AUCTION 66 (Part II) - GLYPTICS

London, 10 TH July 2019 Auction 66

Auction 66, part II

L o n d o n , 1 0 th J u l y 2 0 1 9

Auction 66

GLYPTICS L o n d o n , 1 0 th J u l y 2 0 1 9 AUCTION 10th July 2019 at 3.00 pm GMT Halkin (4th Floor) 10 Lower Thames Street, London, EC3R 6AF United Kingdom.

Ph. +44 7741 757 468 +39 06 326 097 95 Fax. +39 06 323 0610

EXHIBITION 3rd - 9th July 2019 at 10.00 am - 5.00 pm GMT Halkin (4th Floor) 10 Lower Thames Street, London, EC3R 6AF United Kingdom.

Ph. +44 7741 757 468 +39 06 326 097 95 Fax. +39 06 323 0610

AUCTIONEER Lindsey Alexa Gundersen

browse the catalogue and bid on

bertolamifineart.com

MANAGEMENT Giuseppe Bertolami

Sole Administrator

Manuela D’Aguanno

Director At The Rome Branch

m.daguanno@bertolamifineart.com

DEPARTMENTS ANTIQUITIES COINS AND MEDALS Andrea Pancotti

Antonio Ragonesi

Head of Departments

Numismatic Specialist

Barbara Venezia

Emanuele De Gattis

b.venezia@bertolamifineart.com

e.degattis@bertolamifineart.com

a.pancotti@bertolamifineart.com

Antiquities Junior Specialist

a.ragonesi@bertolamifineart.com

Numismatics Junior specialist

Francesca Balducchi

Antiquities Specialist

f.balducchi@bertolamifineart.com ANCIENT AND MODERN GLYPTICS Gabriele Vangelli De Cresci

Head of Department

g.vangellidecresci@bertolamifineart.com MEDIEVAL ART Giuliano Catalli

Head of Department

g.catalli@bertolamifineart.com OLD MASTERS Luca Bortolotti

Head of Department

l.bortolotti@bertolamifineart.com

Riccardo Picciaredda

Junior Specialist

r.picciaredda@bertolamifineart.com

ANCIENT PORCELAIN AND CERAMIC Giuliana Gardelli

Head of Department

g.gardelli@bertolamifineart.com ANTIQUE FRAMES Fabrizio Canto

Giorgia Giammei

f.canto@bertolamifineart.com

g.giammei@bertolamifineart.com

Head of Department

Junior Specialist

MODERN AND CONTEMPORARY ART 20th CENTURY DESIGN AND DECORATIVE ARTS Raffaele Cecora

Head of Departments

r.cecora@bertolamifineart.com Vittoria Sut

Junior Specialist

Carla Cerutti

Consulente scientifico Arti Decorative del ‘900 e Design c.cerutti@bertolamifineart.com

v.sut@bertolamifineart.com PRINTS AND MULTIPLES Filippo Restelli

Head of Department

f.restelli@bertolamifineart.com PHOTOGRAPHY Adriano Colasanti

Head of Department

a.colasanti@bertolamifineart.com ASIAN AND TRIBAL ART Francesco Morena

Head of Department

f.morena@bertolamifineart.com

Giorgia Giammei

Assistant

g.giammei@bertolamifineart.com

JEWELLERY AND WATCHES Andrea Falcioni

Professor Silvana Morabito

jewels@bertolamifineart.com

jewels@bertolamifineart.com

Head of Department

Gemologist

FASHON, TEXTILES & LUXURY Ilaria De Santis

Head of Department

i.desantis@bertolamifineart.com BOOKS, AUTOGRAPHIS AND MEMORABILIA Massimo Fino

Head of Department

m.fino@bertolamifineart.com AUTOMOBILES AND MOTORCYCLES Claudio Maccaroni

Head of Department

c.maccaroni@bertolamifineart.com SILVERS, IVORIES, CORALS AND RUSSIAN ARTS Fabio Moroni

Head of Department

f.moroni@bertolamifineart.com

Paolo Mecucci

Head of Department

m.fino@bertolamifineart.com

WUNDERKAMMER Giano del Bufalo

Head of Department

info@bertolamifineart.com

Valentina Virgili

Specialist

info@bertolamifineart.com

SCIENTIFIC METHODS OF CULTURAL HERITAGE Fabio Moroni

Head of Department

f.moroni@bertolamifineart.com ANCIENT WEAPONS AND MILITARIA Danilo D’ Alfonso

Head of Department

info@bertolamifineart.com PRIVATE SALES Giuseppe Bertolami ADMINISTRATION Fabrizio Fazioli f.fazioli@bertolamifineart.com

Simone Durante s.durante@bertolamifineart.com

CUSTOMER CARE Sara Calvani info@bertolamifineart.com LOGISTICS & EXPORT LICENCES Alessandra Tabacco a.tabacco@bertolamifineart.com

PRESS OFFICE AND PR Scarlett Matassi s.matassi@bertolamifineart.com MARKETING Elisabetta Subrizi e.subrizi@bertolamifineart.com E - COMMERCE Alessandro Tini a.tini@bertolamifineart.com GRAPHIC & WEB DESIGN Gioia Fiaccadori g.fiaccadori@bertolamifineart.com

Mehran Zelli

Specialist

m.zelli@bertolamifineart.com

PHOTOGRAPHY Lorenzo Vanzetti l.vanzetti@bertolamifineart.com PUBLISHING Massimiliano Fiorelli m.fiorelli@bertolamifineart.com

A SPECIAL THANKS TO BIANCA MASSARD

Bertolami Fine Arts s.r.l Palazzo Caetani Lovatelli Piazza Lovatelli, 1 - 00186 Roma tel. +39 06 326 097 95 / +39 06 321 8464 /fax. +39 06 323 0610 Bertolami Fine Arts Ltd 63 Compton Street apartment 2 - EC1V 0BN London / ph. +44 7741 757 468 ACR Auctions GmbH Sendlinger StraÃ&#x;e 24 - 80331 Munich

w w w. b e r t o l a m i f i n e a r t . c o m - i n f o @ b e r t o l a m i f i n e a r t . c o m

IMPORTANT INFORMATION FOR BUYERS ON AUCTION 66

- The lots are definitely awarded in the auction room on the days of sale: 10th July 2019 – 3:00 pm BST in Halkin (4th Floor), 10 Lower Thames Street, London, EC3R 6AF, United Kingdom.

- The lots are available for viewing in Halkin (4th Floor), 10 Lower Thames Street, London, EC3R 6AF, United Kingdom from 3rd to 9th July 2019 from 10.00am to 5.00pm BST. - The offers may be made through our websites (www.bertolamifinearts.com), or Invaluable (www. invaluable.com), Sixbid (www.sixbid.com), Emax (www.emaxbid.com), by fax, email, phone or directly to the offices of Bertolami Fine Arts. Offers made by email, by fax and through our website or website above mentioned, can be received until 12:00 pm BST of 10th July 2019.

- In the event of matching bids on the same lots, the earliest bid will take precedence.

- In the case of only one bid on a lot, the lot will awarded at the opening price. (e.g. if the opening price is £ 1.000 and the only bid offered is £ 1.500, the lot will be awarded at £ 1000).

- In the case of multiple bids on the same lot, it will be awarded to the highest bidder. The calculation of the offer will be made at predetermined increments (view “Predetermined increase”) added to the bid immediately lower than the highest received. (e.g. if the opening price is £ 1.000 and customer (A) offers £ 1,270 while customer (B) offers £ 1,800, the lot will be awarded to customer (B) at £ 1,370 (i.e. with a predetermined increment of £ 100 over the immediate lower bid of £ 1,270).

- The realized sale prices list will be published on the Bertolami Fine Arts website within five days of adjudication.

- Payment for the purchased lots may be made via the following methods: - Bank cheque or cash in favour of Bertolami Fine Arts LTD with surcharge of £ 10 for foreign checks - bank transfer in Euro or Pound may be made to Bertolami Fine Arts LTD with surcharge of £ 10 for outside European Bank transfer:

Barclays in Pound, IBAN: GB59BARC20577690199966 – Account Nr. 90199966 - SWIFT/

BIC: BARCGB22

Barclays in Euros, IBAN: GB60BARC20577642545400 – Account Nr. 42545400 - SWIFT/

BIC: BARCGB22 - Credit card and PayPal On the invoices paid by bank transfer, cheque or cash will not be added a surcharge of Administration fees of 3,5% - Payment of purchased items must be made within than 7 days from receipt of the invoice. If the invoice has not been paid within 30 days of the auction day, the interest will be charged at 1% monthly.

-Import costs for countries which require formal import requirements and cost for the issue of export license, will be charged to the buyer. In the case of unjustified contestation, by which the items are returned to Bertolami Fine Arts, any customs and courier costs will be payable by the buyer.

- Bertolami Fine Arts reserves the right to withdraw any lot. The auctioneer during the auction, has the right to unite or separate lots and possibly vary the order of sale. He may, at its own discretion, withdraw lots if the bids in the auction does not reach the reserve price agreed between Bertolami Fine Arts and seller.

- The successful bidder will pay a commission to Bertolami Fine Arts, for each lot on the hammer price, of 25%.

- All lots purchased on the Live-bidding of our website www.bertolamifinearts.com are subject to an increment of 1,5% on the hammer price.

All lots purchased on the Live-bidding of Invaluable (www.invaluable.com) are subject to an increment of 5% on the hammer price.

- All participants in the auction must, under the validity of an eventual award, complete a registration form with your personal data and the information requested before each auction. To buy you must possess the ability to act as required by law.

- Bertolami Fine Arts may accept mandates for the purchase, by making bids via the auctioneer, in competition with the public participating in the auction. Bertolami Fine Arts reserves the right to refuse bids from buyers not known unless they make a deposit to cover the whole value of the lots desired or, in any case, provide other adequate guarantees.

- The estimates of the possible selling price of each lot are printed under the description of the lots shown in the catalog and don’t include the commissions payable by the successful bidder. These estimates are approximate. The descriptions of the lots in the catalog may be revised by public announcement during the auction.

- The descriptions contained in the catalog are subjective and they are expressed in good faith.

- In case of discrepancies, the online version of these terms of sale prevails.

Amount bid £

Predetermined increase £

0-99

5

100-199

10

200-399

20

400-999

50

1.000-1.999

100

2.000-4.999

200

5.000-9.999

500

10.000-19.999

1.000

20.000-49.999

2.000

50.000+

5.000

8

9

291 A fine greek scaraboid seal in blue chalcedony. Dog. The quadruped is depicted in the act of scratching its head with the right hind leg. The body is turned to the right while the head is twisted backwards, with the snout slightly in three quarters. The animal has a robust and well-defined musculature; the curved tail passes between the legs. Some details of the legs, like the joints and the eye, are rendered with small spherical elements (globules, also called “pellets”), while the tendons and other anatomical details of the muzzle are executed with a thin engraved line. The intaglio is executed with great technical skill in the typically Greek taste of the second half of the V century. B.C. with numerous similarities and comparisons with the Greek-Persian production (excellent rendering of anatomical details and difficult torsional laying). Mirror polishing inside the intaglio. The stone shows signs of wear and slight chipping on the edge surrounding the carving; on the back there are more expanded chips and the trace of the through hole. Probably the back side of the scaraboid has been reworked in ancient times following the breaking of the section with the through hole (to be partially re-shaped on the back, originally convex) as confirmed by the ancient signs of wear on the back.

Attractive variety of blue chalcedony that takes on extraordinary opalescent tones in transparency. Work of great rarity, artistic beauty and technical expertise. English private collection N.M. before 1975. For comparisons: J. Boardman, Greek gems and finger rings, n. 510, 521, 522, 572 (Paris, BN, inv. M5749), p. 303 cap. VI “Greeks and Persians”, n. 833, 866, 869 and 900 (for the tail); J. Boardman, Intaglios and rings.

Greek, Etruscan and Eastern from a private collection, n. 50 p.91; Beazley Archive, Gem Database; G. M. Richter, Catalog of the engraved gems. Greek, etruscan and roman. The Metropolotan Museum of New York, p. pl. XX, n.116 (for the detail of the tail between the two legs), n.117; J. Boardman, Masterpieces in miniatures. Engraved gems from prehistory to the present, p. 79 n. 70; Furtwngler, A.G., tav. XII n. 44.

For the installation: carabiner scaraboids, Beginning of 5th century B.C. n. inv. 99.356, Boston, Museum of Fine Arts.

Second half of the 5th century BC 18 x 15 x 5 mm

1.800 6.000-8.000

10

11

292 A rare Greco-Phoenician green jasper scarab intaglio, mounted in an ancient gold ring. Hunting scene.

A lion attacks a bull, and stands above it to bite it with ferocity on the back. Use of globular elements and dashed engravings. The specimen is placed in the typical glyptic production of Phoenician or Greek-Phoenician scarabs in green jasper, with the typical hunting scene of oriental inspiration. Dotted frame engraved around the scene. Ancient gold setting, presumably Etruscan (4th century BC). Wear marks on the bezel. Attractive stone color. For comparisons: Beazley Archive “Classical Phoenician Scarab Corpus” database (section: hunting scenes, eg .: Visc. Asquer Coll. From Tharros. Marmora, pl. B 63; Perrot, 658, fig. 475. BH. Similar to 39 / 21. III); Jeffrey Spier, Ancient gems and finger rings. Catalog of the collections. The J. Paul Getty Museum, p. 52 ff .; J. Boardman, Classical Phoenician Scarab. A catalog and study; J. Boardman, Greek gems and finger rings, n. 393, 414 et ss. This lot is listed in an invoice from parisian gallery Mythes et Légendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

5th century BC. intaglio 13 x 16 x 9 mm; ring internal size 20 x 23 mm; gr. 8,60

3.200 5.000-6.000

12

293 An etruscan banded agate scarab mounted in an ancient gold ring. Gryphon.

The winged mythological creature is facing left with the beak open and the front part of the body lowered in a dynamic pose. Dotted frame around the figure and on the edge of the insect. Use of globular elements. The refined ring-shaped hoop is formed by the interweaving of two thread-like elements of different thickness and ends near the scarab with a spiral twisted pattern. Excellent state of preservation. Attractive variety of agate brown banded with honey tones and two white bands with blue reflections. Mirror polishing of the bezel. Slight wear marks on the stone. Precious specimen. Intact. Rare.

For comparisons: G.M.A. Richter, Catalog of the engraved gems. Greek, etruscan and roman. The Metropolitan Museum of Art, New York, n. 207; J. Boardman, Intaglios and Ring. Greek, Etruscan and Eastern from a private collection, p. 109 n. 185. This lot is listed in an invoice from parisian gallery Mythes et LĂŠgendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

4th century BC. intaglio 10 x 15 x 8 mm; ring internal size 18 x 20 mm; gr. 6,46

2.800 5.000-6.000

13

294 An etruscan carnelian scarab mounted in an ancient gold ring. A lion facing backward.

The feline advances to the left with the tail raised, but the head, with the jaws open, is facing backwards. Dotted frame around the figure. The iconographic and stylistic prototype of this subject is already present in the Etruscan goldsmith production of the 5th century BC (ring with engraved bezel, inv. No. 1925/150, Hamburg, Museum fur Kunst und Gewerbe). The refined ring-shaped hoop is formed by the interweaving of two thread-like elements of different thickness and ends near the beetle with a spiral twisted pattern. Excellent state of preservation. Attractive vivid shade of stone. For comparison: Aa.Vv., L’Oro degli Etruschi, edited by M. Cristofani and M. Martelli, p. 299 n. 185. This lot is listed in an invoice from parisian gallery Mythes et LÊgendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

4th century BC. intaglio 12 x 14 x 9 mm; diam. 21 mm; gr. 7,90

2.000 3.500- 4.000

14

295 An etruscan carnelian scarab mounted in an ancient gold ring. Lion.

The feline advances to the left. Dotted frame around the figure. Use of globular elements. Wear marks. Attractive stone color. Mounting in excellent condition. For comparisons: Aa.Vv., L’Oro degli Etruschi, edited by M. Cristofani and M. Martelli, p. 240; British Museum Database n. inv. 1814,0704.1308. This lot is listed in an invoice from parisian gallery Mythes et LÊgendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

4th-3rd century BC. intaglio 12 x 15 x 9 mm; 15 x 19 mm; gr. 5,97

2.000 3.500- 4.000

15

296 An etruscan carnelian scarab intaglio mounted in a modern gold ring. Seated figure.

The male character is seated on a suspended vase (or globe?), Facing left in profile, and is bent forward. With both hands he holds an elongated instrument and appears to be performing an activity. Frame engraved around the figure.

Slight wear of marks and burns on the bezel.

Through hole. Globular style. Golden ring with crossed verge in ancient style. For comparison: U. Pannuti,La collezione glittica. Museo Archeologico Nazionale di Napoli , vol. 2, p.41 and ss .; G.M.A. Richter, Catalog of engraved gems.

Greek, Etruscan and Roman, The Metropolitan useum of Art, New York, plate XXXII-XXXIII; J. Boardman, Intaglios and rings. Greek, Etruscan and Eastern from a private collection, n. 150 ss.

4th-3rd century BC. intaglio 10 x 13 x 7 mm; ring diam. 19 mm; gr. 4,85

1.200 1.800-2.000

16

297 An etruscan carnelian scarab intaglio. Diomede with palladium.

The Greek hero holds in his right hand the palladium, the sacred simulacrum of the goddess Athena, with the left a sword. Known episode of the Trojan war, referring to cunning and intelligence. Use of globular elements. Attractive stone color. Slight signs of wear. Through hole, crossed by a gold ornamental frame with disk-shaped closure. Rare. For comparison: U. Pannuti, La collezione glittica. Museo Archeologico Nazionale di Napoli, vol. 2, p.44; G.M.A. Richter, Catalog of engraved gems. Greek, Etruscan and Roman, The Metropolitan useum of Art, New York, plate XXXII-XXXIII; J. Boardman, Intaglios and rings. Greek, Etruscan and Eastern from a private collection, n. 150 ss.

4th-3rd century BC. 11 x 17 x 8 mm

1.800 2.500-3.000

17

298 An etruscan carnelian scarab intaglio. Volatile.

The body and the head of the bird are dug with globular elements, while the legs and the open wings are engraved with linear features.

The bird opens its wings and lowers its head with its long neck, filling the stone field perfectly. Refined work of excellent execution and compositional sense. Dotted frame on the field, on the edge and on the back of the bezel. Attractive vivid color of stone. Mirror polished carving. Slight wear marks. Through hole, crossed by gold ornamental frame with disk closure. For comparisons: J. Boardman, Intaglios and rings. Greek, Etruscan and Eastern from a private collection, n. 147.

Beginning of the 4th century BC. 12 x 17 x 7 mm

1.500 2.000-2.500

18

299 An etruscan carnelian scarab. Sphinx.

The winged creature is facing left. Dotted frame around the figure and on the lateral edge of the bezel. Use of globular elements. Clearance hole. Attractive stone color. Slight signs of wear and small burn marks on the side of the bezel. For stylistic comparisons: J. Spier, Ancient gems and finger rings. The Paul Getty Museum, p. 74 n. 78; G. M. Richter, Catalog of engraved gems. Greek, Etruscan and Roman, The Metropolitan Museum of Art, New York, plate XXX-XXXII; U. Pannuti, The glyptic collection, National Archaeological Museum of Naples, vol. 2, pp. 36 et seq .; J. Boardman, Intaglios and Rings, Greek, Etruscan and Eastern from a private collection, n. 185 ss.

4th - 3rd century BC. 10 x 15 x 7 mm

900 1.800-2.000

19

300 An etruscan gold ring with engraved bezel. Cartouche with animals.

Ring with tubular hoop and small elliptical cartouche bezel, with engraved decoration on three areas. In the center: a winged sphinx sitting; above: volatile; below: scarab with four wings. All around, the frame is drawn (“cordonata”). Each register is separated by a double base line. This ring is a type of phoenician origin, widespread in the 7th and 6th centuries in many centers of the Mediterranean (Carthage, Sardinia, Spain) and widespread in Etruria. The piece is compared with a ring from Cerveteri (Rome, Villa Giulia Museum , Castellani Collection, inv. 54519) and with copies of the British Museum. The iconography with solar symbols and with the scarab is certainly traceable to Phoenician models, while the presence of the sphinx leads back to the Etruscan tradition of the first half of the 6th century. Slight gigns of marks, deposit of patina and residues (intact). Splendid specimen; excellently preserved and rare. For comparison: Aa.Vv., L’Oro degli Etruschi, edited

by M. Cristofani and M. Martelli, p. 288 n. 126; p.

297 n. 175-176. This lot is listed in an invoice from parisian gallery Mythes et Légendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

Mid 6th century BC. Bezel 7 x 13 mm; diam. 16 mm; gr. 5,30

6.000 10.000-12.000

20

301 An etruscan gold ring with engraved ovoid bezel. Volatile with attributes.

The bird is facing left (a dove) and rests its legs on a ground line; in the field: a pomegranate and a crescent moon. Around double frame (pearl pattern, dashed pattern). The shape of the ovoid “almond-shaped” bezel is referable to a particular class of rings dating from the 5th to the 3rd century BC, with the representation executed in mold and subsequently cold-chiselled. The ring is part of a typical production of Etruria under the name “Gruppo Fortnum”. Signs of wear and tear. For comparisons: Aa.Vv., L’Oro degli Etruschi, edited by M. Cristofani and M. Martelli, p. 318 n. 277; J. Boardman, Etruscan and South Italian Finger Rings in Oxford, “Papers of the British School at Rome”, XXXIV, 1966, pp.

1-17; British Museum Database n. inv. 1846,0629.17; Ancient Treasures. The jewels of the Campana Collection p. 46-47 (for the specimens preserved in Paris, Louvre Museum).

First half of the 4th century B.C. Bezel 19 x 13 mm; ring internal size 14 x 19 mm; gr. 4,80

2.200 3.000 - 3.500

302 An etruscan gold ring with engraved bezel.

The ring is formed by a flat and wide band ending with two leonine protomes that support, with the front legs, an engraved oval bezel. On the bezel a dog is engraved facing left raising the right paw. Sir Boardman highlighted the derivation from Greek specimens and the known origins (Vulci and Cerveteri) confirm the presence of a greek creftsmanship established in Etruria. Wear marks and minor faults. For comparison: Aa.Vv., L’Oro degli Etruschi, edited by M. Cristofani and M. Martelli, p. 299 nos. 185 -187 End of the 6th century BC - beginning of the 5th century BC. Bezel 7 x 9 mm; diam. 19 mm circa; gr. 6,90

1.200 2.000-2.500

21

303 An etruscan gold pendant with burnt stone scarab.

The pendant has spherical hoop with a transversal hole, in gold foil. The bezel is oval with a beaded edge, containing a burned scarab (without incisions on the back) fixed with two floral clasps; upper frame formed by a frontal female protome equipped with two small lateral wings. For the style of the female head: pendant from Canusium (Marshall 1911, n. 2272). A significant comparison comes from the collection of goldsmiths acquired by the Metropolitan Museum of NY and originally found in Vulci, in particular with a necklace (inv. No. 40.11.7). Wear marks and burning.

Slight faults and cracking on the scarab. Rare.For comparisons: Aa.Vv., L’Oro degli Etruschi, edited by M. Cristofani and M. Martelli, p. 299 n. 185. This lot is listed in an invoice from parisian gallery Mythes et Légendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (18671947) collection.

6th century BC. H. 50 mm; gr. 6,9

7.000 8.000-9.000

304 A pair of embossed gold etruscan plaques. Female front busts with vegetable and zoomorphic ornaments.

Depiction of the “lady of the animals”: In the center, at the top, a female head of prospectus grafted onto an inverted palmette; from this start two opposing volutes ending at the top with a palmette between two lion heads facing outwards. The subject derives from Phoenician prototypes. Considered for the use of clasps - closure of female garments or belt loops. The four holes on each plaque testify to their use only if sewn to a fabric or fixed to a thin leather or bronze element. Closing with hook-ring system. Wear marks and slight defects on the edge. Rare. For stylistic and subject comparisons: Pair of small plates from Cerveteri (Rome, Museum of Villa Giulia; London, British Museum) and from the studios of southern Etruria (Paris, Louvre Museum For comparisons: Aa.Vv., Gli ori degli etruschi, edited by M. Cristofani and M. Martelli, pages 146, 113, 147, 114, British Museum Database, inv. No. 1872.0604.851; ancient treasures. The jewels of the Campana Collection, p. n.. 48. This lot is listed in an invoice from parisian gallery Mythes et Légendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

650-600 BC ca.

H. 45 mm; gr. 5,18

3.000 5.000-6.000

22

305 A pair of etruscan gold disc ear-stud.

Gold discs decorated with filigree, granulation and beaded wire. In the center concentric circles in plain with large granulated globules. Round this center part, alternated circles separated by thin gold plate with plain circle, and again granulated globules. The external circles are decorated in filigree with spiral pattern. Around the border, a large band of twisted wire. Very fine execution and good state of condition.For parallels see: London British Museum, inv.

1842,0728.137; Louvre Museum: Boucles d’oreilles en forme de disque. Motif floral entouré de frises de volutes et de coeurs. Seconde moitié du VIe siècle avant J.-C. Or. Filigrane et granulation. Collection Campana, 1863 (Département des Antiquités grecques, étrusques et romaines n. Bj 45, Bj 46); Marshall 1911, pp. 136-137, n. 1414 tav. 20; Aa. Vv., L’oro degli Etruschi, p. 293 n. 148 Late 6th century B.C. diam. 46 mm; gr. 19,30

8.000 12.000-15.000

23

306 An etruscan amber and glass necklace.

Amber, glass and gold. Modern reconstruction. Very good state of conservation for the material. With 58 round and conical section beads of amber, two large amber plaques incised. At the center of necklace, a glass bead with irisations separated from the amber beads by spherical gold beads made of gold wires.For parallel see : Metropolitan Museum, inv. 1992.11.50 and inv. 1992.11.51; Ancient Carved Ambers in the J. Paul Getty Museum (online database).Bibliography : MONTANARO, A.C., Ambre figurate, amuleti o ornamenti dalla Puglia predomina, 2012.

