Egyptian, New Kingdom
decorated with lotus flowers & baguettes
Gold, lapis, turquoise & carnelian
Old Master Sculpture and Works of Art
09 July 2009 | 2:30 PM BST
English, late 14th/15th century
Estimate: 8,000 — 12,000 GBP
LOT SOLD. 70,850 GBP (Hammer Price with Buyer’s Premium)
engraved gold, set with a sapphire in hexagonal collet, inscribed: JOYE SANZ FYN (joy without end) on the interior
inside diameter: 1.8cm., 7/8 in.
Found near St. Oswald’s Church, Winwick, Cheshire
‘Ring is Real Treasure’, in The Warrington Guardian, 26 April 2008
[Sold via Kentshire.com, no longer viewable. Nothing further known.]
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
An Egyptian Revival Gold and Scarab Brooch
[nothing further known, no source?]
A fifteenth century English ring
yellow gold, mounted with an uncut diamond crystal, of octahedral form cleaved in half in a square box-shaped bezel with chamfered edges, to a twisted cable form hoop with alternating twists of engraved cross hatching.
The diamond is of Indian origin. In the fifteenth century India was the sole source for diamonds and they were traded from the subcontinent to Venice, Antwerp and Amsterdam. The presence of a rough diamond crystal in a ring of this period is unusual. As diamonds had been cut in Europe since the early fourteenth century and by the fifteenth century point cut stones were used. The diamond in the ring has a peculiar crystal habit; it has grown irregularly, with ridges along the edges of the stone. It was probably left uncut because this unusual crystal form was prized.
English, circa 1460.
Discovered on 15th June 2008 by a metal detectorist in the area of Hambleton. Hambleton is a village nearby the Cistercian Abbey of Rievaulx in North Yorkshire. Treasure report no. 2008 T367. Disclaimed on 25th September 2009.
For another example of a fifteenth century ring mounted with a diamond crystal and one showing similar cabling hoop detail C.f. O.M. Dalton, Catalogue of Finger Rings in the British Museum (1912) nos. 720 & 928.
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 bracelet, Giacinto Melillo, 1870s
Designed as nine hinged plaques applied with filigree, granulation and bead work in the Etruscan style, length approximately 195mm, signed GM for Giacinto Melillo, fitted case stamped Giacinto Melillo.
Cf: Charlotte Gere, et al., The Art of the Jeweller, A Catalogue of the Hull Grundy Gift to the British Museum: Jewells, Engraved Gems and Goldsmiths Work, London, 1984, pgs. 149-151, plate 959 for illustrations of a similar design by Alessandro Castellani.
Cf: Geoffery C. Munn, Castellani and Giuliano, Revivalist Jewellers of the Nineteenth Century, London, 1984, pgs. 88 and 93 for references to these jewels.
Cf: David Bennett and Daniela Mascetti, Understanding Jewellery, Suffolk, 1994, pg. 238 for an illustration of a similar bracelet by Melillo.
Cf: Daniela Mascetti and Amanda Triossi, Earrings from Antiquity to the Present, London, 1999, pgs. 28-29 and 101, for illustrations of the Etruscan ‘baule’ earrings and their consequent 19th century counterparts.
Giacinto Melillo (1845-1915) became the director of the Castellani jewellery store in Naples in 1870, at the age of 25. While relatively young, Melillo’s natural ability surpassed his age. The bracelet design was used by both Alessandro Castellani and Giacinto Melillo who signed with their respective initials ACC and GM. It is believed that the original inspiration for these plaques came from the discovery of fragments of Etruscan ‘baule’ earrings, popular between 700-500 BC. The Melillo bracelets were heavier than the Castellani versions due to the addition of gold plaques, applied with a four-petal flower motif to the reverse.
