Medieval Bronze Seal Matrix with Bird

Cross patoncy plaque with notched ends to the arms and pellets to the lateral edges; cells with inset turquoise and other stones, each with ropework collar, ropework loop and beaded suspension ring. 15.4 grams, 66 mm



Private collection formed in Europe in the 1980s. Westminster collection, central London, UK.

Comprising a flat, tongue-shaped body with a segmented surface with remains of blue and red enamel; above, the head modelled in the half-round with short curly hair, round eyes and a flat nose; two rivet-holes to the body. 41.5 grams, 92 mm



Acquired on the UK art market in the 1980s. From an East Anglian private collection.

Oil on board in a gilt-moulded frame with arcade detailing at the top; youthful figure shown sitting on a stone bench, barefoot with right leg extended; head bowed and book supported on the left knee, wearing a green tunic and large brown hooded travelling cloak; set in a landscape with hilltop city in the middle distance; reinforcing straps and suspension to the reverse. 4.15 kg, 61.5 cm high



Ex Vicar Anders Frostenson (1906-2006), Sweden. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13515-262842.

It was common in Western art of this period to depict Saint John on Patmos as a youthful figure. By contrast, the Eastern tradition tended to represent him as an old man. In this regard, if we accept that the author of the Apocalypse was Saint John the Evangelist, he would have been approximately ninety years old at the time of its composition. However, painters such as Francisco Pacheco portrayed Saint John the Evangelist on multiple occasions and, notably, tended to depict him as a young man.