Auction 86 - Glyptics and Ancient Jewelry

A phoenician blue glass paste scarab intaglio, mounted on an ancient gold ring. Quadrupede

5th - 4th century B.C.

intaglio : 10 x 12 x 5 mm
ring diam : 17 mm
2,77 g

The animal is facing left. For the mounting, the refined ring-shaped hoop is formed by the interweaving of two thread-like elements of different thickness and ends near the scarab with a spiral twisted pattern. The mounting style reminds etruscan production, which makes this scaraboid ring an example of one of the most develop market in Etruria. Very fine condition.



U.K. private collection 1985. Formerly in Arthur Sambon (1867-1947) collection.

An etruscan banded agate scarab intaglio mounted on an gold ring. Horned stag running.

4th century B.C.

intaglio : 10 x 14 x 7 mm
ring : 19 x 16 mm
5,84 gr.

The quadrupede is running to the right, his head turned on the left. Globular style. Rope pattern border. The gold mounting, a swivel-ring with lion head terminals is probably postclassical. Very fine condition.




Property of a gentleman, London. Ex Christie's, Fine Antiquities, 6 July 1994, lot 339.

An etruscan carnelian scarab intaglio. Hermes with caduceus.

4th-3rd century B.C.

11 x 15 x 9,5 mm

The young god is seated on top of the rocks, facing right. His body is naked and has a detailed incised musculature, emphasized by the presence of globular elements. On his head he wears the petasus while on his shoulders a cloak with chlamys. With the left hand he holds the handle of the caduceus, while with the right he seems to touch one of the two snakes entwined with the magic stick, facing downwards. A foot and one hand of the god are engraved over the dotted frame, with a globular termination, according to a style typical of this production (near the socalled “Italic- Etruscanizing group” of the 3rd century B.C., Richter, Pl. XXXIV).The allegorical scene seems to be inspired from a mythicall episode while the pose recalls the scenes of characters who manufacture or create tools-works of art. Around the figure, a dotted frame finely engraved. The figure is executed in a refined way and is characterized by a mirror polish in all its details. Slight superficial crack on the back of the beetle. Wear marks. Rare



U.K., private collection 80's.

A roman amber finger ring with lion protome.

1st – 2nd century A.D.

30 x 32 mm

Ring shaped in a fine twist. The bezel in a form of a crouched lion. Nice dark red color, opaque on the surface.

Parallel: Cabinet des Médailles, Paris, inv. Froehner.1138

U.K. private collection, London.

A pair of etruscan gold bauletto earrings.

6th - 5th century B.C.

H : 18 mm circa
4,01 g

Broad strip of gold bent into three-quarters of a cylinder. The two ends of the strip are joined by a wire or narrow band, which attached the cylinder to the ear.The larger surface of the cylinder is decorated with filigree and granulation. The terminals are embossed with vegetal and lion protome pattern. Very fine work. Traces of oxydation on the back of one earring and on its terminal clasp.

Parallel: Dallas Museum of Art, inv. 1991.75.17.A-B

U.K. private collection

A roman nicolo intaglio set in an etruscan gold ring. Bull.

intaglio: 1st-2nd century A.D.; ring: 4th-3rd century B.C.

intaglio : 9 x 12 mm
ring diam : 15 x 12 mm
4,02 g

This specimen is an interesting testimony of glyptic reuse. The gold-foil hollow ring is an Etruscan production; the nicolo intaglio is a roman imperial production (a similar case is attested, with the same type of stone, London, British Museum, FR 298). Intact.

Parallel: Aa.Vv., L'Oro degli Etruschi, M. Cristofani and M. Martelli, p. 300 n. 190.

U.K. private collection

A group of 19 etruscan gold beads.

6th century B.C.

Bead diam : 10 mm
12,65 g

Spherical gold beads, including 10 of them decorated with granulation of great finesse (one completely decorated with granulation). Very fine condition.

