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LOT 0330
Post Medieval Gold 'Let This Vs Tie Vntil We Die' Posy Ring
CIRCA 18TH CENTURY A.D.
3/4 in. (1.66 grams, 17.36 mm overall, 15.61 mm internal diameter (approximate size British I 1/2, USA 4 1/2, Europe 8.07, Japan 7)).
A gold posy ring with D-section band, inscribed internally with 'LET THIS VS TI VNTIL WE DI' inscription (let this us tie until we die). [No Reserve]
ProvenanceAcquired on the UK antiques market between 1974-1985.
Albert Ward collection, Essex, UK.
See Evans, J., English Posies and Posy Rings, London, 1931, for many examples.
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 0330
Post Medieval Gold 'Let This Vs Tie Vntil We Die' Posy Ring
Sold for (Inc. bp): £1,040
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Ethiopian Icon with St George and Virgin
16th-17th century A.D.Sold for (Inc. bp): £1,235
A portable wooden diptych icon depicting Bet Giyorgis on horseback on the left, dressed in red mauve riding coat, green cloak and carrying a shaft with iron head; on the right the Nativity scene with Virgin and the Child escorted by the angels. 562 grams, 20 x 15.5 cm
Acquired on the London art market, 2006. UK private collection.
The presence of angels dressed in western garments, the uncovered head of the Virgin and the swords of the angels, could suggest that the diptych is strongly influenced by Italian Renaissance painters. However, the chopping tool used here is particularly Ethiopian, as is the depiction of the Virgin and Child, lacking the care visible in Ethiopian works copied from Italian paintings. Ethiopian paintings influenced by European art can be split into two groups according to Stanislaw Chojnacki: paintings that directly relate to an identified painting, and paintings which borrow themes and details from Western art. In both, however, the Western forms have been simplified to the Ethiopian mode of expression. The horse harness can suggest dating to 16th-17th century A.D. -
Medieval Seal Matrix Reproduction Group
19th century A.D.Sold for (Inc. bp): £52
A mixed group of bronze reproduction vesica-shaped seal matrices each with a legend to the border and central figure. 108 grams total, 38-48 mm
Ex Baldwins basement, London, UK. From the collection of G.M.R.H., London, UK. -
Bronze Aquamanile with Horse and Rider
Early 19th century A.D.Estimate: £6,000 - 8,000 (+bp*)
Opening Bid: £2,200
A bronze aquamanile portraying a mounted rider, both horse and rider modelled in the round with semi-naturalistic anatomical and facial features; the horse standing facing forwards, ears pinned back and with short tail; the male figure positioned with one hand on the reins, the other raised to eye level, wearing period costume and boots; rectangular vessel mouth behind horse's forelock with remains of hinge for a lid (absent), conical pouring spout to its lower chest; some splits; modelled on c.15th century German examples. 5.6 kg, 30.5 cm high
Acquired from St Marys Convent, Peekshill, New York. From Emily Gagnon, Dallas, USA. UK private collection, 2002. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11686-197726
The practical function of the aquamanile was to pour clean water over the hands before dining, and in religious contexts to symbolically purify the body before undertaking communion. The origins of the form are often traced to the area of Iran, and it reached Western Europe through contacts with the Byzantine Empire.
