Ancient Art, Antiquities, Books, Natural History & Coins

A carved wooden figure of Saint Francis of Assisi holding a skull in his left hand and a cross in his right hand, set on a red fabric inside a silver tongue-shaped case with applied twisted wire decoration to the outer rim; attachment loop with ring to the top. 48.1 grams, 11 cm



Private collection, Europe. Acquired on the French art market.

Comprising a wide hoop, the shoulders with rectangular panels embellished with scrolling motifs framed by delicate wirework borders, the bezel formed as a pair of clasped hands, finely modelled in low relief, symbolising trust, fidelity, and contractual union, the hands articulated with tapering fingers and subtly defined cuffs. 4.08 grams, 21.08 mm overall, 18.89 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)



Acquired on the European art market.

The fede motif derives from the medieval formula mani in fede ('hands in trust'), a visual expression of loyalty and binding agreement. Rings of this type circulated widely from the late medieval period onward, gaining particular prominence in the seventeenth and eighteenth centuries as betrothal jewels embodying steadfast commitment. The present example, with its restrained decorative scheme and high gold purity, reflects the enduring appeal of intimate, symbolically charged jewels rooted in long-standing marital and devotional customs.

Featuring a smooth exterior and D-shaped in cross-section, a flat internal face with an inscription in upper case Roman letters, reading 'BE . TRVE . IN . HART' for 'Be true in heart' with the stops formed as small crosses and the N reversed. 4.25 grams, 20.66 mm overall, 18.06 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Found whilst searching with a metal detector near Edgmond, Telford & Wrekin, UK, by George Elymn, on 27 October 2024. Recorded with the British Museum's Portable Antiquities Scheme (PAS) with reference no.HESH-B237EA; handed in as Treasure under the Treasure Act, and subsequently disclaimed and returned to the finder. Accompanied by a copy of the Report for H M Coroner on finding of Potential Treasure, with reference no.2025T1645. Accompanied by a copy of a letter from the British Museum explaining that the Crown's interest in this find has been disclaimed.

The 'posy' name is derived from the 'poesy' (motto) engraved around the hoop. In medieval examples, the posy is usually found around the hoop exterior, although on later examples, inscriptions were more usually engraved on the interior. Rings with amatory inscriptions can be found from the 14th century AD onwards, when they served as love gifts, betrothal and wedding rings. Posy rings were also given to friends or used to mark significant occasions. Posies were composed by the giver, kept in stock by goldsmiths, or could be selected from published compendiums or commonplace books such as 'The Mysteries of Love or the Arts of Wooing' (1658 AD), or 'Love's Garland or Posies for Rings, Hand-kerchers and Gloves and such pretty tokens that Lovers send their Loves' (1674 AD). Rings were one genre of personal item amongst many to be adorned with posies at this time.

Comprising a slender hoop with scroll-decorated shoulders, a high hexagonal colette setting with a point-cut rock crystal with foil backing. 2.75 grams, 22.97 mm overall, 15.54 mm internal diameter (approximate size British I 1/2, USA 4 1/2, Europe 8.07, Japan 7)



Acquired on the European art market.

With a closed back setting and carved shoulders, the bezel set with seven facetted paste gemstones in cut-down collets with black enamel decoration to the gallery; European workmanship. 5.75 grams, 25.32 mm overall, 19.74 mm internal diameter (approximate size British S, USA 9, Europe 20, Japan 19)



Acquired on the European art market.

Tiered hoop and shoulders supporting a cup bezel with scallop detailing, inset with an octagonal cloison. 7.07 grams, 27.56 mm overall, 19.87 x 19.76 mm internal diameter (approximate size British U, USA 10, Europe 22.52, Japan 21)



Private collection, Europe. Acquired on the English art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.13048-248385.

Parallels for the ring type are dated 16th century. A related finger ring is also available in the British Museum collection. The chalice-shaped workmanship of the bezel betrays a strong Italian influence in the workmanship of the ring section.

