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Lot 323
Replica of the Cross of the Order of the White Eagle from the Diamond Suit of August IICopy, second half of the 20th century, metal, glass.dimensions; total height with suspension 126mm,dimensions around the perimeter of the order 111mm x 111mm. Replica of the Cross of the Order of the White Eagle from the Diamond Suit of August II, a well-made copy with a faithfully reproduced obverse, using glass instead of diamonds. The original Cross was part of the collection of the Dresden Museum in 2019, it was lost in a robbery. Even a copy of a unique order is a fantastic material for a museum exhibition.The obverse of the order in the shape of a Maltese cross, studded with cut glass stones. On each of the four visible large crystal gems (faceted figure eight) separate. Between the main arms you get four rays with embedded ground glass. Between the basic arms of the cross there are short decorative rays with one glass stone embedded. The part of the order consists of a massive suspension of the order, studded with seven auxiliary pebbles. In part of the order, a crowned eagle with wings spread upwards is visible. The eagle is entirely encrusted with cut glass, visible preservation of details reminiscent of the original of the order. In the central or visible part of the stones of the order. A stone in the shape and cut of a teardrop, framed in several smaller glass diamonds surrounding it. A small defect in the jewel of the eagle's crown is visible. The legs and talon of the eagle in the color of darkened gold were the only ones in the order not set with stones, as in the case of the original order. Between the eagle and the main cross, visible in cross-section, there is a burgundy Maltese cross.Order made by casting, finished with great attention to detail. The eagle ends with a solder between the wings and the tail. The reverse of the order on the entire chiseled surface, resulting from the mechanism of manual rotation. order. The reverse of the ribbon ring is smooth, silver in color.
Lot 11
A GEORGE III YELLOW METAL MOURNING RING, probably 18ct gold, bearing enamelled initials surrounded by seed pearls, indistinctly inscribed to back "GC Wheley died 28 Feb 1818 aged 7", a George IV yellow metal mourning ring, inscribed to the shank "In Memory Of" and inscribed to the back "Mrs Howard Watson Ob. 2nd Jan 1823 ag. 87", set with seed pearls and blue enamel, together with a further Victorian gilt metal, seed pearl and single stone ring, an early 19th Century gilt metal mourning brooch, inscribed "Sam Rowlandson, OB. 15th August 1837, ag. 34", set with sead pearls on an enamelled ground, total gross weight 18.53 grams (4).
Lot 383
Ca. 200-300 AD. A gold Legionary finger ring of a D-shaped hoop with a rounded exterior edge and a flat interior, which is set with the stunning intaglio. The goddess Victory is depicted facing left, standing tall and proud in her flowing robes. She holds a quiver with arrows to her left side, a symbol of her power and authority. In Roman mythology, Victory was known as the goddess of triumph and success. She was often depicted as a beautiful and powerful figure, with wings that symbolized her ability to move swiftly and decisively. Victory was associated with the concept of victory in war and competition, and was believed to be a powerful force that could bring success to those who called upon her. The carnelian intaglio that adorns this ring captures the essence of the goddess Victory, with its fine detail and expert craftsmanship. The deep red hue of the carnelian adds to the ring's elegance and sophistication, creating a striking contrast against the rich gold of the band. Size: D: 18.75mm / US: 8 3/4 / UK: R; 48.83g Provenance: Private London collection, UK art market before 2000.
Lot 731
Ca. 1800 AD. A gold ring of a thin hoop gradually expanding to form a bezel, which is set with a rectangular-shaped nicollo intaglio, carefully engraved with a right-facing portrait of Zeus. The intaglio captures the god's distinct features, such as his curly, abundant beard, curly hair, broad nose, and authoritative look, which all lend to his regal and powerful presence. Zeus, the king of the gods in Greek mythology, was often depicted as a symbol of authority and power, wielding the famous thunderbolt that he used to smite his enemies. As the god of sky, thunder, and lightning, he was revered for his ability to control the elements and was one of the most important gods in the Greek pantheon.Size: D: 16.92mm / US: 6 1/2 / UK: M 1/2; 4.05gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 255A
Ca. 400 -500 AD. A jasper intaglio engraved with a scene depicting two figures, facing each other and flanking a fire altar. They are making offerings and gestures of worship to the winged deity hovering above them. The eight-pointed star to the right adds to the intricate symbolism of the scene. The intaglio is set in a gold finger ring of a hexagonal profile, possibly of a later period. Sasanian intaglios were used as seals and jewelry and often depicted religious and mythological scenes, as well as portraits of the Sasanian kings and their courtiers.Size: D: 19.56mm / US: 9 3/4 / UK: T; 12.81gProvenance: Private London collection, UK art market before 2000.
