the Church of San Roque in Lisbon). The contrast marks present in the upper part of the naveta (the "capitalized" letters in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this center (naveta de 18th century silver from the Church of Alcántara de Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos, dated 1747 from Sé do Funchal, which is kept in the Museu de Arte Sacra Do Funchal in Madeira Portugal...

Mary Magdalene and John the Baptist. Possibly mallorquin. One of the glasses is fractured. Oval pendant ornamented in its outline by turned gold loops and small metallic pearls. On ...

Sculpture, carved wood, glass, metal. Carved wooden chapel with decoration on the top of balustrade and balusters in the shape of a vase of a certain Baroque memory, which presents t...

Reliquary medallion. Silver, glass, etc. Spanish school, 17th century. Minor faults. Reliquary medallion with a frame composed of an outer spiral and two thin, flat sides decorated...

Christ with angel. Oil on canvas. 18th century. The painting depicts Christ, dressed, supported by the shoulders or back by an angel, both figures situated in an indeterminate space...

Pair of reliefs, San Juan and San Mateo. Polychrome wood. Possibly, Burgos school, 16th century. Pair of carved and polychrome wood reliefs that each show a seated human figure wri...

Virgin of Dress. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. Has damage. Polychrome wood carving of the type of dress or dress that has a series ...

Relief with angel head. Polychrome and gilded wood. Spanish school, 16th century. Rectangular table that presents, on the front, a relief of certain depth and figurative theme. On a...

Saint Anthony of Padua with the Infant Jesus. Oil on canvas. Spanish school, 18th century. Oil on canvas showing Saint Anthony of Padua (Lisbon, August 15, 1195 - Padua, June 13, 12...

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decorati...

Reliefs with heads of angels. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular boards with a hanging ring on the back that present, on the front, two de...

Devotional pendant or reliquary. Oil painting on aventurine, enamel, gold. Spain, 17th century. Medallion or devotional pendant or reliquary made of aventurine or aventurine with an octagonal shape and faceted fronts, enhanced with a series of enamels combining black and gold, which protect two oil paintings with a Catholic Christian religious theme, located one on each side of the piece. Protected, you can see a very particular Virgin with Child for being inspired by the Icon of the Madonna del Popolo (Rome, Italy), and a simplified Martyrdom of San Lorenzo (the saint, the grill and an angel with a crown and the palm corresponding to the subject). The edges of the piece have been protected with simple metal elements. The painting of San Lorenzo follows a common composition in the Spanish school, and would recall works such as the painting of the main altar of the Church of San Lorenzo de Huesca, for example, but also others such as the engraving by Marcantonio Raimondi (executed around 1527) in some details. The so-called icon of the Madonna del Popolo was well known for being considered as made by Saint Luke, and was brought to the church of the same denomination by Gregory IX from the Sancta Sanctorum of the Lateran Palace after a flood caused a terrible plague in the city and through a solemn procession with the image of Santa Maria del Popolo. Regarding the material of the piece, a certain type of glass and a type of quartz (which can be green or reddish-brown, and usually has tiny elements of yellow mica that give it golden reflections) is known as aventurine or aventurine. In the first case, it is known that “aventurine” or “stellaria” appears mentioned in the Murano workshops for the first time during the first quarter of the 17th century, in reference to a very complicated production paste (it is said that the name comes from of this circumstance, that is, that its creation was due to luck or luck) that imitates the effects of that stone (from India and Russia at that time) thanks to the inclusion of copper particles, and that it was used as if out of stone (cut) given the complexity of its use in blowing (practically impossible). And, dealing with this material, it is necessary to mention “The Nativity” by Pietro da Cortona, dated around 1656, which is kept in the El Prado...

Mary Magdalene on her way to Marseille. oil on board. Castilian school, towards the last third of the century XV. Oil on panel showing a landscape in the background with a walled city, some mountains and the shore of a watercourse (from the theme it is seen that it is the shore from sea). In the foreground and in full body, a boat with a sail appears with a circus richly dressed characters and with their respective nimbus (these decorated with geometric elements and engraved vegetables), two women and three men. Note the anecdotal detail of the fish crossing the waters under the ship. In the Golden...

Devotional pendant, Saint Teresa of Ávila. Bronze, enamel, etc. Spanish School, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfas...

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decorati...

Devotional or steadfast medallion. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfast...

