Statuette of Demeter in Lapis Lazuli

A classic, Renaissance era gold ring composed of a slender D-section hoop, widening at the shoulders, fashioned as architectural capitals with strapwork and elaborate projecting scrolls in opaque white and blue enamel, embellished with red and green enamelled detailing; square bezel with box setting set with a table-cut ruby, pairs of blue enamelled cusplets to each of the four faces, stepped base below ornamented with a black enamelled bead moulded collar, bezel reverse of flat inverted pyramidal form and divided into four triangles, two with black enamelled hatching; retaining the majority of the original enamelling; accompanied by a Les Enluminures presentation box. 4.66 grams, 22.94 mm overall, 16.90 mm internal diameter (approximate size British H, USA 3 3/4, Europe 6.18, Japan 6)



Acquired from Les Enluminures Ltd, Illinois, USA, 2016. Property of an East Sussex collector. Accompanied by a Les Enluminures certificate of authenticity. Accompanied by a copy of the Les Enluminures invoice. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11670-197580.

Rubies were a potent symbol of status and social distinction in later medieval Europe, frequently adorning royal crowns. In the Renaissance, however, they conveyed a personal, more intimate message, their red colour, like the rose, emblematic of love. The intensity of the red colour was often enhanced with a foil lining to the setting and were popular as betrothal and wedding rings. It is believed that rubies symbolised the virtues of marriage and eternal matrimonial love. Such rings held an international appeal, making attribution to specific workshops or countries very difficult. The V & A Museum explains that 'Renaissance, the ring developed from the simple forms of the medieval period into a miniature work of art, combining the skills of the chaser, engraver and enameller as well as the stone cutter.'

A gold finger ring with openwork hoop and split shoulders, ellipsoid bezel with carnelian intaglio of Mercury wearing a petasos. 3.36 grams, 21.24 mm overall, 18.50 mm internal diameter (approximate size British Q 1/2, USA 8 1/4, Europe 18.12, Japan 17)



English private collection.

A Greek style marble archaic kouros statue carved with braided hair held by a diadem, arms held straight at the sides, legs in advancing pose. 16.5 kg, 71 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France.

The kouros (free-standing nude male youth) first appeared in ancient Greece in the Archaic Greek period; kouros figures have been found across the Greek-speaking world, concentrated mainly in sanctuaries of Apollo. The term means ‘male youth, particularly one of noble rank’; when a pubescent boy came of age in ancient Greece, he was known as a kouros, at which point he could participate in the initiation feast of the brotherhood. The god Apollo was known as the greatest kouros. Typically life-sized, these figures were produced in marble, but have also been found in limestone, wood, bronze and terracotta. The female counterpart is the kore.