Pair of Spanish rose-cut diamond earrings, the top section with a hinge to suspend the lower half

Gold mounting, circa 1700, of a substantial weight for the size, and retaining the original fittings (which can be tricky for some)

4cm long

SOLD

An important and extremely rare sapphire “Hololith” ring

Carved from a single block of sapphire, engraved on the bezel with an intaglio portrait of Faustina the Elder – wife of Emperor Antoninus Pius.

Lined with enamelled gold in the late 16th or early 17th century

33x33mm, the bezel 11x21 mm, inside diameter 17.5 mm (UK/French finger size: O ½ / 56).

PROVENANCE ;

This ring was acquired by Thomas Howard (1586-1646), 21st Earl of Arundel, likely from the Dukes of Mantua. Inherited by his wife Alatheia Talbot (1585-1654) then by descent until gifted in 1762 on the occasion of the marriage of Lord Charles Spencer, by whom given to his elder brother George Spencer (1739-1817), 4th Duke of Marlborough.

The Gonzaga Dukes of Mantua’s collection of paintings were acquired by King Charles I in 1627, but their collection of engraved gems was declined by the king in 1637 and bought instead, via the dealer Daniel Nys (1572-1647) and the agent William Petty (1587-1639), by the Earl of Arundel who acquired over 250 items en-bloc.

Arundel had several non-Gonzaga gems too, as Sir John Boardman stated in a conference: “Lord Arundel started collecting in the early 17th century. He collected largely thanks to the wealth of his wife, and mainly in the eastern Mediterranean, Turkey and Greece, then in Italy. His first gems were, one of them, a gift from his friend Prince Henry, which had come from an old Dutch collection*. And another from his friend the artist Rubens”

A list and valuation of the Arundel gems was compiled on the 2nd October 1690. This ring was valued at £30, of the 128 gems listed only eleven were valued at over £20

The ring reappeared at Sotheby’s, London, 16th December 1971, lot 53, as Italian 16th century but without provenance information, and sold for £750 to “Jones” (which suggests an anonymous cash buyer). Interestingly, lot 70 in that same sale was Jahangir’s emerald wine cup, which is now in the al-Thani collection. This sold then for £2,300, and was sold again at Christie’s in September 2003 for just under £1.8m

THIS RING IS PUBLISHED IN:

Manuscript catalogue (in French), dated 2 October 1690 (Northamptonshire Record Office (SS4033) and copied in 1782, p. 2 described as

“Faustina. En Anneau tout de Saphire”

valued at £30.00.00 (one of the highest estimates in the collection which totalled £4,368)

Manuscript catalogue (in Latin), circa 1725-1730, theca quinta, no. 15, copied by Andrew Fountaine and published as The Arundel Cabinet, London 1731, case E no 15

“Caput Caesoniae in saffiro orientale rarissima per la grandezza, perche essendo questo tagliato, in forma d’un vasto anello, ha due onice palmare di diametro con un cerchio d’oro el di dentro”

Charles W. King, “Notices of collections of glyptic art”, in Archaeological Journal, vol. 19, 1862, pp. 9-23 and 99-113: pp. 101-102, no. 360

“An entire ring with polygonal shank, cut out of one huge pale sapphire, and lined with a massive flat hoop of gold, enameled on the edge. An extraordinary example of labour in so hard a substance, and in the opinion of an eminent mineralogist, such as could only have been done in India. On the signet part, a modern Italian hand has, cut with much elegance a head of Faustina the Elder. There can be little doubt that the original device, a Persian legend, has been ground out to make way for this intaglio, a fraudulent substitution intended to convert the whole into a unique relic of antiquity”.

Mervyn Herbert Nevil Story-Maskelyne, The Marlborough Gems being a collection of works in cameo and intaglio formed by George, third Duke of Marlborough, privately printed 1870, p. 78, no. 465

“A sapphire ring engraved with the intaglio portrait of Faustina the elder to the left. The work does not look antique, and the likeness is not particularly good. The ring is evidently of oriental, probably Persian, workmanship, the head of the empress having taken the place of an inscription. An Arundel gem (Cat. Thec. E, No. 15)”.

Charles William King, Antique Gems and Rings, London 1872, pp. 372-373 “There is indeed, in the Marlborough cabinet, an extraordinary specimen of the class, which lays claim to a higher antiquity, a thumb-ring cut out of one entire and perfect sapphire – rather a pale one it is true – and lined with a thick gold hoop for greater security. On the signet part stands now engraved a fine head of Faustina Mater, which, however, is manifestly the work of a modern hand, and has superseded the original Arabic seal-inscription”.

George Frederick Kunz, Rings for the finger from the earliest known times to the present. With full descriptions of the origin, early making, materials, the archaeology, history, for affection, for love, for engagement, for wedding, commemorative, mourning, etc., Philadelphia and London 1917, p. 99

“The famous Marlborough collection of gems includes a thumb ring entirely of sapphire. To give this stone ring the necessary resisting power, it has been lined with a thick hoop of gold. The engraving it bears, a head of the Elder Faustina, the wife of Antoninus Pius (86-161 A.D.), is believed to replace an original Arabic inscription that fitted this ring for use as a seal”.

John Boardman, Diana Scarisbrick et al., The Marlborough gems, Oxford 2009, p. 119, cat no. 227

“Sapphire ring, octagonal, thought to be of oriental type, the intaglio taking the place of an inscription which has been ‘ground out’; ‘lined with gold, enamelled on the edge’, 20 x 9. Drawing of the ring in Story-Maskelyne’s notes (‘gold ring round inside’). The bust of a woman. Probably a version of the Faustina portrait. For the hair compare Reinach, pl. 14.26.7 (Medici). Renaissance”

Notes
* - The “Old Dutch collection” was that of Abraham Gorlaeus (ca. 1549 – 1608), a Dutch antiquary of Flemish origin. He published the first edition of his gem cabinet in 1601.The year following his death in 1608 the collection was sold to Henry, Prince of Wales, then, after his death, it passed to his brother, who became became King Charles I.

SOLD

Mid-17th century enamelled gold and diamond crucifix pendant.
Northern European (The Netherlands?) c.1650

Set with eight very fine quality table-cut diamonds and suspending a natural pearl. 17th century crucifixes with diamonds are very rare.

Losses to the enamel, commensurate with age

45mm long, 34mm wide

SOLD

Victorian gold and platinum collar necklace with detachable locket
English c.1870
Approximately 17” long

A extremely rare example of the early use of platinum

The use of platinum only became widespread around 1900 as the technology to create high enough temperatures developed. The necklace here shows the very early use of platinum to create a contrast, predating the more widespread use by over twenty years

Compete with a locket pendant having applied entwined initials, also in platinum, though the connecting link has become lost.

In the original retailer’s fitted case from P Dickinson, Jeweller, of Preston (Lancashire, UK), the lid initialled M.L.

Enamelled gold and crystal ring c.1590. The bezel containing two table-cut crystals imitating diamonds, held by a gold bird's claw to each corner. The underside of the bezel with black enamel decoration, the shoulders similarly monochrome enamelled. 

Overall condition good to very good - some losses to the enamel, particularly to the lower shoulder, and abrasions to the crystals. all commensurate with age

Finger size 8 (UK P)

For similar examples see Dalton, Catalogue of the ringer rings in the British Museum numbers 1989/90 and Oman, Catalogue of rings in the Victoria and Albert Museum

SOLD

Early 19th century gold mounted agate suite of necklace, bracelet and earrings

Probably Scottish, c.1810

Superbly mounted, with a knurled lining around the inside of each setting - they really do not get better than this example. Note the matching knurled connecting links….

