ASTA 107 - Glittica

A greek late minoan agate intaglio seal. A cow nursing a calf.

1450 - 1300 B.C.

An antelope, facing right, suckles her cub. The animal lowers its head in a pose typical of this repertoire. The intaglio is made on a carnelian seal with passing through hole. Stylistic details and execution technique typical and consistent with the minoan glyptic production of the second half of the 2nd millennium. Wear marks. Parallels: M-L. Vollenweider, Catalogue Raisonné des sceaux cylindres et intailles, Musée d'Art et d'Histoire de Gèneve, pl. 74 n. 8-11. AGDS, Band II, Staatliche Museen Preussicher Kulturbesitz Antikenabteilung, Berlin, taf. 10-13.

14x26x13 mm

Provenance: european private collection, acquired in the french market, previously in th UK art market.

A fine greek late minoan mottled jasper seal intaglio. Sea creatures.

Late 2nd millenium B.C.

In the center, a hippocampus; on the sides, crustaceans, molluscs and fish, among which it is possible to distinguish a small octopus, a squid, a cuttlefish, a small crab, a shrimp, a shell and two rock fishes. This scene, composed by nine different marine creatures, is of extraordinary rarity, probably a unicum. The composition is well balanced. The engraving style of each animal is referable to the greek Minoan-Mycenaean productions, with the use of the typical circles and globules, and very fine engraved strokes. The animals are depicted with great realism very close to the natural model. The gem seems to enclose the whole living and prosperous marine world, very dear to the Greeks, in a portable seal. This exceptional stone is round in shape with a central hole. The jasper is red with orange and ocher tones, veined with white and transparent; a very rare and beautiful variety. Small chip on the edge. Wear marks. Parallels: for the style and typology of some animals, see J. Boardman, Greek Gems and Finger Rings, n. 75-81; AGDS, Staatliche Museen, Berlin, n. 17; AGDS, Munchen, n. 30-34, 73, 80; AGDS, Hamburg, n. 1-6.

26 x 27 mm x 8,5 mm.

Provenance: english private collection S.B., London, acquired on the London art market in 1969.

A greek lentoid chalcedony seal intaglio. Lioness.

Late 2nd millenium B.C. - Early 1st millenium B.C.

The lioness is facing with her body to the left, with her head turned back to the right. The feline opens its mouth showing its teeth and tongue. The eye is engraved with a circle. The tail is raised and ends in a spiral. The stone is drilled with a through hole. Small chips on the surface. Traces of drill in the execution. Wear marks. The intaglio shows stylistic and technical features of late Minoan production (eye, shape of the seal, subject) and an early archaic composition, probably in a transitional phase.

diam 17 mm; width 8 mm

From the collection of Adrien Blanchet (conservateur at the Cabinet des Médailles BNF, Paris).

A rare greek chalcedony seal intaglio. Gorgone.

Late 6th century B.C.- early 5th century B.C.

Frontal Gorgon's mask. The cheeks are full, the eyes globular, the mouth wide open in his grimace, with the tongue and sharp teeth. The hair is slightly streaked, parted in the center; the ears are protruding. Around the head there are sharp points, (probably to symbolize snakes?). Dotted frame. The subject, of strong apotropaic power, is engraved on a chalcedony scarab. Through hole. Signs of wear and lacks on the edge. Interesting work, performed in the typical style and technique of the late 6th century- early 5th century B.C. Rare. Parallels: G.M.A. Richter, Catalogue of Engraved Gems, The Metropolitan Museum of Art, New York, p. 14 n. 49; J. Boardman, GGFR, pl. 289 (Carnelian scarab, carinated, Gorgoneion); Getty n. 81.AN.76.3.

14x16x8 mm

Provenance: old french collection 1990s, than UK private collection.

An early classical greek carnelian scaraboid intaglio. A seated griffin.

5th century B.C.

The creature is seated, facing right. Its sharp beak holds small leaves, and its wings are spread out. Around, linear engraved frame. The scarab is characterized by a pointed shape in the back. Through hole. Wear marks. The engraving technique, the iconography and the executive style are typical of the beginning of the Classical Era. Use of globular elements. Intaglio of great beauty and rarity. Parallels: J. Boardman, Greek Gems and Finger Rings, p. 289 n. 491 (Munich).

15 x 18 x h.13 mm.

Provenance: english private collection S.B., London, acquired on the London art market in 1969.

A fine late classical greek blue chalcedony scaraboid seal. Two molossian dogs.

5th century B.C.

Two dogs, presented symmetrically on the right and left of the scene. Looking at each other, with their faces in profile, but their bodies are turned away, towards the outside of the edge. The bodies are represented of three-quarters seen from the back, with great technical and artistic virtuosity. Use of globular elements and very fine engraved features, typical of the best greek production of this period. These dogs, with an almost leonine body, are to be identified with the famous Molossi dogs (also known as the Molossian hound, Epirus mastiff. The Molossus were famous throughout the ancient world for their size and ferocity and were frequently mentioned in ancient literature). The back of the stone is convex. Pierced through hole. Second half of the 5th century B.C. circa. Beautiful color of the stone and large size. Very fine condition. Intact. Slight wear marks. Rare. Parallels: J. Boardman, Greek Gems and Finger Rings, p. 292 n. 576 (Blue chalcedony scaraboid from Cyprus, a lioness; J. Boardman, Intaglios and Rings, Greek Etruscan and Eastern from a private collection, p. 98 n. 92 Blue chalcedony seal, scaraboid, a seated hyena, striped, greek style of Graeco-persian gems).

