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A GREEK CARNELIAN INTAGLIO SET IN A MODERN GOLD RING. SEAHORSE. 5th - 4th century B.C. Stone 14x18 mm; int. size 18x22 mm; 22,59 gr The hybrid creature is facing right and is characterized by an horse protome ending in a long fish tail with sharp fins on the back. Use of globular elements. Rare type. Wear marks. The stone is set in a modern massive gold ring. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A NEOCLASSICAL CARNELIAN INTAGLIO. BUST OF ATHENA PARTHENOS. Late 18th- Early 19th century A.D.17x24x5,5 mmThis beautiful bust is engraved after a famous Roman red jasper intaglio signed by Aspasios (Museo Nazionale Romano, Rome). The depiction of the helmet and the armour are highly detailed. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A NEOCLASSICAL AGATE INTAGLIO. BUST OF HELMETED ATHENA. 19th century 20x24x4 mmThe goddess is facing left with the face slightly bent. This model refers to Nathaniel Marchant (1739-1816) work. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A NEOCLASSICAL GOLD BROOCH SET WITH A LARGE CHALCEDONY INTAGLIO. HEAD OF A GREEK HERO. 19th century A.D.Stone 26x32 mm; Brooch 36x42 mm; 10,89 grThe helmeted head is facing left, the features are probably referable to Achilles. The style and the carving technic remind the work of Filippo Rega (1761-1833). Also Luigi Pichler and Giuseppe Cerbera copied Rega's depiction of Greek classical hero and rulers portraits. This intaglio is characterized by a very thin incision. Beautiful archaeological revival brooch. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A GREEK CARNELIAN INTAGLIO. GRIFFIN FIGHTING A SWAN. 4th century B.C.10x12x2 mmThe griffin is attacking the swan toward the right side. The fantastic creature posture is tense and reflects her rapid attack meanwhile the position of the swan shows his surprise. Presence of globular elements and very fine details for the anatomical depiction. Great sense of composition. Wear marks and small chip on the edge.Provenance: U.K. private collection

A RARE GOLD ARCHEOLOGICAL REVIVAL NECKLACE BY GIACINTO MELILLO WITH TWELVE ROMAN GREEN CHALCEDONY INTAGLIOS AND PEARLS. VARIOUS SUBJECTS. Stones: 2nd-3rd century A.D. Mounting: Second half of 19th century400 mm circa; stone min. 6x9 mm max. 9x12 mm; 50,54 gr.This precious necklace is composed of a serie of gold elements assembled on a large braided gold chain; 12 oval box-setting made of granules, braided and twisted gold wires decorated at the base with a small pearl. In each box-setting a roman green chalcedony intaglio. Each element is alternated by 4 gold spherical beads. From left to right the intaglios show: goat and tree; male bust facing left; young faunus playing the double flute in front of a column; Gryllos composed by a female bust conjoined with two silenos masks; a warrior; seated satyr near a tree; a running erote with a panther; a draped offerer; Venus Victrix; winged Nike; Fortuna Tyche; Venus with sea attributes. This model is a perfect example of the Revival Jewellery of the 19th century, assembling both ancient roman and modern elements. This model can be related to the Castellani Archaeological Revival necklace in the Museo Nazionale Etrusco di Villa Giulia in Rome (inv. 85013). The story of Giacinto Melillo (1846-1915) is intertwined with Alessandro Castellani's, when he put him under the direction of his first workshop in Naples in 1863. At this time, Melillo was only 18-19 years old and considered much more than an apprentice, more even than a normal employee: Augusto Castellani declared in 1878 that much of his brother’s jewellery was actually Melillo’s work . A eulogy of the work of Giacinto Melillo was published in 1896 by a celebrated collector, count Michel Tyskiewicz. “Naples does not shine in the perfection of its pseudo-antique jewellery. The treatment is coarse, heavy, pretentious and often absurd. Yet Naples possesses a goldsmith of the first order in Mr Melillo, who has far surpassed the work of the Casa Castellani in Rome. Whilst Carlo Giuliano had already taken-over the London shop, Melillo then took-over the ownership of the Naples workshop in 1870, and he immediately started trading under his own name. Melillo in the 1870's was still producing unsigned Castellani-type jewels, that were sold through Alessandro Castellani. An Archeological Revival necklace, Museo Etrusco di Villa Giulia, collection Castellani donated by Alfredo Castellani in 1919, inv. 8513. See also: Geoffrey Munn, "Giacinto Melillo: a pupil of Castellani", The Connoisseur, vol. 196 (1977), pp. 20-22; Geoffrey Munn, Les bijoutiers Castellani et Giuliano. Retour à l’antique au XIXe siècle, Fribourg 1983Provenance: European collection, acquired on the market, early 2000's.

