Medieval Bronze Ring Brooch Group

Discoid appliqué, flat in section and slightly distorted; incuse heraldic detailing to obverse blazoned 'Quarterly 1st and 4th Gules three lions passant guardant [Or] 2nd and 3rd [Or] four lions rampant [in a quadrangle] the 1st and 4th Sable the 2nd and 3rd [Gules]'. 37.2 grams, 59 mm



Found Lowick, East Northamptonshire, UK. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.BH-7A9E2F.

The Royal College of Arms has identified these arms as belonging to King Edward III and his wife, Philippa of Hainault (r. 1327 - 1369). The terminus post quem for this piece is therefore 1327, the date of the marriage, and the likely terminus ante quem is Edward's death in 1377. A circular mount with the same fixing method, which bore the arms of the Bishopric of Ely, was found in Norfolk and is illustrated and described by Steven Ashley (2002: Fig. 20, p. 45, no. 196). The presence of the royal arms on this piece is likely to be a public display of allegiance to the throne rather than an indication of ownership on the part of the crown.

Featuring a standing figure extending a purse to a kneeling supplicant, an allegory of almsgiving, preserving substantial traces of its original gilding, this rare Romanesque figural group likely formed part of a larger liturgical object such as a portable altar, reliquary, or candlestick; accompanied by a custom-made display stand. 26 grams, 43 mm (284 grams total, 68 mm including stand)



By repute to have originated from Romney Marsh, Kent. From the collection of Paul Moore. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13324-257971.

The work finds close parallels in the Romanesque metalwork of England. Its figural treatment and iconographic resonance invite comparison with the celebrated Gloucester Candlestick (c.1107– 1113, Victoria & Albert Museum, inv. M.268-1921), where densely modelled figures act out moral and allegorical themes within a functional ecclesiastical object; with the Romanesque candlestick fragment from the Robert von Hirsch Collection (Sotheby’s, London, 22 June 1978, Lot 210); and with the broader corpus of English and German candlesticks and crosiers discussed by Peter Lasko in Ars Sacra, 800–1200 (1972), which demonstrate the intimate relationship between liturgical function and densely figurative decoration. Cf. also Victoria and Albert Museum, London: The Gloucester Candlestick, c.1107–1113 (inv. M.268-1921).

With a high conical bezel decorated with four bifid scallop-shaped depressions to the outer surface forming a quatrefoil, flower-like design with the scallops acting as petals; a circular and deep central setting holding a turquoise cabochon; the decoration continuing to the reverse of the bezel resulting in a scalloped design, the shoulders sloping down and extending from between two of the quatrefoil petals at opposite sides of the bezel, with restored fine narrow hoop of large wearable size. 2.75 grams, 27.20 mm overall, 20.05 mm internal diameter (approximate size British U, USA 10, Europe 22.52, Japan 21)



Found by Jason Ashley whilst searching with a metal detector near Hutton Conyers, Harrogate, North Yorkshire, UK, on Sunday, 2nd November 2025. Accompanied by a copy of the Report for H M Coroner on find of Potential Treasure with Treasure reference no.2025T1429. Accompanied by a copy of a letter from the British Museum disclaiming the Crown's interest in the find. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.YORYM-1E3B30. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13293-255044.

The PAS report discusses that: 'Turquoise was not a particularly valuable stone in the Middle Ages, but one that was valued for its amuletic properties, protecting the wearer against poisoning, drowning, or having an accident while riding. It was also supposed to have the property of indicating the state of health of the wearer by the shade the Turquoise went.'