Auction 86 - Glyptics and Ancient Jewelry

A fine neoclassic Poniatowski carnelian intaglio mounted on a gold ring. Achilles having killed Pilidorus, attacked by Hector.

19th century A.D.

Intaglio : 20 x 30 mm
Ring : 26 x 17 mm
7,89 g


The intense fighting scene refers to an episode of the Trojan War. The brave Achilles, after killing Polidoro by hitting him with his spear, is attacked by Hector, who faces him without fear. The bodies are naked, sculpted in their youthful beauty, with the muscles tense in combat. Only helmet and shield protect them; the rising drapery is purely ornamental, a neoclassical signature of this splendid stone, mounted in its original ring commissioned by the Polish prince for his legendary collection. The intaglio is signed with greek letters under the groundline: ΒΟΗΘΟΥ (Boethos). Very fine condition.

Parallels: Beazley Archive; Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833): V.168; Christie's, London: 1839-1159. G. Vangelli de Cresci, Ad Minima Ad Maxima. La raccolta di impronte e matrici di gemme incise e medaglie. Museo dell'Antica zecca di Lucca.

U.K private collection, London.

A very fine neoclassical agate intaglio signed Calandrelli.
Ulysses and his companions blinding the eye of Polyphemus.

1820-1830 circa

42 x 59 x 4 mm

This remarkable large agate intaglio, signed below CALANDRELLI, depicts the famous scene in which
Ulysses and his companions are ready to blind the cyclops in his cave, after falling asleep for drinking wine. On the right Ulysses, recognizable by his typical headdress, pushes the base of the long inflamed wooden pole, directed towards the eye of Polyphemus, helped by his companion; wearing an helmet and a cloack covering an armor. A third character is instead behind the monstrous cyclops, to monitor the action, armed with a spear and always dressed with helmet, armor and cloak. The cyclops, who occupies the most prominent central position, is intoxicated and seated on the ground, with his head bowed over his left arm, resting on the raised knee, as a sign of yielding to sleep; instead his right arm is abandoned towards the ground, near the emptied cup. The scene is set inside the cave, with masterfully rendered rocks.

The same delicacy is used to make the smoke coming out of the tip of the bursting pole.The scene is set according to a well-balanced structure and studied by the artist, as evidenced by one of his drawings (Berlin) which undoubtedly constitutes the faithful preparatory model for this gem: the correspondance between the preparatory drawing and the agate carving it is in fact very strong, almost total, except for some aesthetic variations (as often happened during the execution phase).There is a second variant of the same scene, always attributed to Calandrelli but signed in Greek as Demophilos (ΔΕΜΟΦΙΛΟΣ ΕΠΟΙΕΙ), made for the Prince Poniatowski. The attribution of the drawing to Calandrelli is certain; the attribution to Calandrelli for the Poniatowski intaglio (currently missing and testified by the plaster cast ) may not be so sure.
The style of the intaglio signed Demophilos (propabably Calandrelli ?) appears in fact different, far inferior in skill and style, with anatomical details often artistically weak and the proportions of the characters not always respected.

The agate intaglio signed by the artist, reveals in fact an extraordinary engraving quality completely different, with a masterly rendering of the anatomical details and the expressive physiognomy of the figures very faithful to the drawing. Every detail is mirror-polished with great skill. A very rare and extraordinary agate variety was used to represent this mythological episode: the agate in fact presents very fine variety of colors from red, yellow to brown tones with shades and spots, as if to symbolize the cave, the smoke and the violence of the scene. The stone has slight signs of wear, small cracks and a chipping on the edge, probably caused by removing the stone from its original setting.

A Grand Tour Era plaster cast impression, taken from this work, has been identified in a private collection. Unpublished.

Parallels: Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833): VI.30
Christie's, London: 1839-538
Prendeville, J.: Explanatory catalogue of the proof-impressions of the antique gems possessed by the late Prince Poniatowski and now in the possession of John Tyrrell, Esq. (1841): 1014
Calandrelli drawing, Antikensammlung Berlin: A.IV.4
Lord Monson
Christie's, London: June 9, 1851, lot 101
Samuel Sharp
Sotheby's, London: 5 April 1883: lot 91
Platz-Horster,G.: L'antica maniera. Zeichnungen und Gemmen des Giovanni Calandrelli in der Antikensammlung Berlin (2005): P.81 G. Vangelli de Cresci, For the Poniatowki collection: A Minima Ad Maxima, La raccolta di impronte ematrici di gemme incise e medaglie, Museo dell'Antica Zecca di Lucca.

