Ancient Art, Antiquities, Books, Natural History, Stamps & Coins

Slender hoop with biconical bezel and inset sapphire cabochon; enigmatic incised legend to hoop 'IAS[.]NV NAIA NV[.]VM / IAS[.]VI . V . IAIA. IONV.' 1.45 grams, 24.03 mm overall, 17.98 mm internal diameter (approximate size British O 1/2, USA 7 1/4, Europe 15.61, Japan 15)



Private collection of Kal Noselson, New York, acquired between 1976 and the late 1990s; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13420-259793.

The legend appears to contain repeated syllabic sequences, perhaps a personal name.

Comprising a D-section hoop with clasped-hands motif to the underside; three radiating cells to the bezel, the outer two each with an amethyst cabochon, the central one absent. 2.14 grams, 20.76 mm overall, 17.48 x 16.74 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12)



Acquired from Derek Content, 23 January 1995. Private collection of Kal Noselson, New York, acquired between 1976 and the late 1990s; thence by descent. Accompanied by an original invoice from Derek Content, 23 January 1995. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13453-259908.

The ring belongs to the category of fede rings, characterised by clasped hands on the back and ruby sets, conical bezels with oval settings. Sometimes, three knobs were used in place of the set of stones.

Thick plano-convex hoop with lion-head detail to each shoulder, flared shank and ellipsoid bezel with central field of rosettes, masks, and other motifs, surrounded by a border with stamped Cyrillic legend. 12.94 grams, 25.84 mm overall, 18.05 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Private collection of Kal Noselson, New York, acquired between 1976 and the late 1990s; thence by descent.

Comprising a broad lentoid-section hoop with notch to underside, twist detailing and low-relief nielloed scrolls and hatching; columnar bezel with ropework ornament; inset carnelian intaglio horseman holding a cross (or sword in scabbard) with legend 'MX AFB'. 18.12 grams, 30.74 mm overall, 18.29 x 20.30 mm internal diameter (approximate size British Q, USA 8, Europe 17.49, Japan 16)



Private collection of Kal Noselson, New York, acquired between 1976 and the late 1990s; thence by descent. Accompanied by correspondence from Derek Content including references from 8 June 1997.

With broad carinated hoop and discoid bezel; each facet of the hoop with niello-inlaid legend 'Arter D'Aielo'; trefoil to each spandrel; bezel with central motif of three trees within a circular border with Lombardic script legend 'X S' Den . Pere . Iohan' (seal of Denis, father of John); supplied with an old collector's record card. 12.84 grams, 25.24 mm overall, 20.10 mm internal diameter (approximate size British S 1/2, USA 9 1/4, Europe 20.63, Japan 19)



Private collection of Kal Noselson, New York, acquired between 1976 and the late 1990s; thence by descent. Accompanied by an original 1970s-1980s typed collector's card.

Engraved around the exterior of the hoop with the names Melchior, Balthasar and Caspar, the bezel with a separate piece of silver fashioned to imitate the pyramidal form of a natural octahedral diamond and secured in a rub-over collet as though it were a gemstone. 2.79 grams, 28.23 mm overall, 20.95 mm internal diameter (approximate size British V 1/2, USA 10 3/4, Europe 24.4, Japan 23)



Acquired on the European art market. UK, private collection.

The names of the Three Magi formed part of the medieval repertoire of protective inscriptions used on amuletic jewellery.

Modelled in high relief with dorsal pillar; maiden in advancing pose with fillet to the brow and curly tresses falling to the shoulders, girdle with loop and chain to the waist, copious folds of the robe lifted by the left hand, right hand at waist-height; mounted on a custom-made stand. 21.5 kg total, 70 cm high including stand



French-Swiss private collection. The items were acquired in the 2010s to be displayed on the property in Ain, France. Following the move, they disposed of some of the items. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13514-262848.

By the early 13th century, bodies in Gothic sculpture acquired more three-dimensional mass, more flexibility, more natural poses and drapery, and individual faces. Later 13th-century sculpture gave up this monumental power for more specific anatomy, actions, and emotions. Late 14th -century and 15th-century work continued in the direction of greater mass and more detailed faces.