Parallels : Antikenmuseum, Berlin, inv. GI.6; Cristofani, M., Martelli, M. , L'oro degli Etruschi, 1985, p. 172, fig. 154.

Monte-Carlo, private collection of Mr. L, prior to 90’s

A pair of etruscan gold disc ear-stud.

2nd half of the 6th century B.C.

Diam : 34 mm
11,18 g

The disks are formed of a circular gold sheet, the outer surface of which has a central floral element composed of radiated leaves of gold, each bearing granules at its top, and background in granulation. Three concentric bands encircle the floral:
The outtern band is composed with 28 flowers made with curl leaves, granulated beads alternated with plain one. The intern band is composed with 57 gold spheres encircled with beaded wire. Backside covered with a plain gold sheet. Hole at the center to attach the ear clip (one partially remained). The central gold bead are missing in each earring.
Originally an East Greek type, striking disk earrings were a fashionable female accessory for several centuries. Complex patterns were made with filigree and granulation, techniques of applying fine gold wires and miniscule granules to create intricate designs.

Parallels : J.-P Getty Museum, Los Angeles, inv. 83.AM.2.2.1; Metropolitan Museum, NY, inv. 13.225.30a,b. Cristofani, M., Martelli, M. , L'oro degli Etruschi, 1985, p. 170, fig. 148-153
Marshall 1911, pp. 136-137, n. 1414 tav. 20.

Monte-Carlo, private collection of Mr. L, prior 90’s

A very fine early Hellenistic gold ring with engraved bezel. Aphrodite and Eros.

4th - 3rd century B.C.

Bezel diam : 25 mm
ring : 20 x 15 mm
16,12 gr.

The hoop is rounded without, flat within, ending on a flat large circular bezel. The bezel is engraved with the group of Aphrodite and Eros. The goddess is standing in a contrapposto posture, her right leg slighlty bend forward.She wears a chiton with a himation which shows her body shape by transparency. Turned to the right, she's sprinkling incense on to the flame of a three-legged incense-burner. The little winged god is seated on her right shoulder and turns to crown her. Groundline.
Solid gold. Slight wear marks. Very fine condition and rare specimen. For a similar scene and ring see Metropolitan Museum, NY, inv. 06.1125




Parallels :
Chabouillet, Anatole. Catalogue général et raisonné des camées et pierres gravées de la Bibliothèque impériale. Paris : 1858, n°2630.
Marshall, F.H., 1968,n° 83 et 84
Richter, Gisela M. A. 1920. Catalogue of Engraved Gems of the Classical Style. no. 48, pp. 45-46, pl. 20, New York: The Metropolitan Museum of Art.
Lexicon Iconographicum Mythologiae Classicae (LIMC). 1984. Vol. 2: Aphrodisias-Athena. "Aphrodite," p. 41, no. 286, pl. 30, Zürich: Artemis Verlag




Property of a gentleman, London. Acquired at Sotheby's, Antiquities, London, 14th Dec. 1990, lot 93
Ex Guilhou Collection
Ex Harari Collection

Published :
Guilhou (de Ricci), n° 289
Guilhou, n° 132
Boardman, GGFR 421, n° 690
Boardman, Scarisbrick, n° 11.

An fine hellenistic garnet intaglio mounted on an ancient gold ring. Bust of Isis.

2nd-1st century B.C.

Intaglio : 10 x 14 mm
Ring : 17 x 16 mm
7,89 g

With a hollow gold hoop, broad shoulders ending with an oval bezel set with a garnet intaglio. The gem shows the bust of a woman, as Isis, with calamistrated locks, wearing a diadema. Use of globular elements for the eye and the mouth. This is possibly the portrait of a Ptolemaic queen as Isis, perhaps Cleopatra Thea (see Plantzos 52 - 4, pls. 9-11). High convex garnet stone. Mirror polishing. This beautiful intaglio is set on an ancient gold ring. Very fine condition.