Source link (Sotheby’s, Magnificent Jewels and Noble Jewels, 13 May 2014, Geneva)
Culture: British or French
Medium: Gold, sapphires and garnets
Dimensions: Overall: 15/16 × 3/16 in. (2.4 × 0.4 cm)
Credit Line: Gift of Tobias Meyer and Mark Fletcher, 2013
Found in Ringwood, Hampshire, England (in 1995); Sotheby’s, London(July 6, 2007, lot 3); Tobias Meyer and Mark Fletcher, New York (2007–2013)
Source link, The Metropolitan Museum of Art
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
Late Medieval Sapphire Ring, 14k gold with rubbed over bezel and closed back. Circa 14th-15th century
Sale Title: IMPORTANT JEWELLERY
Location: London, King Street
Sale Date: Jun 15, 2006
Lot Number: 0398
Sale Number: 7240
Lot Title: AN EXTREMELY RARE MEDIAEVAL DIAMOND LOYALTY RING
Estimate: 30,000 – 50,000 British pounds
Price Realized: 84,000 British pounds – Sold After Sale
THE PROPERTY OF A GENTLEMAN
AN EXTREMELY RARE MEDIAEVAL DIAMOND LOYALTY RING The point-cut diamond to the star and heart engraved mount, ‘V’ and ‘A’ engraved shoulders, and inscribed hoop, 14th century
Discovered on the farmland of Manley Hall in the village of Manley in Cheshire, 19 May 2002 and filed as Treasure Trove on 17 June 2002. Manley is on the edge of Delamere Forest, which was originally the royal hunting ground of King Edward III
Enamelled and engraved rings from the 14th century often fall within a tradition of mediaeval ‘love rings’ where lovers’ initials may both be engraved within the ring. However, there may also be a stronger political influence behind this ring. The use of a diamond within a ring is very unusual in the 14th century and marks this ring as an important and significant object, and possibly gift. Historically, a valuable ring may have been given as a token of love, or alternatively as a sign of allegiance. One ring, known as the ‘Verney Ring’, was given in the 17th century by Charles I to Sir Edmund Verney, one of his most loyal followers during the Civil War. It has been noted that the ring offered here, bearing three ‘E’ initials between stars, dates to the time of Edward III during the 100 Years War. The series of Anglo-French conflicts known as the Hundred Years War dominating Edward’s reign were chiefly caused by disputes over English holdings in France and troubles between the Flemish weaving cities (allies of the English) and their French overlords. One wealthy Flemish weaving merchant, Jacob van Artevelde, emerged as a political leader against the French, forming the League of Flemish Towns in 1336 who supported Edward’s claim to the title of King of France (through his mother’s line) in 1340. Edward III and Van Artevelde were doubtlessly close. Holding the contentious position of primary English supporter within the French-ruled Ghent, Van Artevelde was assassinated in 1345, leaving a son, Philip Van Artevelde, whose godmother, Philippa of Hainault, was the wife of Edward III. In turn, Jacob Van Artevelde was godfather to Edward III’s and Philippa’s son, John of Gaunt. Philip continued the Flemish fight in his allegiance to the English King and Queen. The motto reading across both sides of the hoop, ‘loyaute sans fin’, indicates an eternal dedication of loyalty, and together with the initials ‘V’ and ‘A’ either side of the bezel would be an appropriate dedication between the King of England and his closest Flemish supporter within the political climate of the mid fourteenth century. Cf. D. Scarisbrick, Historic Rings, Kodansha International, 2004, pp. 59-60, no. 146 Cf. G. Kunz, Rings for the Finger, Dover Publications, Inc., New York, 1973, p. 190
One of the most splendid medieval finds to come up through the process of the Treasure Act is undoubtedly a gold and diamond ring found in Manley, Cheshire in 2002. Another ring found with coins at Thame in Oxfordshire in 1940 is similar enough in its detail to suggest a date in the late fourteenth or early fifteenth century. The design of the Manley ring is complex with decorative elements which undoubtedly had greater significance for the original owner than is apparent to us today. It is inscribed on the top “sans fin” and on the bottom “loiauté” meaning ‘unceasing loyalty’. At the back of the hoop is a central, openwork band with three letters ‘E’ juxtaposed with three stars. The inscription is sufficiently chivalric in sentiment to have been passed between men and the allure of this very high-status jewel has led to some tentative historic associations.
The repetition of three letters ‘E’ with three stars convinced the finder that the ring was associated with Edward III. He felt that the black diamond signified the Black Prince and that the ring passed between father and son. However there is no supporting evidence for a royal association either through heraldry (which is absent from the design), a known use of the motto ‘sans fin loiauté’ by Edward III or any documented allusion to Edward signifying his royal status by the use of stars. A more recent speculative line of argument associates the ring with Edward III and his Flemish supporter Jacob van Artevelde on the assumption that the two open work letters on the shoulders of the ring, ‘V’ and ‘A’, stand for ‘van’ and ‘Artevelde’, but there is no substantive reason why this should be the case. A more convincing use of initial letters is their well documented place in courtship.
The crowned heart placed beneath the diamond amplifies the notion that this might be a romantic love ring. A ring at the British Museum almost identical in construction with open-work shoulders containing individual letters spelling ‘AMOURS’ suggests that the Manley ring belongs to a wider repertoire of love jewellery produced by the same goldsmith.
Inscription: sans fin loiauté
Current location of find: Private collection, sold at Christies.
Subsequent action after recording: Returned to finder
Broad period: MEDIEVAL
Date from: AD 1350
Date to: AD 1540
Weight: 3.54 g
Diameter: 22 mm
Date(s) of discovery: Wednesday 1st May 2002
Source links and info:
- Herepath,N (2002) LVPL2060 A MEDIEVAL FINGER RING — Finds.org.uk treasure database
- How a treasure hunter struck gold with a mysterious ring, by ROBERT HARDMAN, Daily Mail, 12 June 2006
- Important Jewellery, 15 June 2006 — Christie’s auction where ring was sold; lot no longer online.
Date: 7th century
Geography: Made in Northern France
Medium: Gold, garnet cabochon
Dimensions: Overall: 13/16 x 9/16 x 5/16 in. (2.1 x 1.5 x 0.8 cm) bezel: 1/4 x 5/16 x 3/8 in. (0.7 x 0.8 x 0.9 cm)
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 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.”
