A set of four late 19th/early 20th century reverse carved intaglio buttons, each oval cabochon intaglio carved and painted to depict a sporting theme, comprising a jockey on racehorse, a huntsman on horseback, a duck amongst reeds and a fish, with mother of pearl backing, stamped '18', length 1.55cmSome of the intaglios have patchy brownish staining/residue to the back, most notably to the huntsman on horseback. Painted decoration is mostly crisply defined and the colours are fairly vibrant. Each of the intaglios has scuffs, nicks and light scratches to the surface of the cabochon. The mounts have general surface wear, chips and scuffs, with occasional dings and small areas of pitting. Each panel measures approx. 1.55cm length x 1.3cm width. Metal standard is untested. One of the marks is mis-struck. Combined gross weight approx. 9.5gm.
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A late 19th/early 20th century reverse carved intaglio pendant, the oval cabochon reverse carved and painted to depict a bird with outstretched wings, perched on a branch, with mother of pearl backing, the mount stamped '18', suspended from a ropetwist-link chain stamped '9C', pendant length 3.5cm, chain length 43.5cmSmall traces of grease/dirt to base of intaglio, near to bird's feet, and other small dust traces to remainder of panel that can be seen under close inspection. Surface scuffs and nicks to cabochon, some occasional deeper scuffs, scratches and nicks to mount. Stamped mark to back of mount is worn, mount is untested for metal standard. The loop fitting is not soldered. The chain has considerable wear, dark solder repairs and some missing links, metal standard is untested. The clasp is currently functioning. Dimensions of pendant panel (excluding loop fitting) approx. 2.75cm length x 2.2cm width x 0.95cm depth. Approximate gross weights: pendant 10.2gm, chain 3.7gm.
A collection of jewellery, to include a gold mounted sardonyx cameo stick pin, tested as approximately 14ct gold, 5.74g, a gold mounted cornelian intaglio stick pin, tested as approximately 9ct gold, 3.03g, a gold white enamel and diamond set initial slide, tested as approximately 9ct gold, a gold grosgrain strap buckle, tested as approximately 9ct gold, etc. (qty.)Condition ReportEnamel slide damaged - losses to the enamel, initial loose, diamond missing.
A BOX OF ASSORTED ITEMS, to include a large Middle Eastern ornate white metal belt buckle with gold tone floral detailing, spinning flower to the centre, Arabic wording inscribed to the one side, fitted with a hook clasp, a gold plated hinged bangle with ivy leaf detail, fitted with a push pin integrated box clasp and additional safety chain, a white metal monogram brooch, dated to the reverse 1918-19, with sponsors mark 'J.B', two gold plated fob seals each fitted with a carnelian intaglio to the base, a Scottish cloak pin, a Scottish grouse foot brooch, a Scottish white metal plaid brooch set with an orange paste to the centre, a white metal turquoise set locket pendant stamped 925, suspended from a curb link chain with spring clasp stamped 925, together with other pieces of costume jewellery, jewellery box with contents of costume jewellery, buttons, brooches, a white metal onyx and marcasite ring, etc
Ca. 200-300 ADA gold ring with a plain band expanding towards an oval bezel inset with carved carnelian intaglio depicting a walking lion on a baseline. For similar lion intaglios see G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, Plate LXI. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 1.54gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 100-300 ADA stunning gold finger ring of a grooved hoop flaring to decorated, angled shoulders supporting an oval bezel set with carnelian intaglio depicting a mouse and a rooster standing on a baseline. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 14.86mm / US: 4 / UK: H 1/2; 7.08gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 100-300 ADA gold ring comprising a slender hoop with scooped shoulders, supporting raised bezel inset with carnelian intaglio engraved with a Cupid. For similar intaglio see G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, Plate XLII. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 18.61mm / US: 8 5/8 / UK: R; 7.79gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 100-300 ADAn intaglio of oval-shape is formed of carnelian. The etched front depicts the dignified countenance of Jupiter (Greek Zeus), the bearded king of the gods who was regarded as the ruler of both heaven and earth. His face presents with a serious expression composed of almond-shaped eyes, a slender nose, a full beard, and a shaggy coiffure bound with a thin headwrap. Size: L:13.9mm / W:12mm ; 1.26gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 100-300 ADA gold finger ring of a broad hoop with faceted edges featuring a carnelian stone intaglio finely carved with the left-facing bust of a laureate female. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.1mm / US: 5 1/2 / UK: L; 5.32gProvenance: Private London collection; formerly in a Swiss family collection, acquired in the 1980s and 1990s.
Ca. 200-300 ADA magnificent gold finger ring of a round hoop rounded on the exterior, flat on the interior, expanding to a large bezel set with a finely engraved carnelian intaglio with a bust of Septimius Severus in the left profile. He is bearded, has curly hair, and wears a laurel wreath.Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 7.1gProvenance: Private London collection; formerly in a Swiss family collection, acquired in the 1980s and 1990s.
