Stuart Period Silver Ring with Shield and Star

A gold finger ring with pie-dish bezel and pellets to the rim, inset sardonyx with intaglio female bust. 5.75 grams, 26.60 mm overall, 17.78 mm internal diameter (approximate size British O 1/2, USA 7 1/4, Europe 15.61, Japan 15)



English private collection.

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 carved marble figural panel depicting a religious scene, probably St. Francis of Assisi receiving the Holy Stigmata; a kneeling figure in loose-fitting cowl and habit with knotted cord to the waist, arms spread and head raised towards a chiaroscuro sunburst with a figure at the centre, wearing a loincloth and affixed to a plain cross, borne up by three pairs of wings attached to the shoulders and thighs; below, a second, smaller figure holding a book; all in a landscape with a tree at right behind the larger figure; mounted on a custom-made stand. 75 cm high including stand



English private collection.

The scene probably represents the events just prior to the end of the life of St. Francis of Assisi: while he was praying on a mountain with his companion, Brother Leo, he is said to have had a vision of a seraph (a six-winged angel on a cross) which gave him the gift of the stigmata, the five wounds of Christ. The apparition caused a deterioration in Francis's health and no cure could be found, so the saint spent the remaining days of his life dictating his spiritual message to Leo, who preserved the record of these events.