Devotional pendant. Bronze, enamel, etc. Spanish school, 17th century. It has faults. Piece of plastic over painting. A devotional pendant or confraternity insignia consisting of a ...

Cross of the Order of Preachers or habit of Saint Dominic. Gilt bronze, enamel. 17th century. A habit or badge with the fleur-de-lis cross of the Order of Preachers, also known as t...

This is an antique Ruyi belt hook. An Oriental, jade marble buckle depicting a reclining Hotei or Budai, dating to the late 19th century, circa 1900. Plea...

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decorati...

Devotional or steadfast medallion. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfast...

Devotional plaque, Stigmatization of Saint Francis of Assisi. Bronze. Possibly 17th century. It has faults. Oval devotional plaque enhanced with a frame featuring a ring at the top...

Saint Andrew. Carved and polychromed wood. Attributed to DE VAHÍA, Alejo (?-circa 1515). This figurative sculpture, carved and polychromed in wood with traces of gilding still visib...

Child Jesus enthroned. Wood, terracotta, fabric. Spanish school, 18th century and later (chair). The chair, with its oval, hollow back adorned with vegetal motifs tied in gold, feat...

Virgin of the Milk. Oil on panel. Hispano-Flemish School, 16th century. It has faults and restorations. Panel depicting the Virgin wearing a tunic and cloak, her hair partially c...

A symbolic Christian patience bottle with a cross flanked by miniature bells, the front with a ladder, tools, plants and rooster. The bottle contains a signed paper label, dated Octo...

Devotional plaque, Saint Anthony of Padua. Bronze. Spanish School, 17th century. An oval-shaped devotional plaque made of bronze, featuring a ring at the top, a molded frame with an...

Devotional or steadfast medallion. Bronze, enamel, glass, etc. Spanish school, 17th century. It has faults. A devotional medallion commonly known as a "steadfastness" or "steadfast...

Devotional pendant or confraternity plaque. Bronze, enamel, etc. Spain, 17th century. It has faults. Devotional medallion consisting of a frame (with a ring at the top and decorati...

Sculpture "San Blas". Carved, polychrome and gilded wood. Castilian school, 14th century. The figure stands, looking straight ahead with large, expressive ...

Pair of polychrome wood sculptures. "San Juan and San Pablo". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attrib...

Crucified Christ with base. Wood, mother-of-pearl. Jerusalem. A crucified Christ is depicted on a cross with a triangular base decorated with mother-of-pearl elements featuring engr...

Saint Anthony Reading at a City Gate. Engraving. Dürer, Albert (Nuremberg, 1471-1528). Later print, possibly 19th century. Signed and dated on plate. Engraving depicting the holy...

Bronze in its color and gold, lapis lazuli, rock crystal, enamel. In the centre of the work is presented, enthroned, the figure of Mary, with a mantel (fireplace) on her shoulders and hair and holding on her knees the child, who appears addressing one of the angels. The virgin is also sheltered by an ogee arch supported on turned columns, and raised visually by steps. This composition achieves a very striking contrast: the dark bronze figure, in contrast to the lapis lazuli background and the part of the arch and the outside of it, in gilded bronze. Under the steps there is a heraldic enamel shield with a key on an azure background. The angels, kneeling, are flanking this figure, and, appearing in dark bronze, visually share the "category" of religious figures with Mary, while their (lower) position gives more status to both the Mother and Jesus. The rest of the composition is completed with a delicate landscape: constructions and walls on mountains, clouds in the sky, plants, stones, etc. To the outside, another lapis lazuli frame is placed decorated in the corners with appliques, giving way to carved and polychrome wood. The lapis lazuli is a semiprecious stone already known in the seventh millennium BC., found in deposits from the Caucasus to Mauritania. From the end of the middle ages, it increased its export to Europe, its use being more frequent since then both to use it as a pigment in paintings after grinding it (giving rise to the finest and most expensive of the blues, and of the colors in many occasions), as for backgrounds of paintings, incrustations in works of art, jewelry and, a little later, in the well-known "hard stone works". The figure of Mary still shows an influence of Gothic models, although more European than Italian, along with elements that could already show a closeness to the Renaissance: although the nakedness of Jesus is already shown in Gothic works (Madonna with Angels by Fra Angelico ), the creation of space by playing with the cloth in front of Christ can be appreciated in more advanced paintings (Virgin with Child by Domenico Ghirlandaio, National Gallery of London); the presence of a powerful throne can be seen frequently in Italian Madonnas of the Quattrocento (and before), but not quite as presented here. As for the landscape, it is necessary to compare it, for example, with that of the fresco of the Condotiero Guidoriccio de Fogliano (Simone Martini, finished in 1328). This is a work of great technical and aesthetic quality, not to mention the materials chosen for its creation, comparable only to outstanding examples from around the world, such as those preserved in the Palazzo Madama in Torino (Italy), where the coral It also has an important role. It is essential to mention, also, works such as the plate of hard stones (lapis lazuli between them) with a relief of Mary with the Child in...

