Egyptian, New Kingdom
decorated with lotus flowers & baguettes
Gold, lapis, turquoise & carnelian
Jewelry made prior to 400 AD.
Period: New Kingdom, Ramesside
Dynasty: Dynasty 19
Date: ca. 1295–1186 B.C.
Geography: From Egypt
Medium: Gold, lapis lazuli
Dimensions: Diam. 2.5 cm (1 in)
Credit Line: Gift of Helen Miller Gould, 1910
Accession Number: 10.130.1540
Formerly in the collection of the Reverend Chauncey Murch (died 1907). Collected between 1883 and 1906 while Murch was a missionary in Egypt. Collection purchased by the Museum from the Murch family with funds provided by Helen Miller Gould, 1910.
— The Metropolitan Museum of Art
Decorative gold disc adorned with filigree and granulation
From Lunnern (ZH). Mid-3rd century AD. © Swiss National Museums
Bracelet with Grapevine Pattern
Date: late 6th–early 7th century
Geography: Made in possibly Constantinople
Medium: Gold – sheet, rod; engraved; wire – plain, beaded; granulation; strip – triangular sectioned.
Dimensions: Overall: 2 1/4 x 1 7/16 x 2 5/16 in. (5.7 x 3.7 x 5.9 cm) Wt: 74g strap: 7/8 x 5 1/2 in. (2.3 x 14 cm)
Credit Line: Gift of J. Pierpont Morgan, 1917
Cyprus Treasure, found at Karavas, Cyprus, 1902; J. Pierpont Morgan, London and New York (until 1917)
Roman bracelet with emeralds; found in Cologne, the Rhineland or other selected locations across Europe.
Gold pendant with granulated ornament
Period: Late Bronze Age
Date: ca. 1400–1050 B.C.
Dimensions: L. 1 5/16 in. (3.3 cm)
Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76
Provenance: From Cyprus
Source link, The Metropolitan Museum of Art
A GREEK GOLD AND GARNET EARRING WITH SIREN – HELLENISTIC PERIOD, CIRCA 4TH-3RD CENTURY B.C.
Auction House: Christie’s
Sale Title: Antiquities
Location: London, King Street
Sale Date: Apr 02, 2014
Lot Number: 0193
Estimate: 1,000 – 2,000 British pounds
Price Realized: Unsold
Saleroom Notice: This Lot is Withdrawn.
A GREEK GOLD AND GARNET EARRING WITH SIREN
HELLENISTIC PERIOD, CIRCA 4TH-3RD CENTURY B.C.
The hoop, of spiralling wire tapering to plain wire, set with three globular garnets interspaced with gold beaded wire and granulated collars with zigzag edges, with bare-breasted winged Siren with outstretched talons
1 ¼ in. (3.3 cm.) wide
Provenance: Private collection, UK, acquired 1950s; and thence by descent.
London art market.
Source link (offline)
A GRECO-PERSIAN AMETHYST LION
CIRCA 5TH CENTURY B.C.
Depicted reclining on an integral rectangular plinth, his head turned to his left, the mane cross hatched, with small rounded ears and a carefully-detailed face, perforated through the shoulders for suspension
13/16 in. (2 cm.) long
Antiquities, Christie’s, New York, 18 December 1998, lot 258.
A GREEK GOLD BRACELET
HELLENISTIC PERIOD, CIRCA 300 B.C.
Formed from a hollow hoop fashioned from sheet, convex on the exterior, each end with a collar terminal secured by a pin, its tip with granulation, the collars each with twisted wire filigree palmettes framed by beaded, rope and twisted wires and a fringe of petals, small birds at the outer edges of the left collar, a Herakles knot at the center formed from hollow tubes with applied twisted wire filigree tendrils along their lengths, all edged with beaded, rope and twisted wire, centered by a die-formed lion running to the left, a small frontal Pan seated to the left, playing the pipes
4 7/8 in. (12.3 cm) wide
with Nadia Kapamadji, Florange et Ciani, Paris, 1972.
Private Collection, Germany.
Acquired by the current owner, New York, 1999.
