Byzantine Rock Crystal Pendant with Cross

Fitted with two channels running to a central circlet with the image of a saint cavalryman in the centre, surrounded by Greek letters A, O, O, E, C, OS, E, O; small holes to three of the corners for insertion of pegs. 136 grams, 79 mm



UK private collection before 2000. Acquired on the UK art market. Property of a London gentleman.

Plates from mid-period jewellery moulds (10th-12th centuries) with the imprint of the jewellery to be made carved into one or both of the surfaces (earrings, buckles, clasps, beads of necklaces, etc.) were usually made of graphite schist, or other rocks. The plates were bound together in twos or threes by lead pins and the liquid metal was injected via conical openings. Similar tools were found in the 10th-12th levels of Thessaloniki.

With a slender hoop and discoid bezel, intaglio motif of a standing dove facing right. 1.90 grams, 20.12 mm overall, 15.42 x 17.65 mm internal diameter (approximate size British I, USA 4 1/4, Europe 7.44, Japan 7)



Private collection formed since the 1940s. UK art market. Property of an Essex, UK, gentleman.

Recalling workmanship similar to that found in the floor of the Sistine Chapel and other important Roman churches; comprising a stepped rectangular panel with white marble border, square blocks with cross fourchée motifs on porphyry and other fields; mounted on a custom-made stand. 1.06 kg, 38.5 cm wide (1.4 kg total including stand)



French gallery, Paris, 1990s. From a family collection, London, UK.

The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) used by the Roman marble makers of the 12th and 13th centuries AD. It embellishes floors, ciboriums and cloisters of churches by means of polychrome marble inlays of varied and imaginative geometric shapes. The wider use of this decoration began in the 12th century, at which time techniques were improved: the Cosmati floors were made with pieces of stone cut in various shapes and sizes, a property quite different from the mosaics in opus tessellatum, in which the motifs were made from small units all having the same size and shape, or from the opus sectile, intended to create representations with pieces of multicoloured marble cut out and arranged for this purpose. The stones used by Cosmati artists were often material salvaged from the ruins of ancient Roman buildings.