U.K., private collection 80's, London.

An extraordinary neoclassical rock crystal intaglio. Jason and zodiac signs.

1820-1830 circa

30 x 42 x 6 mm

Jason, son of the king of Iolco, Aeson, and husband of the sorceress Medea, was at the head of the Argonauts expedition, aimed at the conquest of the golden fleece. Wanting to regain the throne of Iolco usurped from his father Eson by his stepbrother Pelias, Jason will have to go to conquer the Golden Fleece, the skin of the golden ram located in Colchis from King Aetas, at the head of a group of heroes, the Argonauts, who form the crew of the ship Argo. Thanks to Medea, daughter of Eeta, he succeed in his quest and, after many adventures characterizing the whole trip, he will return to Iolco. In this extraordinary rock crystal intaglio, the hero is represented in all his youthful strength and beauty with the attributes of success.

The character is facing left, with the helmeted head in profile and with the chest slightly twisted in three-quarters. The gaze downwards, is contemplative, the left hand resting on the side, while the right holding a spear, the tip pointing downwards. The left leg supports the vigorous body, while the right elegantly lifting the heel. The body is muscular, sculpted with meticulous anatomical details, with great technical skill. On the chest appears the sword sheath leather band, while the feet are protected by sandals whose very thin sole can be seen under the feet. The left arm also carries the mythical fur of the Golden Fleece, emblem of his great enterprise; a flap of cloak rises behind the back, blown by the wind, according to a typical neoclassical iconography. The figure of Jason, perfectly centered in the field of the stone, dominates in all its heroic splendor, in a powerful sculptural pose of classical inspiration, and at the same time intimate and delicate.

A strong allegorical and astrological meaning is present in this precious gem, showing the 12 zodiacal signs masterfully engraved on the edge of the back of the stone. The extraordinary stylistic rendering of the zodiac symbols is emphasized by their executive perfection despite the narrow and complicated space to engrave, since the edge is inclined. Despite of its thickness, the transparency of the stone makes possible the perception of all signs engraved on the back, creating an effect of passing and overlapping of both scenes, united in a single great astral allegory. The celestial signs accompany Jason in his mythical triumph, after many difficulties and fights. His effigy appears thus protected by the gods and the planets, from the beginning to eternity, as revealed by the letters alpha and omega, the seal of this scene.

The compositional structure of the standing (or seated) figure surrounded by the zodiac is known and attested since ancient times also in the glyptic, in rare and valuable specimens; however the stylistic and executive details seem to advance the dating of this gem to the neoclassical Era.

U. Pannuti, La collezione glittica. Museo Archeologico Nazionale di Napoli, vol. 2, p. 164 n. 130 (Apollo-Helios with the zodiac, ancient roman carnelian intaglio); J. Kagan, O. Neverov, 500 pierres gravées du Cabinet de Duc d'Orléans, p. 67 n. 57/29 (16th century carnelian intaglio); p. 145 n. 273/91, p. 165 n. 335/153. L.P.B. Stefanelli, La collezione Paoletti, vol. 1, tomo I n. 125; n. 197; tomo 4 n. 48 and 228; vol. 2: tomo 5 n. 395 (copy of L. Pichler after the famous carnelian intaglio of Paris, Bibliothèque Nationale, Cabinet des Méedailles) and n. 424; tomo 8 n. 288.

U.K., private collection, acquired from M-G., 70's, London.

A fine postclassical ruby intaglio set in a gold stick pin. Bust of a Julio-Claudian emperor.

18th-19th century

Intaglio : 6 x 7,5 mm
Pin : 64 mm
2,50 gr

The laureated emperor, identifiable probably to Augustus or Tiberius, is facing left. This precious intaglio is mounted on a fine gold stick pin characterized by a refined frame worked by spherical elements. Very fine condition. Attractive color of the stone. Rare.

A postclassical emerald intaglio set in a gold stick pin. Bust of Hercules.

19th century

Intaglio : 8 x 8 mm
Pin : 70 mm
2,80 gr

The hero is facing left, with short hair and the club on the shoulder. This precious intaglio is mounted on a fine gold stick pin characterized by a refined frame worked by intertwined and spherical elements. Very fine condition.

A neoclassical agate cameo set in a gold stick pin. Ajax.