A PONIATOWSKI CARNELIAN INTAGLIO SET IN A MODERN GOLD NECKLACE. MYTHOLOGICAL SCENE WITH HOMER. 19th century 400 mm circa; stone 24x33 mm; 31,88 gr.A large Neoclassical carnelian intaglio engraved for the Prince Stanislas Poniatowski (1754-1833). Above the greek pseudo signature (pretending to be a work of the ancient engraver Allion), it depicts "HOMER PLAYING THE LYRE ATTENDED BY FAME AND A GENIUS". This beautiful gem is set in a modern gold brick-link necklace. Published: Catalogue des pierres gravées antiques de S.A. le Prince Stanislas Poniatowski , Florence 1830-1833, no. VIII.6.3 ; James Prendeville, Explanatory catalogue of the proof-impressions of the antique gems possessed by the late Prince Poniatowski and now in the possession of John Tyrrell, Esq , London 1841, no. 1207; Hadrien Rambach, « The Gem Collection of Prince Poniatowski », in American Numismatic Society magazine , vol. 13- 2 (2014), pp. 34-49, fig. 16Provenance: From the collection of Prince Poniatowski; offered at auction at Christie's (London), 29 April - 21 May 1839, lot 2460; purchased by John Tyrrell; part of a group of gems pawned to Frederick John, 5th Baron Monson (1809-1841), inherited by his estate; offered at Christie's(London), 27 June 1854, lot 77.

A VICTORIAN GOLD BRACELET WITH SEVEN ROMAN HARDSTONES INTAGLIOS AND CORAL ROSES. VARIOUS SUBJECTS. Stones: 2nd-3rd century A.D.; Mounting: 19th century185 mm; stone min. 8x11 max. 10x16 mm;27,31 gr.From left to right: red jasper intaglio with a laureated male bust; a burnt agate intaglio with winged Nike; red jasper intaglio with Mount Argaios, two stars and laurel wreath; three layers agate intaglio with standing Hercules holding the club; carnelian intaglio with Hermes; red jasper intaglio with a Gryllos; carnelian intaglio with Offerer. Wear marks. Each intaglio is set in a gold box-setting linked by a double chain ornamented by two coral roses cameos. Provenance: U.K. collection, acquired on the british art market.

A LOT OF 11 ITEMS INCLUDING A MISCELLANEA OF CAMEOS, INTAGLIOS, A MICROMOSAICO AND AN HARDSTONE INTARSIO. VARIOUS SUBJECTS AND VARIOUS MATERIALS. 18th - 19th century Dim max 24 x 29 x 7 mm ; min. 10 x 12 x 3 mm From left to right: bunch of flowers on hardtsones intarsio; a micromosaic showing Piazza San Pietro in Rome; a coral cameo with bust of a woman; lava stone cameo with bust of Bacchante; an agate cameo showing a seated priestress pouring water in a cup; a black hardstone intaglio with bust of a lady facing right; a roman carnelian intaglio showing a standing soldier (Mars ?); an agate intaglio with portrait of a man facing left; an agate intaglio with portrait of an helmeted man facing left; a glass cameo with bust of a Lady facing right; an agate cameo with portrait of a god facing left. Small missing and wear marks.

A LARGE CARNELIAN INTAGLIO SET IN GOLD ENAMELED BROOCH WITH DIAMONDS. HERCULES SECURING CERBERUS. 19th century.Stone 22x29 mm; Brooch 37x40 mm; 11,97 grHercules, facing the entrance to the Inferos, firmly secures Cerberus, holding his fierce three heads between his legs. To the left, the club; to the right, the lion's skin. The gem, rectangular in shape with rounded edges, is mounted in a precious brooch with floral motifs and bows embellished with six diamonds and enamel decorations. The scene takes place horizontally but is based on a Poniatowski gem that instead shows the scene vertically.For the same subject, see : Beazley Archive - Poniatowski database T431, carnelian intaglio HERCULES SECURING CERBERUS signed ΑΠΟΛΛΟΝΙΔΟΥ; current Collection: Paris, Cabinet des medailles, Bibliotheque nationale de France: H 2937, inv 433Previous Collections:Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833): II.325Provenance: U.K private collection

A CARNELIAN INTAGLIO SET IN A GOLD RING. PORTRAIT OF A GENTLEMAN. 18th centuryStone 13x20 mm; int. size 15x17,5 mm; 5,19 gr.Interesting and unusual private portrait of a young gentleman, probably French, facing left. The effigy is characterized by thick hair. Beautiful bright red color of the stone in the original coeval ring.Provenance: French collection, late 19th ; European collection, acquired on the market, early 2000's.

A NEOCLASSICAL CARNELIAN INTAGLIO BY BERINI SET IN A GOLD RING. MALE PORTRAIT. 18th-19th centuryStone 16x23 mm; int. Size 18x20 mm; 9,86 gr.The effigy is turned to the right, with a tunicated bust, wavy hair held by a band (taenia), a broad forehead, an aquiline nose, a slightly open mouth with a grimace of power, the marked features typical of a ruler or of a general. Possibly a portrait of a noble in the guise of a Hellenistic Greek ruler ("ritratto all'antica"). On the cut of the neck, the signature BER for Antonio Berini (1770-1861). Beautiful execution and attractive vivid red color of the stone.Provenance: U.K. private collection acquired on the art market.