An archaeological revival gold and enamel brooch/pendant, by Robert Phillips, circa 1865
Set to the centre with a raised scarab rendered in scarlet guilloché enamel with black enamel spot and stripe detail, between a pair of finely modelled rearing gold cobras with black enamel decoration, suspended from a detachable gold and black enamel coiled cobra suspensory loop, terminating with a later burnt sienna guilloché enamel amphora drop, glazed compartment to reverse, detachable brooch fitting, unsigned, some minor enamel losses, pendant length 6.4cm, width 3.4cm, fitted case by Phillips, 23 Cockspur St, London
In mid 19th century Britain, interest in Egyptian artefacts was considerable. The Thebes Jewels, discovered in 1859 by Auguste Mariette, were exhibited in London in 1863 and contemporary accounts in The Times describe the extraordinary array of jewels and record the public amazement at the spectacle. The exhibition coincided with a trip made by the Prince of Wales to Egypt which culminated in a tour up the Nile to Thebes. Upon his return to London the Prince commissioned a suite of jewellery from Robert Phillips replicating the scarab jewels he had seen at Thebes. The parure was a gift for his bride, Princess Alexandra of Denmark and on the marble bust sculpted by Mary Thornycroft to celebrate the marriage, she wears one of the brooches. The marble was much copied and became widely known. In response to this public awareness Robert Phillips marketed various versions of the Thebes suite for sale. The brooch pendant offered here is a fine example of one of these rare jewels.
An important high carat gold medieval ring set with a natural irregular hexagonal cut sapphire, decorated with fine engravings and inscribed on the inside of the shank with the text ‘Loyal Desir’ which means legal or loyal desire which indicates the ring is a love token; for marriage or just a token of affection, early 15th century.
A Seljuk turquoise-set gold Bangle
Persia, 12th Century
The ridged, triangular section box-construction shank terminating in a double lion-head clasp and two set oval turquoises, the pyramidic bezel set with a glass rectangle and flanked by two set circular turquoises, a pin fitting at the base of the bezel, the shanks decorated with raised quatrefoils flanked by inscription-filled cartouches, all edges with granular decoration.
Inscriptions: repeat of al-‘izz al-da’im wa al-iqbal wa al-dawlat wa …., ‘Perpetual Glory and Prosperity and Wealth and …’
For a similar bangle in the Metropolitan Museum of Art, New York, see M. Jenkins and M. Keene, Islamic Jewellery, New York, 1982, no. 25; for a pair of bangles, see Bonhams, Islamic and Indian Art, 24th April 2002, lot 325; and for a pair of bangles made for a child, see Christie’s, Islamic Art and Indian Miniatures, 28th April 1998, lot 363).
Place of origin:
Rome, Italy (made)
500-300 BC (made) — scarabs
before 1925 (made) — bracelet
Castellani (bracelet, maker)
Materials and Techniques:
Gold decorated with applied wirework and granulation, mounted with four carnelian scarabs
M.35-2001 (V&A Museum, London)
This bracelet may have been in the Castellani firm’s stock for a number of years as the business was winding down in the 20th century.
Ancient beads, scarabs and engraved gemstones from excavations were an essential element of jewellery made in the archaeological style. Mounted in gold, they were densely set in necklaces, bracelets, brooches, earrings or rings.
Castellani, the leading jewellers in Rome, acquired ancient stones in great quantities from many sources. The scarcity of scarabs caused Augusto Castellani to comment in 1862 that their high price ‘impelled the moderns to counterfeit them. And they so perfected this trade that the most experienced eye can barely discover the deception’.
Place of origin:
France (probably, made)
England, Great Britain (possibly, made)
ca. 1400 (made)
Materials and Techniques:
86-1899 (V&A Museum, London)
This heart-shaped brooch with its romantic inscription was given as a token of love. It would have been used to fasten a tunic, gown or cloak. Gold was the most costly of metals, generally used only by royalty and the nobility. It is inscribed and would have formerly been enamelled on the reverse in French, in black letter script, ‘Ourselves and all things at your whim’ (‘Nostre et tout ditz a vostre desier’). The design on the front of the brooch, possibly stylised leaves and flowers or feathers, would also have been colourfully enamelled.
Ring brooches often fastened garments with a slit at the neck. Both men and women used them. They first pulled the fabric through the ring. They then pushed the pin horizontally through the fabric. When they pulled the fabric back through the ring, it held the pin in place.
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.
Watch set in a single Colombian emerald crystal: c. 1600
Watch, set in single large Colombian emerald crystal of hexagonal form with hinged lid. The movement and dial plate are corroded and cannot be raised out of the setting. The dial plate is enamelled in translucent green and the circular gold suspension loop and button securing the movement at the base are set with small emeralds. The suspension loop is set in a white enamelled flower, c.1610. Part of the Cheapside Hoard. The main body of the case is cut from a single piece of emerald with a lid of facetted emerald. The catch for the lid consists of a gold pin set in the base which passes through a hole in a gold tube set in the lid. The watch has a gold dial overlaid with dark green enamel through which can be seen the engraved design of radiating lines.
Date: 1576 AD – 1600 AD