16th-17th century A.D. The front plate of a silver-gilt processional cross with a Corpus Christi modelled in the round, crowned with a crown of thorns and wearing a short loincloth; the arms of the cross with fleur-de-lis finials decorated with foliage motifs; each arm with a quatrefoil once filled with translucent enamel and now set with a later appliqué depicting each of the four Evangelists (ox, angle, eagle and lion) with an inscribed scroll below bearing the names of Saints Luke, Mark, John and Matthew; a central roundel with an expanding arm cross behind Christ; the surfaces of the cross with foliate and floral decoration, the perimeter with delicate foliate projections; silver mark of Daroca atelier on the right arm of the cross; mounted on a later wooden support. Cf. Metropolitan Museum of Art, accession number 1982.363.1, for a parallel made in Aragon, Spain; cf. Gómez-Moreno, C., Medieval Art from Private Collections: A Special Exhibition at The Cloisters, October 30, 1968 through January 5, 1969, New York, 1968. no.140; Galerie Koller Zürich and Spink & Son, The Ernest Brummer Collection, auction sale from 16th to 19th October 1979 at the Grand Hotel Dolder, Vol.1, Zurich, 1979, no.177, pp.260-61; The Metropolitan Museum of Art, Notable Acquisitions, 1982-1983, New York, 1983, pp.23–24; Parker, E. C., ‘Recent Major Acquisitions of Medieval Art by American Museums’ in Gesta 23, no.1, 1984, p.71, fig.9. 758 grams, 46.5 cm high (18 1/4 in.). Lopez de Aragon, Madrid, 2014. Ex central London gallery. Apanied by an academic report by Dr. Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is apanied by AIAD certificate no.11424-192204. The town of Daroca in the Zaragoza province was a silversmiths’ centre for the production of silver and translucent enamel during the 15th and 16th centuries A.D. Crosses of this size, produced in great number in these ateliers, were elaborately decorated and meant for processional use rather than as an altar cross. This cross is of a type developed in northern Spain that would have originally contained translucent enamel plaques, usually applied in the quatrefoils (here later decorated with the images of the four Evangelists). [No Reserve]