The necklace 43cm (17”) long, the bracelet can be added to add an extra 18.5cm (7 1/4”)

The largest necklace collet measures 2.5 x 2.2cm

Earrings 4.5cm long (1 3/4”)

SOLD

Byzantine gold marriage ring
The circular bezel depicting Christ joining a couple in marriage

Ex Guilhou collection #845

Finger size UK - O, US - 7
Weight approximately 7g

Provenance:
E. Guilhou, Paris, by 1912;
Sotheby's London, November 1937

Literature:
Catalogue of a Collection of Ancient Rings formed by the Late E. Guilhou, Paris, 1912, p. 99, no. 845, pl. XIII

SOLD

Victorian diamond open oval link necklace
English c.1870
Open set in silver and gold
Approximately 29-30cts total diamond weight

38.5cm (15”) long

SOLD

A very wearable late 17th century diamond cross

Mounted in silver with ten table-cut diamonds, and a further three in the bale above. Shown here on a modern chain

50 x 32mm

SOLD

An important and previously unrecorded jewel in the Renaissance taste attributed to Fortunato Pio Castellani. Rome. C 1870

A pair of deeply incised emerald portrait cameos depicting Silenus and the young Bacchus/Dionysus. Mounted in gold settings heightened with black enamel and separated by a baton-shaped element decorated with pearl terminals.

The open back of the jewel reveals that the stones are joined mechanically to the setting with gold filigree tabs. These, together with the hinge and safety clasp of the jewel, are wholly characteristic of the Castellani workshops.

The brooch belongs to a series of similar jewels by Castellani that appear to owe their origins to German Renaissance tradition, none of which appear to be signed. For a discussion of this and photographs of comparable jewels see Castellani and Giuliano – Revivalist Jewellers of the Nineteenth Century by Geoffrey C Munn. (1984) Page 119 and plates 181- 183.

A suite of cameo jewellery from this series is illustrated in Geoffrey Munn's book, the same suite features in the 2004 Castellani and Italian Archaeological Jewelry by Susan Soros and Stephanie Webber, and another features in the Villa Giulia Collection, Rome, home of the Castellani collection.

There is a necklace of similar design, also with emerald cameos, in the Cooper Hewitt collection, New York

It is worth noting that emerald cameos are rare, they are difficult to carve because of the nature of the stone, having numerous “jardin” inclusions. To have a pair of cameos of this size and strong colour is extremely rare. It is highly likely they were carved by Antonio Odelli, specifically for Castellani

Approximately 6cm x 3.5cm

SOLD

Early 19th century gold mounted moss agate cameo of Flora, by Giuseppe Girometti (1780-1851)
c.1820

An unusual choice of material by this renowned Roman medallist and engraver. The reverse carved into a quatrefoil. In the original case

Approximately 40mm diameter

SOLD

An extremely fine and rare 16th century enamelled gold and lapis lazuli intaglio ring with a most desirable provenance

The lapis lazuli intaglio of Hercules wrestling with Antaeus; Hercules with billowing cloak and lionskin, his club on the ground before him, with ground line. Very finely carved, the bezel and shank with multi-coloured enamel scroll decoration, two fleur-de-lys in white enamel to the underside

The gem is described in the Boardman/Wagner/Zwierlein-Diehl catalogue as renaissance, but had previously always been referred to as Roman

Second half of the 16th century

The head 16 x 14mm, 5.8g gross. Finger size UK - Q, US - 8, Fr - 57 3/4

Arundel A56 (2), Marlborough 301, Boardman/Wagner/Zwierlein-Diehl catalogue of the Marlborough collection No 171

Mentioned in “Rings for the Finger” by George Frederick Kunz, who quotes Rev.C.W.King’s conjecture that from the style of ornamentation the ring may have belonged to one of the Valois Kings of France

Kunz, George Frederick, 1856-1932 Rings for the finger : from the earliest known times to the present, with full descriptions of the origin, early making, materials, the archaeology, history, for affection, for love, for engagement, for wedding, commemorative, mourning, etc.

“The rich Arundel Collection, chiefly brought together by a Lord Howard of Arundel, towards the end of the seventeenth century, incorporated in the Marlborough Cabinet and later dispersed, included a beautifully adorned gold ring set with a splendid lapis lazuli on which a Roman engraver had cut the design of Hercules wrestling with Antaeus. The hoop of this ring is ornamented on the inside with two fleur-de-lys in white enamel, the entire ring being covered with arabesques of entwined vine branches in black enamel. In his description. Rev. C. W. King conjectures from the style of ornamentation that the ring may have belonged to one of the Valois kings of France.”

For similar designs in enamel it is interesting to note several jewels illustrated in the Jewel Book of Duchess Anna of Bavaria which was produced in 1552

PROVENANCE;

Thomas Howard (1586-1646), 14th Earl of Arundel.

Entry in the 18th century catalogue of the Arundel gems by Andrew Fountaine:
56 – Hercules, crushing or squeezing Antaeus, raised from the ground against his breast: very fine. Lapis lazuli. – Antaeus was a giant and famous wrestler, who recovered his strength as soon as his feet touched the ground. Hercules, making this discovery, caught him in his arms, and raising him from the ground, he crushed him in such a manner as to overcome him. This was one of the twelve labours of Hercules – one of the best ancient statues represents this action. Pliny mentions the statue.

Inherited by his wife Alatheia Talbot (1585-1654) then by descent until gifted in 1762 on the occasion of the marriage of Lord Charles Spencer, by whom given to his elder brother George Spencer (1739-1817), 4th Duke of Marlborough.

David Bromilow, Bitteswell Hall, Lutterworth, until 1898;

by descent to Julia Harriet Mary Jary (née Bromilow);

Christie, Manson and Woods London, Catalogue of the Marlborough Gems: Being a Collection of Works in Cameo and Intaglio Formed by George, 3rd Duke of Marlborough, 27 June 1899, lot 301. Sold to Asher Wertheimer (1844-1918) for 42 Guineas

POA

Superb pair of late 19th century diamond bracelets set throughout with old-cut diamonds mounted in gold and silver.

There are two removable extension links to enable the bracelets to fit together to form a choker with some flexibility in size.

Original fitted case by Skinner & Co, Orchard Street, London
c.1890

12mm wide

Approximately 40cts total diamond weight

SOLD

16th century gold ring with an ancient heliotrope intaglio

Depicting a warrior, possibly Apollo, holding a bow in his left hand and a downward pointing spear in his right, mounted in a gold ring with engraved decoration around the bezel showing remnants of coloured enamel.

Engraved gems, and gem engraving, enjoyed a revival during the renaissance and those most highly prized were ancient examples. Indeed Benvenuto Cellini, the most famous of renaissance goldsmiths, mentions in his autobiography how dazzling ancient gems were discovered in the vineyards around Rome, destined to be used again in a 16th century masterpiece. Thinking of a hard gemstone a millennium or more old and carved with images of the gods, one can easily imagine how a nobleman of the middle 1500’s would find the romance and mysticism of an ancient gem enrapturing

The gem circa 2nd century AD, the ring German circa 1550

10mm wide, the gem 9x7mm. Weight 8.3g gross

Finger size approximately UK - U, US - 10 1/4, FR - 62 3/4

For two similar examples, in particular the engraved decoration, see:
“Rings: Alice and Louis Koch Collection” by Anna Beatriz Chadour. Page 200, rings number 652 and 653

Sold

Archaeological revival gold fringe necklace by Eugène Fontenay, Paris circa 1865.

In excellent condition, complete with the original Fontenay case, the lid inscribed with the initials I.R.
French gold poinçon, partial maker’s mark
39.5cm (15 1/2”) long

SOLD

Throughout the 19th century fashions in jewellery were often inspired by earlier ages. Renaissance and Middle-ages designs were “revived” in the earlier half of the century, then in the 1860’s Greek and Etruscan classicism came to the fore.

