Disc with beaded border, repoussé scene with lancet-arch arcade, nimbate Mary in bed with infant Jesus in a crib beside her; attachment holes to the rim. 3.28 grams, 37 mm



Ex Peter Szuhay, 2005. Ex private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12054-217467.

These silver-gilt medallions with scenes of the Christ's life in repoussé, show Gothic architectural features characteristic of the 14th century A.D., which are often represented in artworks of the late Medieval period including manuscript illuminations and stained glass. Interestingly, Saint Joseph is represented with the typical cap worn in Medieval Germany by the Jews of the same period.

Disc with beaded border, repoussé scene with lancet-arch arcade, nimbate Christ being beaten by two tunicked soldiers with flails; attachment holes to the rim. 2.63 grams, 37 mm



Ex Peter Szuhay, 2005. Ex private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12053-217472.

These silver-gilt medallions with scenes of the Christ's life (here the Flagellation) in repoussé, are showing Gothic architectural features characteristic of the 14th century A.D., which are often represented in artworks of the late Medieval Age including manuscript illuminations and stained glass. Interestingly, the two executioners are represented with the typical caps worn in Medieval Germany by the Jews of the same period.

Discoid with beaded border, repoussé scene with lancet-arch arcade, nimbate Christ seated on a throne in majesty with orb and sceptre in his hands, in front of him Mary Magdalene, behind and below him the sleeping guards of the Holy Sepulchre; attachment holes to the rim. 2.90 grams, 37 mm



Ex Peter Szuhay, 2005. Ex private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12055-217473.

These silver-gilt medallions with scenes of the Christ's life (here the Anastasis) in repoussé, are showing Gothic architectural features characteristic of the 14th century A.D., which are often represented in artworks of the late Medieval age including manuscript illuminations and stained glass. Interestingly, the representation of the guards show a typical military costume of Medieval Germany of the same period, with chapel-de-fer and triangular shield.

With mounting stud and hinge above, heater shield with full red enamelled face and reserved pierced mullet. 12.2 grams, 44 mm



Found Yorkshire, UK, in the 1990s.

Group of four quatrefoil plaques, each with a hole to the end of each arm for attachment and detailed enamelled image of an evangelist's emblem (man, lion, eagle, calf) on a deep blue field. 26 grams total, 48-50 mm



with Galerie Charles Ratton, 2021. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12058-217470.

From the 4th century A.D., the vision of Ezekiel and John's Apocalypse, assigned the lion, the angel, the eagle, and the ox a place in the iconography of the Tetramorph to represent the four evangelists. Therefore, during the Middles Ages and until today, the evangelists' emblems are: Matthew represented by an angel, Mark by a lion, Luke by a calf and John by an eagle. Strangely, in this set the image of an angel holding a scroll bears the inscription 'Marcus' (St Mark). These quatrefoils were usually decorating caskets keeping relics of saints, holy books or crosses.

With 21 lines of bastarda script text in black with blue versals and gold leaf detailing, red and blue decorative blocking, vertical bar with beast-head finial to margin; drypoint ruling visible. 5.41 grams, 23.3 x 16.7 cm



From an important collection of Christian artefacts formed by a London gentleman, 1970s-1980s. From the private collection of Mr David Barker, London, UK; thence by descent.

Terracotta floor tile with glazed design of a heater shield chevron between three Moors' heads with a mullet at the apex. 2.65 kg, 22 x 22 cm



with Benjamin Proust, 2015. Ex central London gallery.

Illustrating scenes from the Gospel of Luke and representing the nativity of Christ; the centre shows Virgin Mary sitting on a throne, portrayed as a young girl with her head covered by a typical female cap, dressed in a long red vestis talaris, and her body wrapped in a blue cloak and baby Jesus standing on her lap, archangels Michael and Gabriel standing on each sides, armed with swords and dressed in contrasting robes, Saint Gabriel holding a bouquet of roses, another bouquet below the Virgin and a male supplicant next to her, possibly the donor of the icon, holding a red flag surmounted by a cross; the left side panel with the Annunciation to the top and the lower part depicting an angel assisting St Luke with drafting his Gospel; the right hand panel with a Nativity scene to the top and the lower part depicting the visit of Saint Mary to Saint Elizabeth; inscriptions in Ge'ez to both side panels. 4.3 kg, 59.5 x 44 cm



Acquired from Milos Simonovic, New York, USA, December 2009. Property of an important West London collector, inventory no.1168. Accompanied 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 accompanied by a search certificate number no.12037-216186.