Ca. 1200 ADAn ancient Medieval Seljuk bronze ring with oval-shaped bezel mounted with carnelian intaglio with calligraphy. For a similar intaglio see: The British Museum 1880.3636.Size: D: 16.51mm / US: 6 / UK: L 1/2; 6.26gProvenance: Property of a private London collector, acquired pre 2000.
Ca. 100-300 ADA gold finger ring of carinated profile and expanded shoulders, high elliptical bezel set with a stone intaglio finely carved with a seated depiction of a god Mercury (Greek Hermes). He seats upon, what appears to be an altar, wearing a petasos and holding a caduceus staff. For similar intaglio see Michael C. Carlos Museum, Object Number: 2012.032.183. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 15.8mm / US: 5 1/8 / UK: K; 12gProvenance: Private London collection; formerly in a Swiss family collection, acquired in the 1980s and 1990s.
Ca. 100-200 ADAn oval-shaped carnelian intaglio, skilfully engraved with a cornucopia to the centre with a satyr to the left hand side and eagle of Jupiter to the right. Item comes with a professional historical report from Ancient Report Specialists. For comparable gemstones see: Cf. Henig, M.; Classical Gems, The Fitzwilliam Museum, Cambridge.Size: L:15.3mm / W:9.2mm ; 0.59gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 100-200 ADAn engraved intaglio of oval-shape depicting the carved image of the Ancient Roman goddess Minerva, shown in profile, wearing a crested Corinthian helmet and holding a spear. Item comes with a professional historical report from Ancient Report Specialists. For comparable gemstones see: National Museum of Wales 81.79H/4.41.Size: L:13.7mm / W:11.5mm ; 0.96gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 500-700 ADEarly Christian Byzantine oval-shaped intaglio engraved within a stylised cross seated upon an altar. The gemstone is set within an oval-shaped iron ring fragment (band now missing). Size: L:25mm / W:13mm ; 6.85gProvenance: Property of a private London collector, acquired pre 2000.
Ca. 100-300 ADAn Ancient Roman carnelian intaglio stone in a flat oval shape. The stone is finely carved with the image of Goddess Libertas with scales and cornucopia.Size: L:12.3mm / W:8.7mm ; 0.38gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 100-300 ADA bronze ring fragment featuring a large oval banded agate intaglio, finely incised with the likeness of a philosopher, possibly Socrates, his portrait head in profile facing left, presenting a bald pate, short hair above the ear and behind the head, with one wide open eye beneath an arching brow, a prominent nose, and generous beard and mustache framing his mouth.For a comparable see, Christie's, NY, Dec 10, 2013Size: D: mm / US: 27.4 / UK: 14.4; 5.16gProvenance: Formerly in a collection of W. Victor Hruby, 1984.
Ca. 100-200 ADA beautifully formed D-shaped, a hollow gold ring with garnet intaglio depicting a bust of God Mercury facing left (Greek Hermes - the messenger god and patron of businessmen), carrying a caduceus with both hands in front of him. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 16.1mm / US: 5 1/2 / UK: L; 9.31gProvenance: Property of a London gentleman; formerly in a private London collection, acquired on the UK and international art markets before the year 2000.
Ca. 300-400 ADA finely carved sardonyx cameo decorated with the emblem of an anchor flanked by two suspended fishes. The symbols seen here, of the anchor and the fish, were ones commonly used in context with Christianity. Examples have been found amongst the catacomb burial sites, on other intaglios and on personal amulets. The anchor is aesthetically similar to the crucifix and was a fitting symbol to be used when Christians wished to hide their faith. Mounted in a later pendant of oval shape with rope edging decoration. For a comparable intaglio see The British Museum 1856,0425.18. Berlin Museum, inv. J.9396. Size: L:22.9mm / W:14.3mm ; 1.48gProvenance: Property of a London gentleman; formerly in a private London collection, acquired on the UK and international art markets before the year 2000.
Ca. 200-300 ADAn Ancient Sasanian oval-shaped amethyst intaglio, featuring the engraved depiction of frontal bust of a ruler. His cheeks are full, the eyes oval-shaped, nose aquiline, lips portraying stern expression. Item comes with a professional historical report from Ancient Report Specialists. Size: L:19mm / W:15.2mm ; 3.21gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 200-300 ADA beautiful onyx intaglio of an ovoid form with a flat verso and a bevelled edge. The front of the intaglio is delicately etched with a dual left-facing portrait of Serapis - the Graeco-Egyptian god of fertility and the afterlife - and Isis, the Egyptian god of life, healing, and magic. Serapis presents with a bushy beard and his signature kalathos atop his head, and Isis' feminine countenance is surmounted with a foliate headdress. Cf. Henig, M.; Classical Gems, The Fitzwilliam Museum, Cambridge.Size: L:14.4mm / W:11.3mm ; 1.2gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 200-300 ADAn oval-shaped carnelian intaglio, engraved with goddess Fortuna holding a cornucopia and rudder. For comparable gemstones see: Cf. Henig, M.; Classical Gems, The Fitzwilliam Museum, Cambridge. Size: L:16mm / W:11.9mm ; 1.46gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 400 BCA carnelian oval-shaped intaglio engraved with a youthful naked male archer with arm outstretched with bow, other hand resting on shoulder. His legs bent at the knee resting behind his front foot. For comparable see: J Boardman Greek Gems and Finger Rings. Size: L:16mm / W:13.3mm ; 0.96gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.
