Egyptian Grand Tour Shabti Group with 1939 Photograph

Painted on a wooden board with gessoed surface, tempera on wood panel with kovcheg (recessed central panel on the obverse) executed on a pale yellow ground; Boris and Gleb depicted on horseback wearing Russian 16th century Boyar costume, both with nimbus, each with a lance and pennant; on the right upper corner, God is represented as a half figure making a blessing gesture, inscription in Greek letters 'ΙϹ ΧϹ' (ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ = Jesus Christ); rectangular wooden board with mounting slots to reverse. 1 kg, 32 x 26.5 cm

; good condition, losses to the borders, areas of retouching.

Acquired on the UK art market. Private collection, London, UK. 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 number no.12927-246338.

Boris and Gleb, Princes of old Rus Nation, were the sons of Vladimir of Kiev, the first Christian Prince of Rus; according the history they were killed in 1015 and 1019 in the civil struggles for the succession to the Kiev’s throne, and sanctified for their faith. Standards with their image were worn by the medieval Russian army.

A substantial ring with a box-shaped bezel set with a table-cut red spinel of deep purplish-red hue, the reverse of the bezel convex with chamfered ends. 6.93 grams, 24.30 mm overall, 17.05 mm internal diameter (approximate size British M 1/2 , USA 6 1/4, Europe 13.09, Japan 12)



Private English collection, formed between the late 1970s and early 1990s. Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12996-245986.

The box bezel is typical of both Spanish and Islamic goldsmithing traditions. The small pointed projection at the rear of the hoop, however, is not a common feature in Spanish rings but is a distinctive hallmark of Islamic goldwork — a form ultimately rooted in Middle Eastern traditions of the Sasanian, Fatimid, and Mamluk periods. This detail likely reached Spain through the transmission of techniques from the Middle East into Islamic North Africa, and subsequently into the goldsmithing repertoire of al-Andalus. These forms were adapted by Spanish goldsmiths to accommodate the tastes of a Christian clientele, reflecting the deep and enduring influence of Islamic craftsmanship in post-Reconquista Spain.

Comprising an oval pendant set with a red cabochon, enamelled flower above, reverse with Chinese stamp for 'silver', clasp ring hallmarked '925'. 23 grams, 54 cm



From the family collection of a Hampstead gentleman; formerly acquired in the 1980s.