Egyptian Style Basalt Torso of a Pharaoh

Composed of a slender hoop inscribed around the interior, maker's stamp 'TS' in rectangular cartouche, possibly for goldsmith Thomas Sharp. 3.03 grams, 19.90 mm overall, 17.05 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



From the collection of a North American gentleman, formed in the 1990s.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.

The infant Christ seated on her knee within a stepped recess, Greek letters in the field with inscription 'ΜΡ ΘΥ' for 'Mother of God' flanking the Virgin's halo, 'IC XC' for 'Jesus Christ' to the left of the Child's head and inside his nimbus 'O Ѿ N' for 'The Only One who always exists'; some restoration; handwritten script and hand-drawn cross to reverse. 395 grams, 31.5 cm



Ex French gallery, Paris.

The icon shows the Virgin in the attitude of Mother of Consolation, or in that of Hodegetria. This is the iconographical type of Virgin Mary one encounters most frequently in an Eastern Orthodox Church or home, Hodegetria meaning 'Mother of God Pointing the Way'. The Virgin Mary is shown with the Christ on her lap, her eyes looking at the viewer and her right hand indicating Christ, seeming to say 'Follow Him'.

Comprising trefoil domes adorned with filigree flowers and roundels, central bulb surrounded by 'petals', hook to reverse. 9.9 grams, 30 mm



From the collection of a North American gentleman, formed in the 1990s.