Silver Ring with Epigraphic Bezel

D-section hoop supporting an octagonal bezel divided into four registers, a cross on the upper register. 6.26 grams, 22.33 mm overall, 18.76 mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16)



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

The oval intaglio carved with a lively Bacchic procession: a winged putto driving a goat-drawn chariot, grasping a thyrsus with one hand and guiding the reins with the other; before the chariot, another putto dancing and playing the pipes; set in a gold pendant. 7.83 grams, 38 mm



Private collection, UK.

The subject reflects the revival of antique themes characteristic of early 19th-century glyptic art, drawing inspiration from Roman gems and Renaissance engravings after Raphael. Such imagery of putti in Bacchic revels was emblematic of festivity, abundance, and playful triumph, well-suited to the Neoclassical fascination with classical allegory. For a comparison, see the Metropolitan Museum of Art, New York, accession no. 49.97.335, “A frieze arrangement with a putto wearing a laurel crown riding a goat at left and many infants playing musical instruments in front,” Master of the Die after Raphael, c. 1530–60.

Depicting the Mother of God of Kazan with the Divine Child; the head of Mary slightly turned left towards infant Jesus extending his right hand in blessing; both figures with large haloes and identifying Greek inscriptions 'ΜΡ ΘΥ' (Mother of God) and 'O Ѡ N' (I am); three flowers in the nimbus of the Virgin; knop at the top for the suspension. 34.3 grams, 59 mm



Acquired from Chris Martin-Zakheim, Iconastas, 5 Piccadilly Arcade, London SW1. From the private collection of a West London, UK, gentleman, formed since the early 2000s.

The original icon prototype of these smaller icons, also known as the Theotokos of Kazan, is thought to have originated in Constantinople in the 13th century before it was taken to Russia. When the Turks took over Kazan in 1438, the icon was most probably hidden to keep it safe. Ivan the Terrible liberated Kazan in 1552, and the town was destroyed by fire in 1579, after which the icon was found and brought to the Church of Saint Nicholas. It was subsequently stolen in 1904 and never found again, though there are many copies in existence.