Stuart Period Iron Knife with Crown Maker's Mark

Oval cameo with a profile bust of a bearded man wearing a helmet with a leaping lion. 4.15 grams, 29 mm



Acquired on the European art market.

Finely modelled with a black-and-white enamelled mask, the features animated by rose-cut diamond eyes and a small ruby set into the open mouth; the head framed by a serrated gold collet and flanked by silver foliate clusters each set with a further rose-cut diamond; the shank formed as asymmetrical rococo scrolls with pierced and chased detailing throughout, the reverse of the bezel open, revealing white enamel engraved with faint traces of an original posy inscription. 2.28 grams, 21.10 mm overall, 17.45 x 16.35 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)

The enamel remains entirely original and unrestored.

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.13321-257909.

Though now largely worn, the underside of the bezel would likely have borne a concealed love sentiment, comparable to the formula Je cache mes amours ('I mask my love'), found on related rings of mid-18th-century manufacture. The theme of the masked lover, drawn from contemporary masquerade culture and its associations with flirtation, secrecy, and clandestine courtship, here transforms the jewel into a witty and intimate token.

Standing on an angular base resting his left knee on the open jaws of a fish, his left arm holding the jaws open, the body and tail held upright be the raised right hand (partly absent); with heavy sulphured patina. 20.75 kg, 48 cm



Acquired prior to 1970. From the estate of a Swiss gentleman, Ticino. Private collection, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12790-240308.

In ancient Roman art and architecture, fountains were often decorated with sculptures of young boys or putti holding fish. These sculptures were known as 'putti with fish' or 'boy with fish' and were a popular motif in the decoration of fountains. The young boy or putto was shown holding a fish or a shell, which would spout water into the fountain basin below. The fish was a particularly popular motif because it symbolised abundance, fertility, and prosperity, which were all important values in ancient Roman society. Overall, the putti with fish sculptures are a notable example of the art and architecture of ancient Rome and have continued to be an enduring symbol of beauty, abundance, and prosperity throughout the centuries. Archaeological excavations in Pompeii have revealed many examples of sculptures of putti with fish. The putti with fish sculptures from Pompeii were usually made of bronze, marble, or terracotta. They were often placed in the centre of the fountain, surrounded by other decorative elements such as flowers, plants, and other sculptures. Many of these putti with fish sculptures are now on display in the National Archaeological Museum of Naples. The museum also houses a famous mosaic of a putto with a fish, which was discovered in the House of the Faun in Pompeii. The putti with fish sculptures from Pompeii and those in the Naples Museum provide valuable insights into the art and culture of ancient Rome. They demonstrate the importance of beauty and abundance in ancient Roman society and offer a glimpse into the everyday life of the people who lived in Pompeii over two thousand years ago. In the 17th and 18th centuries these sculptures were imitated and used to decorate the fountains of royal palaces and palaces.