Hemispherical cup to top, six semi-circular loops to neck and shoulder, decoration to each of three faces in relief comprising: a rider on horseback; a lion; a male and female figure embracing, each corner with a D-shaped flange with zoomorphic or foliate ornament. 165 grams, 8 cm

Ex Pierre-Richard Royer, 2010.
Ex central London gallery.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202060.

Cf. Eagan, G., The Medieval Household: Daily Living c.1150-1450, MOLA, London, 2010, p.135, for similar.

Depicting an idealised image of Christ on a gilt background, stylised cross behind; wide eyebrows and double-pointed beard; the hair falling on the shoulders in neat locks; wearing a red tunic with gold embroidery reading 'REX + REGUM' for 'king of kings', pearled edge. 1.28 kg, 28.5 cmExcellent condition

with Ansorena, 10 November 2014, lot 456.
Ex central London gallery.

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 search certificate number no.11742-202064.

Cf. similar iconography in ‘The Head of Christ, probably 1500/1510’, woodcut at the National Gallery of Art, Washington DC, German 15th Century, accession no.1943.3.521; the Copy of the Vera Icon of Van Eyck, in Koldeweij, A.M. & van Vlijmen, P.M.L. (ed.), Schatkamers uit het Zuiden, Rijksmuseum Het Catharijneconvent, Utrecht, 1985, pp.156-158.

The crimson tunic of our painting is clearly derived from the Van Eyck model, where crimson is associated with the Majesty of Christ. Christ is in fact shown here as the Saviour of the World (Salvator Mundi), a popular image in 15th century paintings.

Showing Mary and Joseph standing beside Jesus laying in the manger, donkeys leaning in to see the child, an angel above, roof and cupola over. 558 grams, 35.5 cm high

Acquired 1990s-early 2000s.
East Anglian private collection.

Composed of a pair of recessed panels forming folding doors; the right panel with painted crucifixion scene depicting robed Mary, John the Evangelist and another apostle, angels collecting the blood in cups; the left panel with nude Adam and Eve with deceased reaching up towards resurrected Christ holding the standard of Victory in his left hand, two holy women, the myrrh bearers (Mary Magdalen and Mary, mother of Jesus) to the left. 499 grams, 24 cm high each

Ex French private collection, 2000.
Ex central London gallery.

See Chojnacki, S., Major Themes in Ethiopian Painting, indigenous developments, the influence of foreign models and their adaptation, from the 13th to the 19th century, Wiesbaden, 1983, figs.39, 89, 90, 183, for similar Crucifixion and Resurrection scenes.

The icon shows the Western influence on Ethiopian art. The Crucifixion image contains many elements of this iconography which are found in many Oriental and Western Art of Middle Ages, but with significant changes from the previous representations: Jesus is nailed with three nails and not four, the head leaning towards his right shoulder and the hair falling on his shoulders. Following the Western influence, Christ is represented in a spasm of physical pain, and consequently a more detailed anatomy of his chest and abdomen is depicted. This concept of the Crucifixion, common in the Italian Late Middle Age and Renaissance art, found its way to Ethiopia at some time towards the end of the 15th century, or at the beginning of the 16th century. As in the majority of the Resurrection icons of this period, Christ is dressed in a long robe with a cloak or toga draped over one shoulder.

The weeping Virgin with her head bowed to the left and hands raised to her chest on a dotted gilt background, an expression of pain on her delicately formed face; wearing a white veil and a black long-sleeved robe, the veil arranged as a headdress and covering her hair; on wood and mounted in a later carved wooden architectural frame. 5.1 kg, 71 cmGood state of conservation, despite the small damage to the painting visible on the right shoulder of the Virgin.

with Duran Arte y Subastas, 17 September 2015, lot 72.
Ex central London gallery.

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 search certificate number no.11750-202070.

See Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, p.634, for a painting of 'La Visitación', for similar style.

The painting represents the Virgin Mary Dolorosa or Our Lady of Seven Sorrows: a classic representation of the suffering experienced by the Virgin during the passion of Jesus Christ.

Composed of a polychrome painted saint figure standing facing right; parchment fragment behind with inked Latin blackletter script and musical neumes; mounted on modern backing card. 8 grams, 15.5 cm

Ex J. Altounian collection (1890-1954), until 2009.
Ex central London gallery.

Shown beneath an arcade, offering his cloak on the end of his sword to the beggar at his feet; polychrome detailing; repaired with lead cames and held in a wooden frame. 1.8 kg, 49.5 cm, (54.5 cm including box)

Ex old Swiss private collection.
Ex central London gallery.

Shown seated within a garden against a rolling landscape backdrop; with polychrome detailing and lead came borders, two modern suspension loops to the top corners. 254 grams, 20.3 cm

Private collection, Paris.

The roundel held within a lead came with suspension loop to top, displaying the infant Christ suckling at the breast of the Virgin, seated within a grand architectural setting with vistas onto the landscape beyond; repaired. 272 grams, 23 cm

Ex property of Ellen G and Manual E Rionda, Glen Goin, Alpine, New Jersey, U.S.A.
From the collection of Woody and Nancy Bolton, Charlottesville, Virginia, U.S.A.
with Samuel T. Freeman & Co, 22 May 2012, lot 263.
Ex central London gallery.

Displaying polychrome detailing, the French word 'CONSEIL' (advice, counsel) shown to bottom right; panel within a lead came border with two modern loops for suspension; some cracking. 328 grams, 27.8 cm

Private collection, Paris.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202093.

See Marks, R., Stained Glass in England During the Middle Ages, London, 2014, for discussion.

Composed from irregular painted panels bearing mainly foliage designs and figural elements; Mary crowned and enthroned with infant Jesus on her knee, in a lobed vesica-shaped panel held with lead cames; mounted in a wooden frame with modern replacements. 5.75 kg, 85 x 56 cm

with Thierry de Maigret, Vitraux et Dessins, Paris, 20 June 2014, lot 53.

Cf. Hayward, J., English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art, Corpus vitrearum, United States of America, 1, New York, revised edition 2003, pl.25/1.

From an architectural column with a square upper face developing to a rounded base; a decorative frieze carved in the half-round depicting two seated lions, each with its tail looped around its lower body, supporting a pedestal on which a facing bust of a young boy is resting. 25.7 kg, 36 cmGood condition

with Piasa, 7 June 2013, lot 17.
Ex central London gallery.

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 search certificate no.11738-202062.

Cf. Durliat, M., La Sculpture Romane de la Route de Saint Jacques, Dax, 1990, fig.295, p.293; Igarashi-Takeshita, M., ‘Les lions dans la sculpture romane en Poitou’ in Cahiers de civilisation médiévale, 23e année (n°89), Janvier-Mars 1980, pp.37-54, fig.8, pl.1.

The form of the capital and the shape of the beasts are similar to those sculptures that survive in churches on the pilgrimage route to Santiago da Compostela – namely in Southern France and Northern Spain, but the bodies of the lions have many correspondences with the capital sculptures of Poitou. The lions were considered to be guardians against evil and the image of the young boy is probably a representation of the prophet Daniel. There is a similar capital in the Church of d'Airvault (Deux-Sèvres) also ornamented with lions and a human head.