Ca. 100-300 ADA flat-section gold hoop with herringbone wire borders and beaded median band; an applied discoid bezel with filigree collar and inset carnelian intaglio. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 16mm / US: 5 3/8 / UK: K1/2; 2.63gProvenance: Property of a Mayfair London Gallery; formerly from an old British collection formed since 1980s.
A rock crystal reverse intaglio pendant/Essex crystal, painted to depict a pheasant amongst foliage, on a trace link chain, pendant length 2.2cm, chain length 41cmThe pendant is in fair condition with slight wear to the surface, the chain is broken. The pendant is stamped '18', chain stamped '9C'. Gross weight 3.6 grams.
Anti Slavery double sided fob. Anti Slavery double-sided fob circa 1830, the first side intaglio cut with kneeling man and reading 'Am I Not a Man and a Brother'. The reverse intaglio with a kneeling woman reading 'Am I Not a Woman and a Sister' fitted into gilt bronze mounts, mid 19th century, contained within a wood snuff box.The legend ‘Am I not a woman...’ was adapted after 1825 by US abolitionists, this suggests the date of the piece is around 1830-50. 3.5cm highNo damages or faults. Some wear from age.
Very important compendium of 140 engravings by the Wieirx brothers, XVI - XVII centuries. Measurements: 31 x 22 cm, with leather cover. Hyeronymus Wierix He began as an engraver early, reproducing prints by Albrecht Dürer; one of Saint Sebastian tied to the tree is usually dated to around 1565, when Wierix was just 12 years old. Later he would copy with excellent quality other engravings by Dürer such as Saint Jerome in the cell, Nemesis, Melancholy and The Fall of Man (Adam and Eve). In 1570 he began to work for Cristóbal Plantino, taking charge of opening part of the intaglio plates that illustrate the Humanae salutis monumenta by Benito Arias Montano, with whom he also collaborated on the Biblia Regia and on some other minor work, despite the bad reputation of the Wierix brothers, especially Hieronymus, accused of leading a disorderly life, with frequent labor breaches and delivered to alcohol. In 1573 he was admitted as a teacher in the guild of San Lucas in his native city. Later, in 1579-1580, he spent a few months in prison for an incident in a tavern in which a woman was killed. It is possible that for this reason he broke up with Plantino, at least temporarily, after the publisher was forced to pay his bail, since in a famous letter he complained bitterly that Wierix worked only the time he needed to earn some money and then spend it. in the taverns, so that later you had to go looking for him, pay his bill and rescue his pawned work tools. Despite this fame, he made a large number of prints, some edited by himself, estimating his work at about 650 prints of his, executed with excellent technique and love for detail, but mostly on other people's compositions. His subjects, although portraits, allegories and some rare mythological motif are not lacking, are mainly devotional. In this regard, his relationship with the Jesuits was especially close and could help straighten out the artist's life. His association with them began with the series of illustrations for the work of Father Jerónimo Nadal, Adnotationes et meditationes in Evangelia, an ambitious project already conceived by Ignatius of Loyola and postponed several times. In it they collaborated with Bernardino Passeri, author of a good part of the drawings, the three Wierix brothers with Adriaen Collaert and other engravers and painters, although Hieronymus was the one who corresponded the greatest number, signing 65 of the 154 prints of which the construction site, finally published in Antwerp in 1593, without Nadal's text and without the printer's name, under the title Evangelicae historiae imagines. Johan Wieirix, older brother of fellow engravers Hieronymus and Antonius, his father Anton could have been a painter, although he is occasionally recorded as a cabinetmaker. He began as an engraver early on, reproducing prints by Albrecht Dürer. The large horse, an inverted reproduction of the Durerian model, dated 1564, bears the inscription "AE[tas] 15" on the top. From 1570 he began to work for the printer Cristóbal Plantino, sharing with Abraham de Bruyn and his brother Hieronymus the making of the intaglio engravings that illustrate the Humanae salutis monumenta by Benito Arias Montano, with whom he also collaborated on the Bible. Royal. because he had abandoned the job so it would be necessary to "compel him even by justice to either finish it or return it as it is." He worked at the same time as Plantino for other publishers and printers. Most of the engravings of the first edition of the portraits of Dutch and Flemish artists with epigrams by Dominicus Lampsonius, collected under the title Pictorum aliquot Germaniae Inferioris Effigies, a work printed by the widow