Stuart Period Silver Cross Pendant

A bronze statue modelled on the famous Farnese Hermes (now in the British Museum); the god portrayed naturalistically in the round, youthful and nude, a chlamys draped around his shoulders, winged sandals on his feet; discoid base. 16.3 kg, 82 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. with Marion Antique Auction, USA, 8 June 2019, lot 131. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11689-199352.

The statue copies a Roman copy of a famous type created in the school of the Greek sculptor Praxiteles in the 4th century B.C. Villa de Papiri. A similar copy exists in the collection of the British Museum, London, under accession no. 1864,1021.1.

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 mixed group of archaistic items including a lapis lazuli cylinder seal, glazed composition scarab in white metal setting and other items. 507 grams total, 27-85mm



Acquired 1990s. Ex French collection.