Holy wall font. Bronze. Spain, 17th Century. Small font for holy water designed to be placed on a wall, which has a container decorated with moldings and architectural elements and...

Temptations of San Antonio Abad. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene located inside a cave. To the right, you can see a cross standing, supported; to the left, a hut; and in the center of the painting appears an elderly, bearded man, leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloth and clothing. San Antonio Abad or Antonio Magno (251-356) was a Christian monk, considered the founder of the eremitical movement. He was tempted numerous times by the devil while he was in the desert, becoming a subject frequently represented in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitals) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they). David Teniers II or El Joven was a prominent Flemish painter and engraver, son of David Teniers El Viejo or I and father of David Teniers III, much appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. Fragment of a carved, polychrome, and gilded wooden altarpiec...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. A religious scene set in a prestigious interior, made of two-tone stone, depicting a ser...

Child Jesus. Carved and polychromed wood, metal. Attributed to SALZILLO, Francisco (Murcia, 1707 1783), 1762. A polychrome carved wooden sculpture depicting the Christ Child standin...

Saint Dominic. Oil on canvas. Spanish school, 18th century. It has some faults. Oil on canvas with a horizontal layout depicting a Dominican wearing the characteristic habit of the ...

Couple of children. Polychrome pine wood, Century XVIII. Pair of polychrome pine wood carvings that represent two children in an attitude of playing a musical wind instrument, both seated, with their hands towards their faces, and slightly raising one leg to add some movement to a posture that, otherwise, it would be perhaps too static. Due to their postures and attitudes, they would be part of a large and quality altarpiece, judging by the size, the details, the hair, the proportions, etc., elements in which the musical angels were not something strange. Note that those present do not have wings, calling themselves in these cases "putti" and being, in the same way, figures of habitual presence in religious environments despite having emerged from Renaissance classicism and its sources from Antiquity. The proportions of the sizes, the anatomy, the symmetry, the certain plasticism of the hair, etc. are elements that speak of an influence of Neoclassicism in these sculptures. Likewise, a certain resemblance to works from the 18th century of the Castilian school can be appreciated." Size: 22 x 42 x 85 cms / c/peanas 37 x 37 x 180 cm. Weight is merely orientative. Bases and wooden instruments...

Saint Anthony with the Child Jesus. Wood. Mechelen School, 16th century. Sculpture in carved wood worked, as was usual in that center, on the front because it was designed to be pla...

Votiba Lamp. Bronze. 17th Century. A ceiling lamp of the type known as a church or chapel lamp, due to its common use in these settings, which burns oil and features a series of und...

Frans van de Casteele (Kasteels) called Francesco da Castello (Brussels, ca. 1541 - Rome, 1621) Adoration of the shepherds Crowning with thorns First decade of the 17th century. Tempera and gold on parchment, 290 x 240 mm (with frame). Original wooden frame with trimmed silver foil applications; in the corners, medallions with the four evangelists. The two refined miniatures of the Adoration of the Shepherds and the Crowning with Thorns are works of the artist's full maturity, dating from the first decade of the 17th century, characterized by formal simplification and pure colors in the invoice of the garments that stand out from the eburoral incarnations of the characters. Among the numerous motifs comparable to those of other miniatures by Francesco da Castello, the small medallions with the Evangelists barely outlined on a golden background, closely recall the miniatures, of reduced dimensions, inserted in the compartments of the frame of the altar with the Mysteries del Rosario, as well as those of another box with compartments with the Tree of Jesse...

Niche. Carved and polychrome wood. Century XVI. Wall niche with a rectangular front opening topped by a venerated shape finished in gold with two polychrome angel heads in the corne...

Saint Nicholas devotional medal on support. Gilded bronze, textile, metal, 18th century. Golden bronze devotional medal placed on a support by wires that has an oval frame enhanced ...