30
Silver pax. With the silversmith Domingo Durango's mark (based in Daroca and active circa 1580)
In Millésime 23
1/11
Beschreibung
Silver pax. With the silversmith Domingo Durango's hallmark (based in Daroca and active circa 1580)
13 x 11 x 5cm. WEIGHT: 321 G.
In the shape of an aedicule or small Doric order temple. The base is extended at the ends by two plinths on which two balustraded columns stand, supporting a small entablature on which a curved pediment rests.
On the pediment a crest is displayed based on scroll elements. The scene represented in the central section is the seated Madonna with the Child seated on her lap. The image is sheltered in a niche and is flanked by three cherubs on each side. On the pediment, God the Father gives blessing. There are two inscriptions on the shrine: on the entablature SANTA MARIA and on the base ORA PRONO (BIS) with a small cross in the centre.
There is a handle on the back that functions as a stand for placing the pax on the altar and for passing it from one worshipper to another.
It bears the silversmith's mark; O/DUR. This mark, according to the studies of Daroc silverware carried out by Fabián Mañas Ballestín, corresponds to the silversmith Domingo Durango, active around 1580 and with documented work in various locations such as San Martín del Río, Villahermosa del Campo, Báguena, Burbáguena, Lanzuela, Loscos, Lechago, Valdehorna and Villanueva de Jiloca.
One of the objects used for worship that has fallen into disuse is the pax. It is a small piece, which can be made of different materials, such as metal, ivory, ceramic, etc., with an image or signs in relief. In the most solemn celebrations, the pax was passed from one member of the congregation to another to be kissed in a mass for peace.
The origin of the pax dates back to the Middle Ages, but it was from the 15th century and especially in the 16th and 17th centuries that it reached its peak, its use declining at the end of the 19th century.
The first paxes were conceived with very elaborate Gothic architecture, derived from medieval reliquaries in the form of an aedicule. It was in the second quarter of the 16th century when the typological change in the pax took place, through the introduction of Renaissance silverware models and after the Council of Trent (1545) its iconographic repertoire was enriched.
From the beginning, these objects were conceived as small architectural pieces that contained a devotional image. Juan de Arfe describes the way to make a pax in his Varia Commesuracion: "Two parts make the top of a pax,
and one of them forms the seat,
setting itself towards the upper side,
and so that this seat is capable,
it is made with a stout base,
and the handle is very light so it goes
in such a way that it neither twists nor falls." Reference bibliography: - Sanz Serrano, María José. (1982). “Portapaces renacentistas del museo Lázaro Galdiano”. Goya: Revista de arte. Nº 167-168. pp. 258-270. - Xilocapedia. (21 de agosto de 2015). “Durango, Domingo (platero)”. https://xiloca.org/xilocapedia/index.php?title=Durango,_Domingo_(platero)
13 x 11 x 5cm. WEIGHT: 321 G.
In the shape of an aedicule or small Doric order temple. The base is extended at the ends by two plinths on which two balustraded columns stand, supporting a small entablature on which a curved pediment rests.
On the pediment a crest is displayed based on scroll elements. The scene represented in the central section is the seated Madonna with the Child seated on her lap. The image is sheltered in a niche and is flanked by three cherubs on each side. On the pediment, God the Father gives blessing. There are two inscriptions on the shrine: on the entablature SANTA MARIA and on the base ORA PRONO (BIS) with a small cross in the centre.
There is a handle on the back that functions as a stand for placing the pax on the altar and for passing it from one worshipper to another.
It bears the silversmith's mark; O/DUR. This mark, according to the studies of Daroc silverware carried out by Fabián Mañas Ballestín, corresponds to the silversmith Domingo Durango, active around 1580 and with documented work in various locations such as San Martín del Río, Villahermosa del Campo, Báguena, Burbáguena, Lanzuela, Loscos, Lechago, Valdehorna and Villanueva de Jiloca.
One of the objects used for worship that has fallen into disuse is the pax. It is a small piece, which can be made of different materials, such as metal, ivory, ceramic, etc., with an image or signs in relief. In the most solemn celebrations, the pax was passed from one member of the congregation to another to be kissed in a mass for peace.
The origin of the pax dates back to the Middle Ages, but it was from the 15th century and especially in the 16th and 17th centuries that it reached its peak, its use declining at the end of the 19th century.
The first paxes were conceived with very elaborate Gothic architecture, derived from medieval reliquaries in the form of an aedicule. It was in the second quarter of the 16th century when the typological change in the pax took place, through the introduction of Renaissance silverware models and after the Council of Trent (1545) its iconographic repertoire was enriched.
From the beginning, these objects were conceived as small architectural pieces that contained a devotional image. Juan de Arfe describes the way to make a pax in his Varia Commesuracion: "Two parts make the top of a pax,
and one of them forms the seat,
setting itself towards the upper side,
and so that this seat is capable,
it is made with a stout base,
and the handle is very light so it goes
in such a way that it neither twists nor falls." Reference bibliography: - Sanz Serrano, María José. (1982). “Portapaces renacentistas del museo Lázaro Galdiano”. Goya: Revista de arte. Nº 167-168. pp. 258-270. - Xilocapedia. (21 de agosto de 2015). “Durango, Domingo (platero)”. https://xiloca.org/xilocapedia/index.php?title=Durango,_Domingo_(platero)
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Stellen Sie dem Verkäufer eine Frage
Silver pax. With the silversmith Domingo Durango's hallmark (based in Daroca and active circa 1580)
13 x 11 x 5cm. WEIGHT: 321 G.
