Or a leg ring inscribed '+Earle of Rutland' in derivative black letter script, for a female merlin or sparrow hawk (due to the youth of Edmund Plantagenet who died aged 17); the ring with a convex interior face. 0.56 grams, 8 mm

Acquired in the 1960s.
Ex Bursnall collection, Leicestershire, UK.
From the collection of a North American gentleman.

Lewis, M. and Richardson, I., Inscribed Vervels, Oxford, 2019; Type B listed on pp.87-8 where dated c.1450-c.1600, with the note that it was previously sold by Timeline Auctions 2 December 2011, lot 793.

Unique and with links to royalty and the Wars of the Roses. Edmund Plantagenet, Earl of Rutland was executed after the Battle of Wakefield (probably by John Clifford) and was the son of Richard Plantagenet, 3rd Duke of York (a great-grandson of Edward III, father of Edward IV and one of the most powerful English magnates during the Wars of the Roses between the Yorkists and Lancastrians). The first Earl of Rutland was Edmund Plantagenet (grandson of Edward III and executed following the Southampton Plot against Henry V), uncle to Richard. The Earldom of Rutland has historically been closely linked to the Duchy and House of York.

Comprising three sheets joined together, bearing neat and regular lines of red and black inked script, together with associated images; the text including prayers for barya and evil eye, for Shotäläy and magical machination; the images representing two guardian angels at the top and bottom, Archangels Michael and Gabriel, within a geometric frame; at the bottom a picture of a jewelled cross with red triangles inserted within the arms; the owner's name given as Wällättä Maryam Beré. 56 grams, 1.97 m

Ex Adalberto Frezza, 2006.
Ex central London gallery.

See Heldman, M., Munro-Hay Stuart, C., African Zion, The sacred art of Ethiopia, Yale University Press, 1993, pp.44, 65.

The sick looked upon such scrolls as it was believed that the images contained in them had healing powers. The scrolls were prepared by unordained clerics, or debatras, employed by Christian families, a practice which continued into the 20th century. Debatras were skilled at diagnosing the causes of illness, and treated them through scrolls such as that offered here, together with herbal and plant-based remedies; the images and prayers were believed to act on the spiritual source of the ailment, whilst the botanical remedies acted upon the physical symptoms. The scrolls covered the length of the afflicted person's body, providing preventative as well as curative protection and were often passed down through generations of the same family. The patients were often illiterate peasants, and the scrolls written in archaic Ge'ez, a liturgical language comprehended only by clerics; the debatras explained the prayers and the images to the sick. The images are designed to be mesmeric, the penetrating gaze of eyes from within the design giving them a sense of power.

Produced using parchment; rectangular with inked geometric borders; leading edge with panel of nimbate winged cherubim; two panels of Coptic text divided by a series of saltire motifs, facing masks and quatrefoils, traces of red and green pigment; old seam repair; linen binding tape. 114 grams, 2.20 m long

Ex Adalberto Frezza, 2004.
Ex central London gallery.

See Mercier, J., Ethiopian Magic Scrolls, New York: George Braziller, 1979, for discussion.

One side with the Crucifixion scene, Virgin Mary and Saint John weeping at the foot of the cross, the soldier Longinus piercing the side of Jesus; the other side with a diptych painted on paper representing a crowned Saint George (Bet Gorgis) and his servant Seqrates dressed like a priest, watching the miracle of the transformation of water into wine; lines of Ge'ez text in black ink on the reverse; wooden frame with closure on both sides, surmounted by a small cross. 455 grams, 25.7 cmThe timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permthrin, as a precaution.

Ex Cy Lester, an antiquarian bookseller, London, UK, circa 1990.
Ex central London gallery.

See similar image of dressed Saint George in Walters Gallery, Ethiopian Manuscript W835, folio 37.

Among the imagery of Ethiopian equestrian saints, three main representational categories can be distinguished: 1) simple portrait of the saint armed with spear or lance and holding the reins of a horse; 2) the saint spearing an enemy; 3) the saint according to one of the aforementioned types placed in a narrative scene.

Featuring iron strap hinges, nails and clasp, polychrome painted motifs to each face displaying scrolling tendrils, geometric ornament and pairs of animals in formal garden settings; to the front face, two figures armed with swords facing each other, small animals bounding around their heels. 2.2 kg, 40 cm

with Setdart Subastas, 28 September 2022, lot 35276208.
Ex central London gallery.

Each composed of a stem with wooden handle and tapering white metal stem with bulbous collar, all ornamented with repoussé floral and foliate tendrils and seraphims; the bifacial discoid heads with scalloped circumferences, each with five domed bosses and displaying seraphims and stars within pellet and bead borders; lettering to heads and collars; each mounted on a custom-made display stand. 3.45 kgs total, 64.2 cm each including base

with Boisgirard, 28 November 2013, lot 138.
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.202063.

Cf. Brooklyn Museum, New York, inv.nos. 46.126.1 and 46.126.2, illustrated in New York, 2012, pp.72-3, nos.44A,B.

