Stuart Period Large Gold Signet Ring with Arm and Floral Spray

A bifacial wooden Qäqwami Mäsqäl processional cross, three-lobed extremities on three sides, decorated with geometric motifs representing crosses of different types, supported by a lanceolate shaft with two round openwork openings; socketted shaft with vertical grooves and fitted with a double horizontal groove; inscriptions on two of the lobed sides of the cross; accompanied by a custom-made display stand. 600 grams, 42 cm high (49cm high including stand)



Acquired on the London art market, 2003. UK private collection.

The large wooden crosses are often used by ddbtdras, who are unordained members of the Orthodox Ethiopian clergy, for their liturgical dance. In the countryside, one or two of these crosses are kept on the church window-sills close to the area where the dance is performed, instead of being kept in the church storehouse. Sometimes they are mounted upon a shaft and worn in procession. The characteristic feature of a processional cross is a socketted shaft which serves for mounting them on a strong pole known as masor or handle. Although technically the shaft serves to support the cross, according to the interpretation of Ethiopian church scholars, its real function is to protect the cross from being touched.

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 string of graduated oblate lapis lazuli beads. 98 grams, 58 cm long



Acquired 1980-2015. Ex Abelita family collection.