Lot 255C
Ca. 1100-1200 AD. A gold ring with stunning gemstone is a remarkable example of the exquisite craftsmanship and opulence of Seljuk gold jewellery. The flat-section hoop, with its gently expanded shoulders, boasts intricate incised decoration that showcases the skill of Seljuk artisans. The highlight of this ring is undoubtedly the gorgeous pink gemstone, which is set securely in the recess of the bezel by four prongs. The rich color of the gem complements the radiant glow of the gold and adds to the ring's allure. Seljuk gold jewellery was highly coveted during the medieval period and for good reason. The Seljuk Turks, who ruled over much of the Middle East and Central Asia from the 11th to the 13th century, were known for their love of luxury and their patronage of the arts. Seljuk goldsmiths created intricate and elaborate jewellery pieces using gold and other precious materials, often incorporating delicate filigree and granulation work. These pieces were adorned with precious and semi-precious gemstones, including rubies, emeralds, sapphires, and pearls, to create pieces of exceptional beauty and elegance.Size: D: 15.39mm / US: 5 / UK: J 1/2 ; 1.66gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 142
Ca. 1100-1200 AD. A gold ring of tapering profile, crafted with the utmost skill and attention to detail. The ring's shoulders are richly adorned with chiselled arabesque patterns, testifying to the Seljuk dynasty's mastery of the decorative arts. The oval bezel of the ring is secured with multiple prongs, which serve to highlight and enhance the beauty of the central gem. This ring is a stunning example of Seljuk gold jewellery, which was prized for its exceptional quality and craftsmanship. During the Seljuk era, which spanned from the 11th to the 13th century, goldsmiths and jewellers created works of unparalleled beauty and sophistication. Seljuk jewellery was known for its intricate patterns, delicate filigree work, and use of precious gemstones. It was also prized for its symbolic significance, as jewellery was often used to convey messages of wealth, power, and status. For a similar, see Bonhams Islamic and Indian Art, London, 24 April 2012, Lot 69. Stone is replaced. Size: D: 16.51mm / US: 6 / UK: M; 2.32gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 589
Ca. 100-300 AD. A finely engraved intaglio set in a gold ring with widening shoulders. On the left side of the intaglio, we see a male figure standing with a relaxed posture and holding what appears to be a staff in his left hand. His right hand rests on his hip, suggesting a level of confidence and authority. Next to him, we see an animal, possibly a goat, leaning against a tree with delicately rendered branches and leaves. On the other side of the tree, we find a winged cupid leaning in its direction. The overall composition of the intaglio is both elegant and complex, with each element seemingly imbued with meaning. As for the meaning of this scene, it is difficult to say with certainty. The presence of the god-like figure, the animal, and the cupid all suggest a level of mythological or religious significance. Size: D: 18.75mm / US: 9 / UK: R 1/2; 14.65g Provenance: Private London collection, UK art market before 2000.
Lot 728
Ca. 1700-1800 AD. A simple yet elegant posy ring of the annular band, flat on the interior and slightly rounded on the exterior, creating a comfortable fit for the wearer. The band is made of silver gilt, a thin layer of gold over a base metal, giving it a luxurious appearance. The interior of the band is inscribed. Posy rings were commonly exchanged as gifts between lovers, family members, and friends, and were often used as wedding rings. The inscriptions on the rings could range from simple phrases such as "Love Conquers All" to more elaborate poetry expressing deeper emotions. Posy rings were not only symbols of love and commitment, but also served as personal fashion statements. The rings were often engraved with ornate designs or set with precious stones, further emphasizing the wearer's social status and wealth.Size: D: 18.34mm / US: 8 1/4 / UK: Q; 6.08gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 592
Ca. 200-300 AD. A gold finger ring with a carnelian portrait intaglio is a stunning example of the intricate artistry and skill of Roman gem engraving. The thin and delicate hoop of the ring beautifully complements the finely rendered left-facing portrait of a young male on the carnelian intaglio. The detailed depiction of the gentleman's facial features, including his small nose, and pointed chin. Roman portrait intaglios were highly valued as personal items, signifying the wealth and status of the owner. These gemstones were often used as signet rings, allowing the owner to leave an impression in sealing wax as a form of authentication. Portraits of individuals, gods, and goddesses were popular themes for intaglios during the Roman period. They were made from a variety of materials, including carnelian, amethyst, and jasper. Size: D: 19.15mm / US: 9 1/4 / UK: S; 1.73g Provenance: Private London collection, UK art market before 2000.