A FINE NEOCLASSICAL PONIATOWSKI CARNELIAN INTAGLIO SET IN A GOLD PENDANT. PORTRAIT OF POLLA ARGENTARIA. 19th century.Stone 20x23 mm; H max 42 mm; 16,77 grThe portrait is facing left. In the field, the inscription POLLA ARGENTARIA (wife of the roman poet Lucano). The gemstone has slightly signs of wear and is set in an elegant "Hercules knot" motif swivel pendant.Beazley Archive - Poniatowski database: reference no. 1839-2088Provenance: From the S.A. Poniatowski gems collection. Published in the Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833): IX.3.40Christie's, London: 1839-2088

A LARGE GRAND TOUR GLASS IMPRESSION SET IN A GOLD PENDANT. FOUR DEITIES INSIDE THE ZODIACAL CIRCLE. 19th centuryDiam. 58 mm; H max 83; 65,12 grAfter a large carnelian intaglio executed in the 16th century from the French Royal collection (Collection de Louis XIV, Cabinet du Roi; actually Paris BNF - Cabinet des médailles). The scene is composed by a central area with enthroned Zeus, standing Apollo and Hermes with Neptune, surrounded by the twelve zodiacal signs. This intaglio, the so called "Zodiaque", is after a drawing of Raphael engraved by Marcantonio Raimondi (1480-1534). This dark glass cast impression is taken after this stone during the Grand Tour Era and it is mounted in a solid gold pendant. Brown, Clifford Malcom. Engraved Gems. Survivals and Revivals. Washington : 1997, p.199 et 221, n°101.Chabouillet, Anatole. Catalogue général et raisonné des camées et pierres gravées de la Bibliothèque impériale. Paris : 1858, n°2391.Mariette, Pierre-Jean. Traité des Pierres gravées. Paris : 1750, II, pl.I. BNF Medailles at Antiques Archive: inv.58.2391 for the original stone intaglio (model). Provenance: U.K private collection

A FINE NEOCLASSICAL CARNELIAN INTAGLIO SET IN A GOLD STICK PIN. MENELAUS CARRYING THE BODY OF PATROCLUS.18th - 19th centuryStone 17x21 mm; H max 54 mm; 4,26 grInspired by the models of classical statuary, this powerful scene depicts Menelaus carrying the lifeless body of Patroclus with his shield (or Ajax and Achilles). The anatomical details and the expressive rendering are engraved with great art. In the field, a cartouche with a Greek name in genitive, probably a signature (to be identified): possibly "ΓHEAΡΔOY" . Hatched border. The gem has signs of wear and light internal burn. Provenance: U.K private collection

A NEOCLASSICAL AGATE INTAGLIO SET IN A GOLD STICK PIN. JULIO-CLAUDIAN PORTRAIT. 19th century Stone 10x12 mm; H Max. 64 mm; 3,18This fine engraved portrait of a laureated Julio Claudian emperor can be identified as Augustus. The stone is set in an elegant gold stick pin with intertwined elements in the revival archeological style. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A FINE NEOCLASSICAL SIGNED CARNELIAN INTAGLIO SET IN A GOLD RING. EROS RIDING A LION. 18th-19th centuryStone 12x16 mm; int. diam 17 mm; 6,45 gr.Allegory of "AMOR OMNIA VINCIT", with Eros riding and taming a lion with a whip; the animal touches a goat skull with a paw. Ground line. Below, the pseudo ancient Greek signature "ΑΛΜΟΝ" (Neoclassical). Very fine execution. Scratches and signs of wear.Provenance: U.K collection acquired on the art market

A FINE GRAND TOUR GOLD BANGLE WITH A NEOCLASSICAL AGATE INTAGLIO. ALLEGORICAL SCENE. 19th centuryStone 18x26 mm; int. Size 48x58 mm; 41,95 gr.PIERRET Ernesto (Born in Paris, 1824). A Gold bangle bracelet set with a large agate intaglio. Circa 1860Of archaeological revival design, the oval intaglio, possibly a merchant’s seal, within a rope twist surround, two scrolls to either side, the bangle inscribed ‘SALVE’, translating s the Latin for ‘Hail’. The intaglio shows a Victory riding a quadriga to the left, on top an eagle holding a laurel wreath in its backs and thunderbolts in its paws. Beneath, portrait of a youth facing left, mouse inside a ring and grasshopper on ear of corns. Inscription retrograde ‘M.IVLI’. Ernesto Pierret was one of these jewelers. Born in Paris in 1824, Pierret moved to Rome in the 1840s, where he trained as a goldsmith. Historians speculate that he may have been apprenticed under Castellani, as Pierret's style was very similar to – and often compared to – the more popular Castellani. In 1846, Pierret opened his workshop. It was then that he began to build a reputation. The opening of his studio took place directly after his marriage to Virginia Crespi, the daughter of a wealthy lawyer. These family connections allowed him to move his studio to Rome's illustrious jewelry and artist district, where Pierret began to prosper.Provenance: U.K. private collection acquired on the art market.

