ASTA 107 - Glittica

An Islamic hololithic chalcedony seal ring.

12th - 14th century A.D. circa.

This hololithic ring of white-blue chalcedony has an octogonal bezel and a but narrowed neck that rises from epaulette shoulders. The ring has also a protruding back stud.
Other similars rings in agate and carnelian are referenced in Iran and Ottoman Empire until the 16th century.
Parallels: Wenzel, M. Ornament and amulet, The Nasser D. Khalili collection, n. 320-325, PP. 104-105

Bezel 12 x 20 mm; ring size diam. 15,5 mm; H. 26 mm.

After the antique open work gold ring in the byzantine style. Crosses.

19th - 20th century (?).

Ring composed of a broad hoop, the central part of which is formed by 4 repeated openwork cross design. On either side, is a band of plain gold with a series of small engraved dots.

11 mm band; ring size diam 17 mm circa; 7,75 gr.

A late roman octogonal gold ring with hunting scene.

3rd century A.D.

Octogonal hoop ring, without engraved, a hunting scene with dogs, snake, and hare.
The octagonal shape of the ring was also understood by the wearer to signal protection from evil. Ring was worn as a talisman. Rare.

8 mm band; ring size 20 mm circa; 9.75 gr.

A Fatimid gold filigree gold ring (Egypt or Syria). Two sandals.

10th - 11th century A.D.

Hoop composed of two trick beaded rods soldered side by side. The table modeled as two sandals with plaided laces. Gold sandals were found in the tub of the three foreign rives of Pharaoh Thutmosis III.

Reference: St Elie (de) Anastase Marie, « le culte rendu par les musulmans aux sandales de Mahomet », in Anthropos 5, 1910, pp.363-366.

Bezel 6 x 10 mm; ring size diam. 13 mm circa; 1,43 gr.

A byzantine gold engraved ring. Frontal portrait bust.

6th - 7th century A.D.

With rounded hoop surmounted by a circular gold engraved bezel. The central character is presented in front and draped. Around, letters unreadable. Wear marks on the surface of the bezel. Traces of deposits on the hoop.
Parallel: Spier, J., Byzantium and the West : Jewelry in the first millenium, 2012, fig. 14D.2, 18

Bezel diam. 13 mm circa; ring size 16 x 18 mm; 6,13 gr.

An early Christian gold marriage ring. Two portraits.

5th century A.D.

With plain circular hoop, expanding into a circular massive bezel with engraved design; a double portrait with inscriptions (partial erased). A man on the left and a woman on the right in frontal view. On top, a cross (partially consumed). Below, an inscription rends OMONOIA (harmony).

Parallel: for two similar examples in the Dumbarton Oaks collection, Washington D.C., see A. Lazaridou, Transition to Christianity, Art of Late Antiquity, 3rd-7th Century AD, 2011, p. 110, nos 59 and 60, S. Zwain explains "OMONOIA is the most frequent inscription on marriage rings of this period.

Bezel diam. 12 mm; ring size 14 x 17 mm; 10,56 gr.

A byzantine gold marriage ring. Two portraits.<br><br>4th - 5th century A.D.                                                                                                                                                                                                                                                                            <br><br>With massive plain rounded hoop expands into a rectangular bezel with an engraved design; a double portrait with inscription (partial erased). A male and a female bust facing each other, between the christian cross. On each side, on the edge, inscriptions, probably some kind of benediction for the couple. Although partial erased, the inscriptions appears clearly in reverse, suggestions that the ring was intended for sealing. Two other features confirm that the ring was made as a seal; the chlamys won by the male has a brooch fastened on the left instead of right shoulder as was customary; and the bride appears on the left instead of on the right, the left side of the composition being reserved typically for the more important person.

This type of marriage ring originated in the fourth century was popular in the Roman Empire and the Byzantium. Its origin lies in Roman coinage dating from at least the third century, were the facing portrait symbolized solidarity and harmony. The addition of the cross adapted the model to Christianity, by suggestion that through the marriage the union was blessed by God.

Parallel: HINDMAN, S., FATONE, I., MANTOVA, A., Toward an Art History of Medieval Rings: A private collection, 2014, pp. 30-33; for a very similar ring see Washington D.C., Dumbarton Oaks Collection, 47,18.<br><br>11 x 12 mm; ring size 15,5 x 16,5 mm; 25,37 gr.

A north italian medieval red marble cameo. Laureated male portrait.

11th century.