22 x 29 x 12 mm.

Provenance: the seal is described in a letter dated 1971 to B. & G. H., London.

A graeco-persian agate seal. Scene with two characters.

4th century B.C.

A female figure with a headdress, presumably a Persian woman of royal rank, is seated on a throne and receives an offer from a young male character. Thin groundline. Use of engraved globular elements of both large and small dimensions, and small incised sections. Attractivehoney tone. Light signs of wear. Through hole. Rare. The specimen is referable to the "Bern Group", identified and described by J. Boardman, in: Greek Gems & Finger Rings, New York, 1972, pp. 320 ff., Tav. 960 - 972; P. Callieri, Seals and Sealings from the North-West of the Indian Subcontinent and Afghanistan, Naples 1997. pp. 84 -90, tav. 12-3; Beazley Archive, Gem Database, Bern Group (Seated Persian woman with a flower. Cambridge. Pale red all-stone ring. 22mm. GGFR pl. 966). M. Henig, Classical Gems, The Fitzwilliam Museum, Cambridge, p. 43 n. 71.

Diam. 25 mm circa x 10 mm.

Provenance: UK private collection D.C.

A rare greek banded agate scaraboid engraved seal. Club and bow.

4th century B.C.

On the left a club; on the right a bow. Emblem referable to Hercules. Interesting variety of sardonyx agate, in which the engraver has artistically followed the curvilinear movement of the bands for the curve of the bow. Wear marks. Through hole. Rare. Parallel: J. Boardman, GGFR, n. 732 ("Leningrad, from Chersonesos. Gold..Bow and club. Gaidukevich and Maximova, Antichnie Gorod 440, pl. I.2).

16x23x6 mm

Provenance: UK private collection 80's.

A rare greek classical rock crystal scaraboid engraved seal set in a gold swivel mounting. Wasp on a flower. 

5th - 4th century B.C.

A wasp flies to the left; below a flower, identifiable with a rose. Rare scene characterized by great naturalism and engraving mastery, typically classical Greek. The details of the insect and the flower are engraved with great refinement, very fine lines or small globules. Signs of wear and small chips. Through hole. The scarab is mounted in a swivel and chiseled collector's gold seal, dating from the 19th century. Of great rarity. Parallel: J. Boardman, GGFR, n. 505 for the insect; n. 703, 783 for the flower, a rose, engraved in a silver seal ring (see also the greek coinage). For a similar composition, but later, see AGKM (Kunst, Wien), vol. II, n. 903, and the Cornell University plaster database, n. 185.

Stone 15x20x8 mm; High with seal 33 mm; 6,36 gr.

Provenance: english private collection S.B., London, acquired on the London art market in 1969.

A greek classical banded agate scaraboid engraved seal set in a gold swivel mounting. Scylla. 

Second half of the 5th century B.C.

Scylla, in profile to the left. She is human down to the waist, and than has the body and tail of a fish at the back, and the forepart of a dog in front. The human part is shown wearing a stylized sakkos and a chiton. Wear marks and chip on the edge. Beautiful honey tone of the banded agate, with a white part symbolizing the waves of the sea. The scarab is mounted in a swivel and chiseled collector's gold seal, dating from the 19th century. Rare. Parallel: G. M.A. Richter, Engraved gems of the greeks and etruscans. A history of greek art in miniature, n. 363- 364; AGDS, Berlin n. 157; J. Boardman, GGFR, n. 453; BNF database, Cabinet des Médailles, inv. Luynes.264: "Scylla à droite, coiffée d’un kécryphale, a le buste d'une femme couvert d’une courte tunique, un protomé de chien sous le ventre et une queue de poisson. Elle tend la main gauche en avant. Intaille en cristal de roche. vers 460 av JC. Chez Homère, Circé met Ulysse en garde contre la terrible aboyeuse, monstre aux douze pattes et six têtes de chien avec trois rangées de dents. Elle est traditionnellement décrite avec un torse de femme ceint de chiens aboyants, réduits ici, par les dimensions miniatures de l’œuvre, à une seule tête". See also the greek coinage for the pose of the left arm.

Stone 15x18x8 mm; High with seal 40 mm; 8,65 gr.

Provenance: english private collection S.B., London, acquired on the London art market in 1969.

A Greek archaic agate scarab seal set in a swivel gold ring. Griffin.

6th century B.C.

Swivel gold ring with massive elliptical hoop ending on the shoulders with twisted gold wires passing lenghtwise through the scarab with engraved design. Forepart of a winged griffin, facing left. Hatched frame. Small chip on the edge. Wear marks. Interesting variety of agate. From Epidauros. Rare.