A NEOCLASSICAL CARNELIAN INTAGLIO. AJAX KILLING THE ANIMALS.Late 18th- Early 19th century A.D.15x20x4 mmThis scene appears to be a prototype for the Poniatwoski Gems with the same theme. A similar intaglio was engraved by Giovanni Calandrelli (1784-1853 ; see the drawing n° VI.3, p. 95 in Platz-Horster, L'antica maniera). Ajax mad, is depicted with a sword killing the animals of the greeks ( a ram). Wear marks. Made as an ancient revival.Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A NEOCLASSICAL CHALCEDONY INTAGLIO SIGNED J.S BRUN (1792-1860 CIRCA). ORESTES IN FURY. First half of 19th century26x31x7 mmThis scene, with some variations, is recordered in the Paoletti collection, inv.n°.MR27830 (see L. Pirzio Biroli Stefanelli, La collezione Paoletti, Rome, 2012, vol.VIII.I.n°2). Behind the groundline, the signature J.S. Brun. Joseph Silvestre Brun was a French gem engraver, student of François Lemot, François Jouffroy and Nicolas Augustin Matte. Brun was awarded the First Prize of Rome medal engraving in 1817 based upon a depiction of Androcles and the lion. He also executed a silvered bronze medal in 1825 to celebrate the coronation of Charles X of France in Reims.Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A NEOCLASSICAL NICOLO INTAGLIO SIGNED MICHELINI. AESCULAPIUS. 19th century15x20x2 mmOn the back of the gem, the typical signature "Michelini" engraved with the diamond point (Luigi Michelini, 1798-1858); above, a number, below also is specified the type of stone with "Nicolo". Standing figure of Aesculapius facing left, with frontal body and head turned in profile. With his right hand he holds the scepter with the intertwined snake, with the left he holds a snake leaning his elbow against a column. Light wear marks.Provenance: U.K private collection

A GRAND TOUR GLASS PASTE CAST IMPRESSION AFTER AN INTAGLIO. HERCULES SUBDUED BY EROS.19th century14 x 24 x 4 mmThe hero is walking right, naked holding the club and wearing the lion skin. On his back, on top of him, a winged Eros. Allegory of Love triumphing over Strenght. Wear marks.Provenance: From the collection of an european gentleman, acquired on the art market

A GLASS IMPRESSION SET IN A GILDED FOB SEAL. VENUS AND MARS.18th-19th centuryGlass 14x19 mm; H 21 mm; 8,64 grGrand Tour Era glass impression after a prase intaglio in the collection of the King of France (inv.58.2296). Eros crowns Mars and Venus. The god of war holds a shield, while the goddess of beauty leans against an altar. Wear marks. Chabouillet, Anatole. Catalogue général et raisonné des camées et pierres gravées de la Bibliothèque impériale. Paris : 1858, n°2296.Mariette, Pierre-Jean. Traité des Pierres gravées. Paris : 1750, t.II, n°XX..Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A SILVER BOX WITH A GLASS IMPRESSION. BUST OF JUPITER. 19th centuryH Max. 56 mm; Diam. 90 mmLarge glass intaglio from an impression of an ancient cameo from the 2nd century B.C., representing the bust of Jupiter Ægiochus, known under the name of "Cameo Zulian". Found in Ephesus, it is kept today in the Archaeological Museum of Venice. The god, bearded, wears a crown of foliage and the aegis. The molding was executed in very thick glass surrounded by a silver box. For a similar exemplar see: Cabinet des Médailles, Paris, AA.VA.11Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A LARGE CITRINE INTAGLIO. DANTE AND BEATRICE. 19th century Diam. 31x14 mm The scene depicts a famous episode of the Italian litterature when the poet Dante Alighieri saw Beatrice Portinari walking in Florence. The landscape on the background shows the Florentine bridge on the Arno. The large stone is pointed and faceted in the backside. Nice neo-renaissance revival scene. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A GLASS IMPRESSION SET IN A GOLD RING. MASK OF A FAUN.18th centuryGlass 10x12 mm; Int. Size 14,5x15 mm; 4,17 grA three layers glass impression after a Renaissance (or ancient?) intaglio with the mask of a faun slightly in three quarter. The depiction is quite close to the n. 714 and n. 668 Marlborough gems. This mask resembles also that of a Centaur from the Parthenon marble frieze of the Centauromachia. Wear marks. Traces of tools on the gold bezel. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

AN ETRUSCAN CARNELIAN SCARAB INTAGLIO SET IN A GOLD SWIVEL RING. WINGED PHALLUS WITH A DOLPHIN. 5th-4th century B.C. Stone 9,5x12x8 mm; int. Size 15x18,5 mm; 3,40 gr.Winged phallus to the left. Below, a dolphin, to the right. Above, a crescent with a stylized star. Use of globular elements. Dotted frame. Wear marks. Interesting composition, apparently unique. Allegory of fertility under the good astral and marine auspices. Rare.Provenance: U.K. private collection acquired on the art market.

