Champleve Enamel Bronze Vessel with Egyptian Procession Scenes

Painted on board with mounting panels to the reverse, gessoed surface with central painting of the Virgin of Kazan (also called the Virgin of Tenderness) in a recess, comprising the bust of Mary and standing figure of infant Jesus, both nimbate, monograms to the upper corners; miniature figures of Saints Peter and Paul to the border; on each side of the head of the Virgin inscriptions 'ΜΡ' and 'ΘΥ' (Μήτηρ (τοῦ) Θεοῦ = Mother of God), inscription in Greek letters 'ΙϹ ΧϹ' (ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ = Jesus Christ) above the child, three letters (only two visible) inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O ѾN' = The Only One who always exists); Yaroslavl School. 1.39 kg, 32 cm high

Fine condition.

Ex property of a London lady, part of her family's collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 11544-196360.

The original icon, also known as the Theotokos of Kazan, is thought to have originated in Constantinople in the 13th century before it was taken to Russia. When the Turks took over Kazan in 1438, the icon was most probably hidden to keep it safe. Ivan the Terrible liberated Kazan in 1552, and the town was destroyed by fire in 1579, after which the icon was found and brought to the Church of Saint Nicholas. It was subsequently stolen in 1904 and never found again, though there are many copies in existence.

Including regimental types, livery buttons, military volunteers, and other types. 104 grams total, 16-33 mm



Acquired since the 1970s. From the private collection of a Surrey, UK, gentleman.

Barrel-shaped with two impressed flat faces, one with a later engraving of a guilloche border and looped tendrils framing reserved initials 'PO P[R]' above and lower 'NU [.]M'; possibly a touchpiece or love token. 5.53 grams, 17 mm



Acquired since the 1970s. From the private collection of a Surrey, UK, gentleman. Accompanied by a copy of the article 'A Roman or Anglo-Saxon Fertility Amulet?' published in Treasure Hunting Magazine.

The design is reserved and very faint; the outer guilloche is quite convincing but the details of the design are hard to determine, and may always have been quite indistinct. The impression is of a 17th century love token with the initials of the couple. The finder's article implies an Anglo-Saxon date, probably on the strength of the guilloche which was often use on early Saxon metalwork - but it is a long-lived motif and not specific to that one period.