of Hieronymus Cock in Antwerp, 1572. In the same year he was admitted as a member of the guild of St. Luke in his native city, where he is registered until 1594, with some interruption from 1575 to 1579 in which he resided for some time in Delft alternating, perhaps, with stays in Antwerp. With his brothers Hieronymus and Antonius, 1 It is probable that he trained as an engraver with his brother Hieronymus, who signed some of Antonius' prints as publisher. Active from at least 1579, he was registered with the Antwerp Guild of Saint Luke in 1590-1591. His son, Antonius Wierix III (1596-1624), was also an engraver, making it difficult to distinguish his works. Adrian Collaert (Antwerp, ca. 1560-1618). Son of the engraver Hans Collaert and Anna van der Heijden, and older brother of Jan Collaert, he was born in Antwerp. In 1580 he was admitted as a teacher in the guild of San Lucas. From 1581 is his first known work: the engravings of the series Septem planetae / Septem hominis aetatibus responders, allegories of the planets and the corresponding ages on drawings by Marten de Vos edited by Gerard deJode. His production, of correct although somewhat dry drawing, covers religious and allegorical themes, but also animals and some landscape, both on his own drawings and on other people's drawings, among others by Joos de Momper and Hendrick Goltzius. He died in Antwerp on June 29, 1618.
After John Henning the elder (British, 1771-1851): A set of second quarter 19th century cased plaster relief tablets depicting reductions of panels from the Parthenon and Phigaleian entablature friezescirca 1840comprising forty eight tablets contained in eight stackable pine trays within a pine box with hinged front and a removable lid, The pine box: 41.5cm wide, 28cm deep, 18cm high (16in wide, 11in deep, 7in high) Each tray 37.5cm x 25.5cm Footnotes:During the 18th and 19th centuries the interest in classical sculpture was at its height and many original examples and copies adorned country houses and art academies all over Britain. The famous Parthenon frieze formed part of Lord Elgin's collection of Greek sculpture that was first displayed in England at Elgin's London home on the corner of Park Lane and Piccadilly to invited guests from 1808 onwards.John Henning, a Scottish born artist, was one of the first to access the collection and like most who saw it was struck by the beauty of the pieces. He embarked on a project of making models of the Parthenon and Phigaleian friezes, restoring the missing elements, an undertaking which he felt was not only useful for his own artistic gain, but also for pecuniary reasons. His initial studies in ivory were unsuccessful and so he intaglio carved slate which he used as moulds for plaster casting, producing small tablet sections which were sold in boxes. Working for Josiah Wedgwood at the time, Henning took twelve years to complete the reliefs.Henning was known to sign his copies as well as number and label them according to the original location of the friezes on the Parthenon.For further information on this lot please visit Bonhams.com
A mixed group of jewels, including two bar brooches of horseshoe design, one late 19th century, set with cushion-shaped sapphires and diamonds and seed pearls; a bar brooch with a Welsh Regimental badge, pin stamped 15; a 9ct gold charm depicting a quail, British hallmarks; two charms depicting a top hat and a mirror; a gold suspension hoop with floral designs; a low-carat gold and glass intaglio seal; and a gold propelling pencil set with turquoise cabochons and a flat-cut amethyst
A 17th century chalcedony intaglio, inscribed with Arabic calligraphy, the centre quoting the 'Throne Verse', of the Qur'an, (Chapter 2 verse 256), the border reading 'In the name of God the Merciful the Compassionate' and quoting Qur'an chapters 109, 112, 113 and 114, measuring 4.5 x 3.2cm, case
A pair of 18ct gold and rock crystal reverse intaglio cufflinks, Deakin and Francis, each collet-set with a rock crystal reverse intaglios depicting a snipe and a mallard in flight, backed in mother of pearl, the back fittings modelled as gun cartridges, British hallmarks, intaglios 17 x 11mm, 21.8 grams
A gold, garnet, rock crystal and verre églomisée 'Agnus Dei' pomander pendant, probably Spain, circa 1600, the gold pendant of oval outline, the engraved border pierced and set with table-cut garnets, one side set with a glass panel gilded and foiled to the reverse to depcit the Lamb of God, atop a Bible and the christogram IHS, the reverse set with a rock crystal intaglio depicting the crucifixion, backed in pink foil, opening to reveal a plain interior intended for perfume, suspending a Baroque pearl pendant, length 6.9cm including bail fitting and pearl pendant, pearls untested Lots 1603 - 1608: A private collection of early jewellery.
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