Stuart Period Large Gold Signet Ring with Arm and Floral Spray

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 icon depicting the Virgin holding the Christ on her lap on a gilt background, both nimbate, the haloes with punched foliate decoration; the Virgin wearing a carmine red maphorion embellished with golden embroidery and fringes, elaborate cuffs and neckline to the himation; the Christ seated on the lap, holding his right arm out and making the blessing sign with his hand, left hand holding an open scroll inscribed in Greek πνευμα κυριου επ εμε ου ενεκεν εχρισεν με ευαγγελιζεσθαι πτωχοις απεσταλκεν με for 'The Spirit of the Lord is on me, because he has anointed me to proclaim good news to the poor' (Luke 4:18-21), the green chiton and orange himation embellished with red folds; Greek inscription 'ΜΡ ΘΥ' for 'Mother of God' flanking the Virgin's halo, 'IC XC' for 'Jesus Christ' to the right of the Child and inside his nimbus 'O Ѿ N' for 'The Only One who always exists'; some restoration. 4.3 kg, 60 x 42.5 cm

very good condition; tempera on wood panel; vertical crack minimally restored.

Property of a London lady, part of her family's collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by searcher certificate no.11572-198599.

In the Orthodox church, the spaces between the columns close to the central doors of the Iconostasis (Holy Doors) are occupied by two proskynesis icons, representing Christ giving his blessings to the right and to the left the Virgin Mary, with or without the infant, or in interceding position known as Virgin Chalkoprateia type.

A pair of carved porphyry vases modelled on the famous 2nd century A.D. Roman Warwick Vase with Bacchic ornament, beading and egg-and-dart ornament around the rim, foliate vines below with both handles formed from two entwined vines, the body displaying a frieze of male and female masks modelled naturalistically in high relief, leaves radiating upwards from the centre base; each created in two parts and accompanied by a marble plinth; probably re-used ancient stone. 10.7 kg total, 29.5 cm wide each



English private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11684-199805.

The original vase was reputedly discovered at Hadrian's Villa, in Tivoli, Italy in 1771 A.D.; now in the Burrell Collection, Glasgow, Scotland. The vase is not entirely reconstructed from original elements but incorporates the restorer's interpretation of how missing elements of the vase likely appeared. The original vase was named after the 2nd Earl of Warwick who acquired it from his uncle, Sir William Hamilton, in c.1775.