Slipware Frog 'Loving Cup' Named Tom Frozon

A finely executed devotional pendant in the form of a Latin cross, worked in high-carat gold and elaborately decorated on both sides; the obverse set with twelve table-cut almandine garnets, each enclosed within raised rub-over collets and inset with finely painted polychrome enamel scene depicting symbols of the Arma Christi, the Instruments of the Passion, including the scourge, hammer and pincers, the column of flagellation, rooster, dice, crown of thorns, and other emblematic motifs; the upper terminal with black enamel and bearing a gilt inscription 'INRI', an abbreviation of 'Iesus Nazarenus Rex Iudaeorum' for 'Jesus of Nazareth, King of the Jews'; the reverse with guilloché enamel in translucent green and opaque white, forming a cross with stylised foliate terminals; the pendant retaining its original integral suspension loop; some restoration on the enamel. 4.06 grams, 43 mm



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13403-257997.

This pendant typifies early 17th-century German devotional jewellery, in which vivid enamelwork and miniature Passion iconography converge in portable, contemplative forms of piety.

Comprising forty-three discoid seals with various emblems and inscriptions. 370 grams total, 16-26 mm



Found Suffolk, UK.

The head, carved from pale green chalcedony, polished to a smooth lustre and with a drilled aperture at the crown, the hair in tight curls around the nape and crown; the silver-gilt torso dressed in a draped toga carefully chased with deep folds and traces of gilding across the high points; mounted on a later patinated bronze column stand in the neoclassical manner. 208 grams total, 10.9 cm high including stand



Acquired on the European art market.

This small-scale portrait evokes the Roman tradition of imperial portraiture and the early modern fascination with the ancient world. From the seventeenth century onwards, artists and collectors revived classical subjects through hardstone and gilt-metal compositions, often intended for display in Kunstkammer or Grand Tour contexts. The combination of a reused ancient or earlier element with a later mount was a practice typical of the Renaissance and Baroque periods, reflecting the period’s reverence for antiquity and its imaginative recontextualisation of ancient forms.