Early 7th century BC total lenght 57 cm

12.000 15.000-18.000

24

307 A group of gold roman jewellery.

Composed of gold earrings of different shape and tipology, a gold leaf-shaped pendant (eastern roman art); two moon crescent pendents, a ring (damaged), and a necklace with golf chain and glass/stone beads (damaged) 2nd-3rd Century AD. gr. 19,75 total

1.000 1.500-1.800

25

308 A greek bronze ring with engraved bezel.

Victory with attributes.

The winged and draped figure is facing left.

With his hands he seems to place a crown (?) on top of two vertical supports, perhaps to erect a trophy. Ground line. Pleasant dark green patina with traces of red cuprite.

Excellent condition with slight wear marks.

Ring of shape close to “type IX�. Presumably Magna Grecia. Rare. For comparisons: J. Boardman, Greek gems and finger rings, n.

760 ss.

4th century BC. Bezel 16 x 20 mm; diam. 16/17 mm circa

850 1.200-1.500

309 A greek hellenistic gold ring. Knot of Hercules.

The refined work is characterized by a small knot of Hercules flanked on both sides by two hollow drop decorations, ending with a spherical element. Very thin rod. Excellent state of preservation. Magna Grecia.

4th-3rd century BC. diam. 16,5 mm ; gr. 0,50

800 1.500-1.800

26

310 A classical greek massive gold ring with engraved bezel. Winged Victory.

The figure is turned to the left, wears a chiton and have the hair gathered in a chignon. Ground line. Signs of wear and slight blows on the edge and on the hoop.

For stylistic comparisons: Victoria and Albert database, n. inv. 429-1871; J. Boardman, Greek gems and finger rings, n.

791-793.

4th century B.C. Bezel 12 x 15 mm; diam. 16 mm; gr. 8

380 800-1.000

311 A pair of eastern greek gold earrings.

Granulation, laminate gold, filigree and column chains. Damaged and missing parts visible. Gold earrings with plain loops where are suspended pendent in form of rectangular gold plaque decorated with granulated triangle pattern. The edges decorated with granulated cones with three granules on top. A series of nine pending column chains are fixed to the gold plaques by circular loop.

Each chains ends with a terminal box-shaped laminated gold plaque with granules. The triangle pattern is typical from oriental productions and style (NICOLINI, G., Techniques des ors antiques, p.563). The origin of this pattern is very ancient, the first examples where found in early Mesopotamian jewelry (4th millenary B.C.). At the beginning of the 3rd millenary, these patterns were executed with gold pearls on dog collars and on the famous Ur dagger. But the first granulated triangles came out in the Alalakh gold smithery, then in Egypt at the end of the New-Kingdom and in Cyprus, Carthage and Tharros to finally expand in Etruria during the 7th-6th century B.C. 6th century BC H. 50 mm; gr. 18,16 total

800 1.200-1.500

27

312 A greek gold hellenistic earring. Winged victory.

The winged figure wears a long robe, rippled by the wind, hangs his hands on his hips and turns his head slightly to the right, looking down three-quarters. The small wings are in foil and are raised upwards. High and curved suspension hook. Good condition with some wear marks. Lot composed by one specimen.

3rd-2nd century BC. H. 41 mm; gr. 4,15 total

1.200 1.500-1.800

313 A very fine pair of greek gold hellenistic earrings.

Each with a pan-shaped disk, the upturned edge decorated with beaded wire, the disk centered by a rosette, the petals rimmed with twisted wire, twisted wire double-spirals behind the petals, each with a hooked wire on the reverse formed into a loop which supports a solid-cast figure of Eros, the pair is identical; depicted nude and standing on a little pedestal, with their separately-made wings going through the feet with incised details for the feathers. Presenting with the right hand a plate of fruits (?)Granulation, Chisel, laminated and filigree gold. Very fine style and execution. Excellent state of preservation. With a Gold Analisys x-rays certification (Oxford Labs). Private collection, UK. Acquired from Cohen Antiques, London W8.

For similar exemple see : Boston Museum of Fine Art, inv. 90.177; Metropolitan Museum, inv.

21.88.86, .87, inv. 1995.539 8a; inv. 30.116.1, .2 ; Christies sale Ancient Jewellery 2375, New York 2010, lot. 359.

Late 4th - 3rd century B.C. H. 53 mm; gr. 18,55 total

9.000 15.000-18.000

28

29

314 An extraordinary and rare greek late Hellenistic gold ring with an emerald and garnet bezel.

Characterized by a box-shaped bezel with a rectangular base (a “trunk”) in which a large plasma is set - rectangular emerald (root) with three-sided surfaces of a bright green (the central face is wider, those on the sides are narrower, the variation includes a curved surface); the stone shows signs of wear and heat. The stone is held on the short sides by two elements in gold leaf connected to the case, finely decorated with a frieze of triangles and lozenges executed with granulation (double series of triangles, opposite so that the top of a row faces towards the bottom against the vertices of the second row, in the middle, the interlocking lozenges).

The stone is crowned by a frame formed by small spheres welded to the bezel. The hoop of the ring is highly worked and imitates the motif of the club of Hercules (with the small drop-shaped elements with a small sphere in the center to imitate the typical nodules of the wood of the club). The hoop ends with an elegant woven motif, “Hercules knot” style, in which a small convex garnet is set. Less than ten similar specimens, that can be traced back to the same atelier, are present. An example with a certain provenance is the one of the Archelogical Museum of Naples, from Canosa. This rare and valuable typology could be linked to the production in the Alexandrian environment dating: 2nd-1st century BC .The ring is in a perfect state of preservation and has no defects or faults, and should be considered among the best examples in its category, both for its elaborate decoration, quality of the stone, and conditions (intact).

Extraordinary execution technique and preciousness of the material. An artifact of such value and importance is likely to refer to a member of the Ptolemaic dynasty.

For further information, see: Rodolfo Siviero, Gli ori e le ambre del Museo Nazionale di Napoli, n. 115 p. 38, tav.

118-119, specimen from Canosa, inv. 25157. The ring is described as “one of the most sumptuous examples of the Naples collection”; See also: Catalogo delle oreficerie del Museo Nazionale di Napoli, tav. XXIII n.2, scheda n. 160, n. inv. 25157. Thomaston Place Auction Galleries (2016), dated to the first century. B.C. about and whose origin is supposed to come from the Treasury of Asyut (it was hypothesized its discovery in Egypt and its subsequent belonging to a treasure of gold referring to the Byzantine Empire). See: collections of the Staatliche Antikensammlungen of Munich and Rhode Island School of Design (Robert Zahn, Sammlungen der Galerie Bachstitz, vol. II, Berlin 1921, No. 57 pp. 16-17 table No. 2; copy of the Louvre Museum, Paris , dated II century BC inv. BJ 1148, Sully, Room 663, Showcase C5. This lot is listed in an invoice from parisian gallery Mythes et Légendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

2nd-1st century BC. Bezel 22 x 30 x 16 mm; H. 36 mm total; ring internal size 17 x 25 mm; gr. 42,30

30.000 60.000-80.000

30

31

315 A rare roman-hellenistic carnelian intaglio, mounted in antique gold ring. Fortuna.

The personification of Fortune and prosperity is seated on boulders, with the head turned three quarters to the left and the body slightly twisted to the right. The draped figure holds in his right hand a cornucopia and a drapery, with a left hand a scepter. Use of globular elements for rendering the details of the face, hands, breasts and fruits of the cornucopia Base line. Slightly convex surface. Attracting vivid color of the stone. Mirror polishing. Generously sized setting. The bezel is rotatable: the frame that holds the notch is characterized by two spherical pins that rotate like hinges inside two special seats of the annular rod. Frame in very good condition. Interesting work, well executed and of rare typology.

2nd-1st century BC. intaglio 18 x 20 mm; ring diam. 21 mm circa; gr. 9

2.200 4.000-5.000

32

316 A late hellenistic amethyste intaglio mounted on an antique gold ring. Volatile.

A dove, facing left, spreads its wings in front of a flower. Ground line. The bezel, in the shape of a truncated cone-shaped drop with a blunt stone, is perforated and characterized by an intense tone and shine. The drilled hole is crossed by the thin circular gold frame. Rare.

2nd-1st century BC. bezel 6 x 9 mm; diam. 19 mm; gr. 1,27

900 1.500-1.800

33

317 An italic banded agate intaglio. A warrior consults an oracle.

A naked warrior armed with a sword turns to an oracle offering a sacrifice: with his left hand he holds a short sword, with his right hand a spherical element (globe, fruit); with the right forearm it supports a mantle. The character turns to a rectangular altar on which a column is raised around which a snake intertwines (sacred animal of oracular ambit). Dotted frame near the edge. Italic “Etruscan” style. Use of globular elements. Interesting rendering of anatomical details. Slight signs of wear. Attractive stone color. Rare.For comparisons: G. M. Richter, Catalog of engraved gems.

Greek, Etruscan and Roman, The Metropolitan Museum of Art, New York, plate XXXIV n. 227.

3rd-2nd century BC. 10 x 12 x 2 mm

750 1.800-2.000

318 A rare italic black agate intaglio.

The death of Achilles.

The warrior is depicted in profile, the front bust and three-quarter legs, in a crouching pose with a knee on the ground. With his left hand he extracts the fatal arrow from his foot, with his right hand he holds the helmet to leave the head with the long hair exposed; next, the shield. The character is depicted realistically in a grimace of pain with an open mouth. Use of globular elements. Dotted frame on the edge. Signs of wear and traces of the ancient iron frame. Rare. Italic “Etruscan” style. Comparisons: G. M. A. Richter, Catalog of engraved gems. Greek, Etruscan and Roman, The Metropolitan Museum of Art, New York, plate XXIX n. 176.

3rd -2nd century BC. intaglio 10 x 12 mm

700 1.200-1.500

34

319 An italic banded agate intaglio. Mercury and the return of Persephone to the earth.

The god wears a cloak and is depicted with the head in profile and the body slightly in three-quarters. The figure leans forward holding out his right hand to the young Persephone who emerges from the subsoil (beyond the grave) and holds an ear of wheat, symbol of fertility and rebirth.

Auspicious allegorical scene related to rebirth, prosperity and the cycle of the seasons (arrival of spring). The subject probably derives from Pythagorean beliefs (see Furtwangler, A. G., III, pp. 253 ss.). Italic “Etruscan� style. Use of globular elements. Slight signs of wear. Rare.

Comparisons: G. M. A. Richter, Catalog of engraved gems. Greek, Etruscan and Roman, The Metropolitan Museum of Art, New York, plate XXX-XXXIV n. 225-226.

3rd - 2nd century BC. 7 x 10 X 2 mm

800 1.800-2.000

35

320 An italic banded agate intaglio. Warrior.

The character is standing turned on the right side and wearing an helmet and coat. The right hand lies on a shield with a spear, while the left hand is rised toward his face. Ground line. Use of globular elements. Wear marks.

2nd-1st century BC. 10 x 13 x 2 mm

650 800-1.000

36

321 An italic banded agate intaglio. Venus Victrix with cupid.

The deity is standing, facing left, with the body in three quarters seen from behind and the head in profile; with his left hand he holds a sword in his sheath, with his right a spear with a shield and a drapery. Below, Cupid (Love) hands the helmet to Venus. Base line. Beautiful composition and attractive variety of stone. Generously sized setting. Use of globular elements. For style comparisons: A.R. M. Bizzarri, La collezione di gemme del Museo Archeologico di Bologna, pp. 45-46.

2nd- 1st century BC. 13 x 20 x 4 mm

1.500 2.500-3.000

37

322 A rare Italic banded agate intaglio mounted in an ancient gold ring.

Iphigenia’s sacrifice.

Agamemnon, facing left, is in the act of striking his daughter Iphigenia with a dagger, kneeling on the ground in front of a tree. In the scene Artemide intervenes, appearing on the left side carrying a deer protome. Ground line. Symbol of the “greatest test” to which a god can subject man, Iphigenia is one of the most tragic figures of the Greek myth. According to the version of Euripides’ work (Iphigenia in Aulis), at the time of the sacrifice Iphigenia is replaced by Artemis with a hind.

It is in fact precisely because he had previously killed a deer that was dear to her that Agamemnon was punished by Artemis. The goddess, however, after demonstrating her power, saves the girl and makes her his priestess. This rare intaglio shows this extraordinary mythological and allegorical scene at the same time, according to the Euripidean version. The work is conducted with great skill in the Italic-Republican Roman style. Attractive variety of banded agate. Slight wear marks.

The beautiful gold frame, flat and ray-shaped engraved, is later, referable to the Byzantine-medieval production. Very good condition.

Interesting case of glyptic reuse. A very similar specimen is found in the Thorvaldsen Museum, n. inv. I877 (Agamemnon sacrificing Iphigenia, roman republican ringstone, 3rd-1st century BC) and probably executed by the same engraver. Another very compelling comparison is found in Paoletti impressions in L.P.B. Stefanelli, The Paoletti Collection, vol. I, p. 123 n.22: La Cerva brought by Diana to the aid of Iffigenia, n. inv. MR24769, impression taken from carving in Furtwangler 1900, Table XXIV, 2; Cades 28, III E, 12. For comparisons on the subject: Red-figure crater, London, British Museum; fresco from Pompeii.

This lot is listed in an invoice from parisian gallery Mythes et Légendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

Intaglio: 2nd century B.C. Mounting: 11th-12th/ 14th century. intaglio 13 x 14 mm; bezel 18 x 20 mm; ring internal size 17 x 20 mm; gr. 9,80

2.500 6.000- 8.000

38

39

323 An italic banded agate intaglio. Two doves above a fountain.

The two birds rest their legs on the edge of a circular fountain, facing each other in a symmetrical position.

Use of globular elements. Attractive variety of stone, characterized by a pleasant transparency at the top.

Bezel with generous dimensions.

2nd century AD. 12 x 15 x 2 mm

800 1.200-1.500

324 A republican roman banded agate intaglio. Peacock with snake.

The volatile turned on the left side, is squeezing a snake and holds its head in his beak. Graceful allegorical subject referring to the eternal fight between good and evil. Globular elements.

1st century BC. 8 x 12 x 2 mm

800 1.200-1.500

40

325 A roman carnelian intaglio. Eagle on an altar with attributes of victory.

The bird of prey is positioned above a circular altar decorated with two crossed palm branches; holding a laurel wreath in its beak, and a palm branch with the legs. The animal is facing leftward and turns its head backwards. Ground line. This emblematic depiction symbolizes the military supremacy and triumph. Intaglio executed with high precision and harmony of composition. Very good execution of details.

Attractive stone color.

1st-2nd century AD. 10 x 13 x 3,5 mm

500 800-1.000

41

326 A roman chalcedony intaglio. Eagle.

The rapace is squeezing in his beak a laurel wreath and holds in his paws thunderbolts. Allegory of Victory and roman military supremacy.

2nd-3rd century AD. 7 x 10 x 4 mm

220 400-500

327 A roman garnet intaglio. Eagle on altar with attributes.

The bird is on a marble altar decorated with two sculpted ram protomes and a frieze; in its beak it holds a laurel wreath (symbol of victory and supremacy), in its paws instead it holds an ear of wheat (symbol of abundance).

Interesting allegorical composition.

Attractive vivid color of stone. Use of globular elements. For comparisons: G.M.A. Richter, Catalog of engraved gems. Greek, Etruscan and Roman, The Metropolitan useum of Art, New York, n. 522.

1st century BC. - 1st century AD. 8 x 11 x 3 mm

350 500-600

42

328 A roman carnelian intaglio. A volatile fighting with a snake.

The powerful raptor, possibly an eagle, holding in his claws and his sharped beak a long snake holding around the volatile. Hunt scene. Wear marks.

2nd-3rd century A.D. 10 x 14 x 4 mm

300 400-500

329 A roman burnt carnelian intaglio. Cock.

The animal is turned on the left side, squizzing an arrow between his paws. On the lower part : a star. Interesting representation with allegorical signification. Very accurate execution, with naturalistic details. Slight wear marks.

1st-2nd century AD. 12 x 15 x 4 mm

150 400-500

43

330 A roman red jasper intaglio mounted in an ancient gold ring. Parrot.

The bird is facing left and holds two cherries in its beak. Base line. Attractive stone color. Frame with pyramidal section rod in excellent condition.

1st-2nd century AD. intaglio 10 x 12 mm; ring internal size 18 x 20 mm; gr. 5,70

1.200 2.000-2.500

44

331 A roman bronze octagonal ring.

The hoop is externally polygonal with eight external facetes (octagonal) and internally circular. Each face has a zodiac sign; it is possible to recognize the symbols of the twins, fishes, capricorn, ram, lion. Ring “Henig type IX�. Wear marks. Rare. For parallels: M. Henig, A Corpus of Roman Engraved Gemstones From British Sites, 1974. Cfr. examples on the PAS database, SF-193154, HAMP-4A3EA7.

3rd century AD. diam. 21 mm

650 800-900

45

332 A roman nicolo-agate intaglio. Grasshoper on an ear of wheat.

Interesting variety of agate. Slight wear marks and chips on the edge.

2nd century AD. 10 x 12 x 2 mm

200 400-500

333 A roman red jasper intaglio. Scorpion.

Magical gem protecting against venenous insect bites, executed after the gnostic belief. Traces of the antique mounting.

2nd-3rd century AD. 9 x 11 x 3 mm

200 500-600

46

334 A roman variegated jasper intaglio. Scorpion.

Magical gem for protection against insects bites and venoms, conceived according to the gnostic believes. Interesting variety of stone.

Slights chips on the edges. Traces of the ancient iron mounting.

2nd-3rd century AD. 8 x 7 x 2 mm

400 600-700

335 A roman garnet intaglio. Ant. The insect supports on its back a wheat seed.

Convex bezel with generous dimensions and attractive color of the stone. Slight wear marks.

2nd-3rd century AD. 10 x 12 x 4 mm

380 700-900

47

336 A roman garnet intaglio. Ant. Attractive variety of the stone, characterized by intense and luminous tone. Subject very naturalistic.

1st-2nd century AD. 8 x 10 x 3 mm

500 700-800

337 A roman garnet intaglio. Butterfly.

The insect lies on a branch. The back of the bezel is characterized with a concave surface in the central area. Slight wear marks.

2nd-3rd century AD. 9 x 12 x 3 mm

450 600-700

48

338 A roman garnet intaglio mounted in ancient gold ring. Butterfly.

Truncated bezel. Slight bumps on the mounting. Attractive stone color.

3rd century AD. intaglio 7 x 10 mm; diam. 17,5 mm; gr. 3,90

1.000 1.500-1.800

339 A roman yellow jasper intaglio. Sea-goat and scorpion.

The two astrological signs are on top of each other (in vertical position). Magical zodiacal gem. Slight wear marks.

1st-2nd century AD. 9 x 11 x 2 mm

250 400-500

49

340 A roman variegated jasper intaglio. Sea-goat.

The marine creature is turned on the left side and is characterized by a goat protome ending with a fish tail. Rare and interesting variety of stone. Slight wear marks.

2nd-3rd century AD. 12 x 11 x 2 mm

250 400-500

50

341 A roman carnelian intaglio. Sea-goat with cornucopia.

Allegorical emblema with auspicious and astrological meanings, referring to augustean models.

1st-2nd century AD. 8 x 11 x 3 mm

300 500-600

342 A roman red jasper intaglio. Shrimp.

Intaglio executed with great technicity and naturalistic sense. Extraordinary rendering of anatomical details, expressed with elegance despite of the little dimensions.

1st century AD. 7 x 10 x 2 mm

450 700-900

51

343 A roman carnelian intaglio. Dolphin and letters.

The marine creature is turned on the left side. On top, the letters: F L. Under, letters : F D. Surface slightly convex. Variety pure and luminous of the stone.

1st-2nd century. AD. 8 x 11 x 3 mm

450 700-900

344 A roman red jasper intaglio. Hunt scene.

A lion attacks a dear, turning him on the back. Ground line. Wear marks and chips on the edge.

2nd-3rd century AD. 7 x 10 x 2 mm

180 300-350

52

345 A roman yellow jasper intaglio. Lion.

The powerful feline is turned on the right side, and lays his paw on a bucrane. Ground line. Astrological subject referring to the magical sphere. Traces of the antique iron mounting.

2nd-3rd century AD. intaglio 13 x 16 mm

350 600-700

346 A roman variegated jasper intaglio. Lion with bucrane.

The feline is turned on the left side, laying one paw on the bucrane. Ground line. Rare and interesting variety of stone. Magical gem. Slight wear marks. Rare.

2nd-3rd century AD. 10 x 12 x 2 mm

280 400-500

53

347 A roman carnelian intaglio. Two heifers.

The two quadruped, grazing and sticked to each other (one on the firstground, the other in background). Ground line. Slight wear marks.

1st-2nd century AD. 10 x 14 x 3 mm

650 800-900

348 A roman carnelian intaglio. Two antelopes.

In the foreground, an animal is crouched on the ground in a resting position facing left; in the background the other animal is standing and facing to the right. Interesting composition.

2nd century AD. 10 x 11 x 2 mm

250 400-500

54

349 A roman carnelian intaglio. Prancing billygoat.

The quadrupede raises the two anterior legs turning his head backward.

Use of globular elements. Bezel with hexagonal shape. Slight wear marks.

1st century AD. 8 x 7 x 1,5 mm

250 400-500

350 A roman late republican sard intaglio. Bucolic scene.

Two billy goats, in a bilateral symmetry (one on the right the other on the left), near a tree in center of the scene.

On top of the tree, naturalistic details (bark and leafs) : a volatile. One of the billy goat is rising up toward the bird. Presence of globular elements. Ground line. Slight wear marks. Intaglio executed with high technicity and high sense of composition.

1st century BC. 11 x 16 x 3 mm

700 1.000-1.200

55

351 A late hellenistic orange glass intaglio, mounted in a bronze pendant. Horse with column.

The mighty quadruped, characterized by a tall muscular body and a small head turned backwards, raises the left front paw and moves towards the right in front of a column. Base line. the prototype is witnessed by another glass paste found in Pompeii in Reg. II ins. 4 (inv. No. 158795).

The bezel is convex with slight wear marks. Attractive honey-brown color. The intaglio is mounted in a bronze oval pendant with double attachment (one at the top and one at the bottom, vertically). The frame has small cracks in the center on the back of the setting. Pleasant green patina with deposits. Presumably oriental workshop. Intact. For comparisons: U. Pannuti, Catalog of the glyptic collection, National Archaeological Museum of Naples, vol. 1, p. 144 n. 259.

2nd-1st century BC. 36 x 21 x 12 mm

150 400-500

56

352 A roman nicolo intaglio. Horse protome.

Attractive variety of stone. Perfect state of conservation.

2nd century AD. 9 x 11 x 4 mm

500 700-800

353 A roman banded agate intaglio. Sphinx.

The winged creature is seated facing left. Ground line.

Slight wear marks and chipping on the edge.

2nd - 3rd century AD. 10 x 13 x 1,5 mm

350 500-600

57

354 A late hellenistic amethyst intaglio. Centaur with attributes.

The centaur is in profile facing right; he has a lion fur on his shoulders swaying in the field. With his right arm raised he holds large vase which lies on his right shoulder; the left hand holds a candelabrum which supports the rod on the shoulder. The creature lifts its front right leg. Ground line. The subject is inspired as a pose to a famous Roman sardonyx cameo, belonged to Lorenzo de Medici (National Archaeological Museum of Naples).

The pose is reproduced during the imperial age also on intaglios (see J. Boardman, C. Wagner, A collection of Classical and Eastern Designs, Rings and Cameos, p. 14 plate 19 n. 80). Attractive clear and pure variety of amethyst. Mirror polished carving. Use of drill processing and use of globular elements. Wear marks.

For comparisons: U. Pannuti, The glyptic collection, vol. 2, p. 199 n. 167.

2nd-1st century B.C. 15 x 20 x 6 mm

3.800 5.000-6.000

58

355 A large roman carnelian intaglio. Gryllos.

The hybrid creature is composed of two masks of Silenus and a bear’s head with open jaws. Rare and interesting iconography inspired by late Hellenistic models. Intaglio executed with marked and deep engraving, with attention tothe details rendering. Apotropaic representation. Attractive stone color. Slightly convex setting of generous size. Slight wear marks.

1st-2nd century AD 19 x 21 x 3 mm

750 1.500-1.800

59

356 A roman red jasper intaglio. Gryllos.

The hybrid composition is formed by : two heads with masks of youngs, one head with Silene-mask. In the missing part : protome of an elephant holding the palm branch (allegory of Africa and military victory). Fragmented intaglio, with missing parts. Interesting apotropaic representation, executed with high technicity and sense of composition. Rare.

1st-2nd century AD. 12 x 13 x 2 mm

450 700-800

60

357 A roman red jasper intaglio. Gryllos.

The hybrid creature is formed by a front mask to which two other profile faces are grafted to the sides; on the head, there is a fourth bearded mask facing upwards. The central mask is characterized by two pointed protuberances that start from the cheekbones and descend towards the chin, similar to the wings of an insect or fins of a marine creature. In the field: L - C - G. Slight wear marks and chipping on the edge. Unusual and uncommon magical apotropaic depiction, of great imagination.

2nd century AD. 7 x 10 x 2 mm

450 700-900

358 A roman red jasper intaglio. Gryllos.

The hybrid creature is composed with a young mask joined on top with an eagle protome. Slight wear marks and fragmentary edge.