Parallel: J. Boardman, Archaic Greek Gems, p. 66 n. 130 Munich, A 1369.

seal 10x14x6 mm; int diam 19 mm; 6,58 gr.

Provenance: acquired in the european antiquarian market late 1990s.

A fine greek agate intaglio set in a gold brooch. Scene of Toilette.

5th century B.C.

The female figure faces right, sitting on a stool. The head is in profile, the body in three-quarters, in an unusual pose. The right leg is in fact raised and the foot rests on the thigh of the left leg. The left arm, in the foreground, holds the raised foot by the ankle, while with the right hand (hidden) he makes an unidentifiable gesture. The figure is taking care of his foot (with a tool that can be seen?), Cleaning herself, or observing herself. Her eye is turned towards this action. In this posture, the woman spreads her legs showing her pubis. The female figure intent on carrying out intimate actions (washing her hair, undressing, placing her dress on a column) is typical of a certain greek repertoire of the classical era. The type of stool, and the pose itself, is consistent with classical greek glyptic, as is her hairstyle with gathered hair. The stylistic (anatomical), compositional and technical details all correspond to this period referable to the 5th century BC. However, this subject with this pose is apparently of the greatest rarity. The stone is partially burnt on the back, showing small lacks on the surface behind. Signs of wear. The gem is mounted in a 19th century gold brooch. Parallel: J. Boardman, GGFR, 1970, n. 550, 637, 858 and 859 for intimate female scenes (hair washing, undressing); 636 for the stool (from Sparta); n. 682 for the pose.

intaglio 14x16 mm; brooch 15x18x4 mm; 3,91 gr.

Provenance: private collection acquired on the French market from a 19th century collection based on the mounting; previously ancient private collection.

A fine greek banded agate intaglio. Sleeping slave.

Second half of the 5th century B.C.

Negro boy, sleeping, shown in front view, his head inclined to the left, both hands clasped on his right knee. He is nude, and has short curly hair. The legs are foreshortened; the right foot is in three quarter, the left one in profile. A small unguentarium is tied to his left foot, probably so as not to lose it or forget it when he wakes up, making this scene almost intimate. Dotted border. Use of globular elements. Extraordinary and rare depiction executed with fine style on a beautiful banded agate. Mirror polishing. Wear marks. As Richter described in the Metropolitan Museum catalogue a very similar gem, “A masterly rendering of a difficult pose. To appreciate the advance in naturalistic representation since archaic times, one must compare this design with that on the ring in the Cabinet des Médailles, my n. 85”.
Parallels: J. Boardman, GGFR, n. 442 for the pose. For the subject in the same position: AGDS, Berlin, n. 92 and 160 (very close); J. Boardman, Engraved Gems from the Ionide Collection, n. 5 ("a squatting negro boy, with oil bottle and strigil, on a ground line and in a hatched border; Lippold pl. 66.8. G. M.A. Richter, Engraved gems of the greeks and etruscans. A history of greek art in miniature, n. 204. L.P.B. Stefanelli, La collezione Paoletti, n°61, T. IV, cassetto 1, p. 291.

15x18x2 mm

Provenance: UK private collection 80's, London.

An extraordinary greek gold filigree ring.

4th century B.C.

The rounded hoop is made from a beaded wire soldered between two plain wires: the ends of the latter are bent round into decorative spiral at the shoulders. The box-setting in flower shape is decorated on the edge with an oves frieze in filigree. In the center, is a spherical flower head made of granules, the petals with beaded wires.
This typology is referring to the graeco-scythian productions discovered in the funerary tumuli of Kurgane in Ukrania and Crimea.
Parallels: Williams-ogden.J., greek gold, jewellery of the Classical world, p.233; Platz-Horster, G., antiken goldschmuck, Altes Museum, Berlin, 2001





int diam 19 mm; bezel 8x20 mm; 5,42 gr.

Provenance:
Former collection of General Alexandre Berthier Delagarde, formed before 1914 and spreaded between 1920-1925 (a part of his archaeological collection sold at the British Museum in 1923). Former collection of Colonel Ribatchenkoff, before 1950’s. Former private collection of Colonel R., 1950’s acquired from Colonel Ribatchenkoff. Private french collection.

A fine classical greek engraved gold ring. Seated Athena with weapons.

Late 5th - early 4th century B.C.

The hoop is rounded without, flatten within, ending on a flat large oval bezel. The bezel is engraved with a seated Athena. The goddess is seated on a stool, depicted in perspective. The figure is tunicated, with uncovered arms. The head is slightly tilted forward, in contemplation of the corinthian helmet that she holds in her left hand. With the right hand she holds the spear, which can be seen behind in the background, diagonally. Her feet rest on a small raised pedestal. In front, a shield seen in three-quarters from behind. Next to it, a small snake. Groundline. Work performed with great refinement, with very fine engraved lines. The pose is elegant and well balanced in the oval. The scene is an emblem of virtue and wisdom. Solid gold. Wear marks on the surface, especially on the backside of the bezel. Otherwise, fine condition. Very large size. Rare.  

Parallels for the style and typology: J. Boardman, Greek Gems and Finger Rings, n. 688, 690, 687, 713, 759, 763, 768, 778.

