Marlborough Database

All Comments are listed below. To search on one of these, click on the name.

A copy of the Colonna Venus (?), which is an ancient replica of the Aphrodite of Knidos by Praxiteles, which Phryne is thought to have modeled for.  
A drawing by Bartolomeo Pinelli (ROME 1781 - 1835) seems to have been inspired by the gem impression.  
A magic gem.  
A monster on the base  
A perfect imitation of Agate or Nicolo.  
AFTER TWO PLATES IN CHIFLET  
AGIDES (PONIATOWSKI, CHRISTIE'S)  
An imitation of a Sard  
An imitation of Agate  
An intaglio impression is labelled 530.  
Antique English, solid sterling silver box with a gilt interior, the lid set with t103. English hallmark for B'ham 1898. Maker's marks rubbed.  
ATTRIBUTED IN MANUSCRIPT  
ATTRIBUTED TO BURCH  
ATTRIBUTED TO X  
ATTRIBUTED TO X IN MANUSCRIPT  
BACK OF 113 (?)  
BACK OF 127  
BACK OF 133.  
BACK OF 135.  
BACK OF 150.  
BACK OF 217  
BACK OF 224  
BACK OF 496 ?  
BACK OF 96 (?)  
Backed with gold.  
Beazley Archive 44b, on display in the Italy Gallery, Ashmolean Museum  
BELONGS TO 218  
BELONGS TO 253  
BELONGS TO 254  
BELONGS TO 256  
BELONGS TO 257  
BELONGS TO 259  
BELONGS TO 289  
BELONGS TO 290  
BELONGS TO 293  
BELONGS TO 294  
BOTH CHRISTIE'S: SARDONYX  
BOTH VERSIONS OF THIS SUBJECT ARE NOT QUITE CORRESPONDING TO THE ORIGINAL DRAWING  
Brooch description in the NY sale: Gold, Orange Glass Intaglio and Cabochon Citrine Clip-Brooch, Elizabeth Locke 18 kt., mother-of-pearl backed, with maker's mark, ap. 31.3 dwts.  
Brought to Italy as part of the Versaille treaty (reparations): VIII. Teil. Wiedergutmachungen; Anlage I. Toskana: '... die Gemme des Aspasios (auf Rechnung von Schulden des Hauses sterreich an die Krone Toskana).'  
BROWN, BY ATTRIBUTION  
Burnham: 'The onyx was frequently engraved, a remarkable specimen being afforded by the Corinthian helmet on jasper-onyx. An imitation of this engraving constituted the chef-d'?uvre of the notorious Poniatowsky collection.'  
Burnham: 'The onyx was frequently engraved, a remarkable specimen being afforded by the Corinthian helmet on jasper-onyx. An imitation of this engraving constituted the chef-d'uvre of the notorious Poniatowsky collection.'  
CAFFREY CATALOGUES THE SUBJECT 'JASON IN THE ARGO, RESCUING CHILDREN'. CHRISTIE'S MISREADS THE SIGNATURE LIKOS  
CAFFREY CATALOGUES THE SUBJECT 'JASON IN THE ARGO, RESCUING CHILDREN'. CHRISTIE'S RECORDS THE SIGNATURE AS LIKOS  
Cameo after Poniatowski (Ebay)  
Cf. Seidmann, Marchant 124 (the original once in the Marlborough collection).  
CHAFFERS CATALOGUES IT AS EMPEROR AURELIUS  
CHALCEDONY  
Chalcedony set by Taffin jewelery.  
Christie's 1839 misidentified - no material  
CHRISTIE'S 1839: SARDONYX  
CHRISTIE'S AND PONIATOWSKI SIGNATURE  
CHRISTIE'S INSCR.:SOSOKOS  
Christie's misidentified - no material  
CHRISTIE'S RECORDS THE SIGNATURE: LIKOS  
CHRISTIE'S: PLOTINUS  
CHRISTIE'S: AMETHYST  
CHRISTIE'S: APOLLONIDES  
CHRISTIE'S: APOLLONIDES AND CORNELIAN (REPEATING T314)  
CHRISTIE'S: APOLLONIDOU  
CHRISTIE'S: CHALCEDONY  
CHRISTIE'S: CHALCEDONY SAPPHIRE  
CHRISTIE'S: CHALCEDONY. There seems to be some confusion in the 1839 Christie's catalogue about T90 and T91: only one entry was made although both are listed in the pierres gravees and were bought by Tyrrell.  
CHRISTIE'S: Chrysoprase  
CHRISTIE'S: CORNELIAN  
CHRISTIE'S: CORNELIAN - THE VEIL FORMED IN THE DARKER PART OF THE STONE  
CHRISTIE'S: CORNELIAN ; SEE ALSO T472  
CHRISTIE'S: CORNELIAN. Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia.  
CHRISTIE'S: CRYSTAL  
CHRISTIE'S: CRYSTAL; Tyrrell: Amethyst  
CHRISTIE'S: GNAIOS  
CHRISTIE'S: KROMOS  
CHRISTIE'S: KROMOU  
CHRISTIE'S: KROMOU. SEE ALSO CALANDRELLI DRAWING FOR T375  
CHRISTIE'S: LIKAIOS  
CHRISTIE'S: LIKOS  
CHRISTIE'S: MYKONOS  
CHRISTIE'S: NO MATERIAL OR INSC.  
CHRISTIE'S: NO MATERIAL OR INSCR.  
CHRISTIE'S: NO MATERIAL OR INSCRIPTION  
CHRISTIE'S: NO MATERIAL, INSCR.; SEE ALSO THE EARLY CALANDRELLI DESIGN - NOT IMPLEMENTED  
CHRISTIE'S: NO SIGNATUR  