Parallels: J. Boardman, C. Wagner, Masterpieces in miniature. Engraved gems from prehistory to the present, p. 131 n. 119; Antiken gemmen in Deutschen sammlungen, band I, Staatliche - Munchen, p. 81 n. 439 (Granat). M.L. Vollenweider, Camées et intaillles, Cabinet des médailles, . 105 n. 92 (Cléopatre I assimilée à Isis).

U.K. private collection, London.

A North-West Indian gold ring with garnet intaglio. Bust of man with inscriptions.

5th-6th century A.D

Intaglio : 10 x 13 mm
Ring : 16 x 13 mm
11,47 gr

A large hollowed hoop, rounded without, flatten within. The oval bezel set with a nice thick intaglio. Gold sphere on the hoop, to mark the sens of impression. The male bust is turned on the left. Clean-shaved, but has a moustache. He wears an earring with two circular pendants. On the edge, clockwise, Brahmi script. Rare.

Parallels: J. Spier, J. Ogden, Rings of the ancient world, p. 53 n. 16; Henig, M., Classical Gems, 1994, p.216-217, n°484-488.

U.K. private collection, London.

A ptolemaic garnet intaglio set in a gold ring. Cornucopia.

3rd-2nd century B.C.

Intaglio : 10 x 15 mm
Ring : 17 x 15 mm
9,62 g

This fine convex hellenistic garnet intaglio is set in an ancient gold ring. The cornucopia, engraved in the typical ptolemaic model as in the coins, is characterized by two grape bunches hanging at sides, bound with fillet (see PTOLEMAIC KINGS of EGYPT. Arsinoe II Philadelphos. AV Mnaieion – 'Oktadrachm' Alexandreia mint. Struck under Ptolemy II, circa 252/1-250/49 BC). Attractive color of the stone. Mirror polishing.



U.K. private collection, London.

A large late hellenistic carnelian intaglio. Cornucopia.

2nd century B.C.

14 x 17 x 3,5 mm

This beautiful and well detailed cornucopia with ribbons is inspired by ptolemaic coins issues (see: Ptolemaic Kings of Egypt, Arsinoe II Philadelphos or Ptolemy III Evergetes and posthumus issues, mint of Alexandria). Emblema of good luck and abundance, elegantly composed. Use of globular elements. Slight wear marks. Attractive color of the stone.



U.K. private collection, London.

A very fine Greek late classical rectangular sard intaglio - plaque. Athena.

Late 4th century B.C.

18,5 x 39 x 3 mm

Athena, walking on tiptoe to the left side, holding a spear in the left hand and a round-shield (with Medusa mask in relief) in the right arm. She wears a crested Attic helmet and a long belted chiton, with aegis. Small groundline. The light dancing pose is far removed from the early stately representations of Athena. The elegant transparency of the folds is in line with the late fifth and early fourth century work. An interesting parallel for the iconography and the pose, is a sard intaglio (British Museum, 65.7-12.141, 3rd century B.C., Walters Cat. no. 1144); for the shape of the plaque, a quadrangular chalcedony with back faceted, Maenad (found in the theatre of Dionysos, Athens, now in the Staatliche Museum of Berlin).This remarkable rectangular sard is a rare and precious testimony of Greek glyptic production of the late classical period. The beauty of the engraving, the style perfection and the great rarity of the typology (a large, rectangular plaque, extremely thin) make it more difficult to find close comparisons to this piece, in some aspects apparently unique in its kind.
An interesting detail of this piece is the presence of ancient fixing holes present on the stone, directly on the figure. These are four fixing points each consisting of two circular holes. Only in one case the two holes remain intact and circular (on the right, on the hand of the figure). In the other three cases, however, the small portion that separated the two holes, too thin and fragile, is damaged; however their division is still visible. The destination of this plaque is not entirely certain, but these holes suggest that probably, in a con- text to be defined, it was sewn directly to a precious dress-garment or a simulacrum. The stone is extremely thin, with a faceted back. On the surface, light traces of burning. Slight wear marks. Intact.