19 x 26 mm; ring size 16 x 21,5 mm; 19,30 gr.

Provenance: english private collection B.C., London, acquired on the London art market in 1975.

A greek hellenistic gold engraved ring. Allegorical female figure with a laurel wreath.

4th century B.C.

Kindred type. Plain hoop, rounded without and flatten within expending with broader shoulders into a thin circular bezel with engraved design; allegorical female figure standing right and wearing a folded chiton wrapped under the hips with a vaporous coat held by her right forearm. She is leaning on a column and holding in her left hand a laurel wreath. The edge of the bezel is marked like a coinage mint. Very good state of conservation. 

Parallels: for a similar typology and iconography see Marshall, F.H., 1968, pl. III, 85-86

J. Boardman, Greek Gems and Finger Rings, p. 301 n. 778; J. Boardman and D. Scarisbrick, The Ralph harari Collection of Finger Rings, plate 15, p. 18.

Diam. 20mm; ring size 14 x 19 mm; 6,70 gr.

Provenance: english private collection; previously from the Forbes family of Pitsligo, tastemakers rooted in 18th century, Edinburgh.

A fine electrum greek ring. Paris seated with an harrow.

Late 4th century B.C.

The young character is facing left, sitting on a rock on which small plants grow. The figure is naked and partially covered only by a leontea; on the head the Phrygian hat. The head is facing slightly downwards, examining a long arrow that he holds, observing it carefully. Near the right leg a long object can be seen, probably a spear. Behind his back, on the field, a star and crescent moon. These attributes identify the ring as an Asia Minor production. A similar scene is featured on another gold ring, in which a seated Persian controls an arrow (J. Boardman, Greek Gems and Finger Rings, p. 297 n. 681). The very typical pose will recur on some later greek coins (for example, Seleucid Kingdom, Antiochos II Theos, 261-246 BC, AR tetradrachm reverse:  Apollo seated left on omphalos, examining arrow & resting hand on grounded bow). The identification of the character, who can be considered Paris, is not entirely certain. According to the myth, Paris killed Achilles with an arrow, under the leadership of Apollo during the Trojan War. The Leontea would be an addition to his military virtus and his triumph, as in a syncretic consecration. The oriental connotation is however predominant, both for the style and for the presence of crescent and star (Asia Minor). Slight signs of wear. Small deformation on the hoop of the ring, not perfectly straight when viewed in profile. Pleasant patina and deposits, with intact surface. On the back, there are some micro craters, probably due to the metal fusion of the ring before being engraved. Extremely rare. 

19 x 22 mm; ring size 16 x 19 mm circa; 9,72 gr.

Provenance: english private collection B.C., London, acquired on the London art market in 1975.

A greek gold ornamental plaque.

4th century B.C.

Probably part of a jewelry judging by the structure of the element; composed of two gold plaques saldered together. Traces of hinge on each side. The principal gold plaque decorated on the edge with beaded wire adorned on each angle with a flower made of gold wires and a plated spherical bead. Inside, a serie of frames and braided wires. In the center, a cross pattern made of twisted filigree. Fragmentary.

19 x 20 x 0,3 mm; 7,68 gr.

A fine architectural late hellenistic gold ring.

100 - 50 B.C.

In two parts hinged together. Below, a hoop in dolphins-shaped; furnished with an oval setting underneath, in which is inserted a small circular convex emerald; the hoop’s shoulders set with small green glass beads. The upper part consists of an hexagon box-setting with a large faceted-garnet. The hoop is attached with the box-setting by two suspension holes. Nearly twenty other similar rings are known. Although the rings display variations in shape and details, all the examples are very close in style and technique. The quality of both the gold work and the stones themselves is very high. Garnet is the most popular stone of the Hellenistic period, but rings of this group are also set with amethyst, emeralds, and citrines.
Parallel: Marshall, F.H., Catalogue of the singer rings, British Museum, 1968, Pl.XXI, 843-844
Spier, J. - Ogden, J., rings of the ancient world, 2015, n°28, p.77, 78.

int diam 20x22 mm; high 34 mm; bezel 9x15x18 mm; 15,31 gr.

Provenance: private collection acquired in the english market.

A late hellenistic architectural gold ring with stepped bezel set with amethyst and garnet.

2nd century B.C.


The complex construction is composed of an hollowed bezel with a series of sharply molded hexagonal steps set with a large cabochon amethyst. The hoop is solid and boat-shaped, terminating in architectural form (top of a column and capital). A small oval cabochon garnet is set in the center of the hoop at the bottom. The hoop attaches to the bezel by means of hinged elements held by pegs. Nearly twenty other similar rings are known. Although the rings display variations in shape and details, all the examples are very close in style and technique. The quality of both the gold work and the stones themselves is very high. Garnet is the most popular stone of the hellenistic period, but rings of this group are also set with amethyst, emeralds, and citrines.
Parallel: Marshall, F.H., Catalogue of the singer rings, British Museum, 1968, Pl.XXI, 843-844
Spier, J. - Ogden, J., rings of the ancient world, 2015, n°28, p.77, 78.

