Post Medieval Bronze Seal Matrix Group

Composed of a slender hoop inscribed around the interior, maker's stamp 'TS' in rectangular cartouche, possibly for goldsmith Thomas Sharp. 3.03 grams, 19.90 mm overall, 17.05 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



From the collection of a North American gentleman, formed in the 1990s.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.

Advancing right against a gilt background, holding a staff, an ornate nimbus composed of arcades and trefoils behind his head; label to reverse for the Serbian Republic, dated 1970. 705 grams, 34.5 cm



Ex French gallery, Paris.

The painting represents a section of the Annunciation. The composition of the subject is well known from the Palaiologan paintings and from Balkan and Russian art since the 14th century A.D. The angel is advancing towards the frightened Virgin, with three fingers of the right hand raised and recalling the Trinity of God. The other hand is holding a staff, symbol of His investiture as Officer of the Heavenly Court and Archangel (Chief of the Angels).

Hollow-formed gilt lotus-shaped dais with repoussé panels depicting musicians, bodhisattvas and other figures; topped by a squatting figure modelled in the round with offering-plate formed as a leaf. 1 kg, 35 cm high



Ex Cotswold, UK, collection, 1970-1990.