Matthew Holder, European Works Of Art

Matthew Holder, European Works Of Art Devoted to the study & acquisition of early European Sculpture & Works of Art with a strong focus on

French Boxwood Roller Print with Royal Arms, Hunting Scenes, and Military Emblems.France, 18th century.Measurements: 7.3...
12/11/2025

French Boxwood Roller Print with Royal Arms, Hunting Scenes, and Military Emblems.

France, 18th century.

Measurements: 7.3cm (2 3/4 in.) in length.

This intricately carved roller print in boxwood presents a rich interplay of heraldic, martial, and hunting imagery. The main cylindrical body is decorated in relief with continuous friezes of stylised crowns, fleur-de-lis, oak leaves, and florets. Below runs a vivid hunting scene: a coursing lévrier pursuing deer, alongside birds in flight, rabbits in cover, and a fortified tower firing cannons, encapsulating both courtly sport and military symbolism.

One terminal is carved with the arms of France — three fleurs-de-lis under a royal crown — encircled by the chain of office of the Order of Saint Michael, affirming the dynastic and monarchical identity of the piece. The opposite end bears a cartouche with the initials N P above a cannon and military trophies, framed by foliage, further embedding martial associations within the design.

Rollers of this type were used to impress designs into dough or sugar paste for festive and commemorative cakes, their motifs embedding royal and religious iconography into domestic ritual. The combination of heraldic arms, Passion symbols, hunting, and martial scenes reflects the close interconnection of monarchy, faith, and everyday life in ancien régime France.

Comparisons
Comparable examples are published in Edward H. Pinto, Treen and Other Wooden Bygones (London, 1952), fig. 186 and p. 187, where French 18th-century roller prints are discussed. Notably, Pinto records examples stamped Guillaume A. Gorge, 1747 and Josephe Mignon, 20 Janvier 1748, offering rare evidence for identified makers of such carved tools.

Gold Ring Set with an Inscribed Carnelian Intaglio.Persian intaglio dated 1179 AH / 1765 AD, English mount, late 18th ce...
12/11/2025

Gold Ring Set with an Inscribed Carnelian Intaglio.

Persian intaglio dated 1179 AH / 1765 AD, English mount, late 18th century.

Measurements:
Ring size: M ½ UK / 6.5 US / 53 EU.
Bezel: 2 × 1.7 cm.
Intaglio: 1.7 × 1.4 cm.
Weight: 5.15 grams.

A high-carat gold ring set with an octagonal carnelian intaglio finely engraved in elegant nasta‘liq script with the name “Thulfiqar Lola” and the date 1179 AH (1765 AD). The surface of the stone is enriched with finely worked vegetal scrolls and floral motifs forming a delicate frame around the inscription.

The mount, likely made in England shortly after the intaglio was produced and brought back from Persia, is of high-carat gold with a subtly faceted bezel and bifurcated shoulders joining a rounded hoop. The inscription is written in Persian, using the nasta‘liq script, the principal literary and artistic hand in Iran during the 17th and 18th centuries. Carnelian—believed to hold protective and spiritual properties—was traditionally used for inscribed seals and signet rings throughout the Islamic world.

Merovingian Buckle and Trapezoidal Plate with Five BossesNorthern Gaul, circa 600–630 ADMeasurements: 13.1 × 6.5 cm.Mate...
12/11/2025

Merovingian Buckle and Trapezoidal Plate with Five Bosses

Northern Gaul, circa 600–630 AD

Measurements: 13.1 × 6.5 cm.
Material: Cast copper-alloy with tinned “false silver” surface.

A large and finely cast Merovingian belt buckle composed of a rectangular loop, anthropomorphic barb, and trapezoidal plate with five applied domed bosses. The surface is engraved with linear and geometric ornament, including stylised interlace motifs and borders of repeating hatchwork. The basal shield of the barb encloses a subtle anthropomorphic mask in relief, characteristic of early 7th-century Frankish workmanship. Traces of tinning survive across the surface, evoking the appearance of silver.

This form, known as Type 174 after Legoux et al. (2016), represents the most characteristic style of Frankish buckle from early 7th-century Northern Gaul. Such pieces were worn by both men and women and are among the most elaborate expressions of personal dress accessories of the Merovingian elite. Buckles with rectangular loops are particularly associated with the Aisne region of northern France, where numerous parallels have been recovered from richly furnished burials.