In the shape of an aedicule or small Doric order temple. The base is extended at the ends by two plinths on which two balustraded columns stand, supporting a small entablature on which a curved pediment rests.
On the pediment a crest is displayed based on scroll elements. The scene represented in the central section is the seated Madonna with the Child seated on her lap. The image is sheltered in a niche and is flanked by three cherubs on each side. On the pediment, God the Father gives blessing. There are two inscriptions on the shrine: on the entablature SANTA MARIA and on the base ORA PRONO (BIS) with a small cross in the centre.
There is a handle on the back that functions as a stand for placing the pax on the altar and for passing it from one worshipper to another.
It bears the silversmith's mark; O/DUR. This mark, according to the studies of Daroc silverware carried out by Fabián Mañas Ballestín, corresponds to the silversmith Domingo Durango, active around 1580 and with documented work in various locations such as San Martín del Río, Villahermosa del Campo, Báguena, Burbáguena, Lanzuela, Loscos, Lechago, Valdehorna and Villanueva de Jiloca.
One of the objects used for worship that has fallen into disuse is the pax. It is a small piece, which can be made of different materials, such as metal, ivory, ceramic, etc., with an image or signs in relief. In the most solemn celebrations, the pax was passed from one member of the congregation to another to be kissed in a mass for peace.
The origin of the pax dates back to the Middle Ages, but it was from the 15th century and especially in the 16th and 17th centuries that it reached its peak, its use declining at the end of the 19th century.
The first paxes were conceived with very elaborate Gothic architecture, derived from medieval reliquaries in the form of an aedicule. It was in the second quarter of the 16th century when the typological change in the pax took place, through the introduction of Renaissance silverware models and after the Council of Trent (1545) its iconographic repertoire was enriched.
From the beginning, these objects were conceived as small architectural pieces that contained a devotional image. Juan de Arfe describes the way to make a pax in his Varia Commesuracion: "Two parts make the top of a pax,
and one of them forms the seat,
setting itself towards the upper side,
and so that this seat is capable,
it is made with a stout base,
and the handle is very light so it goes
in such a way that it neither twists nor falls." Reference bibliography: - Sanz Serrano, María José. (1982). “Portapaces renacentistas del museo Lázaro Galdiano”. Goya: Revista de arte. Nº 167-168. pp. 258-270. - Xilocapedia. (21 de agosto de 2015). “Durango, Domingo (platero)”. https://xiloca.org/xilocapedia/index.php?title=Durango,_Domingo_(platero)
13 x 11 x 5cm. WEIGHT: 321 G.
In the shape of an aedicule or small Doric order temple. The base is extended at the ends by two plinths on which two balustraded columns stand, supporting a small entablature on which a curved pediment rests.
On the pediment a crest is displayed based on scroll elements. The scene represented in the central section is the seated Madonna with the Child seated on her lap. The image is sheltered in a niche and is flanked by three cherubs on each side. On the pediment, God the Father gives blessing. There are two inscriptions on the shrine: on the entablature SANTA MARIA and on the base ORA PRONO (BIS) with a small cross in the centre.
There is a handle on the back that functions as a stand for placing the pax on the altar and for passing it from one worshipper to another.
It bears the silversmith's mark; O/DUR. This mark, according to the studies of Daroc silverware carried out by Fabián Mañas Ballestín, corresponds to the silversmith Domingo Durango, active around 1580 and with documented work in various locations such as San Martín del Río, Villahermosa del Campo, Báguena, Burbáguena, Lanzuela, Loscos, Lechago, Valdehorna and Villanueva de Jiloca.
One of the objects used for worship that has fallen into disuse is the pax. It is a small piece, which can be made of different materials, such as metal, ivory, ceramic, etc., with an image or signs in relief. In the most solemn celebrations, the pax was passed from one member of the congregation to another to be kissed in a mass for peace.
The origin of the pax dates back to the Middle Ages, but it was from the 15th century and especially in the 16th and 17th centuries that it reached its peak, its use declining at the end of the 19th century.
The first paxes were conceived with very elaborate Gothic architecture, derived from medieval reliquaries in the form of an aedicule. It was in the second quarter of the 16th century when the typological change in the pax took place, through the introduction of Renaissance silverware models and after the Council of Trent (1545) its iconographic repertoire was enriched.
From the beginning, these objects were conceived as small architectural pieces that contained a devotional image. Juan de Arfe describes the way to make a pax in his Varia Commesuracion: "Two parts make the top of a pax,
and one of them forms the seat,
setting itself towards the upper side,
and so that this seat is capable,
it is made with a stout base,
and the handle is very light so it goes
in such a way that it neither twists nor falls." Reference bibliography: - Sanz Serrano, María José. (1982). “Portapaces renacentistas del museo Lázaro Galdiano”. Goya: Revista de arte. Nº 167-168. pp. 258-270. - Xilocapedia. (21 de agosto de 2015). “Durango, Domingo (platero)”. https://xiloca.org/xilocapedia/index.php?title=Durango,_Domingo_(platero)
Millésime 23
Auktionsdatum
Lose: 65
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Wichtige Informationen
Millésime 2023. Paintings, sculptures and works of Art from 13th to 20th Century. 61 important lots of European and Viceregal Art.
A pair of castas paintings Attributed to Ramón Torres (active in Mexico, 1770 - 1790), A Divine Shepherdess by Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768) an Imposing pair of angels from Viceroyalty of Peru. 17th - 18th century, a 14th century Calvary from Byzantine or Venetian School, or the great collection of 16th century flemish and italian oil on copper, are just few examples.
AGB
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