Parallels: G.M.A. Richter, The engraved gems of the greeks, etruscans and romans - part one. A History of Greek Art in miniature, Phaidon 1968, p. 84 n. 253-255, p. 143 n. 549.

U.K. private collection, London. Property of a London gentleman; previously from the collection of R.T. formerly acquired on the Antique Hypermarket, M. Cohen (Antiques) in the 70's.

A fine late hellenistic garnet intaglio. Erotic scene with herm.

2nd - 1st century B.C.

16 x 16 x 4 mm

A female satyr offers herself to a priapic herm on a base, her hand to its head, one foot raised on a low base. In front of her, a column surmounted by a priapic idol. Groundline. This erotic scene is inspired by ancient greek models, executed also in marble relief during the roman era. For a similar composition, see a roman marble sarcophagus carved with scenes of Bacchic revelry, 2nd century A.D. See the detail of a female Pan (and a Pan headed herm), and copied also in other similar variant as for a carnelian intaglio, Marlborough gem collection (a male with short cloak standing on a low column; a bearded satyr playing double pipes; a burning altar; a girl satyr offers herself to a priapic herm on a base, her hand to its head, one foot raised on a low base). Very vivid and attractive color of the stone.
Mirror polishing. Wear marks. Rare.

Parallels: Beazley Archive - Gem Database, cast from the Marlborough gems, n. 336, carnelian intaglio in a gold ring, Story-Maskelyne, M.H.: The Marlborough Gems (1870): no. 637; Boardman, J., Scarisbrick, D., Wagner C., Zwierlein-Diehl, E: The Marlborough Gems (2009): no. 336; Catherine Johns, Sex or Symbol. Erotic images of Greece and Rome, 1989.

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

A late hellenistic two-faced glass intaglio. Eros with stag & Eros with a dog.


2nd-1st century B.C.

20 x 32 x 11 mm


This rare oval shaped glass intaglio presents a scene on each face. On one face, the scene is rendered horizontally with an Eros walking on the left and a stag looking toward him. On the other one, the scene is treated vertically, with Eros and his dog turned on the left. Ground line. The pendant is drilled lenghtwise, with bronze traces inside. Nice iridescent patina.



U.K. private collection, London.

A very fine hellenistich jacinth intaglio. Seated satyr.

3rd-2nd century B.C.

Intaglio : 15 x 19 mm
Ring : 18 x 17 mm
3,30 g

Formerly in the Ionides Collection, this beautiful intaglio is characterized by convex face and flat back, with the figure of a bald and elderly satyr, seated beside a tree, his bagpipes hung up behind him. The stone is set as a ring in a modern metal mounting. Slight wear marks. Beautiful color of the stone, which becomes lighter where the intaglio is deeper. Sir John Boardman remarks " To judge from the confident and bold cutting of the scene on no. 16 this is another Hellenistic gem. Later treatment of this subject would have rendered the anatomy, features and tree in greater detail but with less sculptural force. The satyr has hung up his pipes and sits tired and somewhat fuddled in a pose long employed in Greek Art for similar, although generally heroic subjects - the bomused, mad Ajax, sulking Achilles, even the sad patient Penelope. Here the comparative triviality of the subject takes nothing from the dignity of the figure. We might recognize here Marsyas, defeated by Apollo who has hung his now useless pipes on the tree to which he will soon be bound, to be flayed for thi presumption. Such representations are seen on gems but it should be the reed pipes (auloi) that he played, and not the bagpipes, as here. However, the Marsyas scenes probably inspired this picture".

Parallels: J. Boardman, Engraved gems. The Ionides collection, pp. 21-22 n. 16; p. 93 fig; 16.

U.K. private collection. Formerly in the Ionides Collection, formed by Constantine Alexander Ionides (1833-1900) and his son, Alexander Constantine (1862-1931). Ex Sotheby's auction, Antiquities, London, december 1990, lot. 94.