Comparisons
A closely related example was excavated at the Merovingian cemetery of Cugny (Aisne), published in Jules Pilloy, Études sur d’anciens lieux de sépultures dans l’Aisne (1880), p. 30. Another buckle of the same group, found at Monceau-le-Neuf-et-Faucouzy (Aisne), belonged to the collection of Johannes von Diergardt (1859–1934) and is now in the Museum für Vor- und Frühgeschichte, Berlin (Schätze aus Europas Frühzeit: Der Sammler und Mäzen Johannes Freiherr von Diergardt, p. 105, fig. 118).

Provenance
Artcurial, Paris, 2 November 2021, lot 72.
Former collection of Docteur Bernard Coiffu, Paris, acquired from Galerie Serres, Paris, 9 October 1993.

Stained Glass Panel Fragment Depicting the Presentation in the Temple.Southern Low Countries, circa 1520 A.D.Measurement...
11/11/2025

Stained Glass Panel Fragment Depicting the Presentation in the Temple.

Southern Low Countries, circa 1520 A.D.

Measurements: 12 × 8.5 cm (4 ¾ × 3 ⅜ in.)

Weight: 92 grams

A finely painted stained glass panel fragment illustrating the Presentation in the Temple. The composition centres on a bearded priest in a cowled robe holding the Christ Child, who sits on a cloth-draped altar. To the left, a male attendant presents a single dove, while the hands of another figure—likely the Virgin—are visible in the foreground. The priest’s mantle is rendered with fine linear detail, and his belt bears a mounting ring, flask, and sword. The background features a patterned textile hanging and a stylised foliate design in warm yellow stain and brown enamel. Set within a later lead frame fitted with suspension loop.

Provenance:
From the collection of the Phillips family, owners of John Hardman & Co., Birmingham (metalsmiths and stained glass fabricators), founded 1838.

Gold and Silver Ring Set with a Roman Amethyst Intaglio Depicting the Attributes of Minerva.Roman intaglio, circa 1st ce...
10/11/2025

Gold and Silver Ring Set with a Roman Amethyst Intaglio Depicting the Attributes of Minerva.

Roman intaglio, circa 1st century B.C. – 1st century A.D.

Ring mount, late 19th century.

Measurements
Ring size: O ½ UK / 7.5 US / 56 EU.
Weight: 3.35 grams.

Description
A gold and silver ring set with an oval Roman amethyst cabochon intaglio engraved with the attributes of Minerva—the Roman goddess of wisdom and war, counterpart of the Greek Athena. The violet stone depicts an owl, a crested helmet, a spear, and a sword, emblems of her intellect, strategy, and martial virtue.

The intaglio is mounted in a late nineteenth-century setting with a serrated bezel and eight rose-cut diamonds in closed-back silver collets. Its openwork triple-split shank with transverse bars exemplifies the neo-classical revival taste of the period, harmoniously combining an ancient gem with a refined nineteenth-century mount.

Condition
Minor wear consistent with age; gemstone with light surface wear and inclusions; structurally sound and well preserved.

Marble Relief Portrait of Hercules.Italian, 18th / 19th century.MeasurementsDiameter: 15 cm.Depth: 5 cm.DescriptionA fin...
05/11/2025

Marble Relief Portrait of Hercules.

Italian, 18th / 19th century.

Measurements
Diameter: 15 cm.
Depth: 5 cm.

Description
A finely carved marble roundel depicting a bust of Hercules in profile to the left, identified by the incised inscription ERCOLE along the right edge. The hero is shown with short curling hair and a beard, his head and shoulders enveloped in a classical mantle that falls in soft, rhythmic folds. The sculptor’s treatment of the features is restrained yet expressive, conveying a noble and contemplative character rather than overt physical power.

The relief reflects the Neoclassical reimagining of antique subjects, drawing on Renaissance models and the idealised physiognomies of classical heroes. Intended for architectural or domestic display, the piece evokes both the moral and aesthetic ideals associated with Hercules—strength, virtue, and endurance.

Condition
Minor surface wear and small areas of age-related staining. The marble has developed a gentle, even patina consistent with age.

Gold-Mounted Agate Bonbonnière in the Form of an Orange, Mid-18th century.MaterialCarved orange agate mounted in chased ...
01/11/2025

Gold-Mounted Agate Bonbonnière in the Form of an Orange, Mid-18th century.

Material
Carved orange agate mounted in chased gold.

Measurements
Height: 4.7 cm.
Diameter: 4.4 cm.
Weight: 54 grams.

