Byzantine Silver Ring with Cross

A group of two bread stamps: one sub-rectangular in form with Greek capital letters (Mi, Iota, Iota, Tau and Tau, Iota, Eta) in raised relief, suspension lug to reverse; a leaf-shaped stamp with lugs to the perimeter and three raised letters to the centre, suspension lug to reverse. 40.8 grams total, 38 mm each



Acquired before 2000. From the collection of a European gentleman living in the UK.

The larger bronze stamps are generally known in the relevant literature as bread stamps. These were used on the bread consecrated during the Holy Liturgy and then given to the believers as the Body of Christ during the Holy Communion, as well as to the bread which was given as a present at the end of the Liturgy, as 'Blessed bread' or Antidoron. Similar seals are still used today in the Orthodox Church.

A mixed group of bronze trade weights of various shapes and sizes, including examples bearing decorated letters. 72 grams total, 12-21 mm



German art market, 1990s. Mr A.H., a North American collector living in the UK.

A rectangular marble floor panel recalling similar workmanship to the floor of the Sistine Chapel, comprising a large central panel with a chequerboard design of alternating geometric floral motifs with speckled porphyry squares, surrounded by seven green and porphyry roundels, each with a bicolour border composed of interlocking triangles and lozenges; each corner with an L-shaped panel displaying a unique geometric design composed of alternating square, lozenge-shaped and small rectangular tiles. 57 kg, 80cm



French gallery, Paris, 1990s. From a family collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11586-199348.

The Cosmatesque Style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) used by the post-Roman marble makers of the 12th and 13th centuries A.D. 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 multi-coloured 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. The composition of such mosaics recalls the floors of the most important churches of Rome; in addition to the floor of the Sistine Chapel (created probably in the 14th century for the previous building or Cappella Maggiore), one can cite that of Santa Maria Maggiore (1145-1153 A.D.), San Giovanni in Laterano (14th century A.D.), Saint Clement (1099-1120 A.D.), Santi Quattro Coronati (13th century A.D.), Santa Croce in Gerusalemme (12th century A.D.) and many others.