Post Medieval Love Token and Other Silver Artefact Group

A pair of carved porphyry vases modelled on the famous 2nd century A.D. Roman Warwick Vase with Bacchic ornament, beading and egg-and-dart ornament around the rim, foliate vines below with both handles formed from two entwined vines, the body displaying a frieze of male and female masks modelled naturalistically in high relief, leaves radiating upwards from the centre base; each created in two parts and accompanied by a marble plinth; probably re-used ancient stone. 10.7 kg total, 29.5 cm wide each



English private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11684-199805.

The original vase was reputedly discovered at Hadrian's Villa, in Tivoli, Italy in 1771 A.D.; now in the Burrell Collection, Glasgow, Scotland. The vase is not entirely reconstructed from original elements but incorporates the restorer's interpretation of how missing elements of the vase likely appeared. The original vase was named after the 2nd Earl of Warwick who acquired it from his uncle, Sir William Hamilton, in c.1775.

A wooden triptych with recessed central panel and two folding doors; the central panel with crucifixion scene with robed Mary and John the Evangelist, another apostle and Mary Magdalen, two crucified thieves to the rear and the angels depicted collecting the blood of God in cups; underneath the Crucifixion scene Virgin Mary and the Child escorted by armed Saint Gabriel and Saint Michael, prophets to the sides; the left door with nude Adam and Eve reaching up to the Resurrection of Christ, beneath them three prophets; the right door with two saints (upper panel) and three prophets; left and right bottom panels with Saint George (Bet Giorgis) and military Saint Victor on horseback; Ethiopian Ge'ez script legends. 760 grams, 35.5 x 21.5 cm



Acquired on the London art market, 2003. UK private collection.

The icon shows the Western influence on Ethiopian art. The first element is the orb which the Child holds in his left hand and the second element is the pose of his right hand. The orb appeared in Ethiopian paintings around 1500 A.D. Moreover, his hand shows two fingers outstretched, the index and middle finger, and the two last fingers folded.

A substantial gold signet ring composed of a lentoid-section hoop, expanding capital style shaped shoulders and irregular octagonal bezel engraved with a skull, two flowers below separating the reversed initials in capitals: 'CL', framed by a beaded border. 15.65 grams, 27.14 mm overall, 22.68 mm internal diameter (approximate size British X, USA 11 1/2, Europe 26.29, Japan 25)



Acquired in the 1980s. Property of a London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11664-197587.

Signet rings were jewellery items serving practical functions, and were pressed into hot wax to seal letters and packets. Personal seals or secreta acted as a legal safeguard, since they were used to witness wills, loans, commercial, personal and other documents. Such rings were often engraved with a coat of arms, initials, merchant's mark or some other personal symbol. Painted portraits of this period portray the wearer with the signet ring on the thumb or forefinger, allowing for practical use. Skulls on rings were potent symbols of mortality. 'Memento mori' or 'remember that you must die' imagery served as a reminder to the Christian of the need to keep their soul in good order for the final judgment.