Latin text 'letter Batarde' script with liquid gold to the versals, panel of flowers and tendrils; in card reveal. 92 grams total, 25.5 x 20.5 cm

From the private collection of Mrs T Hedwig; thence by descent, 2000s.

Accompanied by a copy of a Belgian export licence no.006952, Brussels.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Rectangular plaque with three columns of attachment holes, most with rivet in situ; heraldry of two reserved lions in profile each with hatched neck and body on an (originally enamelled) field; a rare survival of a heraldic object from this early period. 17.44 grams, 45 mm

Acquired 1990 with inventory no.90.91 and cat.582.
From an important London, UK, collection, in the late 1990s.
Property of a South West London academic since circa 2010.

Accompanied by an academic report by heraldry specialist Dr Paul A. Fox, FSA.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

See Paul A Fox, A Medieval Enamel Belt os Strap Fitting and its Possible Connection with the Arms of King Henry II in Antiquaries Journal 2019.

Fox, Paul A., A Medieval Enamel Belt or Strap Fitting and its Possible Connection with the Arms of King Henry II, The Antiquaries Journal of the Society of Antiquaries of London, 99, 2019, pp.95-103.

The lower shank with twisted ropework detailing and beaded bands, the shoulders with raised median beaded bands developing to a horizontal ridge flanked by flowers dividing the bezel into two panels, each with a reserved standing figure: each a female saint in floor-length robe; Virgin Mary on the left panel holding an infant and St Barbara carrying a miniature tower, her attribute. 4.86 grams, 23.55 mm overall, 18.78 mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13)

Ex Thomas collection, UK, 1960s-1980s.
Property of a Cambrigeshire, UK, gentleman.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 587, for type.

In late 15th century style, Mary ascending to Heaven in the foreground with her arms crossed, dressed in a white and blue garment, wrapped in a red cloak; surrounded by four angels in white embroidered robes, covered by red, green and gold mantles; on the background the grave of Mary surrounded by vegetal ornaments; inscription at the bottom in medieval Flemish ‘DE HEMELVAART VAN MARIA’ (the Assumption of Mary) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar scene in the Metropolitan Museum of Art, New York, accession no.41.190.457, Assumption of the Virgin, stained glass from Jan Rombouts, circa 1505, in The Metropolitan Museum of Art, Bulletin 1971-January 1972, New York, 1972, p.52.

The Assumption of Mary into Heaven is a dogma of faith of the Roman Catholic Church, according to which Mary at the end of her earthly life went to Heaven in body and soul. According to the Eastern Orthodox tradition, the Assumption of Mary was preceded by a deep sleep (Dormitio Virginis): but the Dormition of Mary is not the object of dogma, while her glorification in body and soul is an integral part of the faith of the Catholic Church.

In late 15th century style, the scene depicting Christ at a column, severely beaten by two torturers, both bearded, one dressed in a green tunic and a yellow cap, another in yellow leather corselet worn over a puffed Renaissance-style tunic, and a red cap; in the background an armoured knight in sallet, bevor, cuirass and full leg protection supervising the scene; architectural background, Dutch Flemish inscription ‘DE GESELING (?) VAN JESUS’ (The Scourging of Christ) at the bottom; some restoration. 4.5 kg, 65 x 53.5 cmsome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar image in the Victoria and Albert Museum, Flagellation of Christ from a book of Hours, Manuscript, Flanders, c.1470, accession no. 474032.

In late 15th century style, showing Mary and Elizabeth embracing on the foreground, both with covered heads and wearing a long tunica talaris with a cloak; their husbands Zacharias and Joseph behind dressed in long green robes, Joseph wearing a yellow cap and holding a pastoral staff; architectural background and inscription in medieval Flemish at the bottom 'BEZOEK VAN DE MAAGD MARIA AAN ELISABETH’ (the Visit of Virgin Mary to Elizabeth) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar scenes in McNamara, In relation to sixteenth century Italian Visitation paintings, how far could Elizabeth, mother of John the Baptist, be considered as the forerunner of the Virgin Mary? London, 2015, figs.5-6-7-8.

The scene commemorates Mary's visit to her cousin Elizabeth after receiving the announcement that she would become the mother of Jesus (Luke, I, 39-45). In this guise, Mary is called Our Lady of the Visitation or Mary Most Holy of the Visitation.

In late 15th century style, showing triumphant Jesus on the foreground, holding a flag and dressed in a brocade cloak, stigmata showing on his hands and feet; two guards on his side looking stunned, one wearing a full plate armour with a sallet and the other a leather corselet with a bascinet, third guard at the bottom of the panel looking terrified; an angel dressed in white robe, extending his arms towards Jesus; the opened tomb on the background and medieval Flemish inscription at the bottom reading 'DE VERISENIS VAN CHRISTUS’ (the Resurrection of Christ) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar scene in ‘Resurrection of Christ’, historiated initial R from a Gradual, ms. Ludwig VI 3 (83.MH.86), f.16r, late 15th or early 16th century, The J. Paul Getty Museum, Los Angeles.

