Post Medieval Stone Mortar with Heads

Executed in oil and tempera and gold leaf; the central panel with the veiled head of Mary with her head inclined towards the infant Jesus supported by her left hand, wearing a red maphorion mantle with elaborate golden borders, over an off-white robe, with gold cuffs; the infant facing to left, dressed in blue tunic and wrapped in a yellow shawl, right hand extended in blessing gesture, Greek inscriptions ΜΡ ΘΥ (Μήτηρ (τοῦ) Θεοῦ = Mother of God) flanking Mary's head, and 'ΙϹ ΧϹ' (ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ = Jesus Christ) beside the infant; the side panels with icons of Saints Kosmas and Damianos (upper sections) and Saint George killing the dragon and Saint Barbara (lower sections). 425 grams, 20.5 cm



Property of a London, UK, gentleman collector. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Even after the fall of Constantinople, icons painted on wood remained the principal object of devotion for Orthodox Christians wherever the commonwealth of the Eastern Roman Empire left its traces. The painted icons are still used by the Orthodox for personal devotion, for display in churches on feast days, and to decorate the iconostasis (partition) of the church. This icon is a portable one, for domestic or travel prayers.

Depicted with a young face, curly hair, crowned by a halo, six radiating wings with feather detail; two holes for attachment. 33 grams, 19 cm



Acquired Brigantia Antiques, York, UK, circa 2007. Ian Wilkinson collection, Nottinghamshire, UK, formed since 1985. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

The plaque represents the central applique of a riphidion, an ecclesiastic fan worn by the Deacons during the Liturgical celebration of the Orthodox Church. The iconography refers to the Cherubim, the Angelic creatures with many wings and many eyes, ‘Singing the triumphal hymn, exclaiming, proclaiming, and saying' Holy, holy, holy. Fans are appointed to symbolise the invisible presence of the angels during significant liturgical acts. They are carried in the Great Entrance while the choir sings, ‘We who mystically represent the Cherubim and who sing the thrice-holy hymn to the life-creating Trinity, now lay aside all cares of this life, that we may receive the King of All, who comes invisibly escorted by the angelic host’. The altar servers take the place of angels, and they carry seraphic fans like the ancient Roman soldiers who carry the banner of their regiment.

Rectangular wooden board with mounting slots to reverse, reserved border and reveal; painted image of Mary Eleousa (also called the 'Virgin of Tenderness'); nimbate Mary in golden robes cradling infant Jesus, with cheeks pressed together; 'MP' monogram at top left. 885 grams, 29.5 x 25 cm



Acquired on the UK art market. Private collection, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12508-231941. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.