Description
A rare and exquisitely carved bonbonnière in the form of an orange, fashioned from a single block of translucent orange agate with natural mottling and veining imitating the variegated rind of the fruit. The lid and lower section are joined by a chased gold mount, finely worked with symmetrical rocaille and shell motifs typical of the Rococo taste. The upper surface of the stone is subtly carved with the fruit’s natural pedicel and radiating depressions, the lapidary capturing with remarkable delicacy both texture and contour.

The interior is highly polished, revealing the gem-like translucency of the agate when held to the light, its hues shifting from honey to deep amber. Boxes of this type, known as bonbonnières or occasionally s***f boxes, were prized objets de vertu, often exchanged as tokens of affection or incorporated into curiosity cabinets. The present example exemplifies the refined wit and naturalism of mid-eighteenth-century hardstone carving, echoing the contemporary fascination with nature’s forms and the technical virtuosity of the goldsmith’s art.

Condition
A small chip to the pedicel. The main body has been broken and professionally restored from three sections; the joins are expertly conserved and barely visible, the overall surface retaining an attractive polish and fine translucency.

A Cameo Ring Depicting Silenus.Italy or England, circa 1800–1820.MaterialsHoney-coloured agate cameo set in a silver-gil...
30/10/2025

A Cameo Ring Depicting Silenus.

Italy or England, circa 1800–1820.

Materials
Honey-coloured agate cameo set in a silver-gilt ring.

Measurements
Ring size: T 1/2 UK / 9.75 US / 62 EU.
Weight: 9.5 grams.

Description
An expressive cameo carved in layered honey and grey agate, depicting the head of Silenus in profile to the right. The elderly companion and tutor of Bacchus is shown bald and bearded, his features rendered with striking naturalism—the furrowed brow, aquiline nose, and flowing curls of his beard all crisply defined. Around his head winds a crown of vine leaves, deeply cut to exploit the contrasting strata of the stone, the carver skilfully using tonal variation to distinguish flesh, hair, and background.

The cameo is mounted in a simple oval silver-gilt bezel with a broad tapering hoop of early nineteenth-century form. The understated classical mount complements the sculptural quality of the gem and reflects the neoclassical taste for mounting earlier or antique-style cameos in contemporary settings. The cameo itself may be slightly earlier than the ring.

Iconography and Context
Silenus, an attendant of Bacchus, embodies the duality of intoxication and wisdom—an aged reveller whose drunkenness conceals prophetic insight. In classical art he is distinguished from Bacchus by his age, bald pate, and fuller beard, yet retains an air of dignity and contemplative repose. The present example follows this mature iconography, conveying both sensuality and sagacity in a composition that would have appealed strongly to neoclassical collectors attuned to the moral and allegorical nuances of antique myth.

Condition
Very good condition, with minor natural inclusions in the agate and gentle surface wear to the gilding consistent with age.

Antique Gold Ring Set with an Ancient Egyptian Faience Scarab.Egyptian scarab, Late Period, circa 664–332 BC.Ring mount,...
29/10/2025

Antique Gold Ring Set with an Ancient Egyptian Faience Scarab.

Egyptian scarab, Late Period, circa 664–332 BC.

Ring mount, 19th century.

Material
High carat gold mount; turquoise-green glazed faience scarab.

Measurements
Ring size G UK / 3.25 US / 45 EU.
Scarab: 1.4 × 1 cm.
Weight: 2.49 grams.

Description
A refined 19th-century gold ring mounted with an ancient Egyptian faience scarab. The oval scarab is crisply moulded with naturalistic anatomical detailing: pronounced clypeus, wing case, and legs delineated in darker green glaze. The underside is carved with hieroglyphic signs, lightly worn yet still clearly defined. The mount is of elegant hinged construction, allowing the scarab to swivel in the classical manner, secured by gold caps and fine twisted wire collars to either side. The shank is slightly rounded, exhibiting a soft patina from long handling.

The vivid turquoise-green glaze and the symbolic form adhere to the enduring Egyptian tradition in which the scarab beetle represented regeneration, protection, and the solar cycle. Such scarabs were frequently reused in later periods, particularly the 18th and 19th centuries, when the renewed fascination with Ancient Egypt saw genuine antiquities incorporated into contemporary jewellery — preserving their amuletic function while allowing them to be worn anew.

Condition
The scarab with minor surface wear, stable glaze, and expected age-related imperfections. The gold mount in good condition overall, though with some loss to the gold wirework on one shoulder, and light wear consistent with age and use.

An Engraved Turned Wooden Cup.England, dated 1636.A beautifully preserved standing cup, expertly turned from pearwood an...
28/10/2025

An Engraved Turned Wooden Cup.