2nd-3rd century AD. 8 x 10 x 2,5 mm

300 500-600

61

359 A roman red jasper intaglio. Gryllos.

The creature is composed by a Silene mask joined with a goat’s head (eating ears of corn), on top an horse protome (a bay leaf crown in the mouth); the hybrid has a cock leg. A palm branch (victory), a cornucopia (abundance), the letter K. Ground line. Interesting auspicious and apotropaic representation.

2nd-3rd century AD. 8 x 11 x 2 mm

400 600-800

360 A roman carnelian intaglio mounted on an antique silver ring. Gryllos.

The hybrid creature is composed by : Silene masks joined with a goat head eating two ears of corn, cock leg, horse protome on top. In the background, a cornucopia. Apotropaic and auspicious representation.

2nd-3rd century AD. intaglio 10 x 13 mm; ring internal size 14 x 16 mm

500 1.000-1.200

62

361 A roman late republican amethyst intaglio. Allegorical emblem.

At the center of the stone bezel is a ring seen in profile, with a raised cameo over it, depicting the mask of a Silenus. On the sides, various attributes and inscriptions: on the left, a caduceus and a patera; above AED (probably referring to a corporation); on the right an ear of wheat; below, VAR. In the center of the ring, crescent moon with star. Rare apotropaic and auspicious depiction performed in the typically late Republican style (see coinage) with use of globular elements (small globules were used to make the eye, the tip of the nose of the face of the Silenus, the handle of the caduceus; the ear of wheat, the terminations of the letters). Magical allegory referred to Fortune, Abundance and wealth in commerce. Extraordinary vivid shade of stone. Intaglio executed with technical expertise and with an interesting compositional sense. Convex circular shape. Slight wear marks.

1st century BC. diam 14,5 x 5 mm

700 1.800-2.000

63

362 A roman magical chalcedony intaglio. Allegorical scene.

An hybrid creature, turned on the left side is formed by a volatile body (raven) with an horse head. It is holded by an insect (with 6 legs) (with reins?) and holds the caduceus. Insolite and rare allegorical composition, apparently inedite. Scene referring to Apollo and Mercury cult, with reference to the underworld and the magico-apotropaic believes.

Work executed with high precision and technic. Use of globular elements. Slight wear marks.

1st century BC - 1st century AD. 11 x 13 x 2,5 mm

1.600 3.000 - 3.500

64

363 A rare roman republican agate intaglio. Allegorical emblema referring to aruspicii.

The Aruspice was a priest who predicted the future analyzing animals viscera. His attributes and distinctive signs were the lituus and the shoe with curved raised point. In this gem, the shoe is on the first plan, while in the background the lituus is in vertical position. Special and interesting specimen. Wear marks and cracks on the top.

1st century BC. - 1st century AD. 8 x 10 x 3 mm

1.200 2.000-2.200

65

364 A roman carnelian intaglio. Hand with attributes.

The hand holds the caduceus, a poppyflower and two ears of corn. The forearm is represented melting with the background lines. Allegorical auspicious emblema, referring to Abundance and Fortuna (Tyche and Mercurio) with references of the after world. Use of globular elements. Extraordinary execution of anatomical details, rare quality (we can see the nails and every phalanx). Slight wear marks.

1st century AD. 9 x 11 x 3 mm

400 1.200-1.500

66

365 A roman garnet intaglio. Lyra.

The musical instrument is composed by : a sound box, two vertical arms joined by a transverse, strings (stretched between the sound box and the crosspiece). During the classical period, the lyra was associated to Apollo virtus expressing moderation and balance. Use of globular elements. Slight wear marks. Traces of the antique iron mounting.

1st century BC - 1st century AD. 8 x 10 x 3,5 mm

500 700-900

366 A roman carnelian intaglio. Lyre.

The musical instrument is composed by: soundbox, two vertical arms unified by a crossbeam, roaps (in tension between the soundbox and the intersection). After the Greek mythology the creator of the lyre was Hermes, using a turtle shell found in a cave. Then, Hermes gave it to Apollo. During the classical era,the lyre is associated to Virtus of Apollo symbolizing balance and equilibrium. Intaglio executed with high technicity and stylistic elegance. Use of globular elements.

1st century BC. - 1 st century AD. 6 x 7 x 2 mm

400 700-900

67 68

367 A roman nicolo intaglio. Modius with tree ears of weath.

Allegorical auspicious emblema referring to Fortune and Abundance.

2nd century AD. 8 x 11 x 3 mm

400 600-700

368 A roman carnelian intaglio. Allegorical emblema.

A modius with two ears of corn and a poppyflower, on top a scale.

Auspicious depiction referring to abundance and balance.

1st-2nd century AD. 6 x 8 x 2 mm

450 600-700

68

369 A roman carnelian intaglio. Trophy of arms.

In the center, an armor is hung from a pole with a flat base, with two shields and two crossed lances on the back of the composition.

Below: a helmet and greaves. Allegorical representation referring to military value.

2nd-3rd century AD. 8 x 11 x 3 mm

550 700-900

370 A roman republican agate intaglio. Panoplia.

Left: a shield orned in the center with mask, on the edge with globular patterns. Right : a sword in its sheath with the belt pending on.

Backward : A spear. Military emblema. Chips on the edge.

1st century BC. Diam. 12 x 1 mm

400 600-700

69

371 A roman heliotrope (bloodstone) intaglio. Panoplia.

On the left : shield with helmet on the top, armour, sword and greave In the background, a spear disposed in diagonal is melting with the composition.

Ground line. Interesting variety of stone.

2d-3rd century AD. 11 x 14 x 2 mm

700 1.000-1.200

70

372 A roman green japser intaglio. Military emblema.

The attractive allegorical emblema is composed by (from the left) : a dolphin, a cornucopia, weapons, and an eagle on the ground line. Allegory of roman imperial military supremacy and triumph on earth and seas, under the auspice of Fortune ad Abundance. Well-composed and executed work. Wear marks.

1st-2nd century AD. 9 x 11 x 2 mm

600 800-1.000

373 A roman carnelian intaglio. Ship with military insignia.

The boat carries two large military banners and is characterized by the presence of oars in the central part; the rostrum, the rudder and the aplustre are visible. Slight wear marks. For parallel : London, British Museum, n.inv. 1814,0704.2251.

1st-2nd century AD. 9 x 11 x 2,5 mm

550 800-1.000

71

374 An italic burnt chalcedony intaglio. Allegorical emblema.

On the center, a mace where two branchs are dividing and a caduceus. On the edges ,two cornucopiae. Use of globular elements. Auspicious representation well composed. Bezel burnt with a partial transparency.

2nd-1st century BC. 10 x 13 x 1 mm

280 500-600

375 An italic carnelian intaglio. Allegorical emblema.

Rudder with two palm branches. Auspicious subject. Wear marks.

2nd-1st century BC. 8 x 9 x 2 mm

300 500-600

72

376 A roman red jasper intaglio. Crescent moon with seven stars.

Allegorical emblema. Slight wear marks. Cfr: U. Pannuti, Catalogo della collezione glittica, vol.II, p. 294.

2nd century AD. 8 x 10 x 2 mm

400 600-700

377 A roman agate (cornalina) intaglio. Allegorical emblema.

A seagoat inside a laurel wreath. Astrological auspicious symbology from augustean period.

Slight wear marks and slight internal cracks.

1st century AD. Diam. 8 x 2 mm

350 500-600

73

378 A roman agate intaglio. Emblema.

In the center, a krater from which two bunches of grapes come out; below, two poppy flowers. Allegorical composition. The stone is set in its ancient iron ring (fragmentary).

Two-tone effect of the stone due to the surface partially burnt. Wear marks.

2nd-3rd century AD. intaglio 9 x 12 mm

350 500-600

379 A roman carnelian intaglio. Inscriptions.

The letters are readable on the impresion: IA S - HAV E - EPI. Attractive variety of stone.

2nd-3rd century AD. 9 x 10 x 2 mm

400 600-800

74

380 A roman nicolo intaglio. Inscriptions and laurel wreath.

Inside the crown : C I M. Slight wear marks and chips on the edge.

2nd-3rd century AD. 10 x 12 x 3 mm

250 500-600

381 A roman garnet intaglio. Leaf.

Convex bezel. Slight wear marks.

2nd-3rd century AD. 8 x 10 x 3 mm

400 600-700

75

382 A very fine and rare roman chalcedony intaglio. Astragals with palm branch.

At the center of the composition is a palm branch, symbol of victory, surrounded by four astragals in different positions: frontal, back and side view. This kind of representation can be considered extremely rare and with a particular historical interest. The presence of astragals in the glyptic is evidenced by very few specimens, one of which dates back to the greek era (see J. Boardman, Greek gems and finger rings, n. 543) And another case from the roman period (See Manifattura Paoletti, matrix in glass inv. MR 24357 n. 327 “Il gioco degli Aliossi dedicato a Venere� ). In this case, the unpublished representation can be understood as the same astragal seen from different angles, a very unusual and virtuosic way of dealing with the subject. This gem was likely to belong to a winning and lucky player, so much to commemorate his victories with this extraordinary auspicious allegorical emblem. Very high skilled execution for the engraving and great precision for the rendering of details. Use of globular elements. Attractive variety of chalcedony with honey reflections on the edge. Slight wear marks.

1st century B.C. - 1st century AD. 7 x 10 x 2 mm

7.000 12.000-15.000

76

77

383 A roman republican nicolo-agate intaglio. Phallic allegory.

An eros is seated on the back of a large winged phallus with two eagle legs. One of this leg holds thunderbolt while the eros holds a laurel wreath. Apotropaic and auspicious allegory symbolizing victory and the power of loving bounds.

USe of globular elements. Well-composed work and highquality of the execution. Slight wear marks and mirror polishing inside the intaglio. Rare.

1st century BC. 12 x 16 x 3 mm

250 800-1.000

78

384 A rare roman republican three-layer agate intaglio. Phallic-erotic allegory.

A mask of satyr, identifiable with Pan, is joined to the base of a large erect phallus. In the field, a globe and the letters MA-R (MA in diphthong). The head of the satyr turned to the right is characterized by: goat horns, a curved nose, a thick curly hair and a beard with elongated locks. The phallus, with the scrotal sac, is rendered in the slightest anatomical details very marked and mirror-polished. Typically Republican engraving style, using finely polished globular elements. Attractive variety of stone, exploited for the composition also with symbolic purposes. Slightly convex setting. Slight wear marks.

Hybrid composition with apotropaic value, performed with skill, in the style of Grylloi. Unpublished. English private collection N.M., since 1985.

1st century BC. 11 x 14 x 3 mm

650 1.800-2.000

79

385 A roman carnelian intaglio. Allegory of the power of Jupiter Serapis.

Above, bust of Jupiter Serapis with the modio turned to the left; below, an eagle between two military banners. Slight wear marks and small chipping on the edges. For comparisons: G.M.A. Richter, Catalog of engraved gems. Greek-etruscan-and roman. The Metropolitan Museum of Art - New York, p. 65 n. 259; Furtwangler, Berl. Kat., N. 2623 ss. and A.G. pl. LXII n. 23; Thorvaldsen Museum, n. inv. I662 (Head of Serapis, an eagle, and two military standards with figures of Nike.

Roman ringstone).

2nd - 3rd century AD. 13 x 17 x 2 mm

475 800-1.000

386 A roman carnelian intaglio. Allegorical emblema referring to Jupiter Serapis.

In the lower part, a foot, where a snake is wraping itself aroun the ankle. On top, the bust of Jupiter Serapis wearing the modius. Ground line. Rare and interesting magical representation referring to mysterious cults. Chips on the edge and slight wear marks.

2nd-3rd century AD. 6 x 10 x 3 mm

600 1.000-1.200

80

387 A roman republican agate intaglio. Theatral mask with inscriptions.

Around the mask, turned on the left side and with opened mouth, the letters : D O S I T E V S. Use of globular elements. Convex bezel.

Slight wear marks.

1st century BC. 12 x 14 x 4 mm

700 1.000-1.200

81

388 A roman three layers agate cameo. Theatral mask.

The face of the mask is engraved on the white layer of the stone (with translucent reflections), while the thick hair is radially arranged in the brown-orange layer. The bottom of the stone is pale yellow and is characterized by a good transparency. The face is characterized by large hollow eyes, a short and linear nose, a half-open mouth stretched in a grimace, a round chin. Presence of globular elements in the carving performed with the drill. Polishing highlights the anatomical details of the face. Interesting work, where a certain expressiveness of the subject is sought. Apotraic depiction referring to scenic representations.

1st-2nd century AD. 11 x 14 x 3 mm

2.000 2.500-3.000

82

389 A rare roman layered burnt agate mounted on an ancient gold ring. Egyptian canope.

The body of the vase, roundish, has slight decorations and rests on a low base with a woven pattern; the cover, in profile, consists of the head of Osiris with a large crown. Convex bezel.

Attractive specimen, intact. Slight wear marks and burning. Empty annular hoop with some dents. Private collection M. E. since 1937, UK. For comparisons: Jeffrey Spier, Ancient gems and finger rings, Catalog of the Collections The J. Paul Getty Museum, p.127, n.339; Trésors engloutis d’Egypte, p. 78 cat. 1; F. Dunand, Catalog des terres cuites gréco-romaines of Egypte, Musée du Louvre, cat. n. 428 ss.

1st-2nd century AD. intaglio 13 x 18 mm; diam. 17,5 mm circa; gr. 7,02

2.100 3.000- 3.500

83

390 A rare roman rock crystal intaglio. Egyptian canope.

The body of the vase, roundish, has decorations and is placed on a pyramidal base with ornaments in the upper part; the cover, in profile, consists of the head of Osiris. Biconvex bezel. Attractive stone quality. Slight signs of wear. For comparisons: Jeffrey Spier, Ancient gems and finger rings, Catalog of the Collections The J. Paul Getty Museum, p.127, n.339; Trésors engloutis d’Egypte, p. 78 cat. 1; F. Dunand, Catalog des terres cuites gréco-romaines of Egypte, Musée du Louvre, cat. n. 428 ss.

1st-2nd century AD. 13 x 14 x 6 mm

500 800-1.000

84

391 An extraordinary roman emerald intaglio. Quadriga.

The intaglio is executed with high technicity on a very little dimension bezel, enhancing the virtuosity of the execution. The quadriga is represented in 3/4, with the auriga in second plan waving the stick. Despite of the reduced dimensions, we can noticed the horses muzzles sill in 3/4, turned in the center following an expressive dynamic typical of hellenistic art. Use of globular elements for the animals legs. Ground line. Slight wear marks. Attractive light color, purity and luminosity of the stone.

1st century BC. 6 x 7 x 2 mm

1.200 1.800-2.000

392 A roman burnt chalcedony intaglio. Biga and quadriga arena race.

The complexe and dynamic scene, extraodinary engraved on the bezel with little dimensions, formed by: on the upper part a biga and a quadriga, on the lower part a quadriga and a biga (alternated and with a circular sense of race); in the center, horizontally, the balaustra called “spine� with an half-moon. Wear marks. For parallel : red japser intaglio, chariots race in the area with the metae. Walters art Museum (inv. n. 42,1314) 2nd century AD. 7 x 10 x 2 mm

450 700-800

85

393 A roman burnt agate intaglio. Quadriga.

Four horses pulling a chariot drived by an auriga who’s whipping.

Ground line. Truncated bezel.

2nd-3rd century AD. 12 x 18 x 6 mm

600 800-900

394 A roman carnelian intaglio mounted on an antique silver ring. Quadriga.

A victorious charioteer, on a chariot drawn by four horses, holds a palm frond in his right hand, a laurel wreath with his left hand. Ground line. Inscriptions in the field: T R O - N - FI - MED- OXA. Allegorical representation of triumph in circus racing competitions. Signs of frame wear. Interesting example, with an inscription to be identified.

2nd-3rd century AD. intaglio 12 x 18 mm; ring internal size 17 x 23 mm

3.800 4.500-5.000

86

395 A roman carnelian intaglio. Horseman.

The character wears a cloak and faces left, sitting on the back of a horse. Ground line. Slight wear marks.

3rd century AD. 10 x 14 x 2 mm

600 800-900

396 A roman carnelian intaglio. Nereide on Seahorse.

The feminine figure is seated turned on the right side, holding with the left hand a drapery filled by the wind.

A seahorse raises his nose. Subject inspired from statuary models, especially from some reliefs on roman sarcophagi.

2nd-3rd century AD. 8 x 11 x 2 mm

450 700-900

87

397 A roman republican carnelian intaglio. Eros on cocks biga.

The young winged eros drives a biga pulled by two cocks, holding the reins and waving the whip. Ground line. Use of globular elements. Slight wear marks.

1st century AD. 11 x 10 x 2 mm

850 1.200-1.500

398 A roman carnelian intaglio. Hunting eros.

The winged child, armed with the spear, running after a butterfly. Gracious allegorical representation referring to Love running away. Intaglio executed with precision, with particular attention to the softness and modelling of the posture.

2nd century AD. 9 x 11 x 2 mm

800 1.500-1.800

88

399 A roman partially burnt agate intaglio. Eros on seahorse.

The winged erote is seated on the seahorse’s back, waving the whip. The slight burns follow the various face of the stone, still intact and with a vivid red color on the bezel. Attarctive specimen.

2nd-3rd century AD. 13 x 17 x 3 mm

500 800-1.000

400 An italic carnelian agate intaglio. Eros with axe.

The winged child holds the biface axe hitting with force a musical instrument (or a cage ?). Ground line. Use of globular elements. Wear marks. Convex bezel.

1st century BC. 10 x 14 x 4 mm

250 600-700

89

401 A roman carnelian intaglio. Hunting Eros.

The winged child is turned to the left and holds a spear piercing a bird over a tree. Ground line.

Attractive stone variety, with internal black musky inclusions.

2nd -3rd century AD. 10 x 14 x 3 mm

900 1.200-1.500

402 A roman red jasper intaglio. Allegorical scene.

An eros is climbing on a ladder fixed against a column, where crouching gryphon is standing.

The winged child is putting a laurel wreath on the mythological beast. Ground line. Allegorical representation referred to the Nemesis, its triumph and the mediation between Sky and Earth. Interesting example. Rare.

2nd-3rd century AD. 12 x 15 x 3,5 mm

700 1.200-1.500

90

403 A roman carnelian intaglio mounted on an ancient gold ring.

Eros with attributes.

The child raises a large bunch of grapes in front of a cock. Little size for the mounting, made for a child. Internal cracks.

2nd-3rd century AD. intaglio 6 x 8 mm; diam. 11 mm; gr. 0,88

500 800-1.000

404 A roman orange glass cast impression. Eros riding a lion playing the lyre.

The scene is inspired by a famous antique onyx cameo belonging to the Medici collection, signed in Greek “Protarchus epoiei”: Eros riding a lion playing the lyre (to the right). This work, originally owned by Pietro Andrea Andreini, is described in the Grand Ducal inventories of: 1736 (tab. XVIII, 34), 1786, 1799 and 1862. The cameo becomes famous for its beauty and its allegorical meaning (“Nume tamer of all. The lyre whose sound unites Love with its great power to dominate and to ride fairs that it rides “). Illustrated in numerous sources: Agostini, Figured Ancient Gems; Gori, Museum Florentinum; Wicar, Camèes de la Galerie de Florance; Zannoni, Cammei and Carvings. The glass impression is characterized by some variations, such as the tail woven into the hind leg. Model of great refinement, executed with skill. Attractive intense and bright glass color.

Large specimen. Signs of wear. Chipping on the edge. Rare.

For comparison: Antonio Giuliano, I Cammei from the Medici Collection of the Archaeological Museum of Florence, p. 158 n.

34 1st-2nd century AD. 17 x 23 x 5 mm

200 800-1.000

91 92

405 A roman burnt carnelian intaglio. Mars Gradivus.

The god walks leftward, wearing helmet and sandals. With the right hand he holds a scepter which lays on his shoulder, while the left hand holds a spear and a weapons trophy. On the hips is tied a drapery. On the lower part: a shield. Ground line. Interesting and well-composed work, executed with deep and marked engraving lines. Bezel in generous dimensions. Burnt stone with attractive white compact tone.

2nd-3rd century AD. 14 x 25 x 6 mm

600 1.000-1.200

92

406 A rare roman nicolo intaglio. Theatrical actor in the role of Perseus.

The character is depicted in profile and is facing left. The body is naked and massive, with a long cloak over the shoulders, to impersonate the hero; the left foot rests firmly on the small ground line, while the right foot is raised in an attitude of rest. The figure holds in his right hand a scenic mask to represent the head of Medusa, and holds in his left hand a braided scepter with a curved termination to symbolize a sword. The actor is in fact in the typical pose of Perseus who holds the severed head of the Gorgon with the sword. In this case the actor contemplates the mask without risk of being petrified. Carving performed with skill, with attention to well-polished details. Interesting job.

Slight signs of wear.

2nd century AD 9 x 11 x 3 mm

1.500 2.000-2.500

93

407 A roman garnet intaglio. Warrior.

The character is standing turned on the right side and wearing an helmet and armour. With the right hand he holds a shield, with the left a spear. On the left side of the hips, on his belt, he wears the sword in the sheath. Ground line. Interesting work.

Very high quality of details and volumes for these llittle dimensions. Attractive variety of stone with intense and luminous color.

2nd-3rd century AD. 7 x 9 x 2 mm

500 800-1.000

408 A roman nicolo-agate intaglio. Warrior.

The standing character is turned in profile to the left and holds a sword with sheath and strap. Below, a shield. Ground line. The posture is inspired from the classical statuary (Achilles, Perseus). Nice tone of the stone. Chips on the edge.

2nd-3rd century AD. 12 x 16 x 4 mm

600 800-900

94

409 A roman carnelian intaglio. Mars offering.

The god is standing on his feet turned on the right side, and wearing an helmet, and armour with sandals. With the right hand he raises a spear, in the lower part; the shield. With the left hand he holds an attribute (patera?) directed toward a little alatar on fire. Ground line.

Votive scene. Bezel with generous dimensions and attractive color of the stone.

2nd-3rd century AD. 14 x 21 x 2 mm

900 1.500-1.800

410 A roman carnelian intaglio. Marte Gradivus.

The helmeted god is moving leftward, holding a spear with the left hand, and weapons with the right. A drapery attached on his hips.

Ground line.

2nd-3rd century AD. 9 x 12 x 4 mm

400 600-700

95

411 A roman variegated jasper intaglio. Winged Victory.

The figure, turned on left side, holding a bay leafs crown with the left hand, and a palm branch with the right hand. Interesting variety of stone. Slight wear marks.

2nd-3rd century AD. 10 x 13 x 3 mm

380 600-800

96

412 A roman carnelian intaglio. Winged Victory.

The figure, facing left, holds a laurel wreath with the left hand and a palm branch with the right hand. The figure is wearing a chiton.

For parallels : G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, p. 82 n. 353-354.

2nd-3rd century AD. 12 x 16 x 3 mm

475 600-700

413 A roman carnelian intaglio. Victory with trophy.

The winged figure holds a palm branch in her right hand and crowns a trophy of arms with his left hand. Below, a shield. Ground line. Attractive stone color. For parallels : Richter, Catalogue of the engraved gems.

Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, p. 82 n. 357.

2nd century AD 12 x 15 x 4 mm

650 800-900

97

414 A roman carnelian intaglio mounted on an ancient gold ring. Winged victory.

The figure, facing left, is draped and holds a laurel wreath with the left hand, a palm frond with the right. Slight signs of wear. The circular rod of the ring is formed by two chiseled and separate filiform elements, with disc-shaped elements alternating with empty spaces in the center. Excellent state of preservation.

3rd century AD. intaglio 11 x 15 mm; diam. 18,5 mm; gr. 7

1.000 1.800-2.000

98

415 A roman carnelian intaglio mounted in an antique gold ring. Warrior.

The figure is standing with the helmeted head in profile and the naked frontal body, with a cloak over the shoulders; with his right arm he supports the shield, with his left hand he holds a spear. Ground line. Slight wear marks. The bezel is supported by three twisted elements: the central one creates a circular shape and passes under the bezel, while the other two end on the edge of the frame with a curvilinear pattern always in torsion, flanked by four small ornamental spheres. Excellent state of preservation.

3rd century AD. intaglio 11 x 14 mm; diam. 19 mm; gr. 8,38

2.000 2.500-2.800

99

99

416 A roman carnelian intaglio mounted in an ancient gold ring. Allegorical personification of naval victory.

The standing figure is turned to the right, and is helmed and draped; holding the laurel wreath with his left hand, a palm frond with his right hand. Below, a ship’s prow with rostrums. A rare allegorical subject, well composed and expertly executed. Attractive stone color.

Elaborate solid gold frame characterized by intertwined and spherical elements of different sizes. Excellent state of preservation.

1st century BC. - 1st century AD. intaglio 10 x 11 mm; ring internal size 16 x 19 mm; gr. 3,55

1.700 2.500-2.800

100

417 A roman black agate intaglio mounted on an ancient gold ring. Victory.

The winged figure is moving leftward in a solemn way, holding a laurel wreath with the left hand, a palm branch with the right hand. The Victory has the hair tied back and is wearing a light dress which swells with the air. Ground line. Intaglio executed with high precision for the details. Slight wear marks.

1st century AD. intaglio 8 x 12 mm; ring internal size 13 x 17 mm; gr.

8,73

2.800 3.200-3.500

101

418 Roman burnt carnelian intaglio. Mars and Athena.

Both the deities are depicted with frontal body and heads in profile, in the act of looking at each other.

Both characters are helmeted and hold a spear with a shield. Ground line. Good luck allegorical scene, referring to strength, military power and protection. Symmetrical structure. Slight wear marks and an attractive surface burn that reveals the original red color.