Stone diam. 11 mm (amethyst) and 4x6 mm (garnet); ring size 15 x 21 mm; H. 43 mm; 22,21 gr.

Provenance: english private collection B.C., London, acquired on the London art market in 1975.

An hellenistic gold earring with animal protome.

3rd century B.C.

The hoop made with a large intertwined gold wire, extending on a ram protome. The neck decorated with filigree.

Under the chin, suspension hoop (for clasp). Terminal of the horns missing (?).

Parallels: Marshall, F.H., Catalogue of the jewellery, Greek, Etruscan, and Roman, in the department of antiquities, British Museum, 1911, n°1803-1808.

Int diam 20 mm; high 26 mm; 2,51 grs

An assyro-babylonian bluish-grey chalcedony stamp seal. Ritual scene,

8th - 7th century B.C.

In octogonal pyramide shape. The main surface depicts a standing figure before a lotus flower. The figure, bearded and wearing a diadem, raises his hands in a gesture of prayer and invocation (?). Above, a winged disc. Wear marks.

14 x 22 x 28 mm

Provenance: english art market.

An eastern greek bronze engraved ring. Bull.

5th century B.C.

Plain hoop, rounded without and flatten within, extending in broader shoulders rising into flat oval bezel with engraved design; a bull facing right. His body characterized by stylized features and globular eyes and snout. On top, a palm branch. Dark green patina and presence of deposit on the surface of the ring. Probably Cypriot.
Parallel: for a similar typology see Marshall, Finger Rings, 1968, pl. XXX, 1247.

15 x 20 mm; ring size 17 x 19 mm; 6,04 gr.

Provenance: english art market.

An egyptian late period carnelian scarab amulet.

664 - 332 B.C.

Well detailed. The underside naturalistically modelled and long tubular hoop. Wear marks.

13x17x9 mm

Provenance: english art market.

A fine etruscan banded agate scarab intaglio set in a swivel gold ring. Hermes Psychopomp.

4th century B.C.

Hermes psychopomp moves to the left, but with the frontal torso and the head turned in profile backwards. The young god is naked and wears just the petasos resting on his shoulder and holds the kerikeion in his right hand; in his left hand he holds an idol depicting Hercules with a club (perhaps an allegory of souls towards the afterlife). Dotted frame. Groundline. This extraordinary representation is engraved on a scarab carved on an orange agate with equally extraordinary white stripes. On the back, in correspondence with the body of the insect, the two symmetrical white veins form an elegant V, perfectly centered. Signs of wear. Parallels: P. Zazoff, Etruskische skarabaen, 1968, n. 109. Cades, Gemme etrusche, 1b II 66. Furtwangler, AG. Taf. 16,54. AGDS, Band II, Staatliche Museen Preubischer Kulturbesitz Antikenabteilung, Berlin, taf. 50 n. 232. Cfr. Silver stater of Pheneus, Arcadia, 360-330 B.C.

scarab 15x22x8 mm; int diam 19x22mm; 14,56 gr.

Provenance: this scarab was mounted on a Castellani bracelet, in which the engraved part was covered and partially hidden by the frame. It is then reassembled as an old swivel ring. Uk private collection.

An etruscan carnelian engraved scarab set in a gold swivel ring. Europa with Zeus as bull.

Late 5th-early 4th century B.C.

With large rounded hoop tapered at the endings, the shoulders adorned with filigree and twisted wires imitating a floral design. Revolving large carnelian scarab with well engraved details; hatched pattern on the lower part of the thorax. The underside engraved with a scene showing the rapt of Europa by Zeus as a bull. The powerful massive bull is running left with Europa on his back. The musculature and the anatomical details are well rendered meanwhile Europa representation is more stylized with globular elements. Cable border. The subject has been attested in various greek scarabs from the archaic and the Classical period. This one can be identify as an etruscan work inspired by the greek models.
Parallel: for a greek exemplar see in Beazley Archive, Oxford 1966.598., AGGems n° 305; for a similar iconography and style see Beazley Archive 2.I.A.115, Cades, T., Impronte Dell’instituto. J. Boardman, Archaic Greek Gems, n. 521-524. AGDS Berlin n. 211. AGKM (kunst, Wien) n. 39. G. M.A. Richter, Engraved gems of the greeks and etruscans. A history of greek art in miniature, n. 204.


Int diam 18x21 mm; scarab 14x18x9 mm; 10,49 gr.

Provenance: european private collection. The lot was purchased in the english art market, 1990s.

An etruscan banded agate scarab engraved seal set in a gold swivel ring. Warrior (probably Achilles).

4th century B.C.

The hoop is composed of two thick plain wires spiral twisted together with a beaded wire, the ensemble tapering toward the circular loops at each end, where a wire is threaded through the perforation of the beetle. The slender beetle is well detailed with hatching on the lower edge of the thorax and upon the plinth. The underside is engraved with an helmeted warrior, holding shield and touching has heel pierced by an arrow (probably Achilles). Use of globular elements. Cable border. Slight wear marks.

Parallel: 4th century B.C., Villa Giulia museum, n°270, Cristofano, Martelli, oro degli etruschi,

Int diam 20 mm; seal 9 x 12 x 8 mm; 5,72 gr.

