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LOT 0416
Baroque Gold, Ruby and Enamel Ring
CIRCA 1620-1640 A.D.
1 in. (4.57 grams, 23.32 mm overall, 18.77 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)).
Composed of a slender hoop, expanding shoulders decorated with white enamelled foliage and black enamelled pea-pod ornament, repeated around the bezel, bezel with box setting holding a table-cut ruby, white and black enamelled floral design to the underside; minor loss of enamel; likely from France; accompanied by a 'Les Enluminures' hinged presentation box.
ProvenanceAcquired from Les Enluminures Ltd, Illinois, USA, 2016.
Property of an East Sussex collector.
Accompanied by a Les Enluminures certificate of authenticity.
Accompanied by a copy of the Les Enluminures invoice.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11671-197579.
Cf. Fuhring, P. ed., 'Le Style' cosse de pois' L'orfevrene et la gravure a Paris sous Louis XIII, in Cazette des Beaux Arts, January 2002, for the pea-pod ornament; cf. Chadour, A., Rings. The Alice and Louis Koch Collection, Leeds, 1994, vol. 1, no.701; cf. Oman, C., British Rings 800-1914, London, 1987, pl.96.c, for type; cf. Scarisbrick, D. et al., Toward an Art History of Medieval Rings: A private Collection, pp.204-205, for comparable.
FootnotesOver the centuries, the ruby became a symbol of the amorous heart and a popular gemstone for betrothal or wedding rings in Western Europe. This gemstone was believed to symbolise the virtues of marriage and convey the desire for eternal matrimonial love. The ruby-red colour was often enhanced by setting the stone on top of a foil. The stones themselves were imported from as far afield as Thailand, Burma and Sri Lanka. Old inventories record them as 'balas rubies', which were sourced to decorate royal crowns. In the 17th century, the red colour was set-off by the pastel shades of satin which were fashionable in dress at the court of King Louis VIII, where the art of enamelling was also practiced.
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LOT 0416
Baroque Gold, Ruby and Enamel Ring
Estimate £12,000 - 17,000€13,920 - 19,720 (for guidance only)$16,200 - 22,950 (for guidance only)
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Gilt Painted Wooden Icon of Saint George
Circa 19th century A.D.Sold for (Inc. bp): £172
Dressed in armour and holding a spear, carrying a shield on his back, quiver of arrows on his hip with bow over arm, and one hand on a sword at his side, against a gilt background; text across left and right field reading 'Свети Георги' (Saint George). 667 grams, 33.2 cm
Ex French gallery, Paris.
Saint George, a Roman soldier of the 4th century, martyred under Diocletian, soon became the emblem of the military saint par excellence, defender of the faith and protector of armies. In the east, his icons and images were often carried into battle or placed on standards of Christian armies; in the West, he became a patron of chivalry. Here he is represented in late Roman armour, according to the style in use in Byzantium between the 14th and 15th centuries. -
Post Medieval Glazed Ceramic Tile Set
Circa 18th century A.D.Sold for (Inc. bp): £39
Displayed in a wooden frame, showing a series of male figures wearing period dress, engaged in various activities. 2.14 kg, 26.5 x 26.5 cm
Acquired 1990s-early 2000s. East Anglian private collection. -
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Russian Gilt Painted Wooden Icon of Hodegetria
Circa 19th century A.D.Sold for (Inc. bp): £152
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.