2nd-3rd century AD. 11 x 14 x 4 mm

550 800-900

419 A roman deep red carnelian intaglio mounted in an ancient silver ring. Diana the huntress.

The deity wears a short chiton with sandals, and faces left; the figure draws an arrow from the quiver on the shoulders with the left hand, and holds the bow with the right hand, ready to pull. At his feet, his faithful running dog. In the field: an eagle holding a laurel wreath in its beak and two standards at its sides. Ground line. Interesting allegorical scene referring to the military sphere, as a request for protection and victory. Silver ring with a small sphere near the edge of the setting, to orient the sense of reading the impression. Intact mounting with a pleasant patina.

2nd-3rd century AD. intaglio 14 x 17 mm; ring internal size 16 x 20 mm

1.250 1.800-2.000

102

420 A roman red jasper intaglio mounted in a large ancient gilded bronze ring. Rural sacrifice scene.

A hunter wears a short tunic with a cloak, and grasps two ears of wheat in his right hand, a long stick with a curved end in his left hand; a prey (rabbit or hare) hangs on the stick. The figure faces left in front of a small temple above the rocks. Propitiatory scene of sacrifice for hunting and abundance of fruits. Chipping on the edges and in the field of stone, with cracks. Attractive bronze mounting with gold-platin in good condition. Intact.

3rd century AD. Intaglio 13 x 17 mm; ring internal size 15 x 19 mm

1.150 1.800-2.000

103

421 A roman nicolo-agate intaglio mounted in an ancient silver ring. Hunter with prey.

The naked character is facing to the right: with his left hand he is holding a prey (small antelope), with the right hand of weapons or hunting tools. Ground line.

The border of the bezel is worked with a rosette motif.

2nd-3rd century AD. intaglio 12 x 15 mm; ring internal size 17 x 21 mm; gr. 7,77

1.600 2.000-2.500

104

422 A roman carnelian intaglio mounted in an ancient iron ring. Dionysus, Eros and a goat.

The god of intoxication is characterized by a long beard, bare torso and draped legs, and is seated to the right above the boulders holding the thyrsus. The deity is facing left and raises a hand to touch a goat that is carried by a winged erote. Ground line. Slight wear marks. Iron ring with traces of corrosion. Intact.

Interesting and well composed mythological scene.

2nd - 3rd centiry AD. intaglio 12 x 14 mm; ring internal size 17 x 20 mm

850 1.200-1.500

105

423 A roman carnelian intaglio mounted on an antique gold ring. Bucolic scene.

A satyr, sitting on a rock, milks a goat under a shrub. Ground line. Slight wear marks.

2nd-3rd century AD. intaglio 12 x 15 mm; ring internal size 17 x 20 mm; gr. 4,20

1.800 2.500-2.800

106

424 A roman heliotrope (bloodstone) intaglio. Bucolic scene.

A young satyr on his knees milking a goat under a tree.

Ground line. Attractive variety of stone. Slight wear marks.

2nd-3rd century AD. 11 x 13 x 2,5 mm

200 400-500

425 A roman banded agate intaglio. Bucolic scene.

A satyr, sitting on an animal’s skin, milks a goat under a shrub. Traces of the ancient iron frame on the back of the bezel.

2nd-3rd century AD. 11 x 13 x 4 mm

900 1.200-1.500 1.200-1.500

107

426 A roman deep green jasper intaglio. Bucolic scene.

A shepherd, covered with a fur coat, laying on a wood stick and looking at his goat while she’s walking toward a little tree, eating a leaf. Slight wear marks. Ground line.

2nd century AD. 10 x 14 x 2 mm

380 600-800

427 A roman red jasper intaglio. A farmer.

A farmer, covered with a fur coat, holding a plow dragged by two heifers. On the background : a tree with a volatile on top. Ground line. Wear marks and linear inclusions in the stone.

2nd-3rd century AD. 13 x 16 x 4 mm

300 600-700

108

428 A roman carnelian intaglio mounted in a modern gold ring. Bucolic fight scene.

Pan collides with a goat that throws itself against him, raising its anterior legs. A tree in left; below, a laurel wreath (symbol of victory) interrupts the baseline. Interesting work with an allegorical meaning.

Slightly convex setting. Wear marks.

2nd-3rd century AD. intaglio 10 x 11 mm; diam. 15 mm; gr. 4,72

1.400 1.800-2.000

429 A roman carnelian intaglio mounted in an ancient gold ring. Pan offerer.

The satyr steps rightward, raising the left goat’s paw; with the right hand holding the pedum and a drapery, while with the left hand he carries a plate with offerings. Depicting charity referring to country sacrifices. Slight wear marks. The stone comes out of the edge of the golden bezel. Mounting in excellent condition.

2nd century AD intaglio 8 x 10 mm; diam. 16 mm; gr. 4,19

600 1.000-1.200

109

430 A roman banded agate. Huntman.

The character, turned on the right side, holding on his shoulders a quiver and a big prey. Ground line. Provincial glyptic production.

3rd century A.D. 13 x 14 x 1 mm

800 1.200-1.500

431 A roman heliotrope (or chalcedony) burnt intaglio. Ceres.

Ceres sitting on the throne, facing right, with the ears of wheat in one hand; an ant at his feet. Allegorical representation of auspicious meaning (luck and prosperity).

Edge chipped.For comparisons: G. M. Richter, Catalog of engraved gems. Greek, Etruscan and Roman (The Metropolitan Museum of Art - New York), p. 80 n. 346.

2nd-3rd century AD. 13 x 17 x 4 mm

525 700-900

110

432 A roman burnt carnelian intaglio. Tyche-Fortuna.

The personification of abundance is standing, and she holds the cornucopia with a dapery in his left hand, the rudder in his right hand. Ground line. Auspicious depiction.

2nd-3rd century AD. 12 x 16 x 5 mm

1.100 1.500-1.800

433 A roman carnelian intaglio. Fortuna-Tyche.

The personification of abundance and fortune is winged, helmeted and draped, holding with the left hand; a stick, two ears of corn, a caduceus. Internal cracks. The bezel is still fixed on the original iron mounting (fragmentary). Wear marks.

2nd-3rd century AD. intaglio 11 x 15 mm

230 500-600

111

434 A roman two layers agate intaglio mounted in a modern gold ring. Fortuna-Tyche.

The winged figure, turned on the right side, holding the cornucopia with her right hand, a rudder with a poppy flower and an ear of wheat with the left hand.

Back: ΔHM. Allegory of Abundance.

2nd-3rd century AD. intaglio 10 x 12 mm; diam. 20 mm; gr. 9,45

1.200 1.800-2.000

435 A roman green chalcedony intaglio mounted in an modern gold ring. Fortuna-Tyche with attributes.

The personification of abundance is standing, draped and turned to the right, with the modio on the head. In the left hand: the rudder, ear of wheat and poppy flower; in the right hand: cornucopia with drapery. Ground line. Well executed work. Attracting vivid color of the slightly convex stone. Slight wear marks.

1st-2nd century AD. Intaglio 11 x 13 mm; diam. 19 mm; gr. 6,45

1.400 1.800-2.000

112

436 A roman carnelian intaglio mounted on an ancient gold ring. Demeter.

The goddess is drapped, standing on her feet, holding an ear of wheat with the left hand, a scepter with the right hand. Ring with hexagonal sections, characterized by a chiseled and shaped flat rod with volute ornamental motifs near the bezel. Slight wear marks.

2nd-3rd century AD intaglio 7 x 9 mm; ring internal size 14 x 17 mm; gr. 5,68

1.800 2.200-2.500

437 A roman carnelian intaglio mounted in ancient gold ring. Fortuna-Tyche.

The personification of Abundance is standing, turned on the right side, wearing the modius on the head and holding the radder with the left hand, a cornucopia with the right hand. Ground line. Slight bumps on the mounting.

2nd century AD. intaglio 6 x 8 mm; ring internal size 13 x 16 mm; gr. 3,62

1.200 1.500-1.800

113

438 A roman carnelian intaglio mounted on a modern gold ring. Offerer.

Slight wear marks.

2nd-3rd century AD. intaglio 8 x 10 mm; diam. 20,5 mm; 9,15

800 1.000-1.200

439 A roman carnelian intaglio mounted on an ancient gold ring. Votive scene.

A satyr is kneeling in front of a herm, in the act of offering. Ground line. The upper part is decorated with spherical elements on top, in granulated style, on the lateral edge by a filiform wave element. Excellent state of preservation.

3rd century AD. intaglio 9 x 11 mm; diam. 17,5 mm circa; gr. 5,15

1.500 2.000-2.500

114

440 A roman three layers agate intaglio mounted in a modern gold ring. Harpocrates.

The divine child brings his left hand close to his mouth and holds a cornucopia with his right hand.

Convex bezel. Wear marks and traces of burning.

Modern gold setting on antique style, with raised bezel decorated on the sides with four spherical elements.

2nd-3rd century AD. intaglio 7 x 11 mm; ring internal size 15 x 18 mm; gr. 6,22

850 1.000-1.200

441 A roman carnelian intaglio mounted on a modern gold ring. Artemis of Ephesus.

The goddess is depicted close to a moon crescent and stars. Slight wear marks . See parallels: Jeffrey Spier, Ancient gems and finger rings, Catalogue of the Collections. The J. Paul Getty Museum, p. 130, n 352.

2nd century AD intaglio 9 x 11 mm; diam. 20,5 mm; gr. 8,90

900 1.200-1.500

115

115

442 A roman dark red carnelian partially burnt intaglio, mounted on a modern gold ring. Esculape and Hygieia.

The god of medicine, on the left, is standing and holding the scepter on which the snake is twisted; to the right, a feminine draped figure, identifiable with Hygieia, holds out a cup from which a small snake comes out. The scene is taken from some roman marble reliefs. The cult of Hygieia is closely associated with her father’s Asclepius. Hygieia is invoked to prevent illness and physical damage; Asclepius for the treatment of diseases and the restoration of lost health. Medical gem used as a protective amulet for good health and against bad luck. Attractive stone color with the surface slightly burnt (contributing to having a better reading of the subject). 19th century mounting in massive gold and with generous dimensions.

2nd-3rd century AD. intaglio 13 x 18 mm; diam. 22 mm circa; gr. 20,73

2.000 2.500-3.000

116

443 A roman chalcedony intaglio. Mercure with attributes.

The god is seated on rocks, wearing a coat and the winged cloak (petase). The character holds : with the right hand a little bag with coins with a cock on top; with the left hand the caduceus and a drapery. At his feet, a goat.

Allegorical and auspicious representation for trade. Intaglio well-composed and executed with well-marked incisions. Attractive tone and luminosity of the stone.

2nd century AD. 9 x 12 x 4 mm

400 600-800

444 A roman chalcedony intaglio. Allegorical figure with attributes of Apollo.

The draped figure is turned to the right and holds a lyre with the right hand, an arch with the left hand; below, a quiver. Ground line. Depiction referring to Apollo and poetry. Slight wear marks. Rare.

2nd century AD. 12 x 15 x 2 mm

1.200 1.500-1.800

117

445 A roman carnelian intaglio. Aequitas.

The personification of Aequitas-Coin.

The figure, draped, rises with the right hand a scepter, while with the left (-to remove-: “she”, il soggetto è ripetuto) holds the balance with two ears. Ground line. For the same iconography, see the coins representation of this personification during the imperial era. Slight wear marks. Rare.

1st-2nd century A.D. 11 x 14 x 5 mm

400 600-700

446 A roman carnelian intaglio. Male figure.

The face, turned on the right side presents the profile, wearing a coat waving in the air, showing the soft nudity of the model. The face is characterized by a short beard and nose rolled up, similar to the satyr ones. The character is moving slighty angled, holding two instruments (the double flute ? ) in front of him. The reverse of the bezel presents a decreasing zone following the antique execution to cut two natural inclusions/ cavities of the stone. Slight wear marks.

1st century AD. 12 x 15 x 3 mm

500 700-900

118

447 A roman red jasper intaglio. Male figure with attributes.

The young character is standing, facing left, with the body partially draped (the bust and legs are uncovered); the left arm is raised to hold the hem of the coat, while the right arm is facing the face, with the hand under the chin. In the field: inscription (TIA?) and lightning. Small ground line.

Pose inspired by Hellenistic models. Slight wear marks.

Rare iconography to identify, with allegorical references.

2nd-3rd century AD. 13 x 17 x 4 mm

500 800-900

448 A roman green chalcedony intaglio. Saturn-Cronos.

The god is standind and turned on the right side, holding with his right hand a curved sickle. The character is bearded, wearing a coat and a short dress slightly raised showing his phallus. Presence of a protuberance on the belly zone. Ground line. The god is referred to the mythic era of Gold and Time. Rare.

1st-2nd century AD. 8 x 10 x 3 mm

400 800-1.000

119

449 A roman green chalcedony intaglio. Athena and Hercules.

On the left side, the helmeted Athena is draped and turned on the right side, putting the right hand on her hips and holding a spear with the left one; the shield on the lower part, at her feet. The goddess is standing, looking down the little Hercules, laying on the ground, on the right side, fighting against two snakes. The scene is representing a distinct episod of the hero childhood : the theme is the symbol of invincible power and virtue, widespread in ancient time. An extraordinary comparison is the famous marble sculpture, of Imperial Age, depicting “Infant Herakles strangling snakes� (Rome, Capitolini Museum). Comparisons: several Greek coin reverses (as silver stater, coined in Thebes, 425-395 B.C.; emidrachma coined in Thebes in ca. 395 B.C; stater coined in Crotone, 400-325 B.C.; tetradrachma coined in Samos, 400-385 B.C.) and in Provincial Roman coin production (Caracalla-Tracia; Geta-Tracia).

1st-2nd century AD. 8 x 11 x 4 mm

950 2.000-2.500

120

450 A roman republican carnelian intaglio. Gorgone.

The head is turned in 3/4 on the left. Use of globular elements. Slight wear marks. Work well-executed with deep incisions, inspired from classical models.

Attractive tone of the stone.

1st century AD. 8 x 9 x 3 mm

330 800-1.000

451 An italic nicolo-agate intaglio. Bust of warrior.

The bearded character is turned on the right side and wears an helmet with plain skullcap. Rare typology.

2nd century BC. 12 x 14 x 2 mm

280 400-500

121

452 A roman republican two-layer agate intaglio. Male portrait.

The young character is turned to the left and is characterized by short and close-fitting hair. Uses of globular elements for the rendering the tip of the nose , eyes, mouth and chin, in the typically republican style.

Attractive stone tones. Convex bezel. Wear marks.

1st century BC. 7 x 11 x 5 mm

600 800-1.000

453 A roman agate carnelian intaglio. Male bust.

The character, draped, is turned on the right side (possibly Hercules with the crown). Globular elements.

1st BC. - 1st century AD. 10 x 12 x 3 mm

250 400-500

122

454 A roman carnelian intaglio. Bust of Zeus.

The god has a graduated head and is facing left. In the field: Î AP. Work inspired by classical greek models, engraved with marked and deep lines. Wear marks.

1st BC. - 1st century AD. 8 x 10 x 2 mm

800 1.200-1.500

455 A roman nicolo-agate intaglio. Bust of Zeus.

The Lord of the Olympe is turned on the left side and is characterized by: heavy beard and detailed engraved hair, half-open mouth, expressive face. Wearing a laurel wreath on the head, and scepter behind.

Interesting style, from greek models. Slight wear marks.

1st century AD. 10 x 12 x 2 mm

300 500-600

123

123

456 A roman nicolo intaglio mounted in an ancient gold ring. Bust of Jupiter Serapis with inscriptions.

The gold is turned to the left and characterized by a draped bust, thick beard and modio on the head; behind, letters: V-TP (in diphthong?). Excellent state of preservation.

1st -2nd century A.D. intaglio 6 x 8 mm; ring internal size 14 x 18 mm; gr. 6,14

900 1.500-1.800

124

457 A roman carnelian agate intaglio. Bust of Janus.

Two bearded heads joined at the base of the neck; a slight central line divides the neck and draped bust in two parts. Rare subject inspired from coins. Wear marks. Intaglio with generous dimensions. For parallels see: G.M.A. Richter, Catalogue of engraved gems. Greek-Etruscan-and Roman (The Metropolitan Museum of Art - New York), p. 376 n. 379.

2nd-3rd century AD. 17 x 20 x 4 mm

150 600-800

458 A roman carnelian intaglio. Bust of Dionysos.

The young god is turned on the left side, wearing a vegetal crown (vine leaf or ivy) with semi-opened mouth. The hair are styled in the back, and two braids hanging down over the neck.

Use of globular elements for some anatomical details. Slight wear marks. Bezel with generous dimensions.

1st century B.C. - 1st century AD. 16 x 19 x 4 mm

500 800-1.000

125

459 A roman amethyste intaglio. Male head.

The elongated face, turned in profile to the left, is characterized by thick hair. The subject can be understood as a representation of Apollo.

Wear marks.

1st-2nd century AD. 7 x 10 X 2 mm

450 700-900

460 A roman carnelian intaglio. Bust of woman.

The young woman is turned on the left side and characterized with tightened hair pulled on the back ending with a braid. Wear marks and chips on the edge.

2nd-3rd century AD. 8 x 10 x 3 mm

250 400-500

126

461 A roman agate intaglio. Bust of Atena.

The helmeted divinity is turned on the left side, with a draped bust.

Attractive variety of stone, characterized by vivid tone and some luminous area. Slight wear marks.

2nd century AD. 10 x 12 x 2 mm

300 500-600

462 A roman dark brown agate intaglio. Head of a woman.

The character is characterized by crossed hair, half-open mouth and round face. Mirror polishing for the intaglio. Slight wear marks.

1st-2nd century AD. 12 x 13 x 4 mm

500 700-900

127

463 A roman red jasper intaglio. Bust of Helios.

The divinity is draped, turned on the left side wearing a solar crown. The young god is characterized by massive hair hanging down over the neck. On the lower part, near the shoulder : the whip. A well executed intaglio characterized by deep engraving lines, mirror-finish polished. Slight wear marks. Traces of the antique iron mounting on the back. Bezel with generous dimensions.

2nd-3rd century AD. 13 x 16 x 6 mm

800 1.500-1.800

128

464 A fine roman carnelian intaglio. Bust of Cleopatra with snake.

The queen is represented the face in profile, the bust in 3/4 seen from behind. The aspic is rising near the breast, on top of which we can see her hand. The scene seems to underline the brief instant of the end of the Egyptian queen, with very elegant and elaborated hair (with crown) and a coat undercovering the flesh where the mortal bites was. Use of globular elements. Intaglio of generous dimensions. Work executed with high technicity.

Attractive tone of the stone. Slight wear marks. Rare.

Beginning of the 1st century AD. 16 x 18 x 3 mm

1.800 3.000- 3.500

129

465 A roman red jasper intaglio. Bust of a child.

The young character’s head in profile, the bust slightly in 3/4, partially draped. With one hand he holds an attribute raising the index to his half-open mouth, in the silence gesture. Interesting iconography recording the Harpocrates gesture. Slight wear marks. Attractive vivid tone of the stone.

1st-2nd century AD. 10 x 12 x 3 mm

400 700-800

466 A rare and attractive Roman orange glass paste.

Votive Ephebos.

Roman glass paste in intense orange shades. Votive Ephebos bust. The young man is in profile, towards the left, with a long hairdo, surrounded by a band, depicted holding an ear of wheat. Specimen in very good conditions, characterized by pronounced volumes, which are well realised. mm 14 x 12 x 3 1st century A.D. 12 x 14 x 3 mm

1.000 1.800-2.000

130

467 A roman carnelian agate intaglio mounted in a modern gold ring. Bust of Apollo.

The god is turned left, facing upwards, and is characterized by thick hair with a laurel wreath and a draped bust. Attractive stone color, circular in shape. Slight wear marks.

Elegant gold mounting with a flat octogonal bezel (french manufacture.).

1st-2nd century AD. intaglio diam. 13 mm; diam. 18 mm; gr. 15

2.000 3.000- 3.500

131

468 A roman orange glass paste intaglio, mounted on an ancient gold ring. Head of Hercules.

The hero is facing left and is characterized by a thick beard and tight shorthair. Well executed work, inspired by Greek Hellenistic models.

Attractive brown-honey color of the bezel, surrounded by a twisted edge. Slight signs of wear. The same torsion motif was used for the ring-shaped rod, which ends at the back of the golden bezel with two curvilinear bifurcations (forming four half-moons, a motif inspired by Etruscan jewelery, see Gerard Nicolini, Techniques des ors antiques, La bijouterie ibÊrique du VIIe au IVe siècle, vol. 2, pl. 79 - p. Excellent state of preservation.

2nd-3rd century AD. intaglio 12 x 14 mm; ring internal size 15 x 19 mm; gr. 3,70

800 2.500-2.800

132

469 A roman deep red carnelian intaglio. Head of Hercules.

The hero is facing left and is characterized by a thick beard and a short hair of hair tight to the head. Attractive vivid color of stone. Mirror polished carving. Slight wear marks.

2nd-3rd century AD. 12 x 16 x 4 mm

500 8.000-1.000

133

470 A roman burnt agate intaglio mounted on an ancient iron ring. Bust of Athena.

The helmeted goddess is turned on the left side. Interesting variety of stone, despite the burns, still shows its original inclusions and color variations. Attractive color. Intact.

2nd-3rd century AD. intaglio 12 x 16 mm; ringe internal size 18 x 20 mm

450 800-900

471 A roman agate intaglio. Harpocrates.

The divine child is represented by half a bust, with profile and lotus crown, putting his finger to his mouth. Wear marks. Convex bezel.

2nd-3rd century AD. 7 x 11 x 4 mm

180 300-400

134

472 A roman red jasper intaglio. Male bust.

The character, possibly a philosopher, turned on the left side with the naked bust in 3/4 and a drapery covering the forearms and the pubic region.

The man, characterized by folded beard and a laureated head, raising a leaf near his face with the right hand (to smell a flower?). The posture is comparable to Socrates representation (roman carnelian intaglio, Bust of Socrates, n.inv.

81.6.81.). Slight wear marks. Provincial production.

2nd-3rd century AD. 14 x 19 x 3 mm

800 1.200-1.500

473 A roman carnelian intaglio. Turreted and veiled bust of Antiochia .

On the lower part, a prancing ram (solar symbol referring to the myth of fundation). In the background, a crescent moon and one star. Rare allegorical composition. Internal cracks and wear marks. For the same subject see : Tetradrachm of Augusto (RPC I 4155); bronze of Philipp I, mint of Antiochia, 244-249 A.D. (McAlee 977); bronze of autonome emission, Siria, Ca. 5/6th A.D., laureated head of Zeus / ram running with the head turned on the back and stars ((McAlee 95; SNG Copenhagen 95; RPC 4265). The towered feminine bust, considered as personification of the city (in this case Antiochia), is interpreted like Tyche (Fortuna) : cfr. G.M.A. Richter, Catalogue of engraved gems. Greek-etruscan-and roman. The Metropolitan Museum of Art- New York, p. 87 n. 382.

2nd-3rd century A.D. 12 x 14 x 3 mm

350 600-800

135 136

474 A roman bronze ring with engraved bezel. Bust of a child.

The young character is facing left and is characterized by short hair and a bust with chlamys. The portrait refers to the Severian dynasty, and in particular to the representations of the co-emperor Geta, son of Septimius Severus and brother of Caracalla (189-212 AD - See coinage). Pleasant dark green patina. Good condition. Slight wear marks. Circular bezel.

Rare.

2nd century AD. Bezel diam. 18; diam. 20 mm

120 300-400

475 A roman deep red carnelian intaglio. Emperor’s bust.

The character wears the laurel wreath and is turned in profile to the left; the bust is covered by a cloak with a circular buckle. The face is characterized by marked traits, a search for physiognomy and expressiveness (large eye, prominent nose, protruding chin). Slight wear marks. Attractive stone color.

2nd century AD. 12 x 16 x 4 mm

500 700-900

136

476 A roman heliotrope intaglio. Bust of a girl.

The figure is facing right, with the tunicated bust and uncovered shoulder. The face is characterized by a slightly severe and contemplative expression, characterized by full lips and large eyes; the hair is held by a thin band on the head and is gathered on the nape. Well executed work. Attractive variety and color of the stone. Signs of wear.

2nd century AD. 10 x 13 x 2 mm

800 1.200-1.500

477 A roman red jasper intaglio. Frontal bust of Eros.

The winged child is represented with a frontal bust (partially draped), plain face and slightly in 3/4 with half-open mouth. Short curly hair.

Interesting style.

2nd-3rd century AD. 13 x 15 x 4 mm

500 800-1.000

137

478 A very fine Greek late Hellenistic blue chalcedony intaglio. Ascension of Pegasus.

In this fine intaglio is represented the exact moment in which Pegaso slowly rises from the ground to ascend the skies, still keeping his legs extended in resting position. The creature’s snout is finely engraved, with a half-open mouth, accentuated tendons; also the short mane and the plumage of the wings are finely engraved, and the whole body is characterized by an accentuated anatomy rendered with care and delicacy.

The mythological creature is usually represented on the ground, with the legs resting on a ground line (often with a raised front leg), or in flight but in dynamic pose with the legs contracted as in a gallop (see U. Pannuti, Catalog National Museum of Naples) The render and the style link this intaglio with Hellenistic models. The beauty, the strength and the vitality of the horse are combined with the ability to fly and therefore free from the weight of gravity; this makes Pegaso an eternal symbol of the spirit and of the artistic inspiration that rises indomitable, regardless of any earthly obstacle. Extremely elegant and fine intaglio, expression of artistic beauty, executed with skill and technical expertise. The pose that captures Pegaso in the instant of ascension can be considered unprecedented in the glyptic panorama, if not particularly rare. Slightly convex bezel. Attractive blue tone of the stone, with light opalescent tones and a slight white inclusion to symbolize the clouds.

Mirror polished intaglio. Slight wear marks. English private collection N.M., before 1975.

