Post Medieval 'Thames' William Mathews of London Pewter Plate

A gold finger ring with segmented hoop, cupped bezel with rosette to the underside, inset jasper cloison with intaglio advancing balatro jester playing pan-pipes while a dog jumps at his lower legs. 8.27 grams, 30.52 mm overall, 18.80 mm internal diameter (approximate size British Q 1/2, USA 8 1/4, Europe 18.12, Japan 17)



English private collection.

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.

A large rectangular ceramic tile displaying a scene with the Virgin and Child flanked by musicians over a winged putti head, winged putti flanking a wreath containing an armorial shield below; egg-and-dart border. 14.9 kg, 66 cm high



English private collection.