England, dated 1636.

A beautifully preserved standing cup, expertly turned from pearwood and finely engraved with foliate and geometric ornament. Around the bowl appear three heraldic beasts — a white hart, a wyvern, and a unicorn — all rendered in delicate linear incision amidst stylised foliage. Above them runs an elegant border of arched panels enclosing rosettes. Beneath, the foot is enriched with concentric bands of roundels and leaf motifs. Just below the rim are the initials T.F.S. and the clearly inscribed date 1636.

The cup’s warm patina and tactile surface speak to its careful use and survival across nearly four centuries. It belongs to a distinctive group of early 17th-century English treen vessels — domestic woodenware — which were once widespread but are now exceptionally scarce. Such engraved cups were likely made for commemorative or ceremonial use, perhaps marking a marriage, a guild association, or a special occasion within a household. Their heraldic symbolism, including animals associated with nobility, loyalty, courage and virtuous conduct, aligns with post-Reformation domestic values.

This example stands out not only for its crisp decoration and date, but also for its documented provenance since the mid-20th century. It was acquired from the renowned Owen Evan-Thomas collection by A. H. Isher & Son in 1945, accompanied by correspondence and an invoice dated 10 November 1945. It subsequently entered the collection of Dr J. R. B. Thomson in Kent, remaining with his family by descent.

A rare and characterful survival of early Stuart craftsmanship — elegant, personal, and deeply rooted in the social rituals of 17th-century England.

For more information see the full catalogue entry on www.matthwholder.com.

Gold Ring Set with a Sardonyx Cameo of Medusa.The cameo 19th century, the ring later.Measurements:Bezel: 2 × 1.7cm.Ring ...
28/10/2025

Gold Ring Set with a Sardonyx Cameo of Medusa.

The cameo 19th century, the ring later.

Measurements:
Bezel: 2 × 1.7cm.
Ring size: Q UK / 8 US / 57 EU.
Weight: 6.8 grams.

This high-carat gold ring is set with a finely carved sardonyx cameo depicting Medusa in profile. The carver has expertly exploited the layered structure of the stone to enhance the striking contrast between the pale foreground and dark ground. Her hair is composed of tightly coiled serpents that frame the face in richly detailed curls, conveying both beauty and latent menace. Two further serpents are bound around the neck, their bodies serving as a symbolic collar beneath the chin. The gold setting is broad, smooth, and softly planished, lending a bold and confident presence to the jewel.

The subject of Medusa — revered as an apotropaic figure capable of warding off evil — enjoyed a significant revival in the 19th century, inspired by renewed interest in the art and mythology of the Classical past. This cameo exemplifies that taste, combining technical accomplishment with a fascination for the powerful iconography of antiquity.

An Etruscan Amber Head Pendant.Etruria, circa 5th century B.C.Measurements5.1 × 3.6 × 2.4 cm.9cm high on its bronze disp...
28/10/2025

An Etruscan Amber Head Pendant.

Etruria, circa 5th century B.C.

Measurements
5.1 × 3.6 × 2.4 cm.

9cm high on its bronze display stand.

Provenance
Anonymous sale; Sotheby’s London, Antiquities, 14–15 December 1981, lot 206.
The property of an American private collector, acquired at the above sale.

Carved from translucent red-brown amber with a warm, granular patina and areas of stable age-related degradation, this pendant takes the form of a profile head with stylised Archaic features. The sculptor emphasised the large almond eye beneath a defined brow ridge, a softly smiling mouth, and carefully delineated hair arranged in striated bands sweeping back from the face. A drilled perforation at the crown indicates its original function as a suspended ornament, while the smoothing around the opening suggests active wear in antiquity.

Amber was a prestigious imported material in Etruria, highly prized for its rarity, colour, and perceived apotropaic power. From the late 6th century B.C. onwards, figured amber pendants appear in elite tombs, particularly those of women, reflecting both personal identity and a protective role within funerary belief systems. The prominent, wide-open eye here may have served as a talismanic motif, thought to ward off malign forces and ensure the wearer’s vigilance and wellbeing in life and beyond the grave. This piece reflects the distinctive aesthetic of Etruscan amber carving, in which Mediterranean influences are reinterpreted with a locally expressive sculptural style.

Condition
Age-related nibbles and craquelure are present throughout the material, consistent with the natural oxidative degradation of ancient amber. There is a chip to the centre of the foremost side of the head, visible in the first image. Some stabilised crumbling surrounds the suspension perforation on the reverse. The overall structure remains stable and well-preserved.

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