Bactrian Style Alabaster Bowls

A copy of the famous Venus of Milo, naturalistically portrayed with her garment having fallen from her shoulders, hanging loose at her waist and exposing her breasts. 34.8 kg, 77 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France.

Aphrodite of Milos, better known as the Venus of Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture known today, created between 130-100 years B.C. The original is currently displayed at the Louvre in Paris.

The Virgin holding the infant Christ, gesturing towards him with her right hand, wearing a carmine red maphorion embellished with golden pearled embroidery, elaborate cuffs and neckline to the himation; Christ making the blessing sign with his hand, the green chiton and orange himation embellished with red folds; both figures nimbate within a shallow recess and framed by a red border, inscription 'ΜΡ ΘΥ' for 'Mother of God' flanking the Virgin's halo, 'IC XC' for 'Jesus Christ' over the Child’s head; winged nimbate ‘Angel of God’ and nimbate Saint Matrona in rectangular panels on either side; split and repaired. 896 grams, 31.2 cm



Ex French gallery, Paris.

For the Orthodox believers, the Mother of God (Theotokos) carries a special meaning. The believers relate to her as a mother who suffered and lived through the death of her son, a figure not only of love and compassion, but also of fortitude and sacrifice.

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.

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.