Medieval 'Thames' Pewter Spoon with Brass Knop

Formed of two lozengiform cells set with polished garnet and embellished with circular cells to four corners, conjoined suspension loops above; bifacial. 0.88 grams, 13 mm



From the private collection of the late Mr S.M., London, UK, thence by descent.

Comprising crosses of various forms, most with suspension loops, one displaying Christ crucified. 42.2 grams total, 33-43 mm



Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman.

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.