A GRAND TOUR GLASS CAST IMPRESSION. MYTHOLOGICAL SCENE. 18th - 19th century25x32x6,5 mmOn the right, Hercules seated on his lion skin with the club, hands tied behind his back; next to it a double human face like a gryllos. On the left, a standing female figure, probably Dejanira (?) with an Erote riding a creature (a chip prevents the complete reading of the scene). Above, another Erote with a lyre. Probably a Renaissance allegory of the triumph of the Love. The model seems to be inspired by an ancient intaglio from the Granducal Collection called "Sigillo di Nerone" with Apollo and Marsyas. The glass impression instead seems to be stylistically after a Renaissance stone. Wear marks and chips on the edge. Provenance: U.K private collection

A GRAND TOUR PONIATOWSKI GLASS CAST IMPRESSION. MENELAUS DESPOILING THE BODY OF PISANDER [CASSANDER].19th century32 x 35 x 7 mmBeautiful mythological scene signed ΚΡΟΜΟΥ (by Kromos). Dark orange color. Wear marks. This glass impression is after a cornelian intaglio. The original stone is published in Prendeville, J.: Explanatory catalogue of the proof-impressions of the antique gems possessed by the late Prince Poniatowski and now in the possession of John Tyrrell, Esq. (1841): 791. Previous Collections: Catalogue des pierres graves antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833): V.62 (Beazley Archive database). Provenance: U.K. private collection acquired in the british art market.

A RARE UNHEATED CEYLON SAPPHIRE INTAGLIO. KRISHNA RIDING A YALI. 18th century or earlierDiam 20x5 mm circaThe scene depicts a male character wearing an hindu crown in stupa shape, and riding an hybrid creature toward right. The creature with a lion body and a tiger’s head is depicted with a fierceless look. Groundline. Use of globular elements. The Yali was a mythical lion with special powers. When the body is that of a tiger, the creature is called a shardula. Yali figures are considered to be a type of grotesque sculpture, meant to inspire fear and awe, and have iconographies similar to other composite mythological creatures, such as the hippogriff and sphinx of ancient Mesopotamia and Egypt. They are also associated with the mythical griffin. Yali figures are believed to act as guardians and protectors, shielding a temple from threats. The tame form of the yali, typically shown flanking short stairways attached to temple plinths with waterfalls emerging from their open mouth, is known as the surul-yali. Yalis were also considered divine vehicles for deities, and were used to signify heroism and the elemental forces of nature, tamed and controlled by being incorporated into architecture and sculpture. Large unheated stone of great rarity. Wear marks. Minor chip on the edge. See: pair of Architectural Brackets in the form of a rampant leonine creatures (Yali or Vyala), from a processional Mandapa; Madurai, Tamil Nadu, India c. 17th century, ivory with traces of paint, Los Angeles, County Museum of Art. See also: A knight riding the mythological Yali, Jalakanteeswarar Temple, 16th century A.D. and Kesava Temple, Vasu Krishnan, 13th century A.D. Further reserches are necessary.Provenance: U.K. collection, acquired on the british art market. Accompanied with a U.K. gem laboratory test.

A GRAND TOUR CARNELIAN INTAGLIO SET IN A GOLD RING. SEATED MUSE. End of 18th century Stone 13 x 17 mm; internal size 17 mm.7.34 gr.A fully dressed and veiled woman, seated on a chair with turned legs, and holding an ivy leaf up to her face, pensively, contemplates a column on which is seated a boy streatching his arms to her. Footstool and groundline. Behind, a support with an helmet. She is probably a version of a figure of a Muse, after the garnet in hte Cabinet des Medailles (Calpurnie inquiete sur la sort de Cesar, Mariette 1750, pl. 104) which Vollenweider takes to be a portrait of Arsinoe III with an infant Cupid or Bacchus. D. Scarisbrick, C. Wagner, J. Boardman, The Beverly collection of gems at Alnwick Castle, p. 217Provenance: U.K private collection from the british art market.

A POSTCLASSICAL CARNELIAN INTAGLIO SET IN A MODERN SOLID GOLD RING. EROTIC SCENE. 19th - 20th century Stone 12x15 mm; int. size 16x18 mm; 7,10 gr A female figure is jumping with widespread legs on a huge phallic idole. On each side, a male figure facing down to the ground. Groundline. Wear marks. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A NEOCLASSICAL LARGE CARNELIAN OCTAGONAL INTAGLIO SET IN A MODERN GOLD RING. EROTIC PROCESSION OF A PHALLUS. 19th centuryStone 25x28,5 mm; int. Size 17,5x20 mm; 21,73 grThe scene depicts an erotic allegorical processiom. On the right side, a monumental altar-shaped chariot supporting a huge phallus. The chariot is pulled by an Erote riding a bull to the left. He is surronded by maenades playing trumpets and an erote riding a goat. The procession is going towards a giant vagina, the lips opened by two erotes as they were opening a curtain. On top, a winged erotes is crowning the phallus with a laurel wreath, as in a triumph. Groundline. Slight wear marks.Provenance: From a private collection, France, acquired on the art market in the early 2000s

