Title

Pax. Lamentation over the Body of Christ

Anónimo castellano

Generic classification

Object

Date

Century

Cultural context / style

Dimensions

Material

Technique

Iconography / Theme

Provenance

Current location

Inventory Number in Current Collection

Inscriptions / Marks

Ave Maria Gratia Plena Domini.

Object history

There is no doubt that this piece comes from the Castilian environment, however, its original location is unknown. Over time, it passed through different owners, who left evidence that it had the marks of a silversmith from the city of Segovia. Since the 14th century, the punches were generalized in order to control the quality of the raw materials, as well as the marker and the author. In April 1488, the Catholic Monarchs sanctioned a pragmatic ruling on the marking of silver that was active during almost the entire Modern Age (Barrón, 2023). In Castile the triple marking was adopted, therefore, thanks to the punches it is possible to know in which city it was made, who was the marker and who was responsible for the piece.

If we look at the markings on the punch holder, we can observe three punches: the first one is made up of a construction that resembles an aqueduct. This detail was probably the reason why its origin was attributed to the city of Segovia. However, on the lower flanks of the construction appear the letters "B" and "S", while on the upper part there is a head. We consider that this type of punch alludes to the city of Burgos, so it would be a castle and not an aqueduct. It is reminiscent of a very similar mark that was used in Burgos between 1435-1475 (Barrón, 1991), although with slight variations. Below this mark appears another one that reads "ALONSO" and, finally, the last punch reads "RAMON". One of them would be the author, while the other would be the marker.

One of the founders of the New York gallery French & Co, Percy W. French, bought the piece (lot 707) on July 12, 1929. The firm was known for selling upholstery and ornaments in the U.S. market, so it is not surprising that French & Co. would be interested in this peace holder. Mitchell Samuels, the other founder of the business, was one of William Randolph Hearst's main artwork suppliers. The two maintained a fruitful relationship, in fact, Samuels "used to send him objects to see if they were to his taste and invited him to dispose of them until he made the decision to acquire or return them" (Martinez, 2010).

As on previous occasions, we assume that French & Co. offered the peace holder to William Randolph Hearst. The magnate had the piece until July 28, 1944, when he sold it to Joseph Brummer. The peace holder is described in Brummer's records as follows:

"Important and rare 15th century Spanish Gothic silver gilt pax. The center occupied with a rendition in low relief of La Pietà enclosed in a frame of Gothic architecture in fine and delicate tracery. Reverse side fitted with handle finely sculptures with leaves, and is inscribed with the message of the Annunciation Ave Maria Gratia Plena Domini. It also bears the hallmark of the city of Segovia. This pax is one of the finest examples of its kind"(The Brummer Gallery Records, N6021).

Following Brummer's death in 1947, his estate was put up for sale. Parke-Bernet Galleries purchased a good part of his collection, including the peace holder. In May 1949 the gallery auctioned the piece in lot 516, describing it as follows:

"Depicting the Pietà with the Virgin in flowing robes holding the dead Savior and attended by S. Joseph of Arimathea and the Magdalen, below a cross bearing the sacred monogram; framed witthin a steepled and traceried arched niche; the reverse with foliated S-scrolled handle and inscription Ave Maria Gratia Plena Domini, With Segovia hallmark" (Parke-Benet Galleries, 1949).

At that time, the holder was purchased by Nicholas de Koenigsberg, who was married to Paula de Koenigsberg. Both had founded Le Passé, a business with branches in New York and Buenos Aires where they bought and sold antiques. We do not know what happened to the piece in those years, but in 1965 the Philadelphia Museum of Art acquired it with the Elizabeth Wandell Smith Fund.

Description

A peace holder is an object of liturgical use linked to the rite of peace. They are easy to carry and have a handle on the back for easy handling. In this case the peace holder is made of gilded silver. In the center is represented the scene of the Passion: the Virgin, St. John and Mary Magdalene hold the inert body of Christ, who has just been crucified. The composition is framed in a gothic structure with pinnacles, ogee arches, pointed arches and buttresses.

Locations

• XV^th c. - First quarter of the XX^th c.

  province

  Possible origin in the province of Burgos, Burgos (Spain)

• ca. 1929 - ca. 1930

  dealer/antiquarian

  French & Company, New York (United States) *

• ca. 1930 - ca. 1944

  private collection

  Collection of William R. Hearst, New York (United States) *

• ca. 1944 - ca. 1947

  dealer/antiquarian

  Joseph Brummer, New York (United States) *

• ca. 1947 - ca. 1949

  auction house

  Parke-Bernet Galleries, New York (United States)

• ca. 1949

  dealer/antiquarian

  Le Passé, New York (United States) *

• 1965 - present

  museum

  Philadelphia Museum of Art, Filadelfia (United States)