Finely modelled with a black-and-white enamelled mask, the features animated by rose-cut diamond eyes and a small ruby set into the open mouth; the head framed by a serrated gold collet and flanked by silver foliate clusters each set with a further rose-cut diamond; the shank formed as asymmetrical rococo scrolls with pierced and chased detailing throughout, the reverse of the bezel open, revealing white enamel engraved with faint traces of an original posy inscription. 2.28 grams, 21.10 mm overall, 17.45 x 16.35 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)

The enamel remains entirely original and unrestored.

Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13321-257909.

Though now largely worn, the underside of the bezel would likely have borne a concealed love sentiment, comparable to the formula Je cache mes amours ('I mask my love'), found on related rings of mid-18th-century manufacture. The theme of the masked lover, drawn from contemporary masquerade culture and its associations with flirtation, secrecy, and clandestine courtship, here transforms the jewel into a witty and intimate token.

Featuring a finely carved sardonyx cameo illustrating the Nativity, with the Virgin Mary extending the Christ Child toward the three Magi bearing gifts, while Joseph stands beside her; the family shown emerging from an arched doorway, beneath the Star of Bethlehem; set in a 19th-century high-carat gold mount, probably English in origin. 4.62 grams, 21.88 mm overall, 18.25 mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13334-258013.

The scene is staged horizontally, with the Holy Family at one end and the Magi and their entourage proceeding towards it, essentially unfolding in the foreground in a sort of procession, one behind the other. This was the standard image, although in the Italian School of Renaissance the same scene was often modified according to the vision of Botticelli, who put at the centre the Holy Family.

Comprising a dark green oval cameo with bright red flecks, on the upper side, a veiled head of Mary with a solemn expression, the underside featuring a classical depiction of bearded Jesus with long hair and wearing a draped garment; set in a substantial gold ring with a wide hoop. 15.59 grams, 25.53 mm overall, 16.26 mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13390-257998.

It was believed that the scarlet flecks in the stone were the blood of Christ, hence its popular use for the subject of Christ throughout the Middle Ages until the 19th century.

An oval orange carnelian intaglio with a profile bust of Paris wearing a Phrygian cap, his long locks cascading from underneath it, a Greek pseudo-signature for Maronos on the field; set in a later swivel-ring; supplied with a museum-quality impression. 5.04 grams, 21.88 mm overall, 18.74 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13337-257952.

In Classical as in Neo-Classical art, Paris is often depicted wearing the Phrygian cap, and typically portrayed in Persian-style attire, featuring long sleeves and trousers, and a cloak.

Carved in two-coloured red and brown agate, depicting a classical muse in right-facing profile with flowing hair, and drapery, the laurel wreath identifying her as an embodiment of poetic or artistic inspiration; the cameo set in a 19th-century mount with a border of single-cut diamonds set in platinum, a pierced, open-backed construction and bifurcated shoulders enriched with classical leaf motifs. 6.47 grams, 25.88 mm overall, 16.12 mm internal diameter (approximate size British J 1/2, USA 5, Europe 9.32, Japan 9)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13327-257906.

The union of an eighteenth-century Italian gem engraving with a later English mount reflects a broader nineteenth-century practice of integrating earlier engraved gems into newly conceived settings.

Rectangular slab with raised border and high-relief scene; three standing females wearing floor-length draped and tiered robes, holding hands; the left figure with right hand extended slightly, holding out the folds of her robe, head turned back towards the middle figure whose hand she holds; middle figure facing with diadem in her neatly dressed hair, holding the extended hand of the third figure holding the hem of her robe and angled stiffly away from the others. 145 kg total including stand, 106.5 cm wide



Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13391-259010.

A group of three young females is often interpreted as the Three Graces. However, in classical art, these three figures usually stand close together and are nude or sparsely clothed - unlike the females in this carving. Groups of three goddesses - such as Persephone, Demeter and Hekate - may denote the phases of the moon or, more broadly, the three phases of a female life as maiden / mother/ elder. The scene bears some resemblance to the 1st century AD relief of 'Three dancing nymphs' in Santa Barbara Museum of Art, California; however, that has a more exuberant and lively air contrasted with the rigid formality of the piece.