Lot 730
Ca. 1700-1800 AD. A gold ring featuring a magnificent neoclassical intaglio of a Roman Emperor, possibly Pertinax, whose visage has been rendered with such precision that one can almost feel his commanding presence. His depiction is exquisitely rendered with fine facial details, an abundant beard, and a wreath atop his head, exuding an air of authority and wisdom. The ring's design is equally impressive, with a thin hoop that culminates in a Y-shaped support for the bezel, reminiscent of the neoclassical style of the late 18th and early 19th centuries. Pertinax, a man of great intellect and valor, was born into humble origins in the second century AD. Rising through the ranks of the Roman army, he eventually attained the coveted position of Praetorian Prefect, serving under Emperor Commodus. After Commodus was assassinated in 192 AD, Pertinax was proclaimed Emperor by the Praetorian Guard, and he assumed the mantle of leadership in a time of great turmoil. Alas, his reign was short-lived, as he was deposed and assassinated by the Praetorian Guard, who had grown disillusioned with his attempts to reform their corrupt practices. Nevertheless, his legacy endured, as a symbol of the ideals of good governance, justice, and righteousness.Size: D: 18.75mm / US: 8 3/4 / UK: R; 5.19gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 588
Ca. 100 BC - 100 AD - Late Republican. A gold finger ring, Hening type I, of unparalleled beauty and sophistication. Its round hoop expands to form a large bezel, which holds a stunning onyx intaglio that has been expertly engraved with the depiction of the goddess Diana. Her majestic figure is portrayed standing next to a pole-like structure, on a baseline that anchors her to the earth. In her left hand, she holds an arrow, while her right hand clasps a bow. The goddess Diana, known as the virgin goddess of the hunt and the moon, was revered in ancient Rome as a symbol of strength, independence, and purity. She was believed to roam the forests and wilderness, accompanied by her band of loyal nymphs and hunting dogs. Her skill as an archer was legendary, and she was often depicted in art and literature as a fierce and formidable warrior. In this exquisite ring, Diana is portrayed with grace and beauty, her long flowing garment draped over her body in a way that accentuates her feminine form. Her finely detailed head is turned to the right, her lovely coiffure framing her face in a way that highlights her ethereal beauty. The intaglio, expertly carved by a skilled craftsman, captures her essence in a way that is both lifelike and otherworldly. This gold ring is not only a testament to the skill of its creator but also a reflection of the values and beliefs of the ancient Romans. Its depiction of the goddess Diana speaks to their reverence for the power and majesty of nature and their admiration for the strength and independence of women. Size: D: 16.31mm / US: 5 3/4 / UK: L; 5.79g Provenance: Private London collection, UK art market before 2000.
Lot 610
Ca. 300 - 400 AD. A gold ring composed of a thin hoop with pairs of spheres to the bezel, boasting an intaglio that depicts the god Mars seated on the back of a majestic eagle. In Roman mythology, Mars was the god of war and one of the most important deities in the pantheon. He was the son of Jupiter and Juno and was often depicted as a warrior with a spear and shield. His association with the eagle, a powerful and noble bird, was likely inspired by the Roman army's use of eagles as emblems of their legions. Roman intaglios depicting gods and goddesses were popular adornments for rings, often worn as symbols of protection and guidance. These intaglios served not only as decorative pieces but also as powerful amulets that could bring the wearer good fortune and protection from harm. The intricate designs and rare subjects of these intaglios make them highly sought after by collectors and historians alike, offering a glimpse into the rich and complex world of ancient Roman mythology and belief systems.Size: D: 17.53mm / US: 7 / UK: O; 3.64gProvenance: Private London collection, UK art market before 2000.