Carved in low relief with blind tracery composed of an elongated trilobe on top of two pointed arches, also carved with trefoil cusps. 250 kg approximately, 103 cm including stand



Sold at York Minster Stone Auction, 20th February 2010, no.63. Accompanied by an original certificate of authenticity.

The buttresses of the chapter house were built primarily to support its very large wooden roof, and their innovative design has been much discussed for this and their role in the building's drainage system. York Minster is one of England's most interesting and significant buildings. The chapter house was begun in about 1280 as a centrally planned, octagonal structure, and it was constructed as a venue for the meeting of the members of the chapter.

Carved in high relief, depicting an open-fronted wooden structure with a tiled or shingled roof and gabled dormer; beneath the roof, a wickerwork crib with the Christ Child, Mary and Joseph on each side of the crib and gazing down adoringly, a group of angels behind the crib, a pair of shepherds look on from the right, an ox and an ass behind Joseph; suspension wire to the reverse. 9.5 kg, 79.5 cm h x 91 cm w



Private collection, Burgundy, circa 1960s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13552-262840.

The compositional model for this relief comes from the Bladelin Triptych painted by Rogier van der Weyden around 1450, which for the first time set the architectural setting of the stable in which the Nativity takes place on the diamond rather than with its fourth wall parallel to the picture plane. The treatment of the carving and the ambitious planar construction of the stable's roof and columns can be compared with sculpture produced in Freiburg, Colmar and Strasbourg at this date, by artists including Hans Wydyz and Weit Wagner.

Rectangular panel with figural scene in high relief; above, two figures left in bassinets and plate armour arrest two standing figures in loose robes; behind them, a tall figure stretching his hand across the chest of another robed figure drawing a sword; below, beneath a ledge, a supine figure extending his left hand towards the central figure above, his right hand holding a walking staff; mounted on a custom-made stand. 10.4 kg total, 37.5 cm high including stand



Collection of Aäron Vecht (1186-1965), Rokin 30, Amsterdam (his paper collection label adhered to the reverse). with Joanna Booth, London, UK. Private collection, London, UK, acquired from the above 11th June 2011. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13527-262845.

The iconography of the betrayal of Christ is ancient, with its earliest roots tracing back to Early Christian art. From its inception, the soldiers arresting Jesus in the Garden of Gethsemane were depicted as Roman warriors. It is important to note that artists typically rendered their weapons and armour in the contemporary style of their own eras, rather than using historically accurate Roman attire. This artistic convention persisted until the fall of the Eastern Roman Empire. As a result, Byzantine depictions of the arrest offer a dynamic chronicle of military evolution, showcasing the changing equipment of the Roman army and local militias throughout the Middle Ages. Similarly, when this iconography was adopted by other Western and Eastern medieval states, it mirrored the military advancements of nations outside the Byzantine sphere. Consequently, the representation of the arrest at Gethsemane serves as one of the richest visual sources available for studying medieval military equipment.

High-relief carving depicting a figural scene: nimbate Mary Magdalene crouching at bottom left, extending her hand with one braid of her hair towards the extended right hand of a supine Christ resting on a rectangular tomb; robed figure of Joseph of Arimathea to the right with a lantern at his feet, supporting the folded knees of the supine figure; on a wooden base with framed and felt-covered board to the rear. 5.75 kg, 36 cm high



Joanna Booth, London, UK, 2011. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13524-262844.

The entombment of Christ is a widely interpreted topic in the religious art of the Middle Ages: the scene always includes the presence of Mary Magdalene holding the hand of Christ and Joseph of Arimathea, who, according to the Gospel of John (XIX, 38-42), placed Jesus in his own unused tomb.

Hollow-formed cross with reserved Corpus Christi on a field of scrolled tendrils; reverse with similar tendril ornament and square panel to the end of each arm bearing the symbol of an evangelist. 452 grams, 27.4 cm



Collection of Richard Steiskal-Paur, Vienna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13530-262853.

The image on the crucifix was realised according to the style of the period. Christ is at the centre of the cross, facing the viewer; his loincloth blowing to the left. At the foot of the cross, now missing, were probably Adam’s skull and bones.