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

An etruscan carnelian scarab set in a gold swivel ring. Centaur.

4th century B.C.

With plain rounded hoop bordered at the endings with twisted wire. Disks in the center fixed to the scarab by a transpiercing gold pin endings with twisted wire. The carnelian scarab is well detailed with hatching on the lower edge of the thorax and upon the plinth. The underside is engraved with a Centaur turned left. Use of globular elements for the head and the body. Cable border. Wear marks.  

Int diam 21 mm; seal 9 x 13 x 6 mm; 6,09 gr.

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

An etruscan banded agate engraved scarab set in a gold swivel ring. Sea-horse.

Late 4th century B.C.

With plain rounded hoop ending with twisted wire on the shoulders. Revolving banded agate scarab with engraved design. The underside engraved with a sea horse turned left. Groundline. Dotted frame. Wear marks.

Int diam 18 mm; seal 6 x 9 x 5 mm; 2,60 gr.

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

An etruscan carnelian scarab intaglio set in a gold swivel ring. Bull.

3rd century B.C.

The animal is facing right, with its head turned back to the left. Use of globular elements (engraved with a drill). The gem is mounted in a gold swivel ring.

Stone 8 x 10 mm; ring size 15 x 19,5 mm circa; 3,04 gr.

Provenance: UK private collection.

A small etruscan carnelian scarab mounted in a gold ring. Antelope. 

3rd century B.C.

The quadruped is running to the right. Use of globular elements. Wear marks. The scarab is mounted in a swivel ring with braided wire. Dark deposits.

int diam 13 mm; scarab 5x6x4 mm; 1,11 gr.

Provenance: UK private collection.

A rare small Phoenician carnelian scarab set in a gold swivel ring. Lion head.

6th century B.C, circa 500 B.C.

Rounded hoop ending with twisted wire on the shoulders. Revolving carnelian scarab with engraved design. The back with naturalistic details. The underside engraved with a lion forepart turned right. His mane with hatched pattern. Cable border. The style and the iconography is typicall from the greek-phoenician orientalizing period.
Parallels: for similar sacarab with same design see Beazley archive Ashkelon. CSAPI no. 60. BL. III, Ibiza no. 139 (Barcelona 9388). BH. I, Paris, BN, Pauvert no. 50, from Etruria. Cornelian. Beaded border. Forepart., from Tharros. BH;PB. Faced by profile head of satyr. I, AG pl. 15.90. BH. As the last. III, Anecd pl. 26.B29. BH. V.
A.G. : Fürtwangler, A., Die antiken Gemmen, 1900; Anecd : Acquaro, E., Anecdote Tharrica, 1975

Int diam 20 mm; seal 7 x 9 x 5 mm; 2,79 gr.

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

A large etruscan carnelian engraved scarab mounted in a late 19th century gold seal. Winged scarab.

Early 5th century B.C.

The back well-detailed , the underside with engraved design: winged scarab. In frontal view with wide-spread wings with well-engraved details. Hatched border. Pierced lengthwise and mounted with a 19th gold seal composed of intertwined gold wires. Inspired from the archaic greek workshops. Parallel: Boardman, J., Archaic Greek Gems, 1968, n°148; J. Boardman, GGFR, n. 320 (Late Archaic). AGKM (Kunst, Wien) n. 9.

Scarab 15x23x12 mm ; total H 29 mm; 5,65 gr.

Provenance: the lot was purchased in the english art market 1990s.

An etruscan chalcedony intaglio. Hercules.

Late 4th - early 3rd century B.C.

Judging by the look of the back of the stone, it must have been an ancient scarab, then cut and flattened (probably due to an accident or a defect in the stone). The underside then use for the engraved design: Hercules with his club, collecting water from a fountain in an amphora. The hero is standing naked and turned left toward a source from which a fine jet of water flows into his amphora. In his right hand, the club. On either side of his shoulders, globes. Hatched border. Despite the reuse of the stone, the execution of the engraving figure shows great details and skills. The rendering volumes of the body as well as for the club and amphora, and the details of the face show the high quality of the intaglio. Use of globular elements. Parallels: J. Boardman, Intaglios and rings. Greek, Etruscan and Eastern from a private collection, n. 139-140, 150; P. Zazoff, ES, n. 66-67.

12x16x3 mm

An etruscan carnelian engraved scarab. Lion forepart.

Late 6th - early 5th century B.C.

The back with hatched pattern on the thorax and the legs, and v-shaped relief on the wings. The edge with vault frieze. The underside with engraved subject: a lion forepart turned right with an aggressive expression; the puckered muzzle, with the open mouth revealing its canines. The mane marked by incised lines. In the foreground, his right front paw. Use of globular elements for the jaw. Hatched border. Pierced lengthwise. Very nice polishing of the engraving and Wear marks on the surface of the stone. Traces of deposit. Rare. Inspired by greek coinage.
Parallel: for the subject see AGDS, Munchen, n. 138 (Greek Archaic).

Scarab 12x17x9 mm

Provenance: UK art market.

A greek Hellenistic gold ring set with a glass intaglio. Female portrait.