Eugène Fontenay was fascinated by the collection of ancient jewellery formerly belonging to Cavalier Campana and purchased by Napoleon III at auction. An exhibition of the collection was due to open in the Louvre in 1862 so he fervently studied these and others available from private collections. Avoiding simple imitation, he produced his own range of jewels of the highest quality and composition that continue to marvel to this day. He is by far the best revivalist French jeweller, and examples of his work can be found in the world’s major collections as well as jewellery books such as “French Jewellery of the Niineteenth Century” by Henri Vever (on numerous pages but an example of this necklace is illustrated on p.639 of the English re-print)

1920's very fine quality chrysoberyl cat's-eye and diamond ring. The cat's-eye of approximately 3.50cts, mounted in platinum with diamonds around and down the shoulders, a French-cut diamond to either side. Un-marked but faintly numbered inside the shank

SOLD

Late 16th-early 17th century gold claw ring c.1590-1600. The bezel containing a cushion shaped garnet (later) held by a gold bird's claw to each corner. The underside of the bezel and the lower section of the claws with blue enamel decoration.

The inside of the shank inscribed in the same enamel "Ex dono robe........ti wadeson" (the gap is where the ring has been re-sized). Stating the ring was a gift from Robert Wadeson.

For similar examples see Dalton, Catalogue of the ringer rings in the British Museum numbers 1989/90 and Oman, Catalogue of rings in the Victoria and Albert Museum number 312

SOLD

A very rare double-sided carnelian intaglio by Luigi Michelini, mounted in gold as a swivel ring, French c.1810 .

Minerva to one side, Perseus to the other. There are initials to each side - Λ Μ by Minerva, ΡΥΧ by Perseus.

Λ Μ was the signature used by Luigi Michelini, a pupil of Giuseppe Girometti. Born in Rome but a naturalised Frenchman, he was working in Paris at this time.

Sold Sotheby’s London 16th December 2020 for £20,160 including premium

A fine and rare 15th century gold iconographic ring

Iconographic rings are quite rare in themselves but his one stands out further for two reasons:
Firstly, the subject is St.Michael, which is far more unusual than the often found (relatively speaking!) Virgin and Child, St Christopher and St Barbara, but even more exciting is the inscription inside "Elle Me Plest" (sic) She Pleases Me with traces of white enamel

To the best of my knowledge, this inscription is previously unrecorded. The rings themselves are peculiarly British and yet there is no record of a similar inscription in either the British Museum or the V&A. The Oxford University Press published a book of hundreds of English posies in 1931, with a forward by Dame Joan Evans - nor is there a record of a similar inscription there, so this example could possibly be unique.

slightly under 6mm wide, 4g and finger size UK - M, US - 6

Sold

17th century garnet and enamelled gold ring

A stunning foiled rose-cut garnet set landscape in a white enamelled gold mount.

This is an extraordinary rare survival of an enamelled gold and gem ring from the early sixteen-hundreds, it compares directly with those found in the now famous Cheapside Hoard, which was discovered in 1912 by workmen using a pickaxe to excavate the cellar at 30–32 Cheapside in London. The hoard comprised of more than 400 pieces of Elizabethan and Jacobean jewellery, including rings, brooches and chains, with bright coloured gemstones and enamelled gold settings.

Also see a near identical ring, only set with a toadstone, in the Hashimoto Collection, Japan, and illustrated in the catalogue of the collection “Historic Rings” by Diana Scarisbrick

Finger size approximately UK - J 1/2, US - 5, FR - 49.5

Sold

Achilles carrying the dead body of Patroclus

Oval carnelian intaglio, Achilles kneeling and steadying himself with a dagger point to the ground, the shield in his left hand protecting the body of Patroclus over his shoulder.

Achillies gave the armour he received from his father to Patroclus in order that he may impersonate him and beat the Trojans back to their ships. After succeeding in this Patroclus defied Achilles' order to return, and pursued the Trojans back to the gates of Troy where he killed many Trojans, including a son of Zeus, Sarpedon.

During this battle Patroclus' wits were removed by Apollo, then he was killed by Hector, stabbing him in the stomach with a spear and stripping him of his armour. A grief stricken Achilles retrieved his body, only allowing a funeral after the ghost of Patroclus appeared and demanded one in order to pass into Hades

Mounted as a ring in yellow high-carat gold with wonderful heavily floral chased wide shoulders c.1840

The head approximately 20 x 15mm
15.4g gross

Finger size UK - W, US - 11 1/8, FR - 65 but easily altered

Sold

A rare and very fine ancient Roman carnelian intaglio of a naked athlete.

The convex gem superbly carved and highly polished to show the athlete, his muscled body glistening with oil, having just thrown a spear or discus.

Circa 1st century BC

Mounted in a late Georgian gold ring, English c.1820

The gem approximately 12mm diameter
general wear to the surface, commensurate with age, chips in the area between the feet

For a similar gem see Hermitage Museum number ГР-21607

SOLD

A very pretty little ancient intaglio, a horse’s head in profile.

Would make a lovely “pinkie” ring for a lady, this can be discussed and quoted for

Roman 2nd-3rd century AD

Approximately 9mm x 7mm

Sold

Antique cornelian intaglio of Pandora with her box signed ΣΟΣΟΚΛΕ (Sosokles) by Giovanni Calandrelli (Italian, 1784 - 1853), mounted in an early 19th century gold ring

Whilst the gem is engraved, like many Poniatowski gems, with a spurious signature, the original sketch is held by the Berlin Museum (reproduced here courtesy of the Beazley Archive and Antikensammlung Berlin: A.VI.39)

From the collection of Prince Stanislas Poniatowski, number 1839-566

Bibliography:
Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833): IV.6
Christie's, London: 1839-566
Calandrelli drawing, Antikensammlung Berlin: A.VI.39
Platz-Horster,G.: L'antica maniera. Zeichnungen und Gemmen des Giovanni Calandrelli in der Antikensammlung Berlin (2005): P.91

SOLD

1st-2nd century AD red jasper intaglio of a Bacchant, facing left, set within a Georgian gold ring c.1790

The head of the ring measures 17mm x 14mm

A superb intaglio in a very fine mounting
The gem appears to be published in Lippert, number 158, but the description describes the material as “sard” - the engraving appears identical so this could possibly be a mistake, or it is a remarkably similar gem

Finger size UK - Q, US - 57 3/4, EU - 8

SOLD

Antique 18ct gold diamond set double snake ring
A good, heavy example Chester hallmark for 1914, each head set with three old-cut diamonds and rose-cut diamond eyes
10mm wide, 17.5g gross weight

Finger size (centre) UK- S, US - 9.5

SOLD

A substantial 22ct gold band ring set with rubies and old-cut diamonds forming the letters MIZPAH.

An emotional bond - “making a pile of stones marked an agreement between two people, with God as their watching witness”

London 1912 (possibly 1932, difficult to differentiate)

8.7mm wide, Approx 14g gross

Finger size UK - M, US - 6

SOLD

Late 17th century gold ring with a Roman carnelian intaglio of two maidens offering a bowl of fruit and corn, symbolising abundance and prosperity. The underside of the gold bezel with the initials F and A with a charming little engraved fish between them.

Intaglio 1st 3rd century AD, ring c 1690.

The head 14mm x 11mm, finger size approximately UK- O, US - 7

Sold

Late 18th century gold ring with a Roman garnet cabochon intaglio of a bull. 2nd - 3rd century AD

A late 16th to early 17th century agate cameo of an infant Bacchus astride an ass, supported by two satyrs, mounted in the original gold ring c.1600

A very rare survival of an early 17th century gold ring with an intact cameo, the cameo could possibly be a little earlier than the ring.