The scene represents the Resurrection of Christ according to the Gospel of Matthew (28,2-4), as revealed by the presence of an angel moving away the stone, and of the soldiers. According to the Christian tradition, the bodily resurrection was the restoration to life of a body transformed and nourished by the spirit, as described by Paul and the Evangelists, which led to the affirmation of Christianity. In Christian theology, the Resurrection of Jesus is ‘the fundamental mystery of faith’, as recalled by Easter, together with the remaining Christological mystery (Incarnation, Passion and Death), and together with the Logia and the works of the ministry of Jesus. For Christians, the resurrection of Jesus is a guarantee that all the dead Christians will come back to life at the time of the parousia (second coming) of Christ.

In late 15th century style, showing nimbate infant Jesus on the foreground illuminated by divine light, a kneeling figure before him dressed in a purple cassock and gold brocade chlamys, kneeling figures of nimbate Mary and a shepherd beside the manger; Joseph depicted standing, wearing a long brown overcoat with green lapels, halo above his head; another shepherd standing on the side, holding a pastoral staff and gifts; architectural background with an ox; Flemish inscription at the bottom 'DE GEBOORTE VAN CHRISTUS’ (The Nativity) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar image in the Victoria and Albert Museum, Nativity, accession no.C.301.1928.

The scene represents the nativity according to the Gospel of Luke (2:1-21). Luke, unlike Matthew, mentions the shepherds and the birth of Jesus inside a manger because there was no space in the katalyma (private house).

In late 15th century style, showing Christ on the foreground rising to heaven, surrounded by Mary and the eleven apostles, Jesus dressed in a white tunica talaris and a red cloak; natural background, medieval Flemish inscription at the bottom ‘DE HEMELVAART VAN CHRISTUS’ (the Ascension of Christ) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar scene in the Metropolitan Museum of Art, New York, The Ascension of Christ of Von Klumbach, circa 1513 A.D., accession no.21.84, in The Metropolitan Museum, Gothic and Renaissance Art in Nuremberg, 1300-1550, New York, 1986, p.349, no.66b.

The scene represents the Ascension of Christ, described in Luke 24,1 and Acts 1,1-9. The Ascension is the last episode of Jesus' earthly presence according to the two narratives. It describes his definitive ascension to heaven, from which he will return only at the end of time (Parousia).

In late 15th century style, showing youthful nimbate Mary on the foreground dressed in red-and-blue cloak and holding her hands crossed at her chest, Archangel Gabriel hovering in the air and pointing a finger, dressed in a decorated white cassock; rich architectural background with columns and arches, a red vase of lilies on the green and black marble floor, Flemish inscription below 'DE BOODSCHAP DES ENGELS’ (the angel’s message) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar structure of ‘The Annunciation’, work of Simon Bening, Fiammingo, early 16th century A.D., Paul Getty Museum, inv.no.83.ML.115.13v.

The scene represents the announcement made by the angel Gabriel to Mary, that she would conceive and bear a son through the Holy Spirit (according to the Gospel of Luke, I, 26-38). In some regional contexts it is called Conceptio Domini or Conceptio Christi.

In late 15th century style, showing Mary and Joseph on the foreground dressed in white and brown robes covered by blue and violet cloaks; Simeon holding and blessing baby Jesus before them, wearing a white turban and a long tunica talaris; architectural background showing the Temple of Jerusalem, altar and a menorah, medieval Flemish inscription at the bottom ‘DE OLDE AAN DEN TEMPEL’ (the old man in the Temple) in uncial letters. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar scene in The Presentation at the Temple (c. 1506-11), by Grão Vasco, part of the polyptych of the High Chapel of the Lamego Cathedral, published in Braga A. and Brás P., A Sé de Lamego no Museu, catálogo de exposição, ed. SEC e Museu de Lamego, Museu Diocesano de Lamego, Lamego, 2014.

The Gospel of Luke (II,22-39) narrates that Mary and Joseph took baby Jesus to the Temple in Jerusalem forty days after his birth, to ‘offer him’ to God. All first-born male children went through this ceremony in compliance with the command of the Exodus. During their visit, they met Simeon, who had been told that he would not die before seeing the Messiah. Simeon praised the Lord with the words that are now known as the Song of Simeon.

In late 15th century style, showing seated Jesus in the centre, wearing a purple robe and a crown of thorns on his head; surrounded by four armoured men dressed in long tunics, breeches and leggings, two wearing a skullcap; architectural background and Flemish inscription ‘DE KROONING VAN JESUS’ (the coronation of Jesus) in uncial letters; some restoration. 4.5 kg, 65 x 53.5 cmSome restoration.

From a war-damaged church in Belgium.
Ex property of a late Northumberland collector.
From a private collection, Derbyshire, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Cf. similar image in the Metropolitan Museum of Art, New York, accession no.41.190.454, stained glass by Jan Rombouts, early 16th century AD.

The scene represents the ‘Mocking of Christ’ from the Gospel of Matthew (27,27.31): ‘Then the governor’s soldiers took Jesus into the Praetorium and gathered the whole company of soldiers around him. They stripped him and put a scarlet robe on him, and then twisted together a crown of thorns and set it on his head. They put a staff in his right hand. Then they knelt in front of him and mocked him. “Hail, king of the Jews!” they said’.