Post Medieval Bronze Statue of an Etruscan Warrior

Comprising tiles with mauve-coloured glaze, including other architectural and landscape designs; set into a wooden frame with a suspension ring to the reverse. 2.7 kg, 40 x 26.5 cm



Acquired 1990s-early 2000s. East Anglian private collection.

Composed of a slender convex hoop engraved with crowned conjoined hearts flanked by birds, in turn pursued by bounding hounds, scrolling foliage and a cross at base; trace remains of enamelling; interior inscribed in cursive script: 'No felicitie to constancie', together with maker's stamp 'IY' in a square cartouche. 1.38 grams, 17.35 mm overall, 15.48 mm internal diameter (approximate size British J, USA 4 3/4, Europe 8.69, Japan 8)



Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

IY goldsmith's mark possibly for James Young of London, see Jackson, Sir C.J., English Goldsmiths and Their Marks, London, 1921, p.215. 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.

Depicted crowned and nimbate in a central panel, the bust of the Virgin encased in a medallion with a cross pendant, with inside the Holy Spirit under shape of dove and with nimbus, four nimbate figures of Saint Anna, Saint Basil the Great, Saint Simeon and another Saint below; text in the fields. 796 grams, 28 cm

The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permthrin, as a precaution.

Ex French gallery, Paris.

The rare Marian iconographic typology is called ''Mother of God who softens sick hearts', where she carries the Holy Spirit on her breast, represented by a dove emitting rays of light. In particular, it is a variant of the Madonna Odighitria. Both the mother and the child are depicted as the queen and king of the universe: the Virgin wears a crown on her head and holds the Child, who is also blessing with the right hand.