A fine roman italic banded agate intaglio. Oedipus with the Sphinx.

2nd century B.C.

15 x 21 x 3 mm

The Greek hero is standing, facing right, in front of the sphinx. The character is helmeted and holds a spear with a shield; on his shoulders he wears a cloak while the rest of the body is naked. The winged sphinx is seated on top of the rocks in the act of raising the right paw, while Oedipus brings his right hand towards the face, in a colloquial gesture, typical for this iconography. Groundline. The intaglio is engraved with great skill on an extraordinary variety of banded agate with dark brown bands almost black, honey tones and white with transparencies. Presence of globular elements that emphasize the anatomical details of the figures. Nice size of the stone. Wear marks. Slight chipping on the top edge. Rare.

Parallels: G. Sena Chiesa, Gemme. Dalla corte imperiale alla corte celeste, pp. 56-57; Die Antiken Gemmen des Kunsthistorisches Museum in Wien, band III, p. 52 n. 1638. Die Antiken Gemmen in Deutschen Sammlungen, Band IV, Hannover und Hamburg, n. 1754.

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

A fine and large banded agate roman italic intaglio. Warrior.

2nd century B.C.

10 x 16 x 3 mm

The male figure wears a helmet with a crest, and is characterized by a naked, slender and muscular body.
The character, referable to an heroic figure, faces right and holds a small shield with his right hand (under which the sword is seen in the scabbard); with his left hand he holds a spear. At his feet, another larger shield on which a helmet is placed. Groundline.
Around, a dotted frame. The presence of a shield with a helmet at the feet of the warrior is referable to the commemoration and funeral honor of a soldier who died bravely in battle. Specimen executed with great technical skill and artistic finesse. Use of globular elements. Beautiful variety of banded agate with honey and brown tones, and characterized by a slight burn on the edge.



U.K. private collection, London.

A roman italic burnt sard. Dying Otriade.

2nd century B.C.

Diam_ 10 x 2 mm

The spartan warrior is seated on the ground, still holding the sword with his left hand and covering himself with the shield held by his right hand. The character wears helmet and armor. Use of globular elements, typical of the Italic style. Attractive and peculiar color of the stone due to burns. Interesting composition.



U.K. private collection, London.

A fine banded agate roman italic intaglio. Omphale.

2nd century B.C.

11 x 18 x 3 mm

The mythological figure is turned to the left, and supports the heavy club of Hercules on his delicate shoulders. Her naked body, depicted in her typical sensual pose, is partially protected by the leontea. Use of globular elements. Intaglio executed with technical skill and excellent composition.Extraordinary varity of banded agate, characterized by vivid colors. Slight wear marks. Chipping on the edge.



U.K. private collection, London.

A roman italic banded agate intaglio. Muse.

2nd century B.C.

9 x 15 x 2 mm

The female figure is turned to the left and wears a long draped dress. With her left hand she holds a frond, with her right hand a theatrical mask. The figure, probably identifiable with Thalia or Melpomene, contemplates the mask and rests a foot on a globe. Use of globular elements. Slight wear mask.



U.K. private collection, London.

A roman italic banded agate intaglio. Faun.

2nd century B.C.

8,5 x 15 x 3 mm

The character is facing right on tiptoes; with his left hand he holds a curved stick as he raises the right hand towards his face. Groundline. Use of globular elements. Slight wear marks.



U.K. private collection, London.

A roman italic carnelian intaglio. Male figure with a horse.

2nd-1st century B.C.

15 x 19 x 4 mm

The figure is standing, with the front body slightly in three - quarters. Behind, the horse in profile, facing right. The body of the warrior is characterized by a very well-detailed anatomy, with the presence of numerous globular elements that emphasize the musculature and anatomical structure. The facial features are always performed with globules, as well as the thick helmet-shaped hair. Around, a dotted frame. Specimen executed with peculiar style. Very fine work. Rare.



European private collection.