Lot 692
Ring - ca. 600-700 AD; Stone - ca. 200 AD. A gold ring of a flat-section hoop, with its grooves and edges adding texture and dimension to the piece. The raised bezel is set with a garnet intaglio that depicts a left-facing dog in fine detail, his body and legs rendered with delicate precision. His head is turned to the side, revealing his sharp features and keen gaze. Roman intaglios with animals were highly prized during ancient times, as they served as symbols of power, status, and protection. Dogs, in particular, were revered for their loyalty and fierce protective instincts, making them popular subjects for intaglios. These intaglios were often set in rings, which served not only as decorative jewelry but also as functional objects that could be used to seal documents and letters, signifying the importance of the wearer's identity and status.Size: D: 15.49mm / US: 4 3/4 / UK: J; 3.77gProvenance: Private London collection, UK art market before 2000.
Lot 680
Ca. 100-300 AD. A gold finger ring composed of a tapering hoop with faceted shoulders supporting an amethyst intaglio engraved with a dynamic scene of a man riding a donkey. The ancient Romans considered jewellery to be an essential dressing accessory, for it provided a public display of their wealth. Roman jewellery first followed fashion set by the Etruscans, using gold and glass beads, but as the Roman empire spread and became more prosperous, so did its jewellery designs become increasingly elaborate. The behavior of wearing rings was popular amongst the Romans and was likely introduced by the Sabines, who in early legends, as wearing gold rings with precious gemstones.Size: D: 18.14mm / US: 8 / UK: P 1/2; 10.32gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in before 2000 on the UK art market.
Lot 729
Ca. 1800 AD. A gold ring of a wide hoop, with its ornate detailing, speaks of the elegant craftsmanship of the era, while the large rectangular bezel allows for the striking intaglio to take center stage. The intaglio depicts a gryllos, a grotesque creature from ancient Greek and Roman art. In this particular intaglio, we see a right-facing youthful face with wavy, flouncing hair and another face on top of the head. The gryllos was a popular motif in ancient art and was often used as a decorative element in architecture, pottery, and jewelry. It was believed to be a symbol of good luck and protection from evil spirits. The depiction of grylloi in ancient art varied widely, from fantastical creatures to more human-like figures, and they were often used in a decorative context. In this neoclassical ring, the gryllos motif has been beautifully adapted to fit the more refined and elegant aesthetic of the era.Size: D: 18.54mm / US: 8 1/2 / UK: Q 1/2; 8.55gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 464
Ca. 7th-6th century BC. A gold ring made of gleaming gold, expertly crafted into a D-shaped shank that fits snugly and comfortably around the finger. At the center of the ring sits a beautifully carved rock crystal scaraboid, which is mounted on a swivel mechanism that allows it to rotate within its setting. Size: D: 16.71mm / US: 6 1/2 / UK: M ; 5.7g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 649
Ca. 1st century BC - 1st century AD. A silver ring fashioned into the form of a coiled serpent, the ring is crafted from a single piece of gleaming silver wire, skillfully tapered from its narrowest point at the tail to its broad and flat head with recessed eyes. The serpent's scales are intricately engraved, with delicate attention to detail, on the upper portion of the ring, creating a lifelike texture that shimmers in the light. The interior of the ring has been carefully smoothed and worked for maximum comfort during wear, ensuring that the wearer can appreciate the beauty of the ring without discomfort. Snake rings have a long history in Roman culture, with serpents being a common motif in Roman jewelry. Snakes were often associated with regeneration and renewal and were seen as symbols of power, wisdom, and protection. Beyond their aesthetic appeal, Roman snake rings were also believed to have protective and magical properties. It was believed that the serpents coiled around the finger would act as guardians against evil spirits and bad luck, making these rings not just beautiful adornments, but also powerful talismans. For a similar, but in gold see The British Museum, Registration number 1917,0501.950. Size: D: 17.12mm / US: 6 3/4 / UK: N; 6.48g Provenance: Private London collection, UK art market before 2000.
