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LOT 0386
Medieval Silver-Gilt Jewelled Cross with Inscription
14TH-15TH CENTURY A.D.
1 1/4 in. (2.95 grams, 31 mm).
Set with a central cabochon-cut amethyst, rounded knops with textured detailing to the end of each arm, integral loop for suspension; to the reverse, the name 'HENRI' inscribed on the vertical axis, the acronym 'AGLA' horizontally, a Maltese cross to the centre.
ProvenanceUK art market, acquired prior to 1985.
From the collection of a North American gentleman, acquired in 2012.
The acronym 'AGLA' stands for the Hebrew phrase 'Atah gebur le-olam Adonai', meaning 'Thine Is The Power Throughout Endless Ages, O Lord'; it was used particularly in exorcisms, healing and divination, and was associated with Rosicrucianism.
CONDITIONTimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
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LOT 0386
Medieval Silver-Gilt Jewelled Cross with Inscription
Estimate £1,000 - 1,400€1,160 - 1,620 (for guidance only)$1,350 - 1,890 (for guidance only)
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Medieval Gold Quatrefoil Ring
Circa 15th century A.D.Sold for (Inc. bp): £715
Rectangular-section hoop and flared shoulders, punched crescent detailing, raised quatrefoil with central collar and knop. 4.41 grams, 22.92 mm overall, 16.27 mm internal diameter (approximate size British L 1/2, USA 6, Europe 11.87, Japan 11)
Acquired 1970-2010. Collection of a late Japanese gentleman. -
Medieval Lead Figural Amulet
14th-15th century A.D.Sold for (Inc. bp): £78
Formed as a stylised androgynous figure modelled in the half-round with stylised detailing, legs drawn up to chest and arms folded across the stomach. 19.8 grams, 43 mm
European collection, 1990s. Property of a Cambridgeshire, UK, gentleman. -
Late Medieval Ethiopian Wooden Diptych Depicting the Crucifixion and Resurrection
Circa 1550 A.D.Sold for (Inc. bp): £286
Composed of a pair of recessed panels forming folding doors; the right panel with painted crucifixion scene depicting robed Mary, John the Evangelist and another apostle, angels collecting the blood in cups; the left panel with nude Adam and Eve with deceased reaching up towards resurrected Christ holding the standard of Victory in his left hand, two holy women, the myrrh bearers (Mary Magdalen and Mary, mother of Jesus) to the left. 499 grams, 24 cm high each
Ex French private collection, 2000. Ex central London gallery.
The icon shows the Western influence on Ethiopian art. The Crucifixion image contains many elements of this iconography which are found in many Oriental and Western Art of Middle Ages, but with significant changes from the previous representations: Jesus is nailed with three nails and not four, the head leaning towards his right shoulder and the hair falling on his shoulders. Following the Western influence, Christ is represented in a spasm of physical pain, and consequently a more detailed anatomy of his chest and abdomen is depicted. This concept of the Crucifixion, common in the Italian Late Middle Age and Renaissance art, found its way to Ethiopia at some time towards the end of the 15th century, or at the beginning of the 16th century. As in the majority of the Resurrection icons of this period, Christ is dressed in a long robe with a cloak or toga draped over one shoulder.
