Renaissance Gold and Enamelled Crucifix Pendant

With blue champlevé enamel, depicting scenes of the life of Prophet Elijah: on the bottom right Elijah rolling up his mantle and dividing the waters of the Jordan, in front of his disciple Elisha; on the bottom left Elijah watched over by the Angel; on the top right Elijah ascending to heaven on a Chariot of Fire, assisted by the hand of God; on the left Elijah, covered by his mantle, fed by ravens; frame with blue enamel over gilded pseudo-vegetal decorations. 585 grams, 14.3 cm



Acquired from Chris Martin-Zakheim, Iconastas, 5 Piccadilly Arcade, London SW1. From the private collection of a West London, UK, gentleman, formed since the early 2000s.

The icon represents the Ascension of the prophet Elijah and other scenes from his life. Elijah is ascending to heaven in a fiery chariot drawn by horses, leaving his mantle to his disciple Elisha, symbolising the transmission of his prophetic mission. Among the great figures of the Bible, the prophet Elijah was one of the most venerated figures in Orthodoxy.

Hollow-formed with hexagonal-section arms, each with a raised collar bearing an incised legend 'ME DU CI TO CE LOS' and granule finial; granules between the arms; blackletter legend 'CLUNY' vertically and 'a vol duci' horizontally; suspension ring. 33.32 grams, 59 mm



Ex Cornish collection, UK. Property of a London, UK, antiquarian.

The Abbaye de Cluny is a site of pilgrimage, a former Benedictine monastery.

The head, carved from pale green chalcedony, polished to a smooth lustre and with a drilled aperture at the crown, the hair in tight curls around the nape and crown; the silver-gilt torso dressed in a draped toga carefully chased with deep folds and traces of gilding across the high points; mounted on a later patinated bronze column stand in the neoclassical manner. 208 grams total, 10.9 cm high including stand



Acquired on the European art market.

This small-scale portrait evokes the Roman tradition of imperial portraiture and the early modern fascination with the ancient world. From the seventeenth century onwards, artists and collectors revived classical subjects through hardstone and gilt-metal compositions, often intended for display in Kunstkammer or Grand Tour contexts. The combination of a reused ancient or earlier element with a later mount was a practice typical of the Renaissance and Baroque periods, reflecting the period’s reverence for antiquity and its imaginative recontextualisation of ancient forms.