2nd century BC. 12 x 14 x 3 mm

1.500 3.200- 3.500

138

479 A rare roman amethyst cameo. Frontal head of Medusa.

The roundish face is frontal, surrounded by thick hair; at the top of the head rest the wings, on the neck a knot.

Executed with skill, inspired by late Hellenistic models.

Subject of apotropaic and protective value. Attractive stone color. Ring-shaped bezel. Slight wear signs. Rare typology. For comparisons: M. Henig, The Content Cameos, pp. 88-92; M. Henig, H. Molesworth, The Complete Content Cameos, pp. 183-192 (“Gorgoneia�); British Museum inv. 1867,0507.396.

1st century BC. - 1st century AD. diam. 12,5 x 7 mm

500 1.200-1.500

139

480 A precious late hellenistic greek garnet cameo. Female face.

The face of the young woman, presumably referable to a Venus, is inspired by the greek models of the classical age and is characterized by a linear nose, slightly elongated eyes with a marked eyelid, a small fleshy mouth, a round chin and full cheeks. The hair is divided by a central line, is distributed in two parts and is finely engraved with thin strands pulled backwards. The face has “idealized� features, a staid expression, almost severe but serene, typically greek. The back of this cameo is entirely excavated, to give more brightness, color and lightness to the artifact. The excavation of the back affects all the central surface except for the edges. The garnet is dark red-purple in color and lights up with vivid and bright tones if backlit. An ancient restoration, very refined and presumably executed around the end of the nineteenth century, affects the right side of the hair. The cameo is engraved and polished with skill, and could originally have been

mounted in a gold pendant, in a metal casket or to constitute the face of an idol in precious metal. Slight wear marks. Extremely rare and of great artistic beauty, apparently devoid of parallels. Alessandrina Workshop. The art of sculpting and engraving small busts or cameos in semi-precious hard stone (especially garnet, chalcedony and rock crystal), was introduced in the late Hellenistic period by the ptolemaic artists and continued by the Romans in imperial times. For comparisons: J. Spier, p. 78 n. 56; O. Neverov, Ancient cameos in the Hermitage collection, n. 11 and 472. The piece is published in: D. Del Bufalo, Precious Portrait. Tiny Sculptures Masterpieces of Imperial Rome, the Renaissance Taste and the Antique, Allemandi 2019, n. 179. This lot is listed in an invoice from parisian gallery Mythes et LĂŠgendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

2nd- 1st century BC. 28 x 33 x 14 mm

15.000 20.000-25.000

140

141

481 A fine roman republican carnelian intaglio mounted in an ancient gold ring. Bust of Athena with inscription.

The divinity faces left and wears: helmet with animal decoration and high crest; aegis with gorgoneion (Gorgona head and snakes rising from the bust), on the model of the Cammeo Gonzaga. Around, the inscription in ancient greek: KPATI-NH (term referring to victory and military power, to the supreme command and to the governorate); a star on the edge, facing the face of the goddess. Intaglio executed with great skill in the typically roman republican style, inspired by the late Hellenistic greek models. Use of globular elements. Mirror polishing inside the intaglio. Rare typology. Apotropaic and auspicious representation with allegorical meaning, referring to political domination and military supremacy (and protection with the defeat of fear). Generously sized, slightly convex bezel. Slight wear marks. The sturdy solid gold frame surrounds the stone with a large double groove frame, while the annular hoop is large, slightly convex and characterized by an increased internal diameter. The ring could presumably belong to a memberr of the military elite or of the roman governorate. The frame, of great impact, shows wear marks and slight dents.

1st century BC. intaglio 13 x 19 mm; ring diam. 22,5 mm circa; gr. 20,82

3.800 6.000-7.000

142

482 A rare roman nicolo intaglio mounted in a modern gold ring. Allegorical scene referring to the musical and poetic arts.

A young victorious musician wears a long chiton and is depicted with the frontal body and with the head in profile.

The figure holds a laurel wreath with his right hand, in the act of crowning himself, while holding down the double flute with his left hand (διαυλός - diaulòs, that is double aulòs). The character turns towards a theatrical mask placed over an unusual pile of creatures, presumably insects (each of the four elements, superimposed vertically, has an oval shape of a convex shell with three small protuberances and is provided with small legs-antennas). Base line. Scene referring to the victory in musical and theatrical performances. Apparently unpublished allegorical representation, containing hermetic meanings partly to be identified, perhaps referable to some Greek poetic or theatrical work (see Anacreon, Ode XLIII dedicated to the Cicada, in the case of cicadas chrysalis; in fact, it refers to Euterpe, muse of the music, later also of the lyric poetry and according to some inventor of the aulos.The presence of four elements has symbolic value and is referable to the cycle of seasons or metamorphoses). Intaglio performed with skill. Some details are rendered with globular elements. Rare type of trapezoidal bezel. Slight wear marks. Gold setting of the 20th century. Paris, private collection before 1970.

End of the 1st century B.C. - beginning of the 1st century AD intaglio 15 x 16 mm; ring diam. 22 mm; gr. 14

2.500 4.000-5.000

143

483 A precious roman sard intaglio mounted in a gold modern brooch. Bust of Diana the huntress.

The divinity is turned 3/4 to the left, with the partially draped bust and visible breast, modeled on Greek statuary. The thick hair is collected backwards and only a lock of hair falls on the shoulder. On the bottom, the right hand emerges which holds the bow upwards with great elegance. On the head: the crescent moon. Intagli engraved with great technical skill, with great attention to anatomical volumes and expressiveness of the face. The face is characterized by half-open full lips and large eyes fixed in a languid contemplative expression. A work of great artistic refinement. Attractive stone color. Mirror polishing inside the carving. Traces of ancient wear marks. The gold frame, dating from the 19th century and characterized by interwoven circular and spherical ornaments, presents on the back of the marks. The lot includes a modern gold impression taken from the carving with box.

1st century A.D. intaglio 16 x 23 mm; brooch 24 x 46; gr. 8; gr. 5,50 cast impression.

3.000 6.000-7.000

144

484 A roman impression in golden blue glass. Hercules and Omphale.

In the foreground, the bust of Hercules crowned with ivy with the leonte on its shoulders; behind, Omphale. Both are facing left. The very fine Roman cameo in onyx, from which this cast impression was formerly drawn, belongs to the Medicea collection of Florence (inv. N. 14498) and already described in the inventories in 1736 (table XXVIII, 10), and later in 1786 under the n. 1455 as “Onice. Due teste sovrapposte rappresentanti Ercole coronato d’Ellera e Onfale”. In 1799 the cameo is described as “Onyx. Two busts jugati , one of Hercules bearded with the crown of ellera and the skin of lion on the shoulders, the other of Onfale ....... the stone is highly valuable for the subtlety of the execution and for the different layers that compose it, since the beard, the hair, the crown and the skin of Hercules are in a sardonic color that is a little different from the bottom, the remainder of a white tending to blue “. The cameo is also reproduced in Zannoni (Cammei and Intagli, s. V, table 43, 4) and is present in the repertoire of plaster cast impressions Cades (III A, n. 63) and of the Barsanti factory. The impression is very intense blue glass, covered with a thin gilding, and to be considered ancient and taken from the original; also perfectly appears the raised border which very closely surrounds the two busts (“around the same blue layer”). Both on the reverse and on the recto of the impression are visible signs of ancient wear and patina deposits. Chipping on the edge. Specimen of great rarity. Private collection J. T. since 1958, UK. For further information: Antonio Giuliano, I Cammei from the Medici Collection of the Archaeological Museum of Florence, p. 189 n. 81.

1st-2nd century AD. 33 x 47 x 9 mm

1.200 2.500-3.000

145

485 An important modern gold necklace with 10 roman intaglios and 1 roman cameo. Various subjects In the center: late Roman onyx cameo, dextrarum junctio of a married couple and on the sides A - Omega, fragmentary in the lower part (allegorical scene referable to marriage and the sacred alliance with the Christian faith as the beginning and end of everything. Proceeding to the right: carnelian intaglio, Tellus sitting on a throne nursing an infant, with an ear of wheat, chalcedony intaglio, gryllos, amethyst intaglio, bust of Athena with spear, carnelian intaglio, hippocampus, nicolo-agate intaglio, Tyche-Fortune with rudder and cornucopia, agate intaglio helmeted warrior bust, carnelian carving, chariot chariot, agate carving, allegorical scene of aTyche-fortune request, burned carnelian intaglio, Athena Nicephora, carnelian intaglio, Tyche-Fortune crowned by a winged victory. Each hard stone intaglio corresponds with a solid gold cast impression. Every single piece is set in a solid gold frame and connected by a chain structure with spherical ornaments on the bezel. The closure is antique style. Unique work of its kind, performed with great technical expertise by the master goldsmith Massimo Maria Melis. Particular attention is given to the chromatic balance of the gems and to the symbolic choice of the subjects.

Intaglios: 1st-4th century AD. Mounting: 20th century. total lenght 44 cm; gr. 105,65

35.000 40.000-45.000

146

147

486 A roman deep red carnelian intaglio mounted on a modern gold pendent (The Four elements). Jupiter seated with erotes.

Jupiter sitting on a throne and facing to the right, holding the scepter with his right hand, a winged victory (which offers a laurel wreath) with his left hand; at his feet, two winged erotes play inside a circular basin. Ground line. Slight wear marks. Rare iconography. The cruciform gold mount, designed and finely made by the master goldsmith Massimo Maria Melis, shows in its extremities four silver impression taken from intaglios, symbolizing the four elements: water (two dolphins), fire (burning torch), earth (ear of wheat), air (erote on a chariot drawn by butterflies). The four antique vagues colored glass, mounted with a “pomegranate� closure, allude to this extraordinary symbolism.

Carnelian carving surrounded by a finely woven frame. Unique work of its kind, performed with great technical expertise.

2nd-3rd century A.D. intaglio 11 x 15 mm; mounting 70 mm; gr. 52,64

5.000 7.000-8.000

148

487 A rare Roman carnelian intaglio. Satyr sculpting his self-portrait on the shield. of anatomical details is particularly accurate and performed with skill, also considering the small size of the bezel. The rare scene is composed with art inspired by Greek vascular models and symbolically depicts the desire to sculpt one’s own effigy following the reflection on the metal shield. Mirror polishing inside the carving. Attractive stone color with small reddish inclusions. Slight wear marks and lack on the edge at the top. English private collection N.M., since 1985.

A satyr facing left rests a knee on the ground and is depicted in the act of chiselling his self-portrait on a shield; holding the chisel with the left hand, while the right hand is holding the hammer. The face of the satyr is characterized by a marked profile with a curved nose and pointed beard on the chin; the facial features of the face are perfectly reproduced on the shield with great technical virtuosity. The rendering

1st century BC - 1st century AD. 10 x 12 x 2 mm

600 1.200-1.500

149

488 A rare roman agate intaglio. Harbour with ships.

The harbour structure is hexagonal in shape and is characterized by the entrance area from the sea by colonnaded and covered porticos (with a sixth-arched entrance), to continue with square buildings (warehouses) and two long colonnaded porticoes; the structure ends at the bottom with a temple characterized by columns and a double entablature register (interrupted by a sixth-arched niche). Inside, a statue of a divinity flanked on either side by two shields (?). Above, a star, perhaps referring to the reference star for the navigation routes. Three boats inside the harbour, engraved in detail (two ships have a mast and a closed sail, and there is the presence of the rudder, the rostrum and some sailors). Below, maritime allegorical emblem: two dolphins on the sides of a trident. Interesting variety of red-orange agate with small reddish inclusion and a whitish opaque band layer (in the lower half of the scene) to simulate the sea. Hexagonal shaped bezel. Signs of wear and chipping on the obverse side of the bezel. Intaglio performed with skill. Extremely rare and of considerable historical importance. The most compelling iconographic comparison is the cooling of the Port of Trajan (Ostia) on the reverse side of the emperor’s sestertius, coined between 112 and 115 AD (RIC II 631, BMCRE p. 205, Cohen 306); for ships, a comparison with Nero’s well-known sestertius with the port of Ostia is useful. The iconographic and compositional similarity between the representation of the intaglio and the one on the sestertius is very narrow, however there is not just few variations. Often there was a correspondence between the engraver of the coinage and the seal in hard stone, or the coins were taken as a source of inspiration from ateliers far from the place that was wanted to be represented, and taken as a model to be enriched and eventually changed. Despite the variations compared to a codified model (in this case the the most faithful term of comparison is the reverse of the coin), the unmistakable hexagonal structure of the port (attributed to Apollodoro di Damasco) and numerous architectural details present on the intaglio, lead to consider the gem an unpublished interpretation of the Ostiense port; presumably the only one known at the moment in the glyptics. English private collection, before 1970.

2nd century AD. 18 x 20 x 5 mm

1.000 4.000-5.000

150

151

489 An important roman rock crystal intaglio mounted in a modern gold brooch. Venus with dolphin.

The deity is diademated and turned to the left, partially draped, with the bust and an arm uncovered. The head is in profile, while the bust is frontal. The figure rests his right hand on a dolphin, the left above the hip. The dolphin rests on boulders, as in sculptures. Ground line. The subject is in fact inspired in particular by a roman marble sculpture (Aphrodite with dolphin called “Venere marina� n. Inv. 6296) of the National Archaeological Museum of Naples, copy from Greek original. Symbol of beauty and harmony with reference to the marine sphere, the subject was particularly appreciated also in the imperial age, on a greek hellenistic model. The intaglio is executed with great technical expertise, the virtuosity of the executer is evident by the rendering of the drapery and the anatomy of the figure.

Attractiveness purity and brightness of the stone amplified by the underlying gold mount. Slight wear marks. Slightly convex, elongated shape, generously sized. The elegant setting, made in solid gold by the master goldsmith Massimo Maria Melis, reproduces an ancient model in greek hellenistic style, with a double-beaded frame and radial drops (in the style of Macedonian jewelery).

Rare.

1st century AD. intaglio 13 x 26 mm; mounting 27 x 39 mm; gr. 19,57

6.000 18.000-20.000

152

153

490 A very fine roman carnelian intaglio. Hercules and Eros.

The hero is turned on the left side, with arms attached in the back.

On top, behind his neck, the little Eros pushes him. The hero is characterized by: curly short hair, short beard, very muscular anatomy with the torso in 3/4. The character holds the mace where the leontea is hanging down. This representation symbolize the allegory of submission in love, which concerns also the powerfuls and indestructibles. Very high technical and quality execution especially for the anatomical details and the torsion of the body. Some globular elements. Slight wear marks. Attractive stone quality, extraordinary brillance and purity. Nice dimensions. See parallels: J. Spier, Treasures of the Ferrel Collection, p. 26 n. 8.

UK private collection.

1st BC - 1st century AD. 11 x 18 x 2 mm

5.000 10.000-15.000

154

155

491 A very fine roman garnet intaglio. Orpheus with animals.

The mythical figure is facing left, sitting on a rock, in the act of swabbing the lyre. In front of it: an almost leafless tree on which a snake is twisted; a bird on the branches (see: nicolo intaglio, Adam and Eve with the snake on the tree, London, British Museum; garnet intaglio set in a gold ring, Hercules in the garden of the Hesperides, 1st century BC, Naples, National Archaeological Musem). At his feet: an eagle with closed wings, a squirrel and behind a dog. Base line. The young character is naked, with apollonian traits (variant without headgear). Recurrent scene on mosaics and small marble reliefs of the imperial age. Mythical figure referring to the arts and the power to enchant animals with music; to him magical and thaumaturgical powers are attributed, with strong laws with the underworld. Intaglio engraved with compositional skill and great technical skill. The stylistic rendering of the head, of the anatomical details of the figure are fully related to the augustan age with still influences of the late Republican glyptic (use of small globular elements; yield of the lira. For a very narrow stylistic border with the nude male figure: green chalcedony intaglio, standing young nude, presumably Apollo, near a shrub and a column with animals, Augustan age, in: J. Boardman, C. Wagner, A collection of Classical and Eastern Intaglios, Rings and Cameos, No. 67). Extraordinary vivid shade of stone. Large setting. Mirror polishing and wear marks. Chipping at the top on the edge. Extremely rare iconography.

End of the 1st century BC - beginning of the 1st century AD. 20 x 28 x 5 mm

4.500 8.000-9.000

156

157

492 A very fine roman sardonyx cameo, referable to the Sostratos’s workshop. Satyr with a nymph.

At the center of the scene, a partially draped nymph is clapping her hands (rather than holding a cup) and is half-lying in front of a young satyr. The male character is naked, sitting on a basement and slightly tilted back, keeping his feet crossed as a sign of rest; with his right hand he holds up a cup with two handles, with his left hand a small flat container. His body is turned leftward, is characterized by an accentuated musculature and it is slightly twisted in three-quarters; the head (with thick hair and rebel locks) is in three quarters and tilted to the right, gazing down. The body of the nymph is partially naked (the dress cover the legs only) and carries a hat (sakkos). Behind the base on which the male figure rests, branches (of palm?) emerge, while below a drapery and unusual vegetal elements are visible (branches and curved vegetable termination, Corinthian angular volute type).

Extraordinary variety of variegated sardonyx. The figures are engraved in the white layer, while the bottom is brown and orange with nodule veins. The stone is partially burnt and present superficial burned white-yellowish areas. Chipping with lack at the bottom. The figures can also be variously interpreted as Dionsio and Arianna, but the young physiognomy of the male figure, devoid of attributes, is more identifiable with a satyr (absence of crown of grapes or ivy on the head, garment). One of the most striking features in this valuable work is the crossed pose between the two characters, who look at each other even if they have an opposite orientation of the bodies (inspired by Greek vascular models). An extremely interesting comparison comes from the Beverly (Alnwick Castle) glyptic collection, where there is a variation of this scene executed in the 16th century. The subject of this modern sardonyx double layer (white and brown), once a collection of Cardinal Grimani, is considered as taken from an ancient model, “later dispersed” (Vico, tav. 8, with the motto “si vina tollas et Venus statim perit Nec dulca quidquam restit hinc mortalibus “).

In this variation, Pan also appears, playing a Flute Pan (syrinx) while observing the two characters under a tree. The scene is enriched with

details compared to the ancient model, like vases or characters of the Dionysian country sphere. For the pose, it is also interesting to compare it with another sardonyx cameo depicting a satyr and a maenad, Beverly collection (once by Cardinal Grimani, Vico table 24, “Laetitiae Symbolum- Dulce Melos Lasciva Venus Vinumque suave, Hec tua Laetitiam praebent curasque resolvunt “; see also Bober / Rubinstein n.

94). Taking into account the date of the cameo, it is both interesting and suggestive to propose a parallel between the Dionysian repertoire with the court of Antonio and Cleopatra in Alesssandria. In this city the activity of engravers at the service of Antonio and Cleopatra was intense and the sources state that the two corresponded with onyx and engraved crystals (small vases and cameos); The diffusion of the Dionysian motive obeyed a precise ideological requirement. Dionysus, the god who returns from the East with the thiasos of satyrs and maenads, was favored by Alexander the Great, who had assimilated him. The resumption of the motif of the Dionysian thiasos is wanted by Antonio between 40 BC and 31 BC, as evidenced by his life written by Plutarch. Antonio was the new Dionysus in his entry to Ephesus in 41 BC, in the triumph of 34 BC in Alexandria: the motif of the Dionysian thiasos became political ideology and was represented on some cameos. Comparing the engraving style of this sardonyx cameo with the coeval production, there are many similarities with the activity of Protarchos’ workshop, and in particular of Sostratos. The cameo presented here can refer then to the of Sostratos’ workshop and could have belonged to the collection of the famous collector Cardinal Grimani, who in fact made a copy of it in sardonyx in the sixteenth century (the ancient model was considered missing). For comparisons: D. Scarisbrick, C. Wagner, J. Boardman, The Beverly Collection of Gems at Alnwick Castle, 2017, p. 13 n. 8 and p. 25 n.20; Boston, Beazley, LHG n. 136; Antonio Giuliano, I Cammei della collezione de Medici del Museo Archeologico di Firenze, pp. 25 ss. ; S. Toso, Fabulae Grecae, Greek myths in the Roman gems of the first century. BC, pp. 196-197. UK, private collection.

End of the 1st century BC. 25 x 23 x 3 mm

25.000 70.000-80.000

158

159

493 A roman two-layer agate cameo. Portrait of the emperor Hadrian.

The effigy of the roman emperor P. E. T. Adriano (76-138 AD) faces to the right and presents the laureated head. The face is typical of ancient production, in the laureated version, and is taken from the classic prototypes of the roman coins. The face is framed by a mustache and a finely dashed beard; the nose is slightly prominent; small lips; the iris of the eye is incised and turned upwards; the thick wavy hair is carried out according to the same structure as the roman coins, with heavy curved wavy locks framing the face on the forehead (see emperor’s denarii; carnelian carving, bust of Hadrian graduated, National Archaeological Museum of Naples, n. inv. 26094/256). The laurel wreath is tied on the back of the neck by a knotted ribbon. Taking into account the dimensions, the intaglio is executed with technical expertise, aimed at a certain more realistic and expressive physiognomic similarity, less idealized than the official portraits of coin cones.

The stone presents ancient wear marks and a evidences of a former slight contact with heat; deposits of reddish patina due to contact with iron oxides. The cameo is crossed vertically by a tiny through hole, partly occluded by ancient ferrous material. Small splinters on the edge (partly reworked) and slight heat cracking on the back at the center of the bezel (in correspondence with the through hole). Sardonyx agate in two layers (white layer for the relief, brown-colored sardonyx type for the bottom). Specimen of great rarity. UK, private collection. For comparison: The subject has been extensively reproduced since the Renaissance, according to a different stylistic rendering and a different aesthetic interpretation based on the taste of the time (see cameos depicting the emperor Hadrian in the collections of the Hermitage Museum, St. Petersburg, n. . inv. K1768, K1446. Adriano.

Architecture and project, exhibition catalog, 2000, pp.250 ff., R. Mambella, Adriano, L’uomo e l’artista; Le gemme dei Medici al Museo degli Argenti. Cammei e intagli nelle collezioni di Palazzo Pitti (coordination Ornella Casazza), 2007 (reprint 2010), pages 237, No. 198, pages 250, 230, C. Evers, Les Portraits d’Hadrien: typologie et ateliers, in “Collection des Mémoires de la Classe des Beaux-Arts “in -8 °. 3e series, T. VII, Bruxelles, 1994; A. Pangerl, Portraits. 500 years of Roman Coin Portraits, pp. 84-86.

2nd century AD. 15 x 17 x 4 mm

20.000 30.000-35.000

160

161

494 A roman variegated chalcedony intaglio. Bust of draped man.

The character is turned on the right side, and characterized by a generous beard and curly hair. The face, hair and profile details place this portrait in the Antonine period. The nose slightly curved down (aquiline), the little half-open mouth, the ears big and rounded. A large neck emerged from the draped bust. This example is similar to representations of Marcus Aurelius the emperor, and Lucius Verus (in the laureated version) or to a member of the antonine elite. Extraordinary and rare variety of stone, with pinkish inclusions, yellow, brown and orange inside the translucide chalcedony with white dots.

Wear marks. Crack in the lower part of the edge. Bezel with generous dimensions.

2nd century AD. 16 x 20 x 4,5 mm

1.800 4.000-5.000

162

495 A very fine roman red jasper intaglio. Faced busts of Septimius Severus and Julia Domna.

Faced busts of the emperor Septimius Severus (146-211 AD) and his consort Giulia Domna (approximately 170-217 AD). The founder of the Severian dynasty is shown here in profile towards the right, with the draped bust and the non laureated head (the circular fibula on the shoulder makes think about the paludamentum, military cloak); it is characterized by its typical physiognomy with hair adherent to the head and beard made by small locks. The consort is turned to the left, with the draped bust and the well rendered profile, with its typical waved hair. In the center, between the two busts, a crescent moon with a star (auspicious symbolism, referring to the imperial propaganda of the “Concordia Aeterna” and the “Felicitas saeculi” diffused on coins, on cameos and engraved gems). Intaglio executed with artistic mastery and technical expertise. Interesting physiognomic research of the characters, successful and faithful to the models present on coinage, here characterized by a greater expressiveness of the faces.

Some intaglios are known that singly depict the two spouses or as a couple together with their children (see carving in beryl, bust of Giulia Domna, Metropolitan Museum of Art, New York, inv. 25.78.90; carving in carnelian, facing busts of Septimius Severo, Giulia Domna, Geta and Caracalla, Metropolitan Museum of Art, New York, inv.

40.143, Septimius Severus, Geta and Caracalla, Hermitage Museum, St. Pietrburgo, ГР-21653, sardonyx cameo mounted in gold pendant, busts of Septimius Severus and Julia Domna, Ferrell collection No. 50). Generously sized square-shaped setting with rounded corners.

Attractive quality of red jasper with black point micro inclusions. Slight wear marks and slight chipping on the edge. Good luck marriage gem linked to the propaganda of the Severian dynasty, presumably commissioned by an elite member of the imperial family. Rare. English private collection N.M. before 1975

2nd century AD. 15 x 21 x 3 mm

3.000 8.000-10.000

163

164

496 A very fine late Roman chalcedony Phalera. Lion’s head.

Lion’s head in frontal position, slightly open jaws; the teeth are visible at the sides, in the center the tongue is hanging from the lower lip. The snout is linear, the skull is massive. The eyes show the iris and the engraved pupil (typically late Roman). the mane is arranged neatly in a radial pattern around the snout, short locks divided by curvilinear incisions. The ears are rounded in a regular hollow. The whiskers are engraved on the snout. The artifact is carved in high relief with great skill. The back is concave, and is dug deep to lighten the piece and give the stone transparency and color. On the edge there are four circular through holes, with cruciform correspondence, to fix the stone to an edge. Even the half-open mouth has a through hole between the teeth. Phaleras are military decorations to be worn on armor, as evidence of an act of valor. These decorations were usually made of bronze (and depicted as protomes of lions, masks of Eros and Gorgon or busts), which were more suitable for battles, and also for the harness of the horses. The chalcedony specimens, much more delicate and precious, are mostly referred to triumphal parades or military valor assignments. Phaleras were mounted on three rows and tied with reinforced leather straps; forming a sort of breastplate that was worn and then fixed to the Roman soldiers’ armor. The funeral stele of the highly decorated centurion Marcus Celius, who bravely died with the VIII legion in the Teutoburg forest, faithfully testifies all his military decorations; among these were five phaleras on the chest (Landesmuseum, Bonn).