Overall in excellent condition, some wear and losses to the cameo but nothing significant, the four small claws around the cameo are a later addition for extra security, and the back of the shank has been reinforced at some point, this could be improved if sizing were necessary. All-in-all very good condition for a 400 year old piece of jewellery

The head approximately 20 x 17mm

Finger size UK - N, US - 6 1/2, FR - 54

8.5g gross

Sold

A Roman aquamarine ring stone with a portrait of Faustina Minor

Circa 2nd century AD

5/8 in. (1.5 cm.) long

Sold Christie’s London 4th December 2019 for £156,250 including buyer’s premium

1st - 2nd century AD Roman nicolo intaglio, probably Venus Victrix holding the Apple of Discord awarded by Paris, mounted in a heavy and nicely shaped high carat gold signet ring c.1920. Unmarked, tests as 22ct gold.
A perfect “pinkie” ring for a man or woman

14.5g gross weight, the head 16mm wide
Finger size UK - R 1/2, US - 8 7/8, JP - 17 1/2, Ch - 19 1/2

Sold

Antique diamond tiara

Mounted in platinum with very fine piercing and seven diamond pendants to catch the light. Possibly by W.A.Bolin, jeweller to the Imperial Russian and Swedish courts.
Swedish or Russian circa 1900

Reputedly from a noble Swedish family (with Russian connections)

Approximately 40mm high

SOLD

A large early 19th century rock-crystal intaglio of Napoleon crossing the Alps at the St. Bernard Pass, by Francesco Pozzi (1750–1805), after Jacques-Louis David. Mounted in gold, un-marked.

There were five versions of Jacques-Louis David’s equestrian portrait of Napoleon Bonaparte (15 August 1769 – 5 May 1821) painted between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealised view of the crossing Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800.

For full details of the painting, see this entry in Wikipedia: https://en.wikipedia.org/wiki/Napoleon_Crossing_the_Alps.

Still in the original fitted case, as Pozzi died in 1805, this intaglio is contemporary to the painting and no doubt has an interesting history, yet to be revealed.

80mm x 55mm

SOLD

Dactyliotheca - The first extensive catalogue of an engraved gem collection

Abraham Gorlaeus (ca. 1549 – 1608) was a Dutch antiquary of Flemish origin. He published this first edition of his gem cabinet in 1601.

The year following his death in 1608 the collection was sold to Henry, Prince of Wales, then, after his death, it passed to his brother, who became became King Charles I.

Gorlaeus also had a collection of rare shells, which was of sufficient interest to be purchased by the State General of the Dutch Republic as a present for Marie de Medici, for 9000 guilders

This is a wonderful and very rare 1st edition, still in a period vellum binding. I believe the Metropolitan museum has a copy, but it is a later edition

SOLD

17th Century gold mounted portrait miniature of Louis XIV, attributed to Jean Petitot, Paris c.1670

36mm long x 25mm wide

Jean Petitot was born in 1607 in Geneva, of a Huguenot Burgundian family after they fled France. After his apprenticeship in Geneva he traveled to England with an introduction to Charles I’s court. After Charles’ execution he moved to Paris, where he executed many portraits of the king, his family, and the most-celebrated figures in the king’s entourage. He is described as the first “great” portrait miniaturist in enamel.

The quality of this miniature is truly remarkable, as one would expect. It has acquired some small scratches over the last 350 or so years, these can be easily restored but I have left them as is for now. It is very nice to see an original gold mounting

The largest collection of Petitot’s work is the Jones Bequest at the Victoria and Albert Museum. There are many in the Louvre, sixteen at Chantilly, and seventeen at Windsor. Petitot was collected by Earl Beauchamp, the Earl of Dartrey, the Duke of Rutland, the Duke of Richmond, Alfred de Rothschild, the Portland Collection and Baroness Burdett-Coutts

SOLD

Late 18th century chalcedony intaglio by J.Grew, mounted in gold

Head 23 x 15mm overall

Finger size UK - R, US - 8 3/4

For a similar subject, carved by William Brown, see Sotheby’s 10th December 2015, lot 433

SOLD

Antique large “Imperial” topaz and diamond pendant
Mounted in gold and platinum, the topaz of very fine colour and clarity approximately 50cts, surrounded by old-cut diamonds totalling approximately 5cts.
Suspended from a platinum chain by a diamond bale, and accompanied by detachable brooch fittings, in the original case

SOLD

An ancient carnelian intaglio of Heracles wearing the Nemean lion. Greco-Roman 1st Century BC to 1st Century AD, signed: ΑΞΕΟΧΟΣ (Axeochos) in an 18th-century ring mount

PROVENANCE:

Joseph Anton Gabaleon von Wackerbarth-Salmour (1685–1761);

Countess Francesca Cheroffini (1709–1778):

Private collection, United States of America

LITERATURE:

P. D. Lippert, Dactyliotheca Universalis signorum exemplis nitidis redditae, 1755, no. 1,300 [without material or owner], 1767, no. 626 [including material and owner];

J. J. Winckelmann, Description des pierres gravées du feu Baron de Stosch, Florence, 1760, II, p. 242, no 1513;

R. E. Raspe, A descriptive catalogue of a general collection of ancient and modern engraved gems, cameos as well as intaglios, London, 1791, no. 5515;

T. Cades, mss, German Archaeological Institute, Rome, 1830 (as referenced by Pirzio Biroli Stefanelli), 23, III A, no. 84;

T. Cades, Gemme antiche con I nomi degli Incisori, German Archaeological Institute, Rome, 1830 (as referenced by Pirzio Biroli Stefanelli), I, no. 23;

A. Furtwängler, Gemmen mit Künstlerinschriften” in Jahrbuch des Kaiserlich Deutschen Archäologischen Instituts, vol. IV, 1889, p. 72;

H. Brunn, Geschichte der griechischen Künstler, Stuttgart, 1889, vol. ii, p. 379;

L. Pirzio Biroli Stefanelli, La collezione Paoletti, Rome, 2012, vol. iv. II, no. 72

This beautiful intaglio, the Cheroffini Hercules, is carved with a head of Hercules dressed in the skin of the Nemean lion. It is of a Hellenistic type illustrated by Plantzos (op. cit., 85f, pl. 59) and likely dates to around the 1st century BC-1st century AD. The gem is recorded in 1755 by Lippert, who, in the 1767 edition, describes it as being in the collection of Joseph Anton Gabaleon von Wackerbarth-Salmour (1685–1761), the Italian-born Saxon envoy to Rome between 1730-1731. The gem was subsequently recorded and illustrated in Raspe/ Tassie (1791) as having been in the possession of the Countess Francesca Cheroffini (1709-1778).

The Countess Cheroffini was the lover of Cardinal Albani (1692-1779) by whom she bore two daughters. Considered a beauty in her youth, Cheroffini possessed a wit and intelligence that was admired by her contemporaries, amongst them Angelika Kauffman, and she herself amassed a significant art collection. One of her prized gems was the fragmentary 1st-century BC cameo with Orestes and Pylades now in the Museum of Fine Arts, Boston (inv. no. 21.1221).

The Cheroffini Hercules is signed ΑΞΕΟΧΟΣ (Axeochos), a name that exists on an amethyst intaglio in the British Museum, the so-called Strozzi Faun (inv. no. 1913,0307.111). Adolf Furtwängler argued that the BM amethyst was modern and was copied from an impression published by Stosch (1724, op. cit., pl. 20). Furtwängler also considered the present gem to be post antique (a view shared by Brunn, op. cit.) and suggested that the signature was taken from the Stozzi impression.

Zwierlein-Diehl, however, has convincingly argued that, “in all probability, the Herakles head and the signature are ancient”. She argues that both the Strozzi impression and the BM gem are modern and suggests that the relationship with the present gem could possibly be reversed. Though it cannot be proven, she proposes that the Cheroffini Hercules may be the source for the signature on the Stosch impression (Strozzi Faun).

There has been debate about the veracity of the signature ΑΞΕΟΧΟΣ (Axeochos). Zwierlein-Diehl has asserted that the Strozzi inscription cannot be ancient since 'there are no ancient signatures with foreshortened ep(oiei)'. The name itself has been considered modern (see the BM online cataloguing for inv. no. 1913,0307.111). However, Zwierlein-Diehl has argued that the present signature is probably ancient, a view also expressed by Dimitris Plantzos (private correspondence). For the signature with sigma composed of four strokes, Zwierlein-Diehl finds a precedent in the Solon signature of the Medusa Strozzi (Glaspasten Würzburg I, op. cit., no. 153).