A POSTCLASSICAL RED JASPER INTAGLIO. EROTIC SCENE. 19th - 20th century24x28x4 mmA fox is penetrating from behind a woman facing left, with her palms and knees on the ground. In front of her a large vase. Double ground line. Post-classical work on the ancient style. Traces of modern tools not pertinent to antiquity. Signs of wear and small natural defects on the stone surface.Provenance: From a private collection, France, acquired on the art market in the early 2000s

A LATE GREEK HELLENISTIC GOLD RING WITH A GARNET INTAGLIO. THUNDERBOLT. 3rd - 2nd century B.C. Stone 10x14 mm; int. size 13x18 mm; 7,13 gr With rounded hoop expanding upwards on the shoulders and surmounting a large oval bezel with thick edges, containg a high raised garnet intaglio; thunderbolt. Crack on the stone and wear marks. Good overall conservation. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A FINE GREEK PTOLEMAIC GARNET INTAGLIO SET IN A LATER GOLD RING. BUST OF ISIS. Stone 3rd - 2nd century B.C. Ring 3rd century A.D.Stone 7x9,5 mm; int. diam. 18 mm; 9,13 grWith a flatten hoop within and rounded without, the shoulders project strongly in angular shaped, decreasing upwards onto an oval box-setting with gold globules on the frame and containing a ptolemaic garnet intaglio; head of Isis facing left characterized by calamistrate hair adorned with a band. The face features are young, with a large almond eye, straight nose and small semi-opened mouth. Wear marks. Beautiful conservation.D. Plantzos, Hellenistic Engraved Gems, pl. 11 n. 64,65, 66. M-L Vollenweider, Camees et intailles, Les portraits grecs du Cabinet des Medailles, Tome I, p. 55 n. 91-92. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A GREEK LATE HELLENISTIC GARNET INTAGLIO SET IN A GOLD RING. ATHENA. 2nd-1st century B.C. Stone 11x15 mm; int.diam 16 mm; 10,71 grWith rounded hoop, expanding in broader rounded shoulders and set with a fine cabochon garnet intaglio depicting the helmeted goddess advancing in three-quarters. She wears the chiton and himation, the spear in her left rised hand and the shield in the right one. Groundline. Beautiful colour of the stone, wear marks. For the type see D. Plantzos, Hellenistic engraved gems, plate 64 (The Neo-Attic Tradition)Provenance: U.K. private, acquired on the art market 1980s-1990s

A GREEK HELLENISTIC GARNET INTAGLIO SET IN A GOLD NECKLACE ELEMENT. PORTRAIT OF ALEXANDER THE GREAT.2nd century B.C.Stone 11x12 mm; 2.58 grThe gold ornament is round and adorned with two series of gold spherical beads divided in platted gold. Presence of a suspension hoop, (missing the other one). In the center, a large circular, slightly cabochon garnet intaglio figuring the portrait of Alexander the Great facing left. He is characterized by the typical presence of the Amon's horns and the the long hair. The presence of some globular elements for the anatomical details is referable to a Greek workshop.Wear marks.Provenance: U.K. private, acquired on the art market 1980s-1990s

A GREEK HELLENISTIC GARNET INTAGLIO. STANDING FEMALE FIGURE.3rd - 2nd century B.C. 13x22x3,5 mmThis elongated gem is very close to the socalled group known as "gems for the Masses". The female figure is standing, dressed in a tunic, and holding a scepter (or thyrsus?) in her right hand. Presence of globular elements. Groundline. Small chips on the edge. Wear marks.D. Plantzos, Hellenistic Engraved Gems, n. 277-297.Provenance: Formerly in the D.C. collection, London ; acquired by an international french collector from the above in the early 2000s.

A GREEK LATE HELLENISTIC GARNET INTAGLIO. FRONTAL FACE OF ZEUS AMMON. 2nd century B.C.13,5x15x6 mmInteresting example of late Hellenistic Greek portrait with a deeply carved, almost frontal head of Zeus Ammon (ram's horns) on the typical slightly convex garnet ( concave in the backside). Small missing on the edge and wear marks.D. Plantzos, Hellenistic Engraved Gems, n. 191 (from Oxford, Ashmolean Museum 1892.1508).Provenance: Formerly in the D.C. collection, London; acquired by an international french collector from the above in the early 2000s.

A BURNT AND CALCIFIED ROMAN CARNELIAN INTAGLIO SET IN A SILVER FRAME. MASK OF A SILENUS.1st century B.C. - 1st century A.D.12x14,5x4 mmAlmost frontal mask of Silenus, characterized by a long beard and a crown of grape leaves. Powerful and expressive portrait, deeply engraved. The stone is partially burnt and calcified. Wear marks.Provenance: From a private collection, France, acquired on the London art market 1990s-early 2000s

A LATE HELLENISTIC GARNET FRAGMENTARY INTAGLIO. MALE PROFILE2nd century B.C.14x18x3 mmThis beautiful fragment shows the face of a Greek hero or god, characterized by a straight nose, beautiful plain lips and almond-shaped eye with heavy eyelid. Cracks and wear marks. Provenance: This lot is sold under temporary import status.