2nd - 1st century B.C.

With hollowed rounded hoop, flatten within and extending in broader shoulders sloping inwards, to an oval box-setting with two bands of gold rising one above the other. Inset with a blue pale glass intaglio. Showing a head of a woman turned left. Her hair with long wavy locks tided back in a bun. Presence of globular elements for the earring, tin of the nose and chin. Missings and traces of deposits on the box-setting and the shoulders. Slight accident on the hoop. Nice conservation of the glass impression.
Parrallel: Marshall, F.H., 1968, n°385-386

int diam 18 mm; 12x13 mm; 4,38 gr.

Provenance: London, art market.

A graeco-roman bronze ring. Ptolemaic bust.

3rd century B.C.

The hoop is flat within and rounded without. Large circular bezel with design in relief: portrait of an ptolemaic queen (?), turned left, with long looks and a band.

Parallel: Marshall, F.H., Catalogue of the Finger rings, British Museum, 1968, Pl.XXXI, 1280,129

Bezel 16 x 21 mm; ring size 15 x 18 mm; 8,34 gr.

Provenance: London, art market.

A greek late hellenistic amethyst intaglio. Panoplia.

3rd - 2nd century B.C.

In the center, a Macedonian-type helmet, behind, two crossed double axes. On the sides, two greaves. In the field, three greek letters (Gamma, Beta, Theta). Rare composition, very detailed, well balanced and engraved with great technical mastery, inspired by coinage. Presence of globular elements. Macedonian military emblema. Intense color. Gem with convex surface and flat back. The helmet is very similar to that depicted in a garnet (Munich, Antike Munzsammlung). Parallels: AGDS n. 234; AGDS Munchen, n. 384. For a very close type see D. Plantzos, Hellenistic engraved gems, n. 650.

14x23x6 mm

Provenance: UK art market.

A greek hellenistic gold ring set with an amethyst intaglio. Maltese dog.

4th - 3rd century B.C.

The animal is facing left. The well-executed details of its anatomy indicate that it is a Maltese dog. The uncommon subject is represented on certain scaraboid gems of Graeco-Persian production from the end of the classical age. In this case, the choice of a small amethyst cabochon places the gem in the Hellenistic era. This ring was intended for a child as revealed by the small size of the gold frame. Slight signs of wear. Rare.

int diam 13 mm; intaglio 4x6 mm; 2,35 gr.

An hellenistic garnet intaglio set in a gold ring. Apollo.

2nd century B.C.

The divinity is depicted frontally, with the head turned slightly right and the body to the left, in a slight twist. Typical Hellenistic pose. With his hands he holds the lyra. Groundline. The gem is cabochon and concave on the back. Attractive stone color. The modern gold mounting is made of a plain rounded hoop, flatten within with outbroad shoulders extending into an oval box-setting containing the intaglio.

Parallels: AGDS Munchen, n. 559-566, 572; G.M.A. Richter, Catalogue of engraved gems, The Metropolitan Museum of Art, New York, n. 157 - 159.

Int diam 20 mm; stone 8x14 mm; 7,37 gr.

Provenance: UK private collection.

A large italic banded agate intaglio. Cornucopia.

2nd century B.C.

A cornucopia with stems and bunch of grape. On its left, a globe. Use of globular elements. Wear marks. Interesting choice of stone.

16x17x3 mm

Provenance: UK private collection.

A rare greek hellenistic garnet cabochon intaglio. Pomegrenate.

4th - 3rd century B.C.

A slightly open pomegranate with a natural central “laceration”, with its internal seeds visible. Rare and unusual representation of a fruit breaking and opening. The subject, present in the Greek coinage but whole without openings with visible seeds, is engraved in a beautiful high convex cabochon garnet, with a concave back. The combination of the subject with the material was masterfully chosen to allude its natural color. Mirror polishing. Extremely detailed and deeply carved intaglio. Slight internal crack (non-passing and not dangerous; the gem is solid). Wear marks. Parallel: See greek coinage: for the subject of the pomegrenate cfr. Side. Circa 430-400 BC. Stater, Pomegranate with its stem above and flower below.  SNG France 627. SNG von Aulock 4765; Pamphylia, Side AR Stater. Circa 490-450 BC. Pomegranate, ΣIΔH (retrograde) to left; all within beaded circular border; Melos - ΜΑΛΟΣ - date: ca. 450-440 BC -  silver stater  - description obverse: pomegranate.

15x17x9 mm

Provenance: UK private collection, acquired in the London art market 1980s.

A fine greek late classical banded agate intaglio set in a gold pendant. Diana Lucifera.

4th century B.C.

The divinity is standing, facing left. With both hands she holds two long burning torches. The figure is draped with a long tunic characterized by very fine drapery folds and engraved with extreme refinement. The right foot is resting on the ground, while the left is slightly raised. Groundline. The body is slightly three-quarters, while the head is in profile. The hair is elegantly gathered; the delicate profile with idealized features. Diana wears a bow and quiver on her shoulders, while the torches identify her as a “lucifera” with reference also to the figure of Hecate and to the magical world (Inferos). The gem has the traces of two ancient micro holes on the edge  probably for a rotating mounting. The banded agate is characterized at the top by a lighter and more transparent part (possibly referable to the light of the torches and the earthly brightness), while going down to the stone it has a darker area (symbolizing the night and the underworld). Mirror polishing. Wonderful style and execution. Signs of wear and small chips on the edge. The gem is set in a 22ct gold pendant, likely from the late 19th century/ early 20th, with a swivel suspension hoop.