Zwierlein-Diehl notes the Hellenistic Hercules type (as illustrated in Plantzos, op. cit.) but points out the difficulty of determining authenticity. The Cheroffini Hercules is a beautiful example of its type and the arguments for it being antique are compelling. It is distinguished by its illustrious provenance and publication history.

RELATED LITERATURE

A. Furtwängler, Studien über die Gemmen mit Künstlerinschriften, in: Johannes Sieveking – Ludwig Curtius (Hrsg.), Kleine Schriften von A. Furtwängler II, 1913, 275 = JdI 4, 1889, 72; E. Zwierlein-Diehl, Glaspasten im Martin-Wagner-Museum der Universitat Würzburg I, Würzburg, 1986, no. 153; D. Plantzos, Hellenistic Engraved Gems, Oxford, 1999

Sold Sotheby’s London “Small Wonders: Early Gems and Jewels” for £16,250 (I congratulate the buyer as I think they have an absolute bargain!)

9th July 2020

Antique intaglio ring.

Large oval nicolo intaglio depicting a Satyre, or follower of Bacchus, in an ecstatic trance like dance, his cloak dropping behind him, thyrsus over his right arm and a cup in his left hand. Mounted in gold c.1800

Early 19th century gold ring with an ancient Roman hardstone (agate) cameo of a quail. A popular subject c. 1st century BC to 1st century AD. There are similar examples in the British Museum and the Farnese collection, Naples

SOLD

Antique moss agate, cabochon ruby and rose diamond brooch c.1900

This is a specimen grade piece of moss agate, very finely mounted in yellow gold. 

33mm diameter

SOLD

A historically important Victorian silver cross dedicated to the memory of Prince Albert, circa 1862

Naturalistic split log style cross with textured bark detail, centred by a pearl with a surrounding crown of thorns which lifts to reveal a photograph of Prince Albert, the underside of the lid engraved with a scrolled “A”

Inscribed to the reverse “Dein Wille geschehe!”, with a hinged compartment below inscribed “Rosenau 26 August 1819. Windsor Castle 14 Debr.1861” , lifting to reveal a lock of Prince Alberts hair coiled as a lovers knot, tied at each end with black thread. The photograph in the locket was taken by John J. Edwin Mayall, in 1860

7.3cm long, 28.9g gross

After Prince Albert's death, Queen Victoria gave commemorative jewels set with portraits of her beloved husband, and this cross with its German inscription may have made for Prince Albert's German relatives such as his brother Ernest II, Duke of Saxe-Coburg and Gotha. The queen wrote to her daughter Victoria shortly afterwards: "How I, who leant on him for all and everything—without whom I did nothing, moved not a finger, arranged not a print or photograph, didn't put on a gown or bonnet if he didn't approve it shall go on, to live, to move, to help myself in difficult moments?”

Believed to have been purchased from Mary, Princess Royal, Countess of Harewood sale of items, Christie's. Catalogue of Highly Important Jewels. 7th October 1970

SOLD

Late 17th, or perhaps early 18th century gold mourning ring black enamelled with a gold skeleton accompanied by an hourglass and crossed pick and shovel
Inscribed inside NEVER LOST BUT GONE BEFORE

A superb, heavy (7.3g), example in excellent condition having only minor losses to the enamel.

Circa 1700

The inscription is particularly nice, being sentimental rather than a specific obituary

Finger size N leading edge, US - 6

4.5mm wide

SOLD

A superb example of a Georgian rose-cut diamond “button” cluster ring, close set in silver and gold, English c.1780.

High rose-cuts of fine quality, beautifully matched and set into a scalloped cluster with rose gold V shaped shank.

Fantastic condition with no damage or replacements. Just the right size - big enough to be impressive but small enough for frequent wear (within reason!) 17mm diameter.

Current finger size UK “O”, US “7”, though easily altered

Sold

Late 19th century gold bracelet formed by eight different comedy masks in the ancient style, the hair and beards formed by fine gold granulation

Unmarked, Italian circa 1890

Gold granulation is a very difficult technique, “rediscovered” in the 19th century and championed by the likes of Castellani and Giacinto Melillo

21cm (8 1/4”) long, 1.5cm wide
Approximately 22g

SOLD

SOLD

1920s diamond and vivid orange-yellow diamond ring.

A wonderfully vibrant "vivid" fancy-coloured diamond in the finest of settings, un-signed but of a quality equaling the best jewellers of the period 

19th century silver Etruscan revival shells necklace.

This is without a doubt the best antique silver necklace I have seen. Inspired by the "Grand Tour" and the many important archaeological discoveries of the 18th and 19th centuries, revivalist jewellery became all the rage in the second half of the 19th century. It varies wildly in both quality and design, Castellani and Melillo of Rome being the most famous names but there were others both in the UK, the rest of Europe and the United States

It is exceedingly rare to find a necklace of this type and quality in silver. I suspect it is by John Brogden, one of the best English revivalist jewellers, who usually worked in gold

https://en.wikipedia.org/wiki/John_Brogden_(jeweller)

SOLD 

Antique lapis lazuli, diamond and enamel pendant
English c.1900

The wonderfully tactile and slightly baroque large lentoid shape lapis with a platinum (un-marked) cap set throughout with diamonds and a red enamelled band. This band has a line of white text which, so far, has evaded translation.

It is in a fitted case by D & J Wellby Ltd, of Garrick Street, London. Wellby purchased Phillips Bros (of Cockspur Street) entire stock and fittings in 1902, which makes me wonder if this was actually by Phillips bros and re-cased by Wellby as it certainly has their feel.

33mm wide x 62mm long including the suspension loop
Approx 50g gross

Sold

Fabulous late Georgian diamond cluster ring, English c.1810

The oval pavé diamond panel sitting very low and curved around the finger, little diamond bi-foil shoulders and a very pretty rococo style gold shank. Of the finest quality and all in amazing un-touched condition. Total diamond weight approximately 2.5cts

12mm wide, finger size UK - M, US - 6, FR - 52, JP - 12

Sold

19th century gold Etruscan revival fringe necklace
Hollow drops with ball ends, on a ringed link chain with hook clasp
Probably Italian, with French import mark, c.1870

Approximately 15” long, the drops 1”. 43g gross

Overall very good condition, but with dents to a small number of the ball ends

SOLD

Citrine, diamond and gold clip brooch attributed to Cartier c.1945. Numbered 9771

Beautifully made, with all the characteristics of a piece by Cartier. The citrines graduating in colour around the head of the flower, the “petals” naturalistically curved. Notice the darker citrines hidden within the head……

Around the 1950-60’s the UK had a particularly punitive tax on second-hand signed jewellery. This meant that, incredibly, signatures were routinely removed from beautiful pieces of jewellery. I am sure this was the case here: I have included here a photograph of a Cartier citrine brooch from the same series, the number of which can be seen to be 9442, previously sold through Sotheby’s

Approximately 42mm wide

SOLD

Georgian diamond cluster ring, English c.1820

Central lozenge shaped diamond of approximately 1ct with a surround of smaller cushion shaped diamonds, close set in silver with a reeded wide gold shoulder and shank

The head 13 x 12mm

Finger size UK- L, US - 5 1/2 but easily altered +/-

Sold

Super-rare 17th century diamond and lapis lazuli jewel. Probably French, circa 1620-30

In “cosse de pois” or, in English, “pea-pod” style, the bold design set throughout with very fine quality table-cut diamonds and centred with a vibrant oval panel of royal blue lapis. This panel is original and perhaps once had painted decoration, but, if this was the case, there is no trace of it now. The outer edges have a black enamelled border

The only source of diamonds in the 17th century was India, and their use was reserved for the highest of classes. To think of these diamonds, coming from India to Western Europe, and the lapis coming from Afghanistan, is mind-boggling, not to mention the fact that it survived all this time.