The shape and decorative scheme of these liturgical fans has existed since at least the 8th century A.D. These fans were likely crafted as souvenirs for pilgrims returning from Jerusalem, or for them to bring to Jerusalem as homage to the church. Seraphim are the highest-ranking angels in the traditional hierarchy, and as such are closest to God.

Displaying large flower heads, foliage and a skull to the outer face, enhanced with black enamelling; interior inscribed in a cursive script 'In god alone wee two are one', together with possible maker's stamps 'D' and 'F' in two rectangular cartouches. 4.68 grams, 19.21 mm overall, 15.66 mm internal diameter (approximate size British J 1/2, USA 5, Europe 9.32, Japan 9)

Found whilst searching with a metal detector on 11th June 2021 by Mr Graham Higgins, near Hatford, Oxfordshire, UK.

Accompanied by a copy of the report for HM Coroner by the Finds Liason Officer (FLO) for the British Museum's Portable Antiquities Scheme (PAS) for Oxfordshire under Treasure reference number OXON-FBF56A.
Accompanied by a copy of the letter from HM Senior Coroner for Oxfordshire disclaiming the Crown's interest in the find.

Cf. The British Museum, museum number 1961,1202.385, for a similar design; cf. Evans, J., English Posies and Posy Rings, OUP, 1931, p.57, for a very similar inscription.

Composed of a gently convex hoop engraved with a skull, the interior inscribed in cursive script: 'Wm Taylor obt 28 Apr 1707', followed by an unidentified maker's stamp 'TP'(?) within rectangular cartouche. 2.54 grams, 21.03 mm overall, 19.34 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19)

Acquired on the UK antiques market between 1974-1985.
Albert Ward collection, Essex, UK.

Cf. The British Museum, museum number AF.1542, for a similar skull on a ring of a similar date.

The D-section hoop with plain exterior, the interior inscribed 'Godly love will not remove', followed by maker's mark 'JK' in a rectangular cartouche. 4.17 grams, 21.73 mm overall, 18.94 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)

Ex Albert Ward collection, 1974-1985.
East Anglian private collection.

Cf. Evans, J., English Posies and Posy Rings, OUP, London, p.43, for this inscription; cf. The British Museum, museum numbers AF.1252 and AF.1253, for this inscription on a ring dated 17th-18th century AD, and museum number AF.1315 for this maker's mark, believed active between 1755-1764, name unknown; cf. The Portable Antiquities Scheme Database, id. SUSS-73E152, for a similar ring with this inscription, also stamped 'JK', dated 1700-1800, possibly the same maker's mark.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.

Composed of a chased exterior displaying flower heads and animals, the interior inscribed 'Let vertue rule affection' and filled with black enamel, followed by unidentified maker's stamp 'P' within a shield-shaped cartouche. 1.36 grams, 17.09 mm overall, 15.59 mm internal diameter (approximate size British J, USA 4 3/4, Europe 8.69, Japan 8)

Acquired on the UK antiques market between 1974-1985.
Albert Ward collection, Essex, UK.

Cf. The Portable Antiquities Scheme Database, record id. HAMP-CD6223, for another ring with this inscription and with an exterior design executed in similar style.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.

Composed of a carinated outer face and inscription to interior in cursive script: 'Hearts content cannot repent' followed by a maker's stamp formed as florid a letter 'I' within a rectangular cartouche. 6.54 grams, 21.46 mm overall, 17.32 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)

Acquired on the UK antiques market between 1974-1985.
Albert Ward collection, Essex, UK.

Cf. The British Museum, museum number AF.1266, for a ring with this inscription dated 17th century; cf. The Portable Antiquities Scheme Database, record ids. WILT-AFE9A5, and GLO-D67CD3, for similar rings with very similar inscriptions dated 17th century; cf. Evans, J., English Posies and Posy Rings, OUP, 1931, p.46, for two very similar inscriptions.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.

Composed of a gently carinated hoop, the interior inscribed in cursive script 'Love is the bond of pease'. 7.81 grams, 22.97 mm overall, 18.75 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)

Found whilst searching with a metal detector on 28th March 2022 Mr Graham Higgins, near Hatford, Oxfordshire, UK.

Accompanied by a copy of the report for HM Coroner by the Finds Liason Officer (FLO) for the British Museum's Portable Antiquities Scheme (PAS) for Oxfordshire under Treasure reference number OXON-FC03F7.
Accompanied by a copy of the letter from HM Senior Coroner for Oxfordshire disclaiming the Crown's interest in the find.

Cf. The British Museum, museum number AF.1339, for this inscription with slight spelling variation and for a similar plain exterior; cf. Evans, J., English Posies and Posy Rings, OUP, 1931, p.73, for this inscription with slight spelling variation; cf. The Portable Antiquities Scheme Database, record id. SUSS-04EA22, for a similar style of ring also heavy at 7.43 grams.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.