Ethiopian Bronze Processional Cross

Shaped as a small cauldron with a long curved handle decorated with five incuse circles extending from the rim to the swan-head finial and with loop handle beneath; spherical body, slightly oblate at the base with an everted rim and casting seams, three splayed stub legs with ribbed profile; offered with objects recovered from the same archaeological context: a struck flint flake; two bone fragments; a fragment of pottery. 3.1 kg total, 3.8-32 cm



Located whilst searching with a metal detector and archaeologically excavated by Norfolk Archaeology Unit, near Harling, Norfolk, UK, on Wednesday 8th November 2023. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.NMS-C1D619 which includes a photograph of the cauldron in situ before excavation. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12165-219623.

Bronze cauldrons played a role in ritual practices in the Middle Ages and beyond. It appears that many of the bronze cauldrons have been deliberately deposited, although the reasons for this were not always clear. There are strong indications that this often took place at the beginning of a large-scale project. This may have been the construction of a castle or a rampart, of a city wall, the building of a dyke, a dangerous crossing of the sea, the cultivation of a piece of farmland or the reclamation of a peat bog. For all types of projects, salvation and blessing could be requested in the form of a deliberate deposit of a bronze cauldron. This custom is directly comparable with the Medieval ritual of placing coins under the foundation stone of a building.

Comprising an iron bolt-head with square-section shaft, an iron hook with mounting socket and a rounded cobble with keeled edge. 733 grams total, 12.1-30 cm



From the collection of the famous author, writer and speaker, Gordon Bailey, Essex, UK; formed since 1968.

Group of nine carved bone panels from a casket, most with a tapering upper third and openwork vegetation at the top; comprising: young man resting his hands on a teardrop shield, beside a fir-tree, looking right; winged nimbate angel in floor-length robe reaching upwards towards a three-horned crown; winged nimbate angel in floor-length robe holding a naked sword in her right hand and scales in her left; winged nimbate figure in floor-length robe holding a serpent in each hand, with three faces conjoined; winged angel in floor-length robe sitting on a dais, holding a discoid object with a bifid handle (perhaps a lute); winged nimbate angel in floor-length robe holding a chalice in her right hand and cross in her left; winged nimbate angel in floor-length robe holding a flaming torch in her right hand and grasping the raised hands of a child with her left; winged nimbate angel in floor-length robe with two ewers, pouring liquid from one to the other; young man resting his hands on a teardrop shield, beside a fir-tree, looking left; mounted on a wooden display stand. 1.08 kg total, 48.5 cm wide including stand



Acquired Delchar, London, 2011. Private collection, Suffolk, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12291-221716.

The Bottega degli Embriachi was an important producer of artworks carved in bone (and occasionally ivory) in a framework of inlaid wood. It was active in Northern Italy from circa 1375 A.D. until circa 1433. It relocated from Florence to Venice about 1395. The Bottega was especially known for 'marriage caskets' with tall columnar lids, with carved bone figural panels. Some of the panels here are evidently Christian (the figure with the cross and chalice) while others are perhaps purely symbolic (Justice with sword and scales) and some are simply puzzling (e.g. the three-faced figure with serpents).