Frontal portrait of a noble young man with a laurel wreath adorned with a central rosette. The young prince is characterized by large eyes with engraved iris, high cheekbones, small chin and pronounced mouth, within a triangular face. The hair long and wavy and falls to the sides of the face. The neck is protected by drapery with very thin and refined folds. His left eye and nose are slightly chipped. Wear marks. Deposits. The back of the cameo is characterized by an engraved trace near the edge of a coeval setting (diadem? casket?). The work was sculpted on a fine specimen of fossiliferous red marble, identifiable with the "Veronese red marble" (Rosso di Verona) from the north italian regions. This material was used starting from the affirmation of the court of Frederick I as Emperor of the Holy Roman Empire (1155-1190). The peculiar choice of this material, the characteristic engraving style of the period, and the iconography of the character, suggest a possible identification with a member of the imperial family. Rare.

25x30x9 mm.

A postclassical chalcedony bust of young Caracalla.  

18th - 19th century (?).

Bust of Caracalla as a child, of the type created in 198 A.D. for the designation as Augustus. This bluish chalcedony bust is inspired after the white marble (198–204 A.D.) from the Vestals' House at the Roman Forum (early 3rd century A.D., National Roman Museum Baths of Diocletian). The model can be identified not only for the typical features of the young Caracalla, but also for the peculiar shoulder belt, with S-shaped motifs (parazonium), and the cloak with chlamys, resting on his shoulder. After the antique. Probably made during the Grand Tour Era. Very good condition. Old deposits. Slight wear marks.

H. 50 mm.

A fine late renaissance onyx cameo with cutted edge. Draped bust of laureated emperor.

16th – 17th century

Probably the portrait of the roman emperor Galba. The armour is visible under the cloak. Good execution of the character's anatomy and great face expression. In ancient times, the field/edge of the cameo (bluish layer) was cut around the bust (white layer), creating a silhouette with only the portrait. Probably from a set of cameos depicting the twelve Caesars.


30 x 41 x 7 mm.

A fine onyx cameo set in a gold ring. Male portrait.

16th - 17th century.

Male portrait facing right. Probably a private portrait inspired by ancient Roman republican models. The cameo is sculpted on a two-layer onyx, the head and the frame have been engraved both on the white layer. The background, darker and bluish spotted, turns orange when backlit. The stone is mounted in a ring with an openable octagonal bezel (interlocking closure). Interesting work. Rare type. Very good condition.

Stone 20 x 24 mm; ring size 16 x 20 mm; 8.22 gr.

A fine renaissance onyx cameo set in a gilded silver brooch. Head of Medusa.

16th century (cameo); 18th century (mounting).

Almost frontal head of Medusa, slightly in three-quarters to the left. The eyes are expressive with pupil engraved and a dramatic look; the mouth is slightly open, the forehead wrinkled, the hair wavy and engraved with great refinement. The head is sculpted in high relief, with mastery, on a two-layered agate. The whitish pink background is characterized by stripes. Beautiful Renaissance work inspired by hellenistic Greek art, set in a later chiseled and gilded silver brooch. The metal pin is missing in the backside. Chipping on the nose.

Stone 22 x 25 mm; mounting 42 x 48 mm; 16,30 gr.

An agate cameo set in a gold brooch with enamel and pearls. Portrait of Athena.

17th century.

The deity is helmeted and with a draped bust, facing left. Interesting variety of stone. The cameo is mounted in an elegant gold brooch with a frame embellished with pearls and a black enamel decoration. In the back, the closing pin is missing.

cameo 20x28x7 mm; overall 33x42 mm; 13,28 gr.

A large late renaissance agate cameo. Bust of a roman emperor.

16th - 17th century

Portrait of a laureated emperor, inspired by the portraits of the Julio-Claudian Era. The features are executed in the typical late Renaissance style; finely chiseled hair. Interesting variety of agate-chalcedony, characterized by bluish parts and inclusions. Large size.

30x39x8 mm

A large agate cameo set in a silver frame. Bust of the emperor Hadrian.

17th - 18th century.

Exceptionally large italian agate cameo, probably 17th century, depicting the draped bust of the roman emperor Hadrian, facing left. Probably removed from a larger object (casket?). Beautiful variety of agate, from a brownish honey tone to the transparent tone. 

42 x 53 x 12 mm; 21,95 gr.

An early renaissance agate cameo. Double portrait.

16th century.

In the foreground, a bearded and laureated male bust portrait, sculpted in the reddish layer of the agate; in the background, carved in the light layer, another portrait, partially damaged (lacks and chipped nose). The male character, for some details, is close to some engraved effigies depicting Cosimo I dei Medici. Interesting double portrait, to be identified. Wear marks.

20x25x3 mm

A burnt agate cameo. Sea monster scene.

16th century.

This scene copies Das Meerwunder (The sea Monster) engraved c. 1498/1500 by Albrecht Durer, which shows a voluptuous naked middle-aged woman riding on the back of a male creature who is half man, half-fish. Fine depiction of the landscape, with the waves and the rocks of a cave. Tiny splinters/missing and the nose of the woman missing. Probably burnt. Rare. Parallels: Kagan, Western European Cameos in the Hermitage collection (1973) n. 57; Platz-Horster, Erhabene Bilder. Die Kameen in der Antikensammlung Berlin, Wiesbaden 2012, n. 376.

