Chalice And Patene In Silver, France Around 1838 By Alexis Renaud And Martin & Dejean Goldsmiths

Chalice in silver and gilded silver, made in four screwed parts. The chalice rests on a circular foot with a domed terrace, with a groove, profiled in ogee and chiseled on the cavet with acanthus scrolls, alternating with sacred nails. The terrace is separated from the foot by a protruding frieze of palm leaves and decorated with a Jerusalem cross, bunches of grapes, wheat and embellished by three oval medallions representing the Flagellation of Christ, his appearance before Pilate and his presentation to the people. The stem bears an inverted pyriform knot, on the base of the knot: palm leaves; on the shoulder, in interlacing, symbolic elements of the Eucharist alternating with passion nails. The knot is surrounded by two O-rings decorated with eggs and by multiple collars and twists. The golden cup is encased in a false cup on which there are vines, wheat, reeds and three oval medallions with images of the three theological virtues: faith, charity and hope. The medallions are signed by medalist Fleury Montagny 1760-1836. The presented chalice is a joint work of two masters who adhered to the neo-Renaissance style. The screwed elements of the chalice bear the hallmarks: of Alexis Renaud* (1831-1847) on the foot and of Martin & Dejean** (1837-1846) on the cup and the false cup, as well as the official hallmarks affixed between 1819-1838 and from 1838. We can therefore think that the work is located at the hinge, 1838. Hallmarks on the paten, the foot, the cut, the false cut. 950/1000 silver, Old Man hallmark, Minerva hallmarks. Height: 30.5 cm Foot diameter: 15 cm Weight: 493 gr Excellent condition —— Seal: a silver paten, 950/1000, Minerva hallmark Goldsmith: Favier Frères. Diameter: 14.3 cm Weight: 93 gr / very good condition page 388 Dictionary of Liturgical Arts** ISBN 2-85917-215-7 *page 318 ————-//————————— The neo-Renaissance style is characterized by the richness and refinement of the composition as well as by the overabundance of decoration which draws on classical vocabulary.