A GOLD ENGRAVED PATEN with small raised and everted rim, the centre with a roundel containing the figure of Christ Pantocrator bordered by a narrow band of quatrofoils, surrounded by fourteen cherubim, some holding various attributes above the standing figures of twelve angels divided by two domed altar shrines, the reverse plain, probably Armenian or Georgian, late 17th/early 18th century (slightly dented)

Details
A GOLD ENGRAVED PATEN with small raised and everted rim, the centre with a roundel containing the figure of Christ Pantocrator bordered by a narrow band of quatrofoils, surrounded by fourteen cherubim, some holding various attributes above the standing figures of twelve angels divided by two domed altar shrines, the reverse plain, probably Armenian or Georgian, late 17th/early 18th century (slightly dented)
4in. (10.2cm.) across
Provenance
(by repute) Purchased in France in 1939 from refugees

Lot Essay

The iconography of this paten or chalice cover converges on the central figure of Christ. He is shown while preaching, the right hand raised, the left holding the bible. Flanked by two roundels naming him, his crossed halo contains the Greek letter Alpha and Omega, symbolising the beginning and the end. He is ringed by cherubim and seraphim, winged creatures associated with light and purity. Flanking them and occupying the greatest space are twelve angels, each unusually holding an attribute, together with two domed shrines.

This combination is difficult to parallel in items fashioned for any of the Eastern Christian Churches. One other similar piece was offered at Sotheby's 11th October 1990 lot 227 which, although conical in form and worked in repoussé, was identical in workmanship and iconography to this, and was certainly made in the same goldsmith's atelier. Cherubim and Seraphim are associated with items made for the Armenian Church, but the Greek lettering on both of these pieces indicates that an Orthodox Church was the more probable patron.

The absence of any inscription and the lack of similar published material makes any attribution difficult. Dating is however easier. The static poses and iconic composition indicate a date of no later than the first half of the 18th century and, more probably, one of the second half of the 17th century. The greatest number of pieces that are comparable in any way is to be found in:

Ecclesiastical Silver, exhibition catalogue, Athens 1980 (in Greek)

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