The jewel would have been stitched in place, and it has not, so far, had any modern adaptation, but it would be possible to do sympathetically. There is a row of four loops on one side of the reverse, these may have been for pendants as the example shown here from the Victoria and Albert Museum

45mm x 40mm (1 3/4” x 1 1/2”)

Sold

Pair of 19th century French gold and silver brooding hen earrings.

Each hen, with traces of painted decoration, sitting on a clutch of silver eggs in a gold basket suspended by three chains.

French circa 1860

For an identical pair see “Earrings, from Antiquity to the Present” by Daniela Mascetti and Amanda Triossi - a superb book for anyone interested in earrings through history

Approximately 5cm (2”) long and 14g total weight

SOLD

Early 17th century gold signet ring, maker's mark an F (or possibly an E) within a triangle. The arms are those of John Rand M.A.

In impeccable condition, this is a rare and exceptional example of an early 17th century armorial ring

Entering Emmanuel College, Cambridge, on the 14th of January  1631, John Rand obtained his B.A. in 1634 and M.A. in 1638. He became a "preacher" at Redenhall and Harleston in Norfolk and died in 1659. 

Part of the entry for Redenhall church in "An Essay Towards a Topographical History of the County of Norfolk" by Francis Blomfield (1769) reads:

Rand per Chev, Or. & Ar. a lyon ramp Gul. Crest a boars head cooped.
John Rand MA a late painful preacher of the Gospel at Rednall (sic) cum Harleston. & Anne his wife & Eliz their Dr. Sept 27 1659

This ring was found in Redenhall with (changed from "cum") Harleston in 2015 and has been disclaimed by the Crown.

For similar examples, mostly in worn condition, see;

Oman. Catalogue of rings in the Victoria and Albert Museum, numbers 498 and 499. (#499 has a maker's mark E)
Dalton. Catalogue of Finger Rings Bequeathed by by Sir Augustus Franks, in the British Museum, numbers 637, 638 and 641
Boardman/Scarisbrick. Ralph Harari collection of Finger Rings. Number 128

SOLD

Rare late 16th to early 17th century enamelled gold reliquary cross pendant. Spanish or possibly German, c 1580-1600.

Quite heavy-weight weighing over 44g and monochrome enamelled entirely, this has six windows, each covered with a rock-crystal cabochon revealing a holy relic. The enclosure has been riveted shut and will remain so. There are some slight losses to the enamel but only commensurate with age

77mm long, 43mm wide

SOLD

15th century engraved gold double-band ring engraved inside in gothic script "JOYE SANZ FYN" (Joy without end). English circa 1450
Approximately 7g, 7mm wide

A lovely early example of a posy ring, the bipartite form and engraved decoration being particularly unusual and charming. For 15th century examples with similar inscriptions see Oman, Catalogue of the Finger Rings in the British Museum numbers 924 to 926. See also the Fishpool Hoard in the British Museum, where there is a single-band ring with similar beaded decoration and Gothic inscription, of the same period.

This ring was discovered in the New Forest, Wiltshire, and has been disclaimed by the Crown

SOLD

Early eighteenth century silver, ruby and enamel double-sided Order of Christ pendant

Portuguese circa 1700

Provenance - Berkeley collection, Spetchley House.

Measures 5.4 x 4.5cm. One ruby absent.

Of very unusual, and pleasing, form. The dark green enamel is almost missed among the piercing and in contrast to the bright red enamel cross and rubies

The two sides are virtually identical so it can be worn without worrying about it turning

SOLD

19th century gold brooch by Castellani, mounted with a silver Denarius of Trajan, circa 100AD

Rome c.1870

32mm diameter

Sold

19th century French pearl, diamond, emerald and ruby insect brooch.

The body formed by a large elongated natural pearl, the wings pave set with old-cut diamonds, emerald and diamond thorax, cabochon ruby eyes.

Beautifully mounted in yellow gold throughout, of the highest quality. French marks and numbered

42mm long x 31mm wide. The pearl approximately 22 x 9mm

SOLD

Pair of antique cushion shaped diamond drop earrings

The “old-mine” cushion shaped drops assessed as 2.32cts H colour VS1 clarity, and 2.54cts J-K colour VS2 clarity, spectacle set in platinum and suspended by a fine chain from a smaller old-cut diamond of approximately 0.30cts

In a fitted case by the Goldsmiths & Silversmiths Company, Regent Street.

Circa 1910

Approximately 28mm long, currently with screw fittings but can easily be adapted for pierced ears

SOLD

The Goldsmiths & Silversmiths Company held a royal warrant to the King and became Garrard & Co in the 1950’s

Chaine d'ancre bracelet by Hermes, France c.1980

68 grams of 18ct gold, fully marked and numbered

Challenged to find one of these iconic bracelets for a customer's birthday, I not only managed to complete my mission in time for the birthday but also for 33% less than the available on-line offerings elsewhere.

An incredibly rare trap-cut sapphire Renaissance ring, the gold mount with black and white enamel decoration.

Probably German or Italian, circa 1620

Sold

Eighteenth century carnelian brooch/pendant

Each rose-cut carnelian close set in silver, giving them a beautiful delicate glow that is hard to capture in a photograph. The back of the brooch with a faint gold wash

For a necklace of the same type see The Victoria and Albert Museum jewel room, object number M.82-1962 (bequeathed by Dame Joan Evans)
http://collections.vam.ac.uk/item/O112190/necklet-unknown/

German circa 1740-50

54mm x 41mm ( 2 1/8” x 1 5/8”)

Excellent condition but would have originally had a drop either side of the existing one - at some point these were possibly removed to make earrings

Sold

Georgian multi-gemstone “harlequin” Maltese cross brooch, English c.1800

A rare example, set throughout with pink topaz, emeralds, aquamarines, rubies (would now referred to a pink sapphires) chrysolites, opals and amethysts, mounted in gold

44 x 43mm

One opal cracked, otherwise in excellent condition

SOLD

Georgian multi-coloured paste, garnet and rose-cut diamond moth pendant c.1800. Mounted in silver with gold legs, antennae and loop

25mm wide

This is a rare and very attractive example of a paste insect, particularly unusual to have it's original pendant loop rather than a later brooch fitting. Being a modest size makes it very wearable, though I'm sure it would appreciate sympathetic wear considering its age.

For similar examples of brooches see the catalogue for Brilliant Impressions - An Exhibition of Antique Paste and Other Jewellery, Diana Scarisbrick/S.J.Phillips June 2010

SOLD

17th century enamelled gold Gnadenpfennig pendant - King Gustavus Adolphus of Sweden, (9 December 1594 – 6 November 1632) c.1630

Small but super-rare, this is a gnadenpfennig (favour-penny) which would have been given by the protestant hero, King Gustavus of Sweden, to a devoted follower during the Thirty Year War (1618-1648)

Regarded as one of the greatest military commanders of all time, King Gustavus’ most notable victory was the Battle of Breitenfeld (1631), the Protestants’ first major victory of the Thirty Years War. In November 1632 he led the protestants to victory at the Battle of Lützen - where he was fatally wounded and died on the battlefield.

Also illustrated is a similar piece from the Rijkesmuseum and a portrait of the British mercenary Daniel Goodricke (1597-1657/8) with detail of him wearing a similar gnadenpfennig on his sash

Approximately 20x14mm including small top loop. Losses to enamel and gold, restoration to gold top ring area.

SOLD

Pair of diamond hoop earrings c.1920

Round and cushion shaped old-cut diamonds very nicely set, mounted in platinum on three sides. The original fittings have been changed at some point for a brooch-like wire and catch, which will probably need changing but this would be discussed with the purchaser

Approximately 8cts total diamond weight

SOLD

17th century gold and sapphire ring

A slim tapering gold band with a square collet enclosing a small table-cut sapphire, English circa 1600

Rare as they are, one sees similar rings with a ruby, garnet or perhaps emerald but examples with sapphire are very hard to come by. The cutting of the stone dates the ring to the early 17th century, whilst the ring form makes it appear earlier.