20 x 26 x 5 mm.

A late renaissance agate cameo set in a gold ring. Mythological scene with Hermes.

Late 16th century (cameo).

A late Renaissance two layers cameo, later mounted in a gold ring, half broken. The scene depicts Eros, pushed by his mother Aphrodite, showing a book to a seated naked Hermes holding a caduceus (bare headed, bare footed non winged). The scene can be compared to a Krater by the Darius painter in the Boston M.F.A. Very unusually, there is a radiating sun engraved on the top right, a rare mixture of cameo and intaglio. The stone is broken in half, with a little missing (arm of Herms). Chipped on the edge.

Published: Christopher Cavey, Gems and Jewels, Fact & Fable, London 1992, p. 17 (as a Roman cameo).

Stone 18 x 25 mm; ring size diam. 19,5 mm; 4,55 gr.

A fine antique agate cameo set in a gold ring. Flying bird.

Probably 16th century (or ancient).

The bird is depicted flying, gliding downward. Lacks on the head and slight chipping on the tail and wing. The gold setting belonged to a necklace, converted into a ring. Published: Diana Scarisbrick, The Wellington Gems, London 1977 cat. n. 424.

Stone 15 x 18 mm; ring size 20 x 21 mm; 6,40 gr.

A late renaissance agate intaglio set in a gold frame. Adam and Eve.

Late 16th century. Mounting 19th century.

Rare engraved depiction of the biblical episode with Adam and Eve. In the center, the tree with forbidden fruits; on the right, Adam extends his right arm towards Eve; Instead, she is on the left side in the act of picking the fruit from the tree with her left hand, while with her right hand she holds the fruit already picked. Original sin was done. Groundline. The style and anatomy are fully referable to a late Renaissance work. Rare subject of great interest. Lack on the edge. Later 19th century frame, with a 18 ct gold impression.

Stone 28 x 34 mm; mounting 32 x 38 mm; 7,50 gr.

A large agate intaglio set in a gold ring. Allegorical scene.

First half of 17th century.

The scene consists of two female figures. On the left, a draped figure holds his robe over a small burning urn in a votive attitude; on the right, a partially draped female figure holds a winged victory with a laurel wreath in her right hand. The scene seems to reveal a votive meaning, perhaps for a military victory. Attractive variegated stone color. Typical style of early 17th century. Italian atelier, probably north Italy (Bottega Cisalpina).

Stone 23 x 27 mm; ring size 16 x 19 mm; 10,64 gr.

A large banded agate intaglio set in a gold ring. Bacchante with Erote.

First half of 17th century.

A bacchante proceeds to the right, playing a double flute. His tunic and cloak rise with the wind, giving a great sense of dynamism to the scene. An erote precedes her, advancing with a long torch in his left hand, a laurel frond in his left. Allegorical scene, engraved in an extraordinary variety of striated agate. Northern Italian workshop, probably from a "Bottega cisalpina". Very good condition.

Stone 25 x 30 mm; ring size 19 x 21 mm; 24,37 gr.

A large late renaissance agate intaglio. Seated Mercury.

Early 17th century.

Interesting and unusual representation of Mercury seated, with attributes. The divinity is facing right, sitting on a base (?) from which a tree seems to be born (allegory of Nature?). The god is naked, partially covered by a cloak resting on his thighs and also on the tree. The left foot rests on a small votive altar adorned with a garland. With his left hand he holds the winged caduceus, his magical scepter. Groundline. The intaglio is made on a large and extraordinary variegated agate with inclusions.

33 x 40 x 4 mm.

A large renaissance agate intaglio. Mythological scene with Triptolemus and Ceres. 

16th century.

Interesting allegorical scene depicting Triptolemus who received poppy flowers from Ceres; these flowers, distributed to farmers, produce a sweet sleep and a quiet rest. The female figure is also interpreted as the Night. After an intaglio by Valerio Belli. In this scene there is a column in the center, which divides the composition into two parts. On the left side, the farmers: one standing, one kneeling and one sitting, offering flowers. On the right, Ceres gives flowers to Triptolemus, who is depicted naked with a cloak. The work is executed on a beautiful, very large three-layered agate, with great technical and artistic mastery. Signs of wear. Parallels: L.P. P. Stefanelli, La Collezione Paoletti, vol. 1, p. 134 n. 198. After a model of Valerio Belli. Cfr. red jasper intaglio, Paris, BNF Cabinet des Médailles (Mariette 1750, I, tav. LX- Reinach 1895, tav. 88, 60. Valerio Belli Vincentino 2000, p. 359 n. 157, fig. p. 146. Cfr. Plaquette in Hermitage Museum, Saint Petersburg.

28 x 40 x 8 mm.