A LATE HELLENISTIC GARNET INTAGLIO. BUST OF ATHENA. 2nd-1st century B.C.9x12x5 mmThe helmeted goddess is facing left. The surface of the stone is highly convex. Wear marks. Provenance: U.K. private collection

A GREEK LATE HELLENISTIC CARNELIAN INTAGLIO. HEAD OF A GODDESS. 2nd-1st century B.C.11x13x3 mmThe laureated goddess is facing left. Presence of globular elements. Scratches and wear marks.Provenance: U.K. private collection

AN ITALIC CARNELIAN INTAGLIO. THEATRICAL MASK. 1st century B.C. 10x12x2 mmSmall theater mask facing left, engraved in the center of the field with large space around. Presence of globular elements. Slight wear marks.Provenance: From a private collection, France, acquired From the Galerie de Serres, Paris in the 1990s-early 2000s

AN HELLENISTIC CARNELIAN INTAGLIO. BUST OF A NEREID.3rd-2nd century B.C.12x15x3 mmThe young figure is facing left, and characterized by a slightly open mouth, rounded chin, long and thick hair, with strong inspiration from the Hellenistic models. The face is characterized by delicate features finely engraved and mirror polished. The left shoulder is seen from behind, as in the typical movement of swimming. The figure is variously interpreted as Nereid or as Leander crossing the Dardanelles to reach the lover Eros. Slight wear marks.Parallels: A. Giuliano, I cammei dalla Collezione Medicea del Museo Archeologico di Firenze, pp. 216-217; L. P. B. Stefanelli, La collezione Paoletti, vol. 1, tomo 2 n. 218, tomo 3 n. 480; Le Gemme Farnese, 1994, p. 122 n. 184 (225); G.M. A. Richter, Engraved gems. Greek, Etruscan and Roman, The Metropolitan Museum of New York, n. 150; J. Boardman, Greek gems and finger rings, n. 1003.Provenance: U.K. private collection

A PTOLEMAIC CARNELIAN INTAGLIO. BUST OF YOUTH WITH PHRYGIAN CAP. 2nd-1st century B.C. 14,5x16x4 mmThe male character is shown from behind, his head in profile facing left upward. He is characterized by a laureated Phrygian cap. The features of the face shown a large almond eye straight nose and semi-opened lips with proturding chin. His musculature is raised by strong shoulders covered by a cloak. The effigy can probably be identified with Paris. Chips and loss on the edge. Wear marks. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A FINE GREEK GARNET INTAGLIO. STANDING HERCULES. 2nd century B.C.13x19,5x5 mmIn a contrapposto posture, the head facing right, the hero is standing naked, holding the club and the lion skin with the right arm and rising his left arm outwards. Groundline. Use of globular elements. Very fine anatomical details. Mirror polished. Beautiful colour of the stone. Very convex gem.Wear marks. Provenance: Ex Sangiorgi collection, acquired in the late 19th-early 20th century ; Ex Christie's NY, 06/12/2007, lot 319. This lot is sold under temporary import status.

A LARGE GREEK PTOLEMAIC HELLENISTIC AMETHYST INTAGLIO. CORNUCOPIA. 3rd - 2nd century B.C.14 x 19 x 4 mmBeautiful cornucopia full of details and decorations, typical of the Ptolemaic Greek taste. The cornucopia is radiate and is wrapped in a ribbon that hovers in the air. The tip is particularly elaborate expressing opulence. The subject is engraved on an extraordinary large elongated cabochon amethyst, characterized by a splendid brightness and vivid color. Slight wear marks. For a close parallel, see the Greek ptolemaic kingdom coinage: Ptolemy III Euergetes. Gold Mnaieion, 246-222 B.C., Alexandria, under Ptolemy IV. Bust of the deified Ptolemy III wearing diadem and aegis; reverse: radiate and filleted cornucopia with greek inscription. Svoronos 1117. This particular type was struck by Ptolemy IV Philopator to commemorate his deified father, Ptolemy III Euergetes, as part of the gold donative paid to his troops during the fourth Syrian War (219-217 BC). Provenance: U.K collection acquired on the art market, 1990s-2000s.

A ROMAN CHALCEDONY INTAGLIO. CHIMERA. 1st century B.C.11x14x3 mmThe hybrid creature is composed of lion body, goat protome on back, snake tail. The beast walks by raising its right paw upwards. Groundline. Wear marks and minimal chips to the edge. Beautiful choice of the stone. Provenance: U.K private collection

A LARGE ROMAN GOLD RING SET WITH A CARNELIAN INTAGLIO. ATHENA WITH HER WEAPONS AND A SNAKE. 2nd-1st century B.C.Stone 13x18 mm; int. size 16x20 mm; 7,49 grWith rounded hoop expanding upwards onto an oval bezel with a carnelian intaglio; the helmeted goddess is standing left, her left arm resting on a column, the hand holding the spear. Her right hand raised mastering the snake. Behind the column, her shield. Groundline. The presence of the snake linked to the goddess can be referrable to Cecrope; chtonian deity adorned in Athens, hypostasis of the sacred animal born from the ground. The snake is considered as the mythical hero and first king of Athens. The snake is Athena's sacred animal, with reference to the Winsdom, the Knowledge and the prophecies. The scene is inspired by a classical greek relief. Mirror polishing. Wear marks. Provenance: U.K. private collection