5mm wide, finger size approximately UK - M, US - 6

In good condition commensurate with age - the narrow (1mm) band is distorted and has a nick on the side, the sapphire has a crack across one corner but is intact. The ring is, however, eminently wearable.

SOLD

Wonderfully tactile "sweetie" pendant - a bouton shaped pink tourmaline mounted in platinum with rose diamonds c.1900. Drilled all the way through to hold in position, they thoughtfully put a little diamond in the base too

Surprisingly large at 21mm diameter, that's the size of a 5 cent coin
10g gross weight

SOLD

Georgian gold mounted emerald-green paste large cross pendant, c.1820

Approximately 82mm long including loop, 52mm wide (3 1/4" long, 2" wide)

Excellent condition

Sold

Art Deco square diamond and diamond ring, c.1920

Modified emerald-cut central diamond of 1.71cts, F colour VS1 clarity with a half-moon and bullet shaped diamond to each shoulder totalling approximately 0.80cts.

Mounted in white metal marked “PLAT”

Currently finger size UK - O, US - 7, but easily altered

Accompanied by a GIA certificate for the principle diamond

SOLD

Pair of late 17th century Portuguese rose-cut diamond and gold earrings c.1690-1700

With beautiful scroll form and jointed in two places, they have a wonderful movement and are a good size for frequent wear.

For similar examples see “Five Centuries of Jewellery” from the National Museum of Ancient Art, Lisbon, Portugal. Page 68, item 90

40mm long, 22mm wide (1 1/2” x 7/8”)

NB. These have the period type thick wires with a hook on the end, which require large-ish ear holes, though it would be possible to remove these (to keep) and replace with modern, thinner, wires

RESERVED

A small circular prase (chrome chalcedony) ancient Roman intaglio, mounted in a 19th century gold ring with rose-diamond line surround

Dionysos, seated on a rock, holding a theatre mask

English c.1870, the intaglio 1st-2nd century AD

11mm wide
Finger size currently UK - O1/2, US - 7.75

nb. The rose diamonds match but four appear to have been replaced

SOLD

Pair of pavé diamond and cabochon ruby bombé earrings

24mm diameter, approximately 9cts of diamonds and 7cts of rubies mounted in platinum with white gold fittings, un-marked. English c.1950

Sold

Belle époque amethyst and diamond corsage brooch c.1900

Large and quite fabulous, this is an amazing amethyst of a wonderful “Siberian” colour, beautifully cut with a slightly domed table (known as buff-cut) mounted in platinum, articulated, with diamonds and rose-cut diamonds. There are two hooks at the reverse of the bow to add a chain for use as a pendant.

One of the best amethysts I have ever seen.

The piece is very much redolent of Faberge but is in a fitted case by Leonhardt & Fiegel of Berlin, described in the lid as “Königl Hof Juweliere” - meaning they were jeweller to the royal court of Wilhelm II, the last German Emperor (Kaiser) and King of Prussia. A piece of this size and importance would undoubtedly have been connected to that royal court.

Approximately 66mm x 40mm, the amethyst around 70cts

Sold

A cased set of 16 glass models of the “biggest and most interesting diamonds in the world”

An antique (yes!) set of paste “diamonds” with the original German text. There is no mention of the Cullinan and they state that the Hope is owned by the Duchess of Newcastle (The Duke sold the Hope in 1901/2), this together with the wooden fitted case and antiquated font for the names leads me to believe it must be c.1900

The “diamonds” are Pigott, Sancy, Shah, Hope, Pasha of Egypt, Koh-I-Noor old and new, Nassak, Grand Mogul, Florentine, Regent, Empress Eugenie, Dresden Green (rare!), Orloff, Polar Star and the Star of the South

Some small chips to the stones commensurate with age, but nothing too concerning

SOLD

Ancient Egyptian mottled red jasper scarab, the reverse intaglio engraved with a warrior, possibly Heracles, kneeling with club raised and bow held out in front, 5th to 4th century BC, swivel mounted in high carat gold with wire wrapped shoulders.

The ring itself is certainly antique but not, I believe, ancient. Whilst the mount is simple, it is superbly made and robust, weighing almost 12g gross and the finger size approximately a UK “T”, US - 9 5/8 making it suitable for a man or woman

SOLD

Georgian pavé diamond ring, English c.1820

Open set in silver and gold, reeded shoulders

7.7mm wide
Finger size UK - N, US - 6 1/2

Sold

18th century diamond flower brooch, close set in silver with gold fittings. English c.1750. Approximately 5 - 5.5cts

35mm diameter (1 3/4")

Sold

A remarkable and very rare, possibly unique, angular gold and agate ring Roman 2nd-3rd century AD

Massive, at over 35g, and beautifully angular, this is a superb example of a late Roman ring, set with a charming little conical agate
It is very pleasing to wear and fascinating to look at with all the chamfers, bevels and concave sides

Finger size approximately UK size R (about a US 8 1/2)

Provenance:
Oliver Reginald Hoare (18 July 1945 – 23 August 2018)

SOLD

SOLD

Belle époque diamond and natural seed pearl necklace, mounted in platinum, attributed to Cartier, c.1910

Wallis, Duchess of Windsor (19 June 1896 – 24 April 1986)

A pair of grey and white shell earrings mounted in gold with turquoise, c.1965, formerly owned by the Duchess of Windsor and sold at the sale of her jewels by Sotheby’s Geneva, April 1987, lot 8, where they made CHF 14,000 + 10% commission

Unlike the three pairs of shell earrings in the sale by David Webb, these are not signed. They have stamped marks “585” (for 14ct) and “SC” on the clips, there was one other pair with white shells similarly un-signed, along with two pairs with the French marks for Darde et Fils (Suzanne Belperron). Who made these remains a mystery but I have no doubt the Duke and Duchess would only have purchased from a jeweller of repute.

28mm long

SOLD

Fine and rare early 17th century garnet cross pendant

Each of the twelve garnets finely engraved and enamelled with emblems representing the Passions of Christ, close set in gold, the reverse enamelled in blue, green, yellow and black in a beautiful foliate design, centred with an entwined cipher for Maria (Mary)

German, or possibly Italian c.1620

57mm (2 1/4”) long including suspension loop, 27mm (1”) wide
Very good condition - some chips to garnets, small losses to enamel, commensurate with age

For similar examples see:
Object 1978,1002.116 in The British Museum
Rennaisance Jewels and Jeweled Objects, the Melvin Gutman Collection, published by the baltimore Museum of Art, 1968. Object 7, page 46

SOLD

A very rare, 18th century enamelled gold posy ring. English c 1750

The inscription on this ring, which sets it apart from many other posy rings, does not read in honour of God or faith, but is the much more unusually personal and romantic statement, “MY LOVE IS PURE”.

The outside of the ring is decorated with beautifully green enamelled rococo scrolls and flowers.