19th century

Cameo : 15 x 20 mm
Pin : 75 mm
7, 53 g

The bearded hero is wearing the corinthian helmet, facing left with the head in profile and the front bust. The work reproduces a popular and recurring model in neoclassical production, inspired by statuary models. High relief. Fine condition.

A modern agate cameo set in a metal stick pin. Bust of an emperor.

18th-19th century

Cameo : 28 x 37 mm
Pin : 92 mm

The effigy of the Roman emperor is carved in high relief, almost frontally, with the face turned slightly three-quarters to the left. Laurel wreath on the head and bust draped with chlamys and armor. Work carried out with marked engravings that well highlight the anatomical volumes of the character, inspired by an ancient model. Fine condition.

A modern amethyst intaglio set in a gold stick pin. Female head.

19th century

Intaglio : 8 x 10 mm
Pin : 75 mm
3,0 g

A post classical female head, facing left. Fine gold frame formed by spherical and intertwined elements. Fine condition.

A modern amethyst intaglio set in a gold stick pin. Winged female figure.

19th century

Intaglio : 7 x 13 mm
Pin : 73 mm
3,59 g

The standing allegorical figure is facing right, holding a branch. This precious intaglio is mounted on a fine gold stick pin characterized by a refined frame worked by intertwined and spherical elements. Very fine condition.

A modern topaz seal intaglio mounted in a metal stick pin. Coat of arms.

19th century

Intaglio : 12 x 12 mm
Pin : 68 mm
4,34 g

Heraldic coat of arms composed of an ornated shield surmounted by a crown with nine points. To be identified. Attractive color of the stone. Slight wear marks.

A postclassical amethyst cameo set in a gold stick pin with pearls. Bust of Cupid.

18th-19th century

Cameo : 10 x 13 mm
Pin : 62 mm
2,93 g

The young head is turned slightly in three-quarters to the right side, engraved in high relief. Fine work. Mirror polished. The stone is mounted on a fine gold Georgian stick pin characterized by a refined frame with pierced pearls (one missing). Very fine condition.

A fine victorian agate cameo set in a gold stick pin with precious stones. Moor's head.

19th century

Cameo : 11 x 14 mm
Pin : 70 mm
4,0 g

The head is turned to the right and embellished with an earring and a collar made of diamonds masterfully set on the small agate cameo. Rubies and diamonds are set in the frame surrounding the portrait. Very fine condition.

A lot of two Victorian coral cameo head of dog set in gold stick pin.

19th century

H : 70 mm
8,22 g

These two fine microsculptures depict two different dogs heads, one with a closed-mouth and the other with an opened mouth. The latter is set at the stick pin with a gold band edge that reproduces his collar and a pearl as pendant. Very fine condition.

A banded agate female bust set in a gold stick pin.

18th century

H. 95 mm 8.36 gr

The figure is characterized by a veiled head, partially draped torso with large exposed breasts. The bust is finely sculpted, emphasizing in the best way the beauty of this banded agate, engraving the body in the dark part and the drapery in the light part of the stone. The nose is damaged. This microsculpture is set in an elegant mounting adorned with plant motif, finely chiseled.

A fine banded agate seal set in a gold mounting with turquoise. Female head.

18th century

H. 41 mm 15.73 gr

The handle of this beautiful fob seal is formed by a microsculpture in a brown and white banded agate with honey tones and depicting a woman’s head with a headdress. The gold frame with small turquoise set is finely worked with various ornaments. An elegant collar made up of stones and intertwined golden chain elements goes around the neck of the figure. Below, an agate intaglio (set to make the seals) depicting a bearded helmeted head of Mars. Refined piece in excellent condition.

Two fine carnelian intaglios mounted as seals. Coat of Arms of the 1st Earl of Lucan.

18th century

Intaglio : 23 x 28 mm
H: (seal) : 27 mm/ 43 mm
15,28 g /17,24 g

The lot consists of two large carnelian carvings representing the same heraldic coat of arms referable to Sir Charles Bingham (1735-1799), 1st Earl of Lucan, High Sheriff of county Mayo - M.P. as Baron Lucan of Castlebar. The two coat of arms have small variations (shape of the shield, crown and ribbon). One mounted in a typical seal frame with elongated handle; the other mounted as a ring. Complete set very rare. Perfect conditions. Sold in an elegant red leather boxe, including the cast impression of the depiction.

A neoclassical onyx cameo signed Saulini. Bearded gentleman.

