A painted wooden board showing crowned Mary in Heaven, standing on a cloud with radiating light behind her, holding the crowned infant Jesus on her lap, both dressed in rich robes; below a praying man holding a crook and gazing up towards Mary and Jesus, behind him a deceased person resting on a raised platform and covered with a simple shroud; mounted in a glazed frame. 1.74 kg, 42 x 33 cm



Private collection, London.

Slender single-edged blade with S-curved quillon and guard formed as a bird in flight; bone scale-tang grip with horse-hoof finial. 400 grams, 59.5 cm



Acquired by the vendor's father on the UK art market before 1990. Acquired on the UK art market.

Stylised lion-head terminal with ribbed collar to the socket and loop beneath the chin. 227 grams, 71 mm



Acquired on the UK art market.

Each a triangular plaque with filigree border, central cell with inset garnet cabochon surrounded by applied filigree annulets, transverse bar below with discoid dangles. 4.04 grams total, 49 mm



with Archaeologia, Switzerland, before 1983. Ex private North American collection. London private collection, 2016.

Wearing a tripartite wig and a broad collar, heart-shaped body; after the antique. 146 grams, 10.1 cm



Acquired by the present owner from a gallery in London, UK, circa 1979. Property of a West Northamptonshire, UK, gentleman.

Comprising: pale blue glass panel with incuse profile helmetted female bust, cracked; similar in red glass; silver-gilt memento mori pendant with central glazed panel. 14.83 grams total, 16-30 mm



Found Yorkshire, UK.

Rectangular wooden panel with mounting bar to reverse; low-relief carved facing nimbate figure in sumptuous robe holding a book in his left hand and making the gesture of blessing with his right; Cyrillic legend flanking the neck 'CΦ ЧЕРДР ΝІΚыΛАC' (Saint Nicholas). 715 grams, 30.5 x 22 cm



From the private collection of John Meredith, acquired since the 1990s; thence by descent.

Modelled with a curving neck and a slender muzzle, a curly mane falling on both sides of the neck, and four piercings on the flared neck. 142 grams, 67.8 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

With a central seated figure, left foot trampling a barbarian, surrounded by religious scenes and temples. 918 grams, 31.6 x 20.4 cm



Acquired from Derby Antiques Fair, 2004. Ian Wilkinson collection, Nottinghamshire, UK, formed since 1985.

Comprising a slender hoop supporting an oval bezel with a starburst motif below and set with an agate. 5.92 grams, 24.75 mm overall, 17.71 mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10)



Acquired from Pocket Money Antiquities, Surrey, UK, on 30th March 2005. Property of a West Northamptonshire, UK, gentleman.

Penannular hoop with applied collars, applied discoid plaque with beaded rim and openwork cross to the centre, lateral granule clusters, facetted garnet bead below. 6.53 grams, 44 mm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s.

Representing the Vladimir Mother of God with the Divine Child; the half-length figure Mary with covered head turned right and with her left hand raised; holding the embracing infant Jesus in her right hand; above them inscription in Greek letters 'ΜΡ ΘΥ' (Mother of God); flanking the central icon and beneath it the images of the Saints Peter, Paul, Peter of Moscow and John Chrysostomos, Saint Gregory and Saint Dimitri; in the foreground the city of Vladimir. 96 grams, 60 mm



Acquired from Chris Martin-Zakheim, Iconastas, 5 Piccadilly Arcade, London SW1. From the private collection of a West London, UK, gentleman, formed since the early 2000s.

The original icon prototype of these smaller icons was 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 Russia, which 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.