For a bracelet of similar construction compare the example said to be from Taranto, now in the Metropolitan Museum of Art, no. 152 in D. Williams and J. Ogden, Greek Gold, Jewellery of the Classical World. The New York bracelet shares the same wide hoop, although ribbed on the exterior, with nearly identical collars similarly pinned in place, which are joined to lion heads rather than a Herakles knot as here. Herakles knots are frequently populated with applied figures; see for example the knot from a strap diadem centered by a figure of a siren, from Chersonesos, now in the Hermitage, no. 131, op. cit.
Magnificent and Rare Egyptian-Revival Faience and Jeweled Brooch, Cartier, London
Designed as an Egyptian fan, or flabellum, centering an ancient green glazed faience bust of the goddess Sekhmet, depicted with a solar disc and a uraeus (cobra) upon her head, set against a lapis lazuli sky twinkling with diamond stars bordered by a black enamel aureole and repeating diamond-set stylized lotus motif, all surmounting a stylized lotus blossom; set in platinum and 18 karat gold with a total of 11 single-cut and 89 old European-cut diamonds; the back of the brooch fitted with an 18 karat gold crook, a symbol of state power in Egypt when held by the pharaohs in conjunction with a flail, placed as the connecting support element for the faience relic, signed Cartier Londres, numbered S.L 7353; circa 1923. With original fitted box stamped Cartier.
French Industrial Exposition, Grand Central Palace, New York, New York, April 22-May 3, 1924.
The Illustrated London News, January 26, 1924, “The ‘Tutankhamen’ Influence in Modern Jewelry,” which includes this brooch and indicates the range of pieces incorporating ancient fragments produced by Cartier London in the year and a half since the opening of Tutankhamen’s tomb in November 1922.
Cartier: 1900-1939 by Judy Rudoe, pages 136-138.
The Impossible Collection: The 100 Most Important Jewels of the Twentieth Century by Vivienne Becker, plate 20.
Deriving her name from the ancient Egyptian word ‘sekhem,’ or ‘powerful one,’ Sekhmet was depicted as a lioness. A solar deity, said to be the daughter of the sun god Ra, she was the warrior goddess and the goddess of healing for Upper Egypt, the protector of the pharaohs, and it was believed that her breath created the desert.
This is one of two brooches depicting the top of an Egyptian fan that were made by Cartier London in 1923. The other was sold at Sotheby’s New York Magnificent Jewels auction on December 4, 2007, lot 273.
A GREEK GOLD AND AMETHYST FINGER RING
HELLENISTIC PERIOD, CIRCA 2ND-1ST CENTURY B.C.
Composed of two sections hinged together, the lower portion of the hoop set with a small cabochon amethyst, the hoop narrowing towards elaborate moldings below the hinge loops, the upper portion with similar moldings above the hinged loops, joined to the underside of an oblong stepped hexagon, centered by an oval box set with a large circular cabochon amethyst
1¾ in. (4.4 cm.) long; ring size 5
Egyptian-Revival Jeweled Fan Brooch, Cartier, London, 1923
Composed of an Egyptian glazed steatite plaque of semicircular shape, circa 600 B.C., inscribed with hieroglyphs, the border of papyrus and lotus motifs decorated with pear-shaped cabochon sapphires and square segments of onyx and enamel within a ground of pavé-set old European-cut and single-cut diamonds, the base centering a stylized lotus blossom similarly set with old European-cut, single-cut and rose-cut diamonds and accented with 2 kite-shaped cabochon sapphires and a band of black enamel, mounted in platinum and gold, signed Cartier, Londres, numbered 7300. With original signed case.
An archive photograph of this brooch appears in the exhibition catalogue Cartier: 1900-1939, Judy Rudoe, p. 138, fig. 66. The caption under the photograph states that the inscription relates to Mentuemhat, mayor of Thebes.
The reverse of the faience segment is applied with a gold plaque inscribed with the following: “Overseer of the Priests, Overseer of the Gate of the Foreign Countries, The Priest of Thebes, Mentu-Em-Hat, The Son of the Priest of Amun, The Prince of Thebes, Nesptah The Overseer of the Two Houses of the Soul, Priests of the Tomb of This Priest.”