19th century

30 x 37 x 11 mm


A fine high relief private portrait of a breardered victorian gentleman, facing right, signed SAULINI (probably Luigi Saulini, 1819-1883). Working in Rome. Son of Tommaso Saulini, continued the family studio after his father death specialising in portraiture for which both men were renowned. Recorded in Murray's Guide to Rome for 1853 at 8 Via della Croce. By 1867 the studio had moved to 96 Via Babuino.

Tommaso e Luigi Saulini, incisori.... ; British Museum database inv. 1978,1002.1162

A chalcedony intaglio signed Tonnellier, set in a gold 14K pendant. Diana hunting.

End of 19th century

Intaglio : 12 x 15 mm
2,0 g

The deity wears an elegant fitted tunic and faces left. The huntress is in the act of looking for an arrow to shoot with a bow. At her feet, a running dog. Groundline.
Georges Tonnelier (1858 - 1937), whose name is sometimes spelled «Tonnellier», was the student in Paris of A. Millet and Charles Gauthier. First destined for statuary, he began engraver of gems quite late, around the age of twenty-seven, under the auspices of master Jules-Clement Chaplain. He was an engraver constantly praised by fans and critics of this art at the end of the 19th century: his intaglios were masterpieces where “precision does not exclude grace”, and considered to be «one of the most ardent renovators of his art» (see among others the magazines Art & Décoration, vol. 6, 1899, and La Revue de l’Art, vol. 30).

Ernest Babelon, the famous curator of Cabinet des Médailles, found him «astonishing fruitfulness and the energy of a blacksmith». He describes him as one of the four modern artists with «neat and elegant works» admired in the last exhibitions of the late nineteenth century (see Engraving in fine stones. Cameos and intaglios, Paris, Librairies-Imprimies unifies, p. 315; and also the long passage he devotes to his works in his History of engraving on gems in France, Paris, Société de propagation of art books, 1902, pp. 243-245). Works of Tonnelier are in the Walters Art Museum in Baltimore (inv. 42.99) and in the Metropolitan Museum (Cameo Appearances catalog, p. 50, n ° 109-110).



European private collection.

A fine Victorian coral cameo set in a gold brooch. Bacchante.

19th century

Cameo : 21 x 25 mm
brooch : 58 mm
15, 14 g

The female figure presents the torso almost in profile facing left, placing the left shoulder uncovered in the foreground. With her left hand she holds the drapery that partially covers it, turning her head back to the right in three-quarters. The thick hair is decorated with bunches and grape leaves. Fine work in high relief. Very good condition.

A fine neoclassical coral cameo set in a metal brooch. Bust of a bearded philosopher.

19th century

Cameo : 23 x 32 x 16 mm
12,65 g

Philosopher bust in high-relief, with a frontal draped bust and the face turned slightly three-quarters to the right. The figure is characterized by a thick hair and a thick beard, physiognomic features inspired by classical statuary. Very good condition.

A fine Victorian coral cameo set in a gold brooch. Bacchante.

19th century

Cameo : 26 x 39 x 18 mm
15,55 g

The figure is turned to the left, with the draped bust and the thick hair adorned with bunches and grape leaves. The cameo is mounted in an elegant gold brooch characterized by two protruding side parts (bundle of rods tied by ribbons), each ending with a ram head. Very fine condition.

A fine red coral neoclassical cameo set in a gold brooch. Bacchus and Cupid.

19th century

23 x 28 x 8 mm
10,04 g

A fine neoclassical scene inspired by the relief «Amore e Bacco» (1810, 1824) of Bertel Thorvaldsen (1770-1844). The young god is seated on the rocks on the left side, facing right, giving a cup to quench the thirst of an erote (winged genio). At his feet, a panther. Very fine work, well composed and executed in high relief. Mirror polishing. Perfect condition.

A Victorian red coral cameo set in a gold brooch with two small coral cameo set in earrings.

19th century

Cameo brooch : 20 x 34 x 9 mm
11,88 g


Draped bust of a young male, engraved in high relief, set in a beautiful gold mounting decorated with chiseled leafs.
Two small female portraits for the earrings. Good condition.

A carnelian cameo mounted in a gold brooch. Bust of a Saint Anthony of Padua.

19th century

Cameo : 24 x 29 mm
12,40 g

The saint is turned to the left, wears his typical robe and nimbus on his head. The cameo, finely engraved on a vivid red carnelian, is mounted in an elegant gold brooch adorned with stylized floral patterns on the frame. Very fine condition.