About the here presented chalcedony phalera with head of a lion in front position, the model must be identified, in addition to the already known bronze lion’s head phaleras, both in the sculptural production (lion’s masks set on marble sarcophagis of the late imperial production- oriental ateliers ), and in the bronze studs that held the rings to knock on the doors (so-called “roman lion head door knocker”). Due to the typology and stylistic rendering of some engraving details, this comparison between the chalcedony phalera and these bronze lion mask door knocker is pointful (the bronze studs present lateral fixing holes too: the two symmetrical details engraved on the lion’s forehead that look like lance-shaped leaves, positioned vertically between the meeting between the septum and the ocular orbit, can be also found on some bronze studs like the above mentioned one. It testify a recurrent stylistic detail in the late ancient Roman production (between the 3rd and 4th century AD ). An interesting comparison also comes from the glyptic collections of the Kunsthistorisches Museum of Vienna: chalcedony phalera-cameo, frontal lion’s head, n. inv. X 11, light blue chalcedony with opalescent tones, dated II-III century A.D. (from Coll. Joseph de France - Baroness K. von Hess 1808). Extraordinary variety of blue variegated chalcedony with opalescent and milky tones; with the backlight it assume a pleasant vivid brown-orange hue. Whitish nodule vein centered with skill on the forehead, near the two orbital arches. Mirror polishing made with great skill.

Slight signs of wear, especially on the edge and on the back. Extremely rare. English private collection, since 1978. For comparison: the specimen is published in D. Del Bufalo, Precious Portrait. Tiny Sculptures Masterpieces of Imperial Rome, the Renaissance Taste and the Antique, Allemandi 2019 n. 534; M. Feugère “Phalères romaines en calcédoine” in Miscellanea di studi archeologici e di Antichità vol 3, 1989, pp. 31-51; idem vol 2, 1986, pp. 89-132.

3rd-4th century AD. Diam. 68 x 42 mm

10.000 20.000-25.000

165

166

497 A rare late Roman ivory cameo mounted in an ancient gold ring. Frontal head of Medusa.

The face is frontal, made in high relief, and characterized by a thick head of hair with large locks, a prominent nose, a fleshy mouth and hollow eyes (the eye is empty and originally had to contain an iris of glass paste or hard stone); above, on the head, rest the wings. Subject of apotropaic and protective value. Interesting stylistic rendering with well-marked features and search for expressiveness, typical for this subject. Slight wear marks, traces of patina and ancient sediments. The gold ring is formed by a flat bezel with a small decorated frame (with a chiseled filiform element); the annular hoop is flat and broad, adorned with the same chiseled pattern engraved on both sides. Rare example of generous dimensions in an extraordinary state of preservation. Intact. For comparisons: M. Henig, The Content Cameos, pp. 88-92; M. Henig, H. Molesworth, The Complete Content Cameos, pp. 183-192 (“Gorgoneiaâ€?); O. Neverov, Ancient cameos in the Hermitage Museum collection, 1988 ( russian catalog), pp. 128137. This lot is listed in an invoice from parisian gallery Mythes et LĂŠgendes by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (18671947) collection.

3rd-4th century AD. cameo 21 x 25 x 14; diam. 20,5 mm; gr. 20,05

12.000 15.000-18.000

167

498 A roman gold ring with a garnet bezel.

The ring is characterized by a large oval cabochon garnet bezel. Attractive vivid shade of stone. Excellent state of preservation of the frame and mirror polishing of the stone. For comparisons: British Museum n. inv. 1866.0504.51. Marshall, F H, Catalog of the Finger Rings, Greek, Etruscan, and Roman, in the Departments of Antiquities, British Museum, London, BMP, 1908 n.

725.

2nd BC. to 2nd century AD. Bezel 10 x 15 mm; diam. 18 mm; gr. 10,22

1.500 2.000-2.500

499 A late hellenistic gold ring with a hexagonal emerald rotating bezel.

The intense green colored stone has small cracks and signs of wear, and is hexagonal in shape with a through hole (of the same type as the necklace beads). The gold setting is made up of a hoop ending on the vertical sides of the stone with a rosettal element. It is a refined example in excellent condition, presumably referable to the Ptolemaic-Alexandrian context. Rare.

2nd- 1st century BC. ring internal size 15 x 18 mm; gr. 2,55

1.200 2.000-2.200

168

500 A roman gold ring with emerald bezel.

The ring in solid gold is characterized at the top by a square bezel and by a flat hoop with a raised profile,a sloping shoulders, a pyramidal structure in the upper part, to end with a circular hoop.

Attractive stone color, rectangular in shape and slightly squared like the bezel. Slight wear marks. Intact.

3rd century AD. Bezel 5 x 7 mm; diam. 16,5 mm circa; gr. 4,04

1.400 2.000-2.500

501 An extraordinary and precious late roman gold ring with emerald and garnets.

This ring combines an elegant simplicity with a strikingly original design. The central raised rectangular bezel is set with a bright emerald. The central bezel is flanked by two high, domed knobs, which are upwards extensions of the shoulders. The tops of these two domes are each set with round cabochon-shaped garnets. Attractive color of the stones and very fine condition of the mounting. Rare.

For a similar typology see : MARSHALL, F.H., Catalogue of the finger rings, Greek, Etruscan and Roman in the Department of Antiquities, British Museum, 1907, Pl. XXI, 849 - 850; J. Spier, J. Ogden, Rings of the ancient world, p.

55 n. 17.

3rd century AD. ring internal size 13 x 15 mm; gr. 6,98

10.000 15.000-18.000

169

502 A late roman gold ring with garnet bazel.

The gem is mounted in an oval frame that is placed on a flat octagonal base (four short sides and four long sides) decorated with a radial pattern. Attractive stone color.

Excellent state of preservation. Pleasant patina on the frame.

3rd-4th century AD. Bezel 8 x 9 mm; diam. 17,5 mm; gr. 4,84

800 1.800-2.000

503 A roman gold ring set with a cabochon shaped garnet.

Attractive color of the stone. Slight wear marks.

1st-3rd century A.D. Bezel 8 x 10 mm; ring internal size 14 x 16 mm; gr. 4,85

600 800-900

170

504 A Late roman gold ring with convex amethyst bezel.

The flat hoop is entirely chiselled with a veined leaf decoration (palmette motif), with spherical details engraved in the recess. The bezel, which contains the stone, is decorated with the same motif and has four small spheres welded to the sides of the hoop (typically late Roman decoration).

The cabochon amethyst is mirror polished and is characterized by an extraordinary vivid color. Attractive specimen in a very good condition. Rare typology. A similar vegetal decoration engraved with the same technique and style is present on a specimen in the British Museum collection (inv.

No. 1981.0201.2): gold ring with chiseled hoop and bezel in engraved amethyst, Roman-British art, from a treasure recovered at Thetford-Norfolk in 1979. The decorations engraved on the hoop were not necessarily the prerogative of late antiquity (cf. Marshall 1907, nos. 464 and 465), but they are in line with the trends of the period for the preference for the worked metal surfaces rather than smooth (see Johns and Potter (1983) ‘The Thetford Treasure: Roman Jewelery and Silver’ Cat. 2).

4th century AD. Bezel 12 x 15 mm; ring internal size 17 x 19,5 mm; gr.

6,95

2.200 3.000- 3.500

505 A rare bronze small box (pisside) from the late Roman period containing 7 gemstones.

The small cylindrical container, characterized by very thin walls, has a lateral break and various dents. Inside it is still preserved the fabric, with interwoven weave, which originally wrapped 7 gemstones: 3 round cabochon garnets, 2 cabochon garnets engraved with representations (intagli), a rectangular garnet, 1 chromed green chalcedony chipped on the edge. It is a rare testimony that in ancient times belonged to a goldsmith or to a gem engraver, who set aside (for storage or for hiding) these gems to be mounted on rings, partly engraved. Signs of wear.

3rd - 4th century AD. bronze boxe h. 18 - diam. 21 mm

600 800-1.000

171

506 A precious roman balsamarium in sardonyx agate (murrina vasa).

The small and refined elongated vase is characterized by a small disc-shaped base (“foot�) with a slightly concave support, and a originally longer neck, later cut (and re-formed in ancient times). Attractive vivid variety of stone. Mirror polishing. Slight wear marks. Rare.

For comparison: Dario del Bufalo, Murrina Vasa; A luxury of imperial Rome, p. 52 n. 28 (British Museum, London), p. 60 n. 66 et ss. This lot is listed in an invoice from parisian gallery Mythes et LĂŠgendes

by Michel Cohen in 1986, mentionning that the piece was formerly in Arthur Sambon (1867-1947) collection.

1st century BC - 1st century AD. H. 26 mm; diam. 16 mm circa.

2.000 4.000-5.000

172

507 A roman heliotrope (bloodstone) intaglio. Isis priestess.

The feminine figure, draped and crowned, holds a situle with the right hand and a sistrum with the left hand. Ground line. Magical gem referring to Isis cult. Slight wear marks. Rare.

2nd-3rd century AD. 10 x 13 x 2 mm

250 400-500

508 An Italic burnt agate intaglio. Emblema.

The allegorical composition is formed by a bust of Jupiter-Serapis (on top), a frontal mask (bottom) and four letters. Magical representations referring to teh cult of Jupiter-Serapis. Truncated bezel.

2nd-3rd century AD. 10 x 13 x 5 mm

180 300-350

173

509 A roman heliotrope (bloodstone) intaglio. Venus.

The goddess is standing and seen from the front, with a nude torso and legs covered by a drapery.

The figure holds the right hand on the breast, while the left hand holds the drapery on the groin.

Subject inspired by hellenistic models. Interesting work. Attractive variety of stone referable to the production of protective magic amulets. Slight wear marks.

2nd-3rd century AD. 8 x 15 x 3 mm

375 700-900

510 A roman heliotrope gnostic intaglio. Anubis with the Dioscuri.

In the center, the figure of Anubis is crowned and armed, with the head in profile facing to the right.

The divinity wears the armor, the shoes and carries the sword, holding the spear with his right hand. On the sides, the Dioscuri: both are naked, they hold a spear with their left hand and have a star on their head; the right hand rests on the side to support a drapery. One of the two young men is wearing a sword. Both look towards the center of the scene. Well balanced and detailed symmetrical composition. Magical and astrological representation related to the afterlife. Only in very rare cases the “Roman� type of Anubis is attested with military clothes, in the act of challenging the shield and the sword, to allude to the power that the god exercises on the forces of evil that threaten the deceased. Attractive variety of stone, used as a protective amulet.Slight wear marks. Rare iconography.

2nd-3rd century AD. 11 x 13 x 2 mm

300 800-1.000

174

511 A rare Roman Gnostic amethyst intaglio. Anguipedal Leontocephalus with attributes.

The magical creature has a radiate lion head (six rays), a human body with a military uniform and a robust serpent-shaped tail; in his right hand he holds a small dagger, in his left a lash with three ends (?). In the field: a crescent moon and a globe. The figure of the leontocephalus belongs to the religious iconography of Mithraism. This figure with a lion’s head and human body also associated with the snake (the leontocephalus was depicted in sculpture or bas-relief with a large serpent coiled on its legs) is an image of Time that devours and consumes all things. The turns of the snake that surrounds it symbolize the cyclical nature of the astral movements that preside over time.

The most frequent attributes are the torch, the scepter, the solar whip. A particularly interesting example is a gem with the leontocephalus that wears the armor and the military skirt, in the act of holding a sword and a Medusa head, to symbolize the defeat of the disease (Delatte, Etudes sur la magie, pp. 88- 90 nos.

36-37). This carving in amethyst instead shows the leontocefalo in military clothes but with a particularly muscular and intertwined serpentiform termination, bringing it closer to an interesting syncretism with the gnostic figure of the anguiped cock and of Chnoubis (radiated serpent-solar cults). This gem, considered a powerful magical amulet capable of defeating adversities and diseases to ensure salvation, is attributable to solar cults and oriental mystery ones; the artifact could be traced back to the Egyptian workshops. The carving is performed with skill. Attractive stone color. Signs of wear and chipping on the edge. Extremely rare iconography. For comparisons: A. Mastrocinque, Sylloge gemmarum gnosticarum, vol. I, pp.

264-269; G. Becatti Scavi di Ostia. 2.1, I mitrei di Ostia, Rome 1954; A. Mastrocinque, Studi sul Mitraismo (Mitraismo e Magia), Rome 1998; F. Cumont, Textes et Monuments figurés relatifs aux mystères de Mithra, Brussels 1896-1899; F. Cumont, Les mystères de Mithra, Brussels 1913; M. J. Vermaseren, Corpus inscriptionum et monumentorum religions dans ls Mithriacae, 2 vol. , Den Haag 1956-60; M. J. Vermaseren, Mithriaca, III, Leiden 1982 M. J. Vermaseren, Mithra the god of the Mysteries, Turin 2018.

2nd-3rd century AD. 13 x 18 x 5 mm

800 2.000-2.500

175

512 A roman heliotrope gnostic intaglio. Harpocrates.

The divine child is seated on a large lotus flower and is facing left. With his left hand he holds a whip and brings his right hand towards his mouth in his typical pose. Lotus flower on the head. In the field: magic inscriptions. Attractive variety of stone, characterized by vivid and numerous red inclusions. Magical amulet referable to the egyptian roman context. Rare. For parallels: A. Mastrocinque, Sylloge gemmarum gnosticarum, p. 148 ss.

3rd century AD. 8 x 11 x 2 mm

800 1.500-1.800

513 A roman gnostic hematite intaglio. Anubis.

The divinity is standing on his fet, with the right arm on the hip and the left arm holding a lotus flower. He wears a lotus crown. Magical gem. Wear marks. Rare.

2nd-3rd century AD. 9 x 12 x 2 mm

300 500-600

176

514 A rare roman two layers agate intaglio mounted in a bronze setting. Hermanubis.

The figure is standing, facing left, and is formed by the figure of Hermes partially draped (bare torso and covered groin), with sandals; holding the winged caduceus with the right hand, while the left arm is raised with the palm of the hand open. Above the head of Hermes: the jackal head. Ground line. Rare iconography that differs from the known model (human body and animal head, while in this case it is a human body with a human head joined at the top by an animal head).

Attractive type of stone. Oval setting of generous dimensions, convex, set in a rectangular bronze frame (probably a central belt). Magic gem with protective amulet function. Slight wear marks. . Ermanubi (or Hermanubi; in Greek: Ἑρμανοῦβις, Hermanùbis) is a Greek-Egyptian god born from the fusion of Hermes and Anubis. He was considered

the son of Seth and Nefti. The great similarity between Anubis and Hermes (both psychopomp deities, or guides of the souls in the afterlife) leads to the syncretistic formation of the god Ermanubi (in the egyptian and hellenistic religious imagery of the Ptolemaic period).

It was popular during the Roman domination of Egypt, the age of its first depictions, and in Rome itself until the 2nd century AD In his rare representations, he is depicted with a man’s body and a jackal’s head holding the sacred caduceus and a frond of Palm tree. (Statue of the god Ermanubi, in white marble , 1st-2nd century AD, Egyptian Gregorian Museum- Vatican Museums) . For comparisons: A. Mastrocinque, Sylloge gemmarum gnosticarum, pp. 190-194.

2nd-3rd century AD intaglio 18 x 22 mm; bronze mounting 25 x 35 mm

2.500 3.500- 4.000

177

515 A rare and precious late roman agate cameo. Peacock.

The elegant bird is facing left. Ground line. Symbol of royalty, beauty and immortality, the peacock was sacred to Juno and is a creature related to the herald; in the Christian sphere it was also a symbol of resurrection. Work done with skill, using the three layers of stone of different colors with art. Rare and refined half-moon shape bezel with rounded downward vertices, presumably for an earring or pendant.

3rd - 4th century AD. 9 x 15 x 3 mm

1.800 2.500-2.800

178

516 A fine late Roman sardonyx cameo. Lion.

The mighty animal, symbol of strength and power, is represented in profile. The mouth is half-open, a massive body; the tail is sinuous with the end facing upwards. The ground line and the figure are honey-brown in color, the bottom is white with brown shades on the edges. The details of the “lanceolata� mane (with the pointed fur like leaves) bring the work closer to the ateliers of the late Roman Empire.

Well executed work, inspired by the classic late Hellenistic and Roman models of the early imperial period. A very close comparison is the sardonyx cameo of the National Archelogical Museum of Naples (inv.

No. 25969/136), almost the same in type. Slight signs of wear. For comparison: U. Pannuti, The glyptic collection. National Archaeological Museum of Naples, vol. 2, pp. 273-274.

3rd-4th century AD. 17 x 24 x 6 mm

3.500 5.000-6.000

179

517 A late roman carnelian intaglio. The good shepherd.

The standing character holds a sheep on his shoulders, and is flanked at the bottom by two other sheep. In the background, a shrub with a bird on it. Ground line. Christological representation, inspired by statuary models and marble reliefs. Signs of wear and chipping on the edge. Rare.

3rd-4th century AD. 8 x 10 x 2 mm

400 800-1.000

518 A roman carnelian intaglio. Christological emblem.

Cross with two fishes. Signs of wears. Chipping on the edge.

For comparisons: J. Spier, Late Antique and Early Christian Gems, pp.

41-48 n. 190-298 3rd-4th century AD. 10 x 12 x 3,5 mm

450 1.000-1.200

180

519 A late Roman-Byzantine red jasper intaglio. Christological emblem.

The composition is structured in the manner of cruciform monograms, later used by the Byzantines. The emblem seems to be formed by two crossed keys at the ends of which are a Christogram, a crescent moon and letters (to be identified). Slight signs of wear. Rare.

For comparisons: British Museum Collection Database.

4th - 6th century AD. 5 x 7 x 2 mm

450 1.000-1.200

520 A late roman nicolo-agate intaglio. Cross with inscriptions.

A cross put on a pyramidal three grades altar; below X X Γ. Attractive and luminous tone of the stone. A similar representation is noticed in the late imperial coins: solidus of Constante II or Constantin, Constantinople, 654-668 A.D.; Eraclio and Eraclio Constantine, Constantinople, c. 629-632 AD. 4th-6th century A.D. 13 x 15 x 4 mm

450 1.000-1.200

181

521 A large Roman garnet intaglio.

Allegorical scene.

On the left, the winged Victory is holding a laurel wreath with the right hand and a palm frond with the left; on the right, Tyche-Fortune with the modio on the head, supports the cornucopia and offers something inside a vase, setted at the center of the scene. The two figures face one another, in the act of looking at each other and performing the votive ritual together.

Above, two birds. Interesting auspicious allegorical scene, referring to success and abundance. Rare composition, rich in details. Large size bezel with a slightly convex surface.

Mirror polishing. Attractive stone color. Slight wear marks and small chipping on the edge.

3rd century AD. 19 x 22 x 4 mm

4.000 5.000-6.000

522 A late Roman carnelian intaglio.

Allegorical scene with two Victories.

The two winged figures wear a long tunic and face one another wit their heads in profile. Both raise the right arm to support palm fronds, which create arches over their heads (ornamental motif); at the bottom, vertically positioned a palm frond.

Ground line. An auspicious allegorical representation referring to triumph and success, composed with a perfectly symmetrical structure (similar to emblems). Engraving carried out with marked lines of thick weave, sometimes crossed, typical of late Roman production. Attractive stone color and slight internal cracking in the upper part due to heat. Slight signs of wear.

4th century AD. 15 x 17 x 4 mm

2.800 3.200- 3.500

182

523 A late Roman seal engraved on a silver bezel.

A portraits of two spouses facing one another with auspicious inscription.

A draped male bust is faced with a draped female bust adorned with a necklace. The woman’s hairstyle recalls the portraits of Elena Augusta, mother of the emperor Constantine (see: Follis in bronze RIC VIII 34). In the field, the inscription V-IVATI-S: formula of good omen for a long married life, with an implication of the Christian faith (“vivatis in deo”). Very good condition. Rare.

3rd-4th century AD. 13 x 12 x 3 mm

500 1.200-1.500

524 A fine Byzantine gold ring with Sassanian garnet intaglio. Lion with attributes.

The feline is facing in profile to the left, lying on the ground with the head facing in front; below a crescent moon, above: a star. Astrological symbology. The gem, of attractive vivid hue, is mounted on a raised bezel in the shape of a chalice, characterized by a perforated inscription in ancient Greek (“open work”): EVΦHMIA (Eufemia or Eutimia); the back of the setting is decorated with an elegant openwork motif in volutes (two “S” faced). Also the hoop is characterized by a perforated inscription: KVPIE BOHΘ (E) I TI ΔOYΛI COV (“God helps your servant Euphemia”). Ring of votive-devotional meaning referring to the Christian faith of the ancient owner. Rare typology (typical of the 6th-7th century AD) in excellent condition. Slightwear marks. For comparison: Christie’s sale, Antiquites, April 29, 2019, New York, lot 153; Metrpolitan Museum, New York, inv. n. 17.190.1654; Spier, Jeffrey. Byzantium and the West: Jewelry in the First Millenium. Paris, Chicago and New York: Les Enluminures, 2012. pp. 124, 126, fig. 19.1.

6th-7th century AD. intaglio 9 x 10 mm; ring diam. 18 mm circa; gr. 6,22

2.400 5.000-6.000

183

184

525 Pair of gold byzantine semi-circular earrings. semi-circular; thin, wire loop, most of which is soldered to a thin U-shaped sheet of gold decorated with hemispherical gold beads; on the outer edge, nine triangular projections, of tiny granules and gold pellets, hang from a wire.

See paralell : London, British Museum, inv.

1971,0802.12.

Middle Byzantine, 11th-12th century AD H. 40; gr. 11,8 total

2.000 2.500-3.000

526 Pair of byzantine gold openwork earrings.

Circular, thin with stunning openwork design comprised of an outer channel of repeated motifs. The external part is worked in wire drawing. Gold (damaged) spheres on the edges Byzantine, 5th - 10th century A.D. H. 70 x 43 mm; gr. 31,45 total

1.500 2.000-2.500

185

527 A roman two-layers onyx cameo mounted on an antique gold earring. Bust of a matron.

Draped female bust with “Helmfrisur” hair. Bezel: signs of wear. Mounting: very good condition. For comparisons: M. Henig, The Content Cameos, pp.

44-49 3rd century AD. H. 14 mm; gr. 0,90

150 250-300

528 A roman onyx cameo. Medusa head.

The face is in three-quarters, executed in high relief. Above, on the head, rest the wings. Subject of apotropaic and protective value. Slight signs of wear. For comparisons: M. Henig, The Content Cameos, pp. 88-92; M. Henig, H. Molesworth; The Complete Content Cameos, pp. 183-192 (“Gorgoneia”).

2nd-3rd century AD. 9 x 10 x 6 mm

500 800-900

186

529 A roman onyx cameo. Frontal head of Medusa.

The face is slightly turned in 3/4. On top of the head, presence of the wings. Aportropaic and protective subject. Wear marks. For parallels see : M. Henig, The Content Cameos, pp. 88-92; M. Henig, H. Molesworth, The Complete Content Cameos, pp. 183-192 (“Gorgoneia”).

2nd-3rd century AD. 16 x 18 x 7 mm

350 600-800

530 A roman onyx cameo. Frontal head of Medusa.

Executed in high relief. Above, on the head, rest the wings. Subject of apotropaic and protective value. Slight wear marks. For comparisons: M. Henig, The Content Cameos, pp. 88-92; M. Henig, H. Molesworth, The Complete Content Cameos, pp. 183-192 (“Gorgoneia”).

2nd-3rd century AD. 14 x 16 x 10 mm

800 1.200-1.500

187

531 A very fine and rare Carlo d’Angiò gold seal.

Carlo d’Angiò, as king of Jerusalem and Sicily, duke of Apulia, count of Provence, Achaea, Forcalquer and Piamonte (from 1277-1285) AV Seal. * KAROL : TT REX : IERL : 7 : SICI : DVCAT : APVLIE : Charles enthroned holding cross on globe and sceptre / +PVNCIE : 7 : ACHAEA 7 FORCALQUER… 7T: PEDIMONT : COMES, Arms of France and Jerusalem. Unpublished in the standard references, for another gold seal cf. P. Sella, Inventari dell’archivio segreto Vaticano: Le bolle d’oro, Vaticano 1934, 10 = A. Martini, I sigilli d’oro - The gold seals of the Vatican Secret Archives, Milano 1984, 11a-b.

Extremely Fine. Unique and of considerable historic significance.

Ex Roma Numismatics Ltd., Auction XIV, 21 September 2017, lot 888; Ex collection of Gianfranco Galfetti; Privately purchased from Kunst und Münzen, Lugano in 1963.