Lot 587
Ca. 100-300 AD. An amethyst intaglio depicting a hedgehog, a creature that has long fascinated humans with its spiny exterior and unique appearance. The engraving is rendered in fine detail, capturing the essence of the animal's body, including its spikes, pointed face, and short legs. The heavy gold ring that holds the intaglio is a work of art in its own right. The round hoop and raised cell for the gem are expertly crafted, with a sense of heft and durability that speaks to the value of the piece. Intaglios with animal depictions were highly popular in ancient Rome, as they were seen as a way to capture the power and beauty of the natural world. From lions and tigers to birds and insects, the Romans were fascinated by the diversity of life on earth and sought to capture its essence in their art. Animal intaglios were often worn as a symbol of strength, courage, and power, reflecting the values and beliefs of Roman society.Size: D: 19.15mm / US: 9 1/4 / UK: S; 12.92gProvenance: Private London collection, UK art market before 2000.
Lot 591
Ca. 100-300 AD. A carnelian intaglio set in a possibly later gold ring capturing a poignant scene of mourning, likely depicting Aristomenes, sitting on a pile of rocks and beneath a tree. In Greek mythology, he was a Messenian warrior who fought against the Spartans in the 8th century BC. It is possible that the mourning depicted in the intaglio relates to his eventual defeat at the hands of the Spartans, which would have been a significant event in Greek history. Alternatively, it is possible that the mourning depicted in the intaglio has a more symbolic or allegorical meaning, rather than a literal one. For example, the winged figure in front of Aristomenes could be interpreted as a representation of death or the afterlife, suggesting that the scene is a contemplation of mortality and the impermanence of life. The finely engraved details of the figures and the setting provide a glimpse into the artist's skill and the emotional depth of the scene. Size: D: 19.35mm / US: 9 1/2 / UK: S 1/2; 4.95g Provenance: Private London collection, UK art market before 2000.
Lot 398
Ca. 1400 - 1500 AD. A gold finger ring featuring a rectangular-section hoop of massive, octagonal form that immediately captures the eye with its intricate design. Each of the eight flat faces of the hoop has been carefully engraved with the haloed head of Christ or a Saint holding the Gospels within a rectangular border. The intricate details of these engravings are a testament to the skill and precision of the medieval goldsmiths who crafted this remarkable piece. The use of gold in this ring further enhances its preciousness, symbolizing wealth and power, and reflecting the status of the wearer. In medieval times, jewelry was often used to convey social and religious messages, and this ring is no exception. The iconography of the ring, depicting the heads of Christ and Saints holding the Gospels, serves as a powerful reminder of the importance of religion in medieval society. It is a testament to the deep devotion and faith of the wearer, as well as their desire to display their religious affiliation and beliefs. The detailed report from Striptwist Ltd will accompany the item. Size: D: 17.12mm / US: 6 3/4 / UK: N ; 18.89g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 690
Ca. 600-800 AD. A gold ring, adorned with a captivating peacock intaglio. The ring's design showcases the intricate filigree work that is characteristic of Byzantine jewelry, with a thin hoop featuring a beaded exterior that provides a tactile and visually pleasing effect. The hoop joins the large bezel cell, which is itself a work of art, featuring filigree decoration that adds depth and texture to the piece. Within the bezel cell sits a mesmerizing carnelian intaglio, engraved with the image of a left-facing peacock standing on top of beautiful branches or tendrils with flowers and leaves. The peacock, a symbol of beauty and regal splendor, was a popular motif in Byzantine art. Its elaborate plumage and graceful stance are captured with impressive detail in this intaglio, creating a striking and memorable image. Byzantine gold jewelry is renowned for its intricate designs, masterful use of filigree, and rich symbolism. Gold was a popular choice for Byzantine jewelry as it symbolized wealth, status, and divine radiance. Byzantine craftsmen often incorporated religious iconographies, such as crosses and saints, into their designs, as well as classical motifs such as vines, leaves, and animals.Size: D: 15.39mm / US: 4 1/2 / UK: I 1/2 ; 6.71gProvenance: Private London collection, UK art market before 2000.
Lot 501
An Art Deco yellow metal, emerald and diamond dress ring, arranged as a centre emerald cut emerald flanked to either side with two old round cut diamonds and further small emerald, the centre emerald measuring approx 4.8 x 3.5mm, all to an unmarked yellow metal band which tests as approx 18ct gold, 2.4g, size K One end emerald is fractured on the corner.All emeralds have surface abrasions.Diamonds appear OK.
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