A similar ring with memorial inscription is in the British Museum

Finger size UK - O 1/2, US - 7 1/4, JP - 14

SOLD

Antique demantoid garnet, pearl and diamond bracelet
Retailed by Le Roy et Fils, 57 New Bond Street, London
Circa 1900

Nine graduated green garnets between old-cut diamonds and natural bouton pearls, mounted in gold and silver

Approximately 17.7cm long

Le Roy et Fils, warrant holder to Queen Victoria, were located at 57 New Bond Street from 1885

SOLD

Late 16th century gold signet ring

Oval bezel seal engraved with an eagle within a shield, surmounted by a coronet with five “pearls”, possibly for a Duke or Earl, all surrounded by a cable border

European, c.1580-1600

This ring is in excellent condition and is both of good size and weight, perfect for frequent wear

Finger size UK T, US - 9 5/8, CH - 21 1/2
Head 18 x 15mm, weight 16g

SOLD

SOLD

Rare and important 18th century hardstone cameo and diamond ring, depicting Catherine the Great, with applied diamond necklace

Royal Portrait Cameo Habillé

Description: Gold and silver ring, the diamond border surrounding an onyx cameo portrait of a young woman, probably Catherine II of Russia when Archduchess Ekaterina Alekseevna, her hair plaited over the crown of the head and swept up above the nape of the neck, ringlets falling below. Above her draped neckline she is habillé with a diamond choker with pendant and faces in profile towards the left. Mid 18 th century

Commentary: Here the artist has captured the determination, ambition and character of the young Catherine II, Empress of Russia 1762-1796. This marble like portrait compares with another, similarly in profile, of the young Empress, see F.Eichler & E. Kris, Die Kameen im Kunsthistorischen Museum (Vienna 1927) no. 580, Plate 75 by D.F. Schubin, dated 1763.- just after her accession to the throne of Russia. As for the diamonds which embellish the cameo, although the future Empress wears nothing similar in any of the portraits surviving from this early period of her life, the Italian artist Pietro Antonio Rotari (1707-62) in 1757 depicted her with a blue ribbon tied like a choker at the neck, which indicates her awareness in this type of fashionable ornament, illustrated in Catherine the Great and Gustave III, Exhibition at the National Museum, Stockholm (October 1998-February 1999) p. 87. She is the most frequently portrayed of all Russian rulers, not only in paintings, sculpture and in medals but also as here, in engraved gems, an art of which, as Empress, she became the greatest patron of the eighteenth century.

Rare and wearable late 16th century gold salamander ring. C.1600

Capable, in mythology, of withstanding fire, the salamander became a symbol of immortality, rebirth and passion.

In real life they hibernate in dark and damp places such as in log piles and rotting wood - when wood was brought indoors and put on the fire, the creatures would "mysteriously" appear from the flames. The 16th-century Italian artist Benvenuto Cellini (1500–1571) famously recalled in his autobiography witnessing just such an appearance as a child

11mm wide, 3g
Finger size approximately US - 7, UK - O

SOLD

Antique wide gold and pearl bracelet

Tactile scales of gold set throughout with pearls, bordered by a foxtail chain - very pleasing to wear

English c.1860

18.5cm long, 3cm wide, 71g gross weight.

Unmarked, tests as 15ct gold

Sold

18th century hardstone cameo ring mounted in gold c.1760. The bust of a lady in profile is earlier than the ring, probably 16th century, and has been set very closely in the asymmetrically shaped mount

SOLD

SOLD

The gold ring, designed as a plain hoop expanding to shoulders supporting the bezel mounted with a hessonite garnet cameo head of a man wearing a diamond and ruby turban-like cap and a ruby and diamond collar. Cameo mid 16th century, Venice, habillé with rubies and diamonds 18th century.

Commentary by Diana Scarisbrick;

The oriental style ruby and diamond headdress gives an exotic character to this magnificent cameo carved in Renaissance Italy which may represent a European in Turkish costume, evoking the legendary palaces of Constantinople. It belongs to a rare group of sixteenth century “cameos executed in single coloured monochrome stones of extreme hardness - orange jacinth, violet almandine and blood red garnet which form a distinct branch of the art of relief carving “ identified as a speciality of the gem engravers of Venice by J.Kagan, curator at the Hermitage Museum.(1) Other scholars agree on this North Italian origin, and E. Kris, for instance, ascribes a pair of hessonite garnet busts, in the Kunsthistorisches Museum, Vienna, one representing Cleopatra, the other a man, to Venice/Padua. (2) Other outstanding examples representing Cleopatra are in the Schatzkammer der Residenz, Munich,(3) at Waddesdon Manor, (4) and in the collection of the Duke of Northumberland. (5) In addition, there is a Lucretia in the Museo degli Argenti, Florence,(6) a classical laureate bust in Rosenborg Castle, Copenhagen, (7) and the bust of a woman in the Bibliothèque Nationale de France (8) Exceptionally rare and expensive, royalty and the richest connoisseurs competed to possess them during the great age of gem collecting. Of the three such “jacinthes” listed in the French Crown Jewellery Inventory of 1580 ( 9) a hessonite head of Julius Caesar in a 16th century pendant setting, c.1550, is perhaps that shown by Kugel in a Paris exhibition of 2000.(10). As for the present example, the embellishment with diamonds and rubies in the habillé technique was probably added in the 18th century when “turquerie” was a popular theme in painting, architecture decorative arts, notably Meissen porcelain. It could have belonged to the 2nd Earl of Bessborough (1704-93) who was portrayed in Turkish costume by J.F. Liotard,(11) As a young man he travelled to Italy, Greece and Constantinople buying antiquities, and, assisted by his wife Caroline, acquired from various sources a collection of cameos and intaglios which he sold to the 4th. Duke of Marlborough soon after 1768. (12) A leading figure in the heyday of Grand Tour collecting, respected for his knowledge of classical art, he was a founder member of the Society of Dilettanti and a Trustee of the British Museum. Besides being addicted to “vertu”, Lord Bessborough was a notable man of fashion, known in polite society for his “gaieté de coeur.”(13 ) He may not have kept all his gems hidden in his collector’s cabinet and as a well dressed connoisseur he would also have enjoyed displaying them on his fingers, so as to make a talking point in company. Indeed, of all the noble and rich English bon vivants of the eighteenth century, he is the most likely to have possessed a jewelled ring mounted with a hessonite garnet cameo of this size, quality and extraordinary lustre which unites a penchant for Turkish costume with an enthusiasm for cameos.

Antique jadeite and diamond ring c.1910
Bright translucent green jadeite cabochon measuring approximately 14x11x3.6mm mounted in platinum with a “halo” of eight-cut diamonds.

Not only is the stone of superb quality but the mounting is also exquisitely done, and could only have been carried out by one of the best jewellers of the period

Accompanied by GCS certificate stating the jadeite to be of natural colour and having no impregnation

SOLD

19th century cornelian erotic intaglio

Depicting a naked bacchant couple in a standing “amorous embrace”

Rather hard to date but from the fitted case, with plaster impression, I would say the latter half of the 1800’s.

Both the material and carving are of excellent quality, there is no doubt it belonged to a rather well-heeled gentleman’s kunstkammer

The gem approximately 16x12mm

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A rare mid to late 15th century gold iconographic ring depicting St.Christopher carrying the Christ child.

A rather attractive example with the shank in the form of a knotted branch

For a similar representations of Saint Christopher on iconographic rings see numbers 689-1871 in the Victoria and Albert Museum - Oman, Catalogue of the finger rings in the Victoria and Albert Museum, numbers 720-729 illustrated plate XXX

Finger size UK - M, US - 6, FR - 52 3/4

Approx 2.6g , 6mm wide

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18th century citrine ring.

Cushion shaped citrine approx 23 x 21mm close collet set in gold with nice little fleur-de-lys to the shoulder. English c.1770

In fine condition, with original foil. Very tactile and easy to wear.

Finger size approximately UK - P, US - 7 1/2 Gross weight 4.7g approx

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Sapphire and diamond three stone ring. The un-heated sapphire of a royal blue colour approximately 1.15cts with an old-cut diamond of approximately 0.40ct either side collet set in platinum

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Rare and heavy 18ct white gold textured double link bracelet by Cartier, London 1973. Signed, hallmarked and numbered. 79 grams

A rare piece, the weight and texture of the links make it particularly pleasing to wear

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19th century steel, gold and hardstone cameo bracelet attributed to Emile Froment Meurice, Paris circa 1870
The four black and white cameos representing Mercury, Diana, Achilles and Bacchus, the bracelet formed by neo-renaissance style steel scroll panels joined by gold links

Seemingly unsigned, which I understand does occur with work by Froment Meurice, the tongue does have a post 1893 Owl poincon indicating it re-entered the market at a later date. In the original fitted case signed Froment Meurice 372 Rue St.Honore

The bracelet has been shortened by three links - these are still in the case but I have not re-installed them as the bracelet is now just a little over 7” in length, which is perfect for most people

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