Elizabethan Period Ceramic Fire Brick Group

Cast and chased badge of Robert Devereux, Earl of Essex, by Thomas Simon (or Thomas Rawlins?), bifacial with obverse portrait bust of the Earl of Essex turned slightly to left, and to the reverse an oval garnished shield of Essex, surmounted by coronet; Platt II, type G. 5.39 grams, 30.20 mm



From a late 19th-early 20th century collection based on the old handwritten coin tickets. Acquired on the UK art market in the 1980s. From an East Anglian private collection. Accompanied by two old faded handwritten coin tickets.

Essex became Commander-in-Chief of the Parliamentary forces in the Civil War before being displaced in 1645. Badges of several types and varieties bearing his image were presented to various ranks in the army. The grandson of Francis Walsingham, the Principal Secretary and 'spymaster' of Elizabeth I, as well as the son of Elizabeth's favourite, Robert Devereux figured prominently in the First English Civil War. At its outset, he became the first Captain-General or Chief Commander of the Parliamentarian army, known as the 'Roundheads.' However, unable and unwilling to defeat the Royalist forces during the Lostwithiel Campaign in 1644, Devereux became overshadowed by the ascending Oliver Cromwell and, less than six months after resigning from his commission, died without an heir in 1646.

With a flat-section hoop, expanding shoulders with incised motifs; oval bezel with a soldier standing amidst tall grass, holding a pike in his right hand and a short sword in his left hand. 4.18 grams, 21.94 mm overall, 19.55 mm internal diameter (approximate size British T, USA 9 1/2, Europe 21.26, Japan 20)



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

Depicting nimbate Mary Theotokos with veiled head and wearing a maphorion mantle over a dark blue robe with gold cuffs, inclined towards the infant Jesus supported by her right hand, his left arm wrapped around her neck and the right hand resting on her chest; gilt field and border with colourful enamelled detailing to the corners, roundels and rectangles with monograms and titling, on each side of her head 'ΜΡ ΘΥ' (Μήτηρ (τοῦ) Θεοῦ = Mother of God), over her left shoulder Cyrillic inscription 'Влади́мирская Б.М.' (Vladimir Mother of God), over the child inscription in Greek letters 'ΙϹ ΧϹ' (ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ = Jesus Christ), 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); Moscow School. 6.5 kg, 56.5 x 46 cm

Fine condition.

Ex property of a London lady, part of her family's 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. 11543-196361.

This splendid specimen was probably originally housed in an aristocratic Russian home. The icon of the Virgin Mother of Vladimir with the infant Jesus (the original preserved in the Tretyakov Gallery, Moscow), probably the most famous icon of all of Russia, was thought to have been created in Constantinople in the early part of 1100s. This image is sometimes referred to as the ‘tenderness icon’, with artists attempting to show the close relationship of mother and son with their cheeks touching as they embrace.