Post Medieval Apollo Gemstone

A marble interpretation of the famous 'Bathing Venus' (Pudica Venus) statue, modelled naturalistically in the round, nude, hair piled behind her head, holding her garment to her breast, standing on a composite discoid base imitating a stone pavement, with a casket at her feet; after Giambologna's Renaissance original; restored. 21.2 kg, 78 cm high

Old repair to neck.

French collection, 1960s-early 2000s. From an important Paris gallery, France.

The original 'Bathing Venus' statue in bronze has been attributed to Giambologna (Giovanni da Bologna) (1529-1608), and was probably created for King Henry IV of France as a diplomatic gift from Ferdinando I de’ Medici, Grand Duke of Tuscany. This is a neoclassical interpretation of that Renaissance statue.

A classic, Renaissance era gold ring composed of a slender D-section hoop, widening at the shoulders, fashioned as architectural capitals with strapwork and elaborate projecting scrolls in opaque white and blue enamel, embellished with red and green enamelled detailing; square bezel with box setting set with a table-cut ruby, pairs of blue enamelled cusplets to each of the four faces, stepped base below ornamented with a black enamelled bead moulded collar, bezel reverse of flat inverted pyramidal form and divided into four triangles, two with black enamelled hatching; retaining the majority of the original enamelling; accompanied by a Les Enluminures presentation box. 4.66 grams, 22.94 mm overall, 16.90 mm internal diameter (approximate size British H, USA 3 3/4, Europe 6.18, Japan 6)



Acquired from Les Enluminures Ltd, Illinois, USA, 2016. Property of an East Sussex collector. Accompanied by a Les Enluminures certificate of authenticity. Accompanied by a copy of the Les Enluminures invoice. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11670-197580.

Rubies were a potent symbol of status and social distinction in later medieval Europe, frequently adorning royal crowns. In the Renaissance, however, they conveyed a personal, more intimate message, their red colour, like the rose, emblematic of love. The intensity of the red colour was often enhanced with a foil lining to the setting and were popular as betrothal and wedding rings. It is believed that rubies symbolised the virtues of marriage and eternal matrimonial love. Such rings held an international appeal, making attribution to specific workshops or countries very difficult. The V & A Museum explains that 'Renaissance, the ring developed from the simple forms of the medieval period into a miniature work of art, combining the skills of the chaser, engraver and enameller as well as the stone cutter.'

A necklace composed of graduated facetted amethyst beads. 86 grams, 46 cm long



Acquired 1980-2015. Ex Abelita family collection.