The solid cast hoop flat on the interior, carinated on the exterior, the sides voluted, merging with grooved shoulders, expanding toward the bezel, with four prongs supporting the oval bezel, with peltae on either side, set with a cabochon amethyst
7/8 in. (2.2 cm.) wide; ring size 7
The Grand Camée de France (Great cameo of France), the largest cameo sculpture to survive from the ancient world, contains 24 engraved figures arrayed in three registers. The general meaning and the political goals of this commissioned work are clear: its aim is to assert the dynastic continuity and legitimacy of the Julio-Claudian emperors of the Roman Empire (the first five emperors: Augustus, Tiberius, Caligula, Claudius, and Nero). The dead are placed in the upper part, while the middle register represents the world of the living. In the lowest register are Parthian and Germanic captives. Emperor Augustus can be recognized in the upper register, with his head veiled and encircled by a radiant crown; he is surrounded by Germanicus, mounted on a winged horse, and the son of the Emperor Tiberius, Drusus Julius Caesar. The floating figure with Eastern-style dress, carrying a globe in his hands, could be Aeneas. The center of the gem is reserved for Tiberius, sitting on his throne with his mother Livia. He presides over a solemn ceremony that is believed to be the appointment of Nero (standing armed before him) as Prince of Youth in 23 AD. This five-layered sardonyx cameo was made at around that date.
Around 23 CE
Title in Original Language
Grand camée de France
As they say, one man’s trash is another man’s treasure.
An archaeological investigation into Byzantine-era refuse pits revealed the truth behind this adage after researchers discovered an astonishing number of artifacts buried in pits on the Israeli central coast, according to a press release from the Israel Antiquities Authority (IAA).
The largest of the pits measures close to 30 meters (about 98 feet) across and was filled with the animal bone fragments and pottery shards one might expect in an ancient garbage pit. However, among the trash was also a mystifying amount of gold coins and jewelry.
“In the midst of the many sherds that were discovered in the big refuse pit was a large amount of usable artifacts, whose presence in the pit raises questions,” professor Oren Tal of Tel Aviv University said in a statement. “Among other things, more than four hundred coins were found which are mostly Byzantine, including one gold coin, as well as two hundred whole and intact Samaritan lamps (among them lamps that were never used), rings and gold jewelry.”
The items have been preliminarily dated between the fifth and seventh centuries A.D., according to the IAA. However the area where they were found, Apollonia National Park, is believed to have been inhabited for much longer. In fact, in 2004, the park was named a World Monuments Fund Watch site because of its historical importance.
Earring with Nike driving a two-horse chariot
Greek, Northern Greek, Late Classical or Early Hellenistic Period, about 350–325 B.C.
Height: 5cm (1 15/16in.) Weight: 15.8 gm (0.03 lb.)
Gold and enamel
Earring in form of Nike driving a two-horse chariot (biga). The figures are modeled in the round and form a pendant suspended from a disc in the shape of a honeysuckle palmette. Wearing a belted chiton (tunic), a full-length skirt, and several items of jewelry, Nike leans forward, her left hand pulling on the reins of the horses, whose front legs rear sharply. The features on the goddess’s face are crisp and her expression resolute, while the animals appear startled and tense. Raised as if in flight, Nike’s elaborate, feathery, and finely chased wings provide an elegant counterbalance to the dynamic composition.
The ornament is composed of more than a hundred individual elements soldered together. The bodies of the figures are crafted from gold sheet that is embellished with wirework details and small gold balls. The honeysuckle palmette is fashioned into curved petals and circular stamens outlined with fine twisted wires; remnants of enamel survive on several of the stamens. In the center of the leaf is a tear-shaped fruit encrusted with dense gold granulation. A hoop on the underside was probably attached to an ear wire, which is now missing.
Pendant, 4th Century B.C.
Gold: molding, soldering, granulation, hammering
Museum of Art, Rhode Island School of Design
Gift of Ostby and Barton, in memory of Englehardt Cornelius Ostby
Photography by Erik Gould
Garnet and gold ring, Roman, 2nd-3rd century AD
The ring consists of three plates, each with a garnet, bezel-set.
Kunsthistorisches Museum Vienna