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RENAISSANCE GEM-SET AND ENAMEL PENDANT, LATE 16TH CENTURY image 1

RENAISSANCE GEM-SET AND ENAMEL PENDANT, LATE 16TH CENTURY image 2

PROPERTY FROM A PRIVATE FAMILY COLLECTION

Lot 4^*

RENAISSANCE GEM-SET AND ENAMEL PENDANT, LATE 16TH CENTURY

London Jewels

5 June 2025, 12:00 BST

London, New Bond Street

Sold for £9,600 inc. premium

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RENAISSANCE GEM-SET AND ENAMEL PENDANT, LATE 16TH CENTURY

Modelled as a bounding stag, the body with brown enamel, set with three table-cut rubies, to a similarly-set ruby collar to the neck, issuing a pearl drop, suspended from an enamel and ruby pendant via two gold chains, further associated black enamel and ruby openwork surmount with later pin fitting, possible pearl drop deficient, enamel with some losses, length 5.0cm

Footnotes

Provenance:
Marc Rosenburg, Hermann Ball-Paul Graupe, Berlin, 4th November 1929, no. 204;
Melvin Gutman, Parke Bernet Galleries Inc., 24th April 1969, lot 103;
Christies, London, 14th October 1992, lot 36.

Exhibited:
The Baltimore Museum of Art, 1962-68

Literature:
M. L. D'Otrange, 'A Collection of Renaissance Jewels at the Art Institute of Chicago', Connoisseur, September, 1952, pp.66-74
Y. Hackenbroch,'Renaissance Pendants after designs by Jost Amman.', Connoisseur, vol. CLX, fig.2a

This stag pendant was formally part of the Melvin Gutman Collection. Amassed during the early 20th century, this collection is thought to be one of the largest collections of antique jewellery formed by a single owner at the time. The Gutman Collection shows a particular focus on Renaissance jewels. This stag pendant is one of three known examples, possibly representing the badge of the office of the Master Ranger of the Royal Forests in Bohemia. See Christies, London, 14th October 1992, lot 36.

During the 16th century, illustrated books were widely disseminated thanks to advances of printing presses. As a result, imagery was far more widely available to artists than ever before and influential artists such as Jost Amman produced huge numbers of engraved jewellery designs. Whilst the stag may have been given as a badge of office, it is also interesting to note that this subject would have presented no possible conflict for the conscience of a Protestant wearer during a time of religious upheavals. See Hackenbroch, Y. Renaissance Jewellery, Philip Wilson Publishers Ltd, 1979, pp.111-181

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