Parallels: J. Boardman, Intaglios and rings. Greek, Etruscan and Eastern from a private collection, n. 39. J. Boardman, GGFR, n. 533 and 735 for a very close specimen (from the London Market, 1934. A fine greek classical gold ring. Kore, with two torches, Sotheby, 18. VII. 1934 n.116). On a coin of Kyzikos, Nomisma VII, pl. 6.12. See greco-roman coinage with the same figure (Artemis Phosphoros). 53435. Cfr. Statue einer Frau als Diana Lucifera ergänzt mit nicht zugehörigem Kopf: Musei Vaticani, Galleria Chiaramonti in Amelung, Vat.Kat. I 677 Nr. 548 Taf. 72; B. Andreae (Hrsg.), Museo Chiaramonti. Bildkatalog der Skulpturen des Vatikanischen Museums I 2 (1995) Taf. 764 (Arachne database - Koeln). See roman coinage: Faustina II bronze As RIC 1629 ; Aureus of Julia Domna Coh. 31 RIC 548 Calico 2610, reverse: DIANA LVCIFERA.

Stone 18x24x4 mm; overall 25x33 mm; 7,07 gr.

Provenance: UK private collection, acquired in the London art market 1980s; previously from the F. M-G collection 70's.

A large greek hellenistic red jasper intaglio. Bust of Athena.

3rd century B.C.

The deity is facing left. The head is helmeted while the bust is covered by the gorgoneion, with the mask of Medusa in the center, due to its apotropaic power and invincibility; small snakes rise from the mythical breastplate. The shoulder is naked. The hair falls elegantly on the neck, engraved with very thin and refined lines. Other details of the helmet (crest) and of the anatomy (eyes, browline) are also engraved with very fine lines. The work, of great artistic importance, is engraved on an extraordinarily large red jasper. The black line that runs horizontally through the stone is not a crack but a black inclusion (vein), typical of the jasper. The back of the gem shows engraved unfinished marks with the dry diamond point of an ornamental motif (vegetable or floral). This unfinished but just begun processing trace is an equally extraordinary testimony of to the greek engraving technique during the Hellenistic Era. Slight signs of wear and small chips on the edge.

Parallel: for the subject in AGDS, tafel 189 n. 2182. For a close type, but engraved later (1st B.C. - 1st A.D.) see AGKM (Kunst, Wien) n. 1069.

25x31x6 mm

Provenance: english private collection, ex London art market 1970 circa; from the R.T. collection, London.

A fine roman carnelian intaglio. Perseus with Medusa head.

1st century B.C.

The hero is standing, with his body slightly out of three quarters, in a slight torsion, his head facing left. The body is naked. With his right hand he holds a sword, with his left the severed head of medusa; with his forearms he holds a cloak, which hangs elegantly behind. The anatomical details are engraved with technical skill. Use of globular elements. Late Italic period - early Republican. Very fine style. Attractive stone color. Wear marks. Parallel: C. Gasparri, Le Gemme Farnese, p. 122 n. 183.

15 x 21 x 0,4 mm.

Provenance: UK private collection.

A fine hellenistic carnelian intaglio set in a gold frame. Satyr near a column.

3rd century B.C.

The figure is standing, with the left leg supporting and the right leg slightly bent in a typically greek pose. With his left hand he holds two flutes, which he touches with his right hand. The figure has elongated proportions, typically hellenistic, represented by three quarters back view. A column. Groundline. Use of globular elements. Large intaglio, engraved with great elegance and artistic mastery. The gem is cabochon still mounted in its antique gold. Parallel: G.M.A. Richter, The engraved gems of the greeks and the etruscans, part one, p.137 n. 523.

18 x 23 x 7 mm; 4,55 gr.

Provenance: UK private collection D.C.

A late hellenistic banded agate intaglio set in an ancient gold ring. Venus Anadyomene

3rd century B.C.

The divinity is standing, seen from the front, in her typical pose in the act of keeping her hair divided into two long braids. The subject is inspired by Greek statuary models from the hellenistic period. Attractive stone color. The gem is set in an elegant antique hollow gold ring. Brocken hoop. 

Stone 9 x 18 mm; ring size 16 x 17 mm; 3,26 gr.

Provenance: Zurigo, Max Kopp coll. Born 1891.

A late hellenistic gold ring set with a banded agate intaglio. Bust of Herm.

2nd century B.C.

Plain hollowed hoop, expanding into oval bezel with oval banded agate intaglio: bust of an herm, turned right. The face is characterized by mature features, a beard, an straight short rose and full lips. Presence of globular elements.
Slight missing on the edge of the box-setting.

Stone 8 x 11 mm; ring size 12 x 14 mm; 2,64 gr.