The icon, contemporary to the Second Style of Gondar, served as model for two icons in the Institute of Ethiopian Studies in Addis Ababa.

Ornate head from a processional cross formed as a flat-section cross pommee with evangelist symbols in the large roundels, low-relief image of Mary Theotokos and infant Jesus. 119 grams, 15.1 cm



UK private collection before 2000. On the UK art market. Property of a London gentleman.

Depicting nimbate Mary Theotokos with veiled head and wearing a maphorion mantle over a dark blue robe with gold cuffs, inclined towards the infant Jesus supported by her right hand, his left arm wrapped around her neck and the right hand resting on her chest; gilt field and border with colourful enamelled detailing to the corners, roundels and rectangles with monograms and titling, on each side of her head 'ΜΡ ΘΥ' (Μήτηρ (τοῦ) Θεοῦ = Mother of God), over her left shoulder Cyrillic inscription 'Влади́мирская Б.М.' (Vladimir Mother of God), over the child inscription in Greek letters 'ΙϹ ΧϹ' (ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ = Jesus Christ), three letters (only two visible) inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O ѾN' = The Only One who always exists); Moscow School. 6.5 kg, 56.5 x 46 cm

Fine condition.

Ex property of a London lady, part of her family's collection. Accompanied 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 accompanied by a search certificate no. 11543-196361.

This splendid specimen was probably originally housed in an aristocratic Russian home. The icon of the Virgin Mother of Vladimir with the infant Jesus (the original preserved in the Tretyakov Gallery, Moscow), probably the most famous icon of all of Russia, was thought to have been created in Constantinople in the early part of 1100s. This image is sometimes referred to as the ‘tenderness icon’, with artists attempting to show the close relationship of mother and son with their cheeks touching as they embrace.

Comprising a painted board with mounting panel and slots to the reverse, gessoed surface with painting of St John the Baptist standing nimbate with wings spread behind him, left hand supporting a bowl containing his severed head and holding an unfurled scroll with Cyrillic text 'Repent ye, for the Kingdom of Heaven is at hand,' (Matthew 3:2); right hand raised in blessing; landscape with sand-dunes and trees; gilded title above; the upper border with gilt Slavonic inscription reading 'Holy John the Forerunner'; from the Palekh Icon School, probably made in Mstera circa 1890. 1.02 kg, 31 cm high

Fine condition.

Ex property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no.11546-196366.

The Palekh icon school emerged in the 17th century, inspired by the Moscow and Suzdal traditions of icon painting. Although preserving many features of traditional Russian iconography, the school created its own style that remained active into the 18th century. The hallmarks of the school include the frequent use of gold on the clothes of the saints and a rich palette. Bodies are shown as tall and slender and abrupt transitions between light and shadow are distinctive features of Palekh icons. The wings of Saint John derive from the double meaning of the Greek word used to describe him in Mark 1:2 - Angelos, meaning both messenger and angel. John is often called a 'Heavenly Man' and 'Earthly Angel' in Orthodoxy. At his feet is shown a small tree with an axe cutting into it, illustrating Luke 3:9, 'And now also the axe is laid unto the root of the tree...'

Petrified tree section of 40-46mm thickness with finely polished finish to upper and lower faces and set into resin; edges slightly chamfered. 26.2 kg, 68 cm



From the private collection of Mr J.G., UK, a company executive.

The petrified wood from Araucarioxylon arizonicum is often referred to as "rainbow wood" due to the variety of subtle, warm colours it exhibits, mainly in the red-orange range from hematite and limonite inclusions within the silica.