A ROMAN GARNET INTAGLIO SET IN A LATER GOLD RING. NIKE. 1st century B.C. - 1st century A.D. Stone 11x13 mm; Int. Size 16,5x17,5 mm; 5,25 grThe winged Victory is facing left, holding a laurel wreath and a palm branch. Use of globular elements. A lovely deep red cabochon garnet set in a Victorian gold ring. Wear marks. Provenance: U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A FINE LATE ROMAN REPUBLICAN SARD INTAGLIO SET IN A GOLD RING. ATTIS WITH TWO SPEARS. 1st century B.C.Stone diam. 15 mm; int. Size 18x20 mm; 5,35 grA male character advances to the right, walking on tiptoe. With his left hand he holds two spears, while bringing his right hand towards his face. He wears a cloak on his back and a Phrygian cap on his head, which is characterized by small curls. Use of globular elements. The subject is to be identified. The attributes may be referrable to Attis, while the pose and gait to a theater actor in the act of impersonating a mythological hero. Rare. Wear marks.Provenance: U.K. private collection

A ROMAN AGATE INTAGLIO SET IN A GOLD RING. THEATRICAL MASK. 1st century B.C. - 1st century A.D.Stone 10x13 mm; int. size 17x18 mm; 3,92 grThe hoop expanding upwards in two sections and surmounting an oval grooved box-setting with a two-layered agate intaglio. Frontal theatrical mask. The face characterized by strong features, a long beard and hair and bulging eyes engraved with a circular line. Interesting type. Wear marks. Provenance: U.K. private collection

AN ITALIC CARNELIAN INTAGLIO SET IN A MODERN BICOLOR GOLD RING. POMEGRENATE. 2nd - 1st century B.C. Stone 5,5x6,5 mm; int. diam 18 mm; 9,92 gr.A stylized pomegrenate, depicted with a globular element and engraved details. Wear marks.Provenance: European collection, acquired on the market, early 2000's.

AN ITALIC BANDED AGATE SCARAB INTAGLIO. HERCULES KILLING THE STYMPHALIAN BIRDS.2nd century B.C.Scarab 15 x 19 x 11 mm; 7,6 grsWith stylized design in the back, the flat is engraved with the mythical hero bowing at two birds of the Stymphalian lake. Groundline. Dotted frame. Edge slightly chipped. Nice mirror polishing and wear marks. The scarab pierced lenghtwise is mounted on a 19th century gold swivel seal with suspension hole. P. Zazoff, Etruskische Skarabaen, n. 216 ss for the style and 278 for the subject. Provenance: From the collection of an European gentleman, acquired on the art market

A LARGE ROMAN ITALIC BANDED AGATE INTAGLIO. ULYSSES ON THE BOAT. 2nd - 1st century B.C.16 x 19 x 4 mmUlysses bond to the mast of his ship with a monster prow and aplustre, with five rowers and a steersman. Three Sirenes stand on the top sail. It depicts the scene from Homer's Odyssey in which Odysseus (Odysseus) resists the haunting song of the sirens by being tied up by the crew of his ship, while they are ordered to plug their ears so as not to hear them. The mythical scene is masterfully depicted here in a well composed and detailed manner. Large stone. Use of globular elements. Interesting use of the white band following the composition of the scene. Great subject. Wear marks. For Parallels: J. Boardman, J. Kagan, C. Wagner, Natter's Museum Britannicum, p. 201 n. 478: L. P. B. Stefanelli, La Collezione Paoletti, vol.I, tomo II n. 97 ( carnelian intaglio, Berlin, Staatliche Museum, coll. Stosch, Furtwangler 1896 p. 255 n. 6880. Impronte Cades 31, III F, 22. Tassie 9550. Provenance: U.K collection acquired on the art market, 1990s-2000s.

A LATE ITALIC BANDED AGATE INTAGLIO. WARRIOR.2nd - 1st century B.C.7 x 10 x 2 mmShown kneeled to the right with crested helmet and shield in the act of making a devotion (probably). Chip on the edge. Military votive scene. Wear marks.Provenance: From the collection of an European gentleman, acquired on the art market

A ROMAN BANDED AGATE INTAGLIO. DIOSCURI EMBLEMA. 1st century B.C. - 1st century A.D. 15 x 19 x 3 mmIn the center a caduceus, on the sides two pileus caps with a star above them, referring to the Dioscuri. Beautiful emblema, elegant in composition and refined in execution. Use of globular elements. Fine variety of the stone. Wear marks.Provenance: U.K. private collection acquired in the British art market.

A ROMAN BURNT AGATE INTAGLIO. FORTUNA TYCHE. 1st century B.C. - 1st century A.D.7x13x2 mmThe standing goddess is facing right. She wears a modius and dressed with a peplos and an himation. On her right arm, she holds the cornucopia, and the rudder on her left hand. Groundline. Use of globular elements. Attractive color of the burnt stone.Provenance: U.K private collection