Charles of Anjou, founder of the Angevin dynasty in Naples, was the youngest son of Louis VIII and brother of King Louis IX of France. He took part in Louis IX’s crusades to Egypt in 1248 and Tunisia in 1270. After obtaining Provence by marriage in 1246, which extended his influence into Piedmont, he became senator of Rome (1263, 1265–78) and undertook to champion the papal cause against Manfred, the Hohenstaufen who had usurped the Kingdom of Naples and Sicily in 1258. In reward, he was crowned king of Naples and Sicily in 1266 by Pope Clement IV, which he had already received as a papal grant in 1262. Charles defeated and killed Manfred at the Battle of Benevento in 1266 and then defeated and executed the last of the Hohenstaufen line, Conradin, later that year. As leader of the Guelphs, or papal faction, he gained political hegemony in Italy and won suzerainty over several cities in Tuscany, Piedmont, and Lombardy, but his overbearing policies led to a cooling of his relations with the papacy. Planning to establish his own empire, he allied himself with the deposed Latin ruler of Constantinople, Baldwin II, against Greek Michael VIII and fought for years in the Balkans. Corfu, Epirus, and Albania were taken. On 18 March 1277, he bought the claim and assumed the title of King of Jerusalem, sending Roger of San Severino as his bailli to Acre. There Roger ousted Balian of Arsuf (Balian of Ibelin), the bailli of Hugh III, and compelled the nobles to swear fealty.

In the meantime, Gregory had been succeeded by Pope Innocent V, who arranged a peace between Charles and the Genoese. The crushing taxes necessitated by his wars and his appointment of oppressive French officials to exact them led to the Sicilian Vespers in 1282. The ensuing war against the Sicilian rebels and Peter III of Aragón, chosen by the rebels as king of Sicily, continued after his death in Foggia in 1285 under Charles’s son and successor, Charles II, then a prisoner in Catalonia, so the regency passed to his French cousin Robert II of Artois, son of the younger brother of St Louis.

13th century 17.19g, 49mm.

35.000 40.000-50.000

188

189

532 A red serpentine scaraboid seal. Lyra player with a bird.

This seal shows a musician playing the lyra, with a bird standing behind and facing the player. The figures are engraved in a linear outline style. The musician wears a robe whose skirt is rendered in vertical lines and a slanting line at his waist indicates a sword or a dragger.

The seal belongs to a large group of scaraboid seals, made in Cilicia on the south coast of Anatolia and exported to Greece, particularly the island of Euboea. From there, many were carried to Greek colonies in Italy and Etruria, where they are frequently found in graves of children and infants, placed around the neck as a protective amulet.

For a parallel : Missouri, Museum of Art and Archeology inv. 92.2, Weinberg Fund. Anatolia, Cilicia. See : SPIER, J., Ancient Gems and Fingers rings; p.50-51, n°93-95.

Ca. 750-700 BC. 15 x 19 x 10 mm

500 1.000-1.200

533 A late babylonian chalcedony stamp seal.

Oval face, convex bezel and pierced.

Merman above decorated ground line. Winged sea creature above. Very fine and Rare depictin inear to the archaic greek models (See J. Boardman, Greek gems and finger rings). Back chipped.With W.G. Lambert descriptive note.

Late babylonian, c. 500-350 B.C. H. 25 mm; diam. 18 mm.

1.000 1.500-1.800

190

534 A late babylonian stamp seal.

White and brown variegated agate. A pierced sacaraboid stamp seal. A walking sphynx turned on the left side, in front of a tree.

Worn one end chipped.

With W.G. Lambert descriptive note.

Late Babylonian,c. 600 – 450 BC. 16 x 20 x 9 mm

250 400-500

535 A late babylonian chalcedony stamp seal.

Oval face, convex bezel, pierced.

A scepter crossed with emitting rays and a torch (?)

Drill style.

Late Babylonian, c. 700 – 500 B.C. 17 x 20 x 10 mm

500 800-1.000

191

536 A very fine late achaemenid chalcedony cylinder seal.

On the center, a master of Animals (or the king) depicting in ž, the face turned on the right side. He subdues two rampant Mesopotamian lamassu figures.

On the edge, finely detailed ionic column with palmette on top. Rare. Very fine execution and extraordinary quality of the stone. Light chipping on the edge.

Late achaemenid period, 5th century B.C. H. 26 mm; diam. 13 mm

8.000 10.000-12.000

192

537 A near-eastern chalcedony cylinder seal.

Standing god in nimbus, worshipper facing and offering stand between; terminal. Crescent above tree. Drilled style.

With W.G. Lambert descriptive note. c. 800 – 500 BC. H. 25 mm; diam. 11 mm.

800 1.200-1.500

538 An old babylonian hematite clinder seal.

Three stand figures and cuneiform inscriptions :“Nin-shubur, faithful messenger of An, who holds the holy scepter”.

Old Babylonian. Some damages. With W.G. Lambert descriptive note. c. 1900-1600 BC. H. 24 mm; diam. 12 mm

700 1.000-1.200

193

539 An old babylonian hematite cylinder seal.

Sun god in horned tiara facing a worshipper raising hand. Crescent in sky, fly filler.

Inscriptions “Warad-Ninshubur, son of Anna” Very good condition.

With W.G. Lambert descriptive note.

Old Babylonian, c. 1900 – 1700 B.C. H. 30 mm; diam. 13 mm

1.000 1.500-1.800

540 A cassite-frit babyloninan cylinder seal.

The design shows two standing, facing figures. Both wear close-fitting hats with edges and long robes to the feet. The figure on the right is raising both hands while the figure on the left is holding up one hand only. Between them, a smaller figure similarly clad, he is facing right.

On top, a rhomb and cassite cross. The remainder of the space is taken up with a five-line inscription in Sumerian cuneiform : “ Anunitum, wise lady, purification priestess of heaven and earth …… Seal of …., the servant who worships you”.Remains of the original turquoise glaze still on the surface. Rare. With W.G. Lambert descriptive note. c. 1400-1100 B.C. H. 40 mm; diam. 16 mm

1.800 2.000-2.200

194

541 An old sumerian brown and white agate cylinder seal.

A seated god wearing a robe and a miter on his head facing a worshipper.

Behind a rising taurus. Inscriptions in sumerian cuneiforme. Attractive color of the stone. Wear marks. Rare.

3rd millenary B.C. H. 35 mm; diam. 14 mm

6.000 7.000-8.000

195

542 An important and rare neo-assyrian rock crystal vase.

The ancient vessel of rock crystal is cut and hallowed out from a big piece of solid rock crystal. The vessel has a rounded base and the sides rise and flare outwards to the shoulder, on which are two lugs, one each side, pierced for suspension. The neck narrows in above the lugs and then flares out to the lip, which is plain. Though undecorated, this is a perfect example of ancient craftsmen’s skills, rock crystal being one of the hardest stones on which they worked on. Pieces of this size are virtually unknown, especially in view of its purity. Ancient Assyria has provided the closest parallels, though even the royal tombs of Nimrud have only smaller vessels of this type and material. The evidence and the parallels points to ancient Assyria as the source. Very fine condition and attractive piece. WIth a G. Lambert signed certificate and descriptive note and with a CIRAM Analysis Certificate. UK, private collection. The piece was purchased by Mr. Alex Cotton of Brockenhurst in 1968 from D.J. Crowther. Than, to the present owner, with Mr. Munro-Walker in 1978 For parallels see: “A Neo-assyrian amethyst vase of ovoid form, with short cylindrical neck and overhanging disc rim, the mouth flat with a descending step framing the central opening, the interior hallowed out, with two trapezoidal lugs on the shoulders, drilled orizontally for suspension”, 7.9 cm high, circa 8th century B.C. in Christies, Antiquites Sale 7207, London 2012; P. Craddock, Scientific investigation of copies, fakes and forgieries, Oxford 2009, p. 628; A. Lucas and J.R. Harris, Ancient Egyptian materials and industries, London 1962, p. 523.

C. 800-600 B.C. H. 11,5 cm

25.000 60.000-70.000

196

197

543 A greco-persian carnelian seal. A sphinx.

The fantastic creature is facing right and is headdressed. Achaemenid intaglio, executed with globular elements of both large and small dimensions. Slight wear marks and small chips on the edge. Through hole.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. A very similar example is in J. Boardman, Intaglios and rings, Greek, Etruscan and Eastern from a private collection, p. 100 n. 108 (Sphinx, even if we note the similarity with the body of the zebu, Globolo-Bern group).

4th century BC 14 x 12 x 7 mm

450 700-900

544 A greco-persian agate seal. Scene with two characters.

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 base line.

Achaemenid carving, executed with globular elements of both large and small dimensions, and small incised sections. Attractive stone honey 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).

5th-4th century BC. Diam. 25 x 10 mm

1.600 2.000-2.500

198

545 A greco- persian lapis lazuli intaglio. Antelope.

The quadruped is turned to the right with the head turned backwards (the animal’s eyes are rendered with a small globular element); two greek letters in the field. Slight wear marks. Attractive variety of stone. The specimen, probably from Bactria, 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.

5th-4th century BC .

10 x 14 x 4 mm

675 800-900

546 A rare burnt carnelian sassanian intaglio. Demoniac mask with star.

The frontal part of the demon is characterized by leonine traits and ears and antilope horns; on top, a star. Wear marks and burn. At the bottom, lossed part on the surface. Rare typology. For comparison: British Museum, inv. n. 119763 - 119764; R. Gyselen, Catalog of Sceaux, Camées et Bulles Sassanides of the Bibliothèque National et du Musée du Louvre. Paris 1993, p. 152, n. 40 C.13-22; tav. XL .; R. Göbl, Der Sasanidische Siegelkanon. Brunswick, 1973. tav. 16, n.

43i .; Bivar, A.D.H. Catalog of the Western Asiatic Seals in the British Museum.

Stamp Seals, II: The Sassanian Dynasty. p. 75. n. DM 3.

3rd-4th century AD. 6 x 9 x 2 mm

450 1.000-1.200

199

547 An oriental roman variegated agate seal. Bust of a bearded male character.

The figure is facing left and is characterized by a draped bust; Greek inscription in the field.

Middle orient production. Attractive variety of polychrome agate, with pleasant bluish and brown tones. The bezel is pierced with a passing hole. Slight wear marks. Cf. Dalton, O.M. Catalog of the Engraved Gems of the Post-Classical Periods in the Department of British and Mediaeval Antiquities ... British Museum. London 1915. n. 514-5; J. Spier, Late Antique and Early Christian Gems, Wiesbaden 2007, n. 18 - 24.

3rd - 4th century AD Diam. 8 x 3 mm

550 800-900

548 Rare garnet intaglio. Draped female bust.

The figure is facing left. Rare typology referable to the Kushan - Gandhara. Slight wear marks and chipping on the edge. For comparisons: P. Callieri, Seals and Sealings from the North-West of the Indian Subcontinent and Afghanistan ..., 1997. tav. 22 - 23, n. 7.27 and 7.35; pl. 64. n. U 7.33 and U 7.41. ca. 3rd century AD. 8 x 10 x 1,5 mm

450 800-900

200

549 A sassanian carnelian intaglio. Two characters with inscription.

A male headdressed figure approaches and touches a creature, that is characterized by a human body and an animal head with lion features (?). Inscription in the field. Slight wear marks. For comparisons: R. Gรถbl, Der Sasanidische Siegelkanon, Brunswick 1973, tav. 2, n.

2g .; R. Gyselen, Sceaux Magiques en Iran Sassanide, Paris 1995, p. 36 - 9, n. 39a - 41b.

3rd-4th century AD. 12 x 14 x 3 mm

475 600-700

550 A sassanian carnelian ring. Scorpion and crescent moon on the bezel.

Presence of a spherical extremity in relief on top of the bezel, on the bezel area used to guide the sense of the impression.

Crack and missing material on the lower part of the ring. Rare.

Sassanian period, 3rd-5th century A.D. Bezel 9 x 16 mm; diam. 16 mm

500 700-800

201

551 A rare Renaissance agate carnelian intaglio, attribuited to Valerio Belli. Erotic scene.

In the center: a phallic herm in profile, with the head of a satyr and the erect phallus upwards. To the right: a naked woman with long hair, in a strong ecstasy, bends backwards and spreads her legs to receive fellatio from a young man; this is seated on the ground and leans with his left hand, showing the back and neck of three - quarters in a powerfully Michelangelesque pose (pose of the ignudo from the Sistine Chapel, later much taken up by the Mannerist artists). To the left: a second female figure with long hair is in the grip of ecstatic fury and leans with a knee on a rocky ridge in front of the phallic herm (adoring pose), bending the head and torso backwards and raising an arm (holding an attribute with the hand). Below, the VB signature and the date in Roman letters: MDXX (1520). In the scene the erotic fury, referable to the maenads, and the pleasure of oral intercourse is expressed with great vigor. Work of difficult execution and unusual for the Renaissance glyptic panorama, apparently of great rarity. The carving is performed with great technical skill, with particular attention: to the twisting poses, to the anatomical details of the sculpted bodies, to the expertly polished mirror polishing. Slightly convex and large size setting. Attractive vivid color of the stone, in tune with the scene. The attribution to the famous engraver Valerio Belli Vicentino (1468-1546) is suggestive and plausible, known for carvings of a predominantly religious theme performed for prestigious clients (for the official orders reported by the sources). The taste for extreme erotic divertissement with explicit sex scenes (of Greek-Roman inspiration) is also present in the Renaissance repertoire in the graphic production of great artists, as in the case of Giulio Romano (“I Modi”). In the case of this carnelian intaglio the stylistic rendering and the sometimes acrobatic poses of the characters are no stranger to the “vicentino” engraver. In particular, the male figure of Michelangelesque inspiration recurs in his repertoire (V. Belli, Ercole al Bivio, placchetta in bronzo, fusione, Londra, Victoria and Albert Museum cat. 124.6). Rare.

First decades of the 16th century.

24 x 34 X 6 mm

6.000 10.000-15.000

202

203

552 An extraordinary papal gold ring, pearls and polychrome enamels with hyacinth cameo, belonged to Gregory XIII and made by the famous goldsmith Giacomo Anfossi in the second half of the sixteenth century.

On the upper part of the ring is a yellow gold bezel with a high relief-engraved hyacinth cameo, representing the face of a putto in three quarters (cherub). The gem is framed by eight pearls and the bezel is embellished with enamel decorations that accompany them with the pattern. “GREG XIII” is engraved in the lower part of the bezel. Oval punch depicting an owl. The materials of the ring are: yellow gold with enamels, scamazze pearls and an engraved hyacinth of diam. of 35 mm. Anfossi, famous Roman goldsmith, began to work for the papal court in 1548 and entered the service of Pope Gregory XIII Boncompagni in 1573. Ring destinated to the personal use of the pontiff, as devoid of signs or papal symbols, with rich decoration in enamels (blue, red, black, white). The engraving on the back shows with certainty that the ring belonged to Pope Gregory XIII Buoncompagni born in Bologna in 1502 and Pope from 1572, who celebrated the holy year of 1575 with great solemnity: most likely, the creation of the ring matches with this date. The attribution to Anfossi (born in Pavia in 1505) is based

both on stylistic comparisons and the documentation of the works, carried out for the papal court starting from 1548 and then passed to the direct service of the pope in 1573. Extraordinary quality of stone, vivid colors. The sources attribute to the hyacinth marvelous virtues: it makes become invulnerable to lightning, to the plague, it helps a deep sleep, restores the heart and the spirit, it increases power and wealth (Santini De Riols 1986, pp. 88-89). According to Gerolamo Cardano, physician, mathematician and philosopher who lived in the XVI century, “the men of authority attribute many great praises to the hyacinth ......... the really good one is red and rarely exceeds by the size of a lentil” . Ex Bulgari Collection Published in “Gioielli, moda, magia, sentimento”, a cura di Stefano Rocca e Maria Teresa Balboni Brizza, Catalogo della mostra presso l Museo Poldi Pezzoli di Milano 26 sett. – 2 nov. 1986 p.53; Bulgari 1958, vol. I p. 57 e p. 283, tav. 22; L’arte degli anni santi 1983, p. 172 tav. III 8.2. The History of Bulgari, fig. 20.

Last quarter of the 16th century.

Bezel 15 x 18 mm; diam. 22,5 mm circa; gr.

17,46

150.000 250.000-300.000

204

205

206

553 An agate cameo. Frontal mask of a Silene.

The figure is characterized with fleshy lips, semi-opened mouth and large nose; the forehead is large with a little protuberance on top of the left eyebrow. The face has been sculpted using the stone red-oranged strate, while the hair and the beard have been incised on the white-translucid strate with some redish inclusions. A high-relief work well-executed, using with talent the natural layers of the stone. Mirror polishing. The background of the stone is slightly convex, while on the reverse, presence of concave surface showing the inclusions of the stone. The stone was cut in ancient period. Possibly antique re-worked during the postclassical era, with manierist touch. Apotropaic representation with a reference to the grotesqueness iconography.

End of the 16th - 17th century.

20 x 25 x 11 mm

1.500 2.500-2.800

554 An agate cameo mounted in a modern gold ring.

Reclining Venus.

The figure is naked and lying on a bed covered with a drapery; next to it, a vase. Signs of wear.

For stylistic comparisons: Riccardo Gennaioli, The gems of the Medici at the Museo degli Argenti.

Cameos and carvings in the collections of Palazzo Pitti (coordination Ornella Casazza), 2007 (reprint 2010), p. 184 n. 73-75.

Late 16th century.

Cameo 10 x 13 mm; diam. 17 mm; gr. 9.36

1.200 2.500-2.800

207

555 A large variegated agate intaglio. Two erotes faced with palm branch.

Allegorical scene referring to the contest of victory: two erotes (or winged geniuses) face each other on the top of a flowered hill to fight for a palm branch; both carry a quiver and are arranged symmetrically. Interesting emblematic well composed representation.

Mirror polishing of the intaglio. Attracting variety of striped agate exploited with art for the scene. Very thin large size bezel. Very good condition. Italy or Cisalpine workshop.

For the same stylistic : Riccardo Gennaioli, Le gemme dei Medici al Museo degli Argenti.

Cammei e intagli nelle collezioni di Palazzo Pitti (coordinamento Ornella Casazza), 2007 (ristampa 2010), pp. 376 ss.

First half of the 17th century.

37 x 50 x 2 mm

1.500 2.000-2.500

556 An heliotrope cameo mounted in a modern gold brooch. Bust of Christ.

The figure wears a tunic and is turned in profile to the left, with long hair held back by the crown of thorns. The face has severe features, slightly protruding cheekbones and a short beard.

Work inspired by 16th century models, including the choice of this stone variety. Attractive stone color. Bezel cracked horizontally on the bust. Refined gold setting (18th - 19th century), with finely worked frame in excellent condition.

For comparisons: P. Vitellozzi, Tesori di una collezione privata p. 218 n. 159; Le Destin d’une collection. 500 pierres gravÊes du Duc d’Orleans, p. 219; Le gemme dei Medici al Museo degli Argenti. Cammei e intagli nelle collezioni di Palazzo Pitti, p. 336-337.

17th century.

42 x 35 mm; gr. 16,32

700 1.200-1.500

208

557 A large agate cameo in high relief. Frontal bust of the emperor Marcus Aurelius.

The philosopher emperor (121-180 AD) is characterized by a thick beard and curly hair, wrinkled forehead with a deep and thoughtful look. The character wears a fluted robe, covered by a wide cloak stopped by a circular buckle on the left shoulder.

A comparison example is found at the Metropolitan Museum of New York, identified as a work by an Italian engraver of the seventeenth century (portrait bust in high relief presumably of Lucius Elio Vero, Chalcedony, Inv. No. 38.150.30). Work inspired by statuary models. Large piece, performed in high relief with great technical expertise. Particularly detailed execution of the anatomy of the face and drapery. Attractive variety of dark red agate. Extraordinary mirror polishing. Perfect state of preservation. Rare. For comparisons: Le gemme dei Medici al Museo degli Argenti. Cammei e intagli nelle collezioni di Palazzo Pitti, curated by Ornella Casazza, p. 238 n. 201.

17th century.

52 x 78 x 18 mm

1.300 4.000-5.000

209

558 A very fine agate cameo. Laocoon.

The head of the Great Trojan priest is represented frontally, slightly inclined to the right, and is engraved in high relief. The model for this agate cameo is certainly taken from the famous statuary group of Laocoon and his sons, conserved in the Vatican Museums. The face is caught in the dramatic terminal phase of the character: the forehead is slightly wrinkled; eyes open, turned up; the cheekbones protruding in a grimace of intimate suffering, here masterfully veiled; the mouth is half-open and the teeth are visible. The hair is characterized by rebel locks, masterfully sculpted with undercuts, which stretch over the nape (an unusual and interesting detail is the presence of small clusters and grape leaves in the hair, apparently devoid of parallels; to be identified). The mouth is framed by two finely engraved moustaches with rounded ends. The beard is thick and formed by small locks. The neck, in torsion, is massive, expresses power and at the same time an effort out of the ordinary. The subject was particularly appreciated towards the end of the 18th century. For J.J. Winckelmann the Laocoon is among the most beautiful statues of ancient sculpture, demonstrating that the main characteristic of Greek masterpieces is “the noble simplicity and quiet grandeur”, related to the position and the expression of the statues. Looking closer to the face of the Laocoon, no sign of deformation emerges from the pain, no expression of anger

in the attitude, his mouth is limited to a slight sigh. There is a kind of intrinsic dignity, which makes the endurance of pain sublime. The cameo, of considerable size and great aesthetic impact, was engraved with great artistic skill and extraordinary technical ability. Attractive two-layer agate, with small reddish point-like inclusions on the light layer. The background is characterized by a variegated brown-greenish tones. Mirror polishing. Perfect state of preservation. Unique piece of its kind. UK, private collection. This copy is published in the book “The Art of Gem Engraving. From Alexander the Great to Napoleon III” (Japanese Edition), edited by Diana Scarisbrick, p. 237 n. 297 (sheet of D.S.). For further information: J. Boardman, J. Kagan, C. Wagner, Natter’s Museum Britannicum; British collections and collectors of the mid-eighteenth century, p. 70 n. 73: an interesting comparison (for the same subject, laying and rendering in high relief) is the amethyst cameo with bust of Laocoon of three-quarters, high-relief, Marlborough collection, 18th century, “Engraved by Sirletti according to Mariette” ( currently missing, and witnessed by a galvanoplastic metal plate). This comparison is also present in the Tassie repertoire (9475, Marlboriugh n. 359) .; Story-Maskelyne, M.H .: The Marlborough Gems (1870): no.

349; Boardman, J. Scarisbrick, D., Wagner C., E. Zwierlein-Diehl: The Marlborough Gems (2009), n. 359

Late 18th-early 19th century.

52 x 65 x 35 mm.

36.000 50.000-60.000

210

211

212

559 A rare red jasper intaglio. Putti with Hercules’ club.

Five small erotes are in the act of raising a large club of Hercules: in the lower register, two putti laboriously support the club on the back or arms, while another directs it with both arms holding it in the terminal part; at the top, two other winged erotes pull with ropes (also in torsion).

Short ground line for each character. Finely detailed carving executed with skill and well-marked engraved features. Attractive vivid red color of the stone, traversed horizontally by a natural black vein, to simulate the ground.

Mirror polishing inside the intaglio. Interesting naturalistic rendering of the club. Slight wear marks. Generously sized setting. In the Paoletti cast impressions repertoire is described a gem very similar to this one, cited as “Cinque Genj di Ercole erigendo un Trofeo delle spoglie di quell’Eroe””, matrix in black glass, inv. n. MR 24666, from a carving in red jasper, Coll. Poniatowski. Impronte Cades 25, IIIA, 245 - Visconti II, 1829, pp. 228 n. 236. The here presented intaglio could constitute an unpublished variant of the Poniatowski intaglio, executed at the time in the same context. The model, however, must be identified with a valuable antique cameo from the Medici collection of Florence: cameo in onyx, “quattro amorini alati che tentano sollevare la clava d’Ercole ed uno senza ali che tuffa il capo nel cratere del medesimo. Dal lato sinistro vedesi appesa la pelle del leone, cui é sovrapposta una faretra di forma singolare”, described in the inventories of 1676 until 1862. Attributed by ML Vollenweider at Tryphon, engraver of the circle of Sostratos. For comparisons.

L.P.B. Stefanelli, La collezione Paoletti, vol. I, p. 73 n. 649; A. Giuiano, The Cameos of the Medici Collection in the Archaeological Museum of Florence, pp. 166-167 n. 50.

Late 18th- early 19th century.

18 x 23 x 4 mm

800 1.800-2.000

213

560 A neoclassical carnelian intaglio. Male figure and bay tree.

The young character is standing, facing to the left with the head of three quarters and the eyes tilted slightly downwards. The body is naked, slender and characterized by a beautiful detailed musculature, inspired by greek hellenistic models. The shoulders are broad, the chest and abdomen are finely sculpted, the hips narrow. His right foot rests firmly on the ground (which acts as a ground line), while the left is slightly raised in a pose inspired by statuary models, expressing grace and elegance. The figure has a cloak that can be seen behind the naked body, leaning on the right arm, almost more for decorative purposes.

The character holds a stick with his left hand by the end of it, pointing it over a laurel shrub. With his right hand he seems to touch the other end of the stick near the laurel leaves, according to an allegorical meaning.

In the field, the signature in greek characters: ΦΕΙΔΙΟΥ (Feidias / Fidias). The scene, to be identified, refers to the figure of Apollo or Orpheus, or to the Ovidian Metamorphosis . Generously sized carving performed with skill. Attractive vivid shade of stone, mirror polished. Removable gold frame (frame that covers the edge, created for collection purposes in the nineteenth century). The carving, with reference to the style, to the subject, to the execution technique and to the presence of a signature in ancient Greek characters, can be placed in that known glyptic production referred to Prince Stanislas Poniatowski and to the circle of gem engravers at his service.

For further information on the legendary collection of engraved gems of the Polish prince: Gabriele Vangelli de Cresci, AD MINIMA AD MAXIMA, The collection of impressions and matrices preserved at the Museum of the Ancient Mint in Lucca, 2019.

Early 19th century.

22 x 29 x 8 mm

2.500 4.000-5.000

214

561 A neoclassical sard intaglio. Two erotes prepare garlands of flowers.

On the left, an erote is seated on a rock in the act of creating a garland of flowers (presumably roses); on the rock a burning torch is laid facing outwards (with allegorical as well as decorative meaning). On the right, a second erote is standing and facing his companion, in the act of taking the flowers from a basket and offering them; this second erote wears a bow with a bow hanging by his side. Ground line. Below, in the exergue, the signature in Greek characters: ΛIKOC (“Likos”). The Likos signature appears on some intaglios executed for the Polish prince Stanislao Poniatowski (see Beazley Archive, Gem Database).

Typically neoclassical mythological scene, characterized by grace, harmony and classicism, inspired by the neoclassical bas-reliefs by Bertel Thorvaldsen. The refined execution, perfectly balanced, seems to approach the manner of Giovanni Settari (1773 - post 1834). The cherubs are characterized by finely engraved bodies: every anatomical detail of the body, wings and hair is expertly mirror polished. Slight wear marks. Two small holes on the edge, probably as a housing for the seal frame. Attractive stone tones and extraordinary mirror polishing.

First twenty years of the 19th century.

20 x 26 x 5,5 mm

1.000 2.000-2.500

215

562 A neoclassical three layers agate cameo, mounted on a brooch with emeralds and diamonds. Bust of an helmeted leader .

The young character, identifiable with the Macedonian noble king and conqueror Alexander the Great, is turned to the right and wears armor barely visible under his cloak. His face is characterized by a linear profile and half-open lips. The head is protected by an imposing helmet with anthropomorphic shell (on a Renaissance model) and paragnatids (paragnathides) adherent to the cheeks. Fluent hair comes out elegantly from the neck roll. Work performed with expertise, (-to remove-: “with�) excellent execution of delicately sculpted anatomical details. For the most visible part of the helmet, the more transparent layer of the agate was used, which precedes the opaque white layer below. The frame is in gold with 8 emeralds and 8 diamonds.Very good state of conservation. Very refined work.

End of the 18th century - Beginning of the 19th century.

40 x 47 mm; gr. 22,56

3.000 4.000-5.000

563 A neoclassical deep red carnelian intaglio mounted in a golden metal seal. Bust of Dionysus.

The deity is facing left and is characterized by thick hair. On the head, the crown of ivy. A fine work performed with skill, inspired by classical statuary models. Gilded metal frame in excellent condition. Attractive color of the stone.

Late 18th century - early 19th century. intaglio 14 x 18 mm; H. 18 mm; gr. 6,10

200 600-800

216

564 A fine agate cameo mounted in a gold bracelet. Personification of Silence.

The figure is depicted from behind, with the bust in three-quarters, partially draped with a raised arm and a finger on the mouth. Particularly refined execution, with an extraordinary rendering of the anatomic details of the face and back. Mirror finish polish. The stone is surrounded by 32 diamonds. The elegant gold bracelet has a band with smooth or engraved chain. Allegorical figure to symbolize Silence, inspired by the divine figure of Harpocrates. There are rare variations of this cameo, present in the Tassie cast impression and classified as “Harpocrates, resembling Antinous” in the version with shorter or longer hair. Other comparisons: cast in transparent glass Grand Tour Era (manufacture to be identified, private English coll.); sardonic cameo in pendant with pearls and diamonds, Guy Ladrière glyptic collection. For comparisons: D. Scarisbrick, C. Wagner, J. Boardman, The Guy Ladrière collection of gems and rings, p. 74 n. 76; Tassie footprints n. 385 (Burch).

Cameo: 18th century. Bracelet: Late 19th century - early 20th century.

Bezel 19 x 23 mm; diam. 40 mm circa; gr. 43,78

1.000 2.500-3.000

565 An elegant gold necklace with two neoclassical agate cameos.

The frontal cameo depicts a bust of Apollo facing to the right; The deity has a laureated head and carries a quiver with arrows on his back; the bust is partially covered by a cloak held on the shoulder by a circular buckle. The face is finely engraved and is characterized by youthful characteristics, a languid look and a half-open mouth. The hair is engraved in detail, with curls falling downwards; the profile fully embodies the neoclassical aesthetic ideals inspired by Greek art. The cameo is in two-layer agate, surrounded by a double-tracked gold frame containing pearls and surmounted by a finely chiseled bow. Four rings per side are welded to the bezel, to which four rows of link chains are attached. The second cameo, in the back, is executed on a three-layer variegated agate and depicts a gryllos. The hybrid creature consists of a billy goat head combined with two bearded heads and a youthful head (faun). Apotropaic depiction inspired by ancient roman models.

This second cameo is surrounded by the same double-track frame with pearls (but without the bow) and carries the necklace closure on the back. Jewel of refined execution. Excellent state of preservation.

The lot includes an elegant blue box with gray interior. English private collection.

First half of the 19th century.

Bezel 30 x 45 mm - 23 x 29 mm; diam. Total lenght 45 cm; gr. 42,40

14.000 16.000-18.000

217

218

566 An important gold bracelet with carnelian scarabs. Castellani Manufacture.

The precious bracelet is formed in the upper part by three knurled (godronato) bands, connected to a hinge fixed in the middle zone at the single band of the lower part. The base of the bezels (modern carnelian scarabs of “Etruscan revival�) is decorated with small spheres on the sides of the knurled bands (in the style of the ancients). The closure is interlocking with pin safety. Mark: CC (two crossed C). An extremely similar example is in the Etruscan Museum of Villa Giulia (Rome), n. inv. 85030 from the collection of Augusto Castellani (donated by Alfredo Castellani in 1919). Excellent state of preservation.

Rare. For comparison: I Castellani and the Italian archaeological goldsmithery, sheet n. 127; I. Caruso in Lionnard 1992, n. 598; Gere 1976, p. 147 fig. 5. Other exemplars, more elaborate, are at the Victoria and Albert Museum (inv. M.35-2001).

End of the second half of the 19th century.

Diam. Int. 54 x 67 mm; gr. 77,70

20.000 28.000-30.000

219

567 A shell cameo mounted in a gold and blu enamel setting. Male portrait.

A finely engraved portrait cameo of a bearded gentelman mounted in an unmarked gold frame with brooch and pendant fittings. The reverse is inscribed and dated 1855 by John Nicholson of Dorking, “Cameo engraver in Ordinary to Her Majesty Queen Victoria and H.R.H. The Duchess of Kent�. Nicholson exhibited at the Royal Academy in 1848 and 1850 and likewise contribuited to the Art Manufactures Exhibit of the Society of Arts organized by Henry Cole in 1848.

1855.

65 x 45 mm; gr. 17

1.200 3.000- 3.500

568 A two-layer agate cameo mounted on a gold brooch.

Female bust.

The figure, characterized by a detailed engraved hair, held in place by a double band and gathered at the nape, is turned to the left, with front bust and face turned in profile. The figure is in torsion, the face looks down. Plastic pose inspired by classical Greek-Roman statuary models.A very well executed work in very high relief. Gold brooch with a frame decorated with circular and curved motifs with smooth or braided wire.

19th century.

38 x 47 x 26 mm; gr. 28,92

700 1.000-1.200

220

569 A two layers agate cameo. Bust of a roman empress.

The character is turned to the left and is characterized by a slightly aquiline nose, an eye with an engraved pupil, a large ear, a small mouth and a chin, with a grooved hair pulled back, framed on the forehead and on the nape by two braids placed side by side. The portrait is stylistically referable to the models of the Severian or post Severian dynasty (Giulia Domna, Fulvia Plautilla, Aquilia Severa, Cornelia Supera). Slight wear marks, traces of burns and antique chips on the edge. Inscriprion engraved on the backside. Interesting work, possibly antique and reworked during the post Renaissance.

17th-18th century.

33 x 43 x 8 mm

500 1.200-1.500

570 An heliotrope (bloodstone) intaglio. Nero.

The emperor is turned on the left side and wears the laurel wreath with the ribbons hanging down over the neck. The subject is specifically inspired from the emperor’s portraiture produced on antique coins. Work executed with a deep marked intaglio, enhancing the expression of the portrait. Wear marks.

Postclassical work.

14 x 19 x 3 mm

250 400-500

221

571 An attractive heliotrope intaglio. Bull with snake.

The mighty quadruped raises the front paws to step on a snake; the hind legs rest on the groundline line. Allegory of courage and virtue against pitfalls (struggle between good and evil). Subject inspired by classic models. Intaglio executed with skill and with particular attention to anatomical details. Extraordinary variety of stone.

Postclassical work, presumably 18th century.

18 x 22 x 3 mm

300 700-900

572 An agate carnelian intaglio. A mouse with victory attributes.

The rodent is seated, turned on the right side, holding a palm branch and a laurel wreath. Ground line. Optimal execution of naturalistic details. Use of globular elements.

Possibly postclassical work.

15 x 14 x 4 mm

350 500-600

222

573 A partially burnt agate intaglio. Erote on a chariot drawn by two goats.

The erote is standing on a small chariot, in the act of shaking the whip and holding two goats by the reins. Ground line and frame engraved around the scene. Use of globular elements. Slightly burned stone surface. Slight wear marks.

Presumably post-classical work. 18th century 15 x 20 x 2,5 mm

200 400-500

574 A carnelian intaglio mounted in a enamelled gold seal. Allegorical emblem of Memento Mori.

A bearded old man’s head is joined to a young man’s bust; the two heads, composed like a two-faced herm in the style of the Grylloi, are joined at the bottom to a skull in three-quarters. Allegory of time, of the age of man and of death. English manufacture. Polychrome enamel on the gold frame. Wear marks.

18th century intaglio 10 x 15 mm; seal 18 mm; gr. 5,66

900 1.800-2.000

223

575 A gilded metal seal with a deep red carnelian intaglio. Allegory of Love with french motto.

A crippled devil with goat’s legs advances to the right with a bident scepter, carrying on his shoulders an erote, personification of Love. Around the scene, the inscription: “LE DIABLE EMPOURTE L AMOUR”. Interesting allegorical scene performed with skill. French manufacture. Gilded metal frame in excellent condition.

19th century. intaglio 17 x 21 mm; H. 35 mm; gr. 12

300 500-600

576 An orange-brown glass cast impression. Bust of Pope Pius VI. Impression taken from a carnelian intaglio by N. Marchant inserted in 1785 in the Monument of Pius VI by Luigi Valadier (1726-1785), already in the Vatican Apostolic Library and brought to France in 1798.

Manifattura Paoletti: n. 86 Tomo V (variant n. 119 Tomo VI); Cades 66, 343 “corniola eseguita dal vero”. The glass is accompanied by a padded leather case (internal stamp Napoleon III period). Grand Tour Era production. For comparisons: L.P.B. Stefanelli, La collezione Paoletti, vol. 2, p. 29 Late 18th-early 19th century.

20 x 24 x 3 mm

70 120-150

224

577 A berlin iron cast impression taken from an intaglio. Head of Mercury signed MARCHANT. Based on a sardonyx intaglio by N. Marchant for Stuart Weldon (Catalog 1792, p. 11, n. XVIII), from Ermes Pio-Clementino del Belvedere (also referred to as Antinoo del Belvedere or Meleagro), Rome, Vatican Museums. Pleasant patina. Rare. For comparisons. L.P.B. Stefanelli, La collezione Paoletti, vol. I, p. 25 n. 60.

First half of the 19th century.

24 x 28 x 4 mm

100 200-250

578 An orange-brown glass cast impression. Bust of Napoleon by Antonio Canova, signed L. Pichler.

The emperor is turned to the right, with the three-quarter bust and the face in profile. Taken from an intaglio by Luigi Pichler, depicting the portrait of Napoleon Bonaparte from a sculpture by A. Canova.

Work engraved with great skill. Attractive shade. Grand Tour Era production. Rare.

18th - 19th century.

20 x 24 x 5 mm

70 120-150

579 An orange glass cast impression taken from an intaglio, mounted in a golden metal seal. Bust of the empress Sabina.

Emperor Hadrian’s wife is facing right. Signs of wear due to the use.

The frame is incomplete on the back. Traces of oxidation. Grand Tour Era. English manufacture.For comparisons: L.P. B. Stefanelli, La collezione Paoletti, vol. 1, Tomo III n. 198, Tomo IV n. 447.

Late 18th - early 19th century.

24 x 20 x 9 mm (with mounting)

60 80-100

225 226

580 A pinkish glass impression. Bust of the Imperator Antoninus Pius.

The imperator is turned on the left side and represented the head without laurel. Impression executed from an intaglio. Slight wear marks. Grand Tour Era. End of the 18th-19th century.

13 x 17 x 3 mm

50 80-100

581 A dark brown glass cast impression. Priam pleads with Achilles.

Impression taken from a sardonyx intaglio by N. Marchant, circa 1784, for Francis Henry Egerton, Duke of Bridgewater (1736-1803), inspired by the sarcophagus coll. Borghese (Louvre, Paris); Cades 66, 409 (“from the bas-relief already in vila Borghese now in Paris�). Grand Tour Era production. For comparisons: L.P.B. Stefanelli, La collezione Paoletti, vol. 2, p. 27. n. 74 (inv. No. MR 28513).

Late 18th-early 19th century.

30 x 36 x 7 mm

100 200-250

582 A reddish brown glass cast impression. Jupiter sitting with the eagle.

The model seems to be an intaglio attributed to Luigi Dies (with a Greek signature at the bottom referring to Kromos). For the same subject: intaglio

by Giovanni Calandrelli in coll. Poniatowski (Paoletti tome VII, 116). Grand Tour era production.For comparisons: L.P.B. Stefanelli, La collezione Paoletti, vol. 2, p. 297. n. 188.

Late 18th-early 19th century.

35 x 40 x 8 mm

100 200-250

226

583 A lot of 5 glass cast impressions. Various subjects.

Transparent glass : Gryllos with warning inscription “FIDE SED CUI VIDE�; orange glass: bust of Achilles signed MARCHANT (taken from a sard intaglio by N. Marchant, British Museum n. inv. 1879,0705.20); dark purple glass: female bust (damaged); light purple glass (amethyst shade): gryllos; transparent glass: bust of Dionysus. Grand Tour era.

Late 18th-early 19th century. min. 16 x 20 mm; max. 24 x 30 mm

150 250-300

584 A deep red glass impression. Erotic scene.

A man is leaning on a sheet, holding on top of him a woman with open-legs. Impression executed from an intaglio. Wear marks. Grand tour Era. End of the 18th-19th century.

17 x 20 x 5 mm

50 80-100

227

585 A Lot of 4 colored glass cast impressions taken from intaglios. Erotic subjects.

Dark blue-purple glass: phallus; orange-brown glass: erotic scene with a putto that activates a phallic wheel for two young women. Tent in the background. Ground line; reddish-orange glass: sexual intercourse between a man (presumably Hercules) and a woman; orange-brown glass: sexual intercourse of a young couple. Very Rare. Slight signs of wear. Grand Tour Era production.

18th-19th century. min. 10 x 14 mm; max. 16 x 20 mm

700 1.000-1.200

228

586 A transparent glass cast impression taken from an intaglio. Itiphallic cynocephalus.

On the magical gems it is not rare to see the representation of itiphallic cinocephalus in an attitude of adoration; these are characters with solar connotations, linked to Thoth and the primordial myths of creation. The phallic component is a symbol of fertility and the renewal of life. The depiction is taken from a Roman gnostic intaglio (Raspe, plate VI, 221. See also Impronte Paoletti).

Grand Tour Era production. For comparisons: A. Mastrocinque, Sylloge gemmarum gnosticarum, vol. 1, pp. 197-200.

18th-19th century.

15 x 20 x 7 mm

70 100-120

587 A red jasper intaglio. Erotic scene.

A Silene holding with his right hand his erected phallus, seated in a frontal position, with open legs. Ground line. Erotic subject inspired from greek vases. Slight wear marks.

Postclassical work.

13 x 16 x 3 mm

500 700-900

229

588 A lot of 9 shell cameos. Erotic scenes.

The set, originally preserved in an ebonised wooden case with a red velvet bottom and protective glass, is composed by 9 different erotic scenes. These depict the interplay between a young man and a young woman with different positions, inspired by ancient models (Roman “spintrie� erotic tesserae and Pompeian artifacts). French or Italian manufacture. Very good state of conservation.

First half of the 19th century.

15-18 mm circa

900 1.200-1.500

230

589 A chrysoprase intaglio by G. Tonnelier, mounted in a gold ring with diamonds.

Gorgon.

Frontal mask of Gorgon, caught in a dramatic expression with the brow furrowed and the mouth wide open in a scream; around the face, a thick crown of hair and snakes. Above, two snakes crossing in the form of the caduceus. Below, the signature: TONNELLIER (Georges Tonnelier, 1858-1937); Apotropaic representation performed with well-marked engraving features. Attractive stone color.

19th-20th century. intaglio 18 x 22 mm; diam. 18 mm; gr. 10,50

1.500 2.500-2.800

231

T ER M S A N D C O N D I T I O N S

This notice is addressed by Bertolami Fine Arts LTD to any person who may be interested in a Lot. Any additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well.

The terms and conditions of sales applied to both floor and online Bertolami Fine Arts LTD sales are the ones on the bertolamifinearts.com site and not those published in the printed catalogs.

1. OUR ROLE In its role as Auctioneer of Lots, Bertolami Fine Arts LTD acts solely for and in the interests of the Seller. Our experts are available to prospective buyers to provide information about lots for sale.

The Seller has authorized Bertolami Fine Arts LTD to sell the Lot as its agent on its behalf and, save where we explicitly make it clear to the contrary, Bertolami Fine Arts LTD acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf.

Bertolami Fine Arts LTD does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bertolami Fine Arts LTD does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find beneath.

2. LOTS Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue, Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the color(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price. It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests.

Please ask our staff for details. Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES Contractual Description of a Lot The Catalogue contains a description of our experts and an image about each Lot. Estimates The estimate is printed beside the description. Estimates are only the result of negotiations between Bertolami Fine Arts LTD and the Seller. They does not take into account any VAT or Buyer’s fees. The estimate of each lot is in pound.

Condition Reports Bertolami Fine Arts LTD can give to all customers the Condition Report on each lot. If so requested, this will be provided by Bertolami Fine Arts LTD on behalf of the Seller free of charge.

The Seller’s responsibility to you The seller undertakes to respect all contractual obligations listed here relating the sale of the items in the auction.

Bertolami Fine Arts LTD’s responsibility to you Bertolami Fine Arts LTD acts as an intermediary for the sale and it commits itself to allow analysis, study or test for the interest of the seller and buyer unless they are invasive or damaging the item.

Alterations Descriptions and Estimates may be amended at Bertolami Fine Arts LTD discretion from time to time by notice given orally or in writing before or during a Sale or by publication. Each lot is available for examine before the sale.

Authenticity The Auction House offers an unconditional and everlasting guarantee for the authenticity of objects. All identifications and descriptions of the items sold in this catalogue are statements of opinion and were made in good faith.

Reserve Price BFA may accept absentee bids which are below the reserve price.

If the bidding ends before the reserve is reached, Bertolami Fine Arts will submit the consignor the highest absentee bid below the reserve price received. The decision of the seller will be communicated to the bidder within fifteen days from the auction date.

4. CONDUCT OF THE SALE

232

Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue.

You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again.

Some lots may carry a reserve. The auctioneer reserves the right not to sell an item below the confidential price, or will repurchase the item on behalf of the consignor or of BFA. If a reserve exists the auctioneer reserves the right to bid on any lot on behalf of the consignor up to the amount of the reserve against any floor or mail bidders. The auctioneer also reserves the right to bid on any lot on behalf of BFA. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer.

Any dispute as to the highest acceptable bid will be settled by the Auctioneer at his or her absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. All estimates are in POUNDS STERLING. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale.

5. BIDDING We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving license (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk.

Bidding by telephone (only available on lots with a low estimate greater than £500) If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Our staff will be available for phone calls in foreign languages as long as previously agreed upon.

Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interest to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you.

It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet Please visit our Website at www.bertolamifinearts.com for details of how to bid via the internet.

Bidding through an agent Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent’s authority to bid. For further details, please contact Customer Services of Bertolami Fine Arts LTD. 6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BERTOLAMI FINE ARTS LTD On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements prior to them being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale.

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payable to us by the Buyer in accordance with the terms of the Buyer’s Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. Storage charges and Expenses are also payable by the Buyer as set out in the Buyer’s Agreement. The following Buyer’s Premium is written within the “information for buyers”.

In order to harmonize tax procedures among EU countries, with effect from 1 January 2001 new rules were introduced with the extension to the Auction Houses of the margin scheme. Article. 45 of Law 342 of 21 November 2000 provides for the application of the scheme to sales concluded in execution of contracts of commission defined: • private clients;

233

• clients to tax that the operation subject to the margin scheme; • Customers who have not been able to deduct the tax in accordance with Art. 19, 19 bis, and 19-bis2 the DPR. 633/72 (which have sold well in free ex-Art. 10, 27-d) • customers who benefit from the exemption arrangements provided for small businesses in the State of origin.

By virtue of special legislation, in cases mentioned above any VAT tax, or a sum in lieu of VAT, if applicable, it is charged by the Auction House. No symbol will be used for lots sold under the margin scheme.

8. PAYMENT The payment of the sold lots must be made immediately after the auction and can be made by bank transfer, cash, check, bank check bank account, credit card (Visa or Mastercard). Were exceptional exchange rate variations to occur due to imponderable situations, Bertolami Fine Arts LTD may, at its sole discretion, issue invoices in UK pounds (GBP), US dollars (USD), Euros (EUR).

If the invoices are in terms of Euros or US dollars, we will apply the exchange rate between UK pounds and Euros or UK pounds and US dollars prevailing at the time of the contract of sale (auction date).

Bertolami Fine Arts LTD will bill to the same person that is at the registration of the pallet unless previously agreed otherwise with the Administration.

As required by law, Bertolami Fine Arts LTD is obliged to call for their customers to show an identity document (identity card, driving license, passport) and confirmation of address.

Buyers wishing to pay by bank check must make arrangements with the Administration. It is not possible to deliver the goods before the payment by check or bank draft until encashment of the check, unless otherwise agreed prior to the auction.

You will find the bank details in the invoice.

Payment can be made by Visa or Mastercard only by the cardholder.

Bertolami Fine Arts LTD reserves the right to check the source of the payments received. Bertolami Fine Arts LTD reserves the right to refuse payments received from people different from the purchaser. However, in limited circumstances and in any case with the consent of the seller, Bertolami Fine Arts LTD has the ability to offer buyers it deems reliable the option of paying for goods purchased at cadences deferred. The mode of deferred payment will be set out before the sale. Before considering whether or not to grant deferred payments, Bertolami Fine Arts LTD may ask for references and documentation on the reliability and identity of the buyer. It will not allow anyone to withdraw the lot prior to the payment, unless credit has been granted before the auction.

9. COLLECTION It is Bertolami Fine Arts LTD policy to request proof of identity on collection of a lot. Lots will be released to you or your authorized representative when full and cleared payment has been received by Bertolami Fine Arts LTD. 10. STORAGE Storage and handling charges may apply.

For information concerning post sale storage and charges, please contact our Customer office.

11. LOSS OR DAMAGE Buyers are reminded that Bertolami Fine Arts LTD accepts liability for loss or damage to lots for a maximum period of ten (10) days after the date of the auction.

12. SHIPPING Bertolami Fine Arts LTD Shipping Department can advise buyers on exporting and shipping property. You can contact the Customer service on the number that you see in our website.

The entire shipment costs are to be paid for by the buyer. Additionally, a form to provide shipping instructions is attached to the buyer’s invoice. Your shipper will include a quote for transit insurance. All shipments should be unpacked and checked on delivery and any discrepancies notified to the transit insurer or shipper immediately.

Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.

13. THE SELLERS AND/OR BERTOLAMI FINE ARTS LTD’ LIABILITY Besides the responsibilities and obligations of sellers and Bertolami Fine Arts LTD above, neither sellers nor Bertolami Fine Arts LTD shall be held responsible for any error in the description of the lots or in their estimates for the sale and for any omissions that may result in losses or damage to property or assets to the purchaser.

14.DATA PROTECTION – USE OF YOUR INFORMATION Were we to obtain any personal information about you, we would only use it in accordance with the terms of our Privacy Policy, subject to any additional specific consent you may have given at the time your information was disclosed.

234

La prego di acquistare per mio conto, i seguenti lotti ai limiti indicati, secondo le condizioni di vendita.

Please, buy the following items on my behalf at your auction sale up to the limits indicated and subject to the conditions of sale.

Nome - Cognome/First name - Last name Cap/ZIP Code

Indirizzo/Address Città/City

Nazione/State

Tel.

Cell.

CF-P.IVA Banca/Bank

Documento d’identità/Identity card Email asta auction

Data/Date lotto lot

Firma/Signature

descrizione description

offerta massima maximum bid

Desidero pagare nel modo seguente: /If successful, I wish to pay by: Bonifico bancario/Bank transfer Carta di credito ( Visa - Mastercard )/Credit card (Visa - Mastercard) Paypal Bertolami Fine Arts s.r.l

Palazzo Caetani Lovatelli Piazza Lovatelli, 1 - 00186 Roma tel. +39 06 326 097 95 / +39 06 321 8464 /fax. +39 06 323 0610

Bertolami Fine Arts Ltd

63 Compton Street apartment 2 - EC1V 0BN London / ph. +44 7741 757 468

ACR Auctions GmbH

Sendlinger Straße 24 - 80331 Munich

235

partecipazione telefonica phone bid

Bertolami Fine Art’s Art gallery and shop online

236

w w w . a r t c o n t a i n e r. c o m

237

AUCTION ANTIQUITIES

London, 10th July 2019

238

AUCTION NUMISMATIC

London, 11th July 2019

239

Official insurance broker of Bertolami Fine Art

240

London, 10 TH July 2019 Auction 66

Auction 66, part II

L o n d o n , 1 0 th J u l y 2 0 1 9