Tang Style Bronze Mirror

With octagonal plaque and chamfered edges, incuse design including an arrow and enigmatic pseudo-text. 12.11 grams, 23.32 mm overall, 19.10 mm internal diameter (approximate size British R 1/2, USA 8 3/4, Europe 19.38, Japan 18)



Private collection formed since the 1940s. UK art market. Property of an Essex gentleman.

Comprising two recessed panels, the left hand panel showing biblical scenes divided into two panels: in the upper panel the deposition of Christ in the tomb and the Resurrection of God, holding a flag in his left hand and grasping the hand of Adam with the right; in the lower panel the flagellation of Christ and the road to the Calvary; Ge'ez inscriptions on the field; the right hand panel showing the Crucifixion, Ge'ez inscriptions on the field. 946 grams total, 32.5 x 21.5 - 33 x 21.5 cm



Ex Alistair McAlpine collection, 2004. Ex central London gallery.

The icon shows Western influence on Ethiopian art. The Crucifixion image contains many elements of this iconography which are found in many Oriental and Western art of the Middle Ages, but with significant changes from the previous representations: Jesus is nailed with three nails and not four, the head leaning towards his right shoulder and the hair falling on his shoulders. Following the Western influence, Christ is represented in a spasm of physical pain, and consequently a more detailed anatomy of his chest and abdomen is depicted. This concept of the Crucifixion, common in the Italian Late Middle Age and Renaissance art, found its way to Ethiopia at some time towards the end of the 15th century, or at the beginning of the 16th century. As in the majority of the Resurrection icons of this period, Christ is dressed in a long robe with a cloak or toga draped over one shoulder.

Group of two mounts, each a rectangular tongue and stylised grotesque mask with pellet eyes. 430 grams total, 11.2-11.4 cm



Ex London, UK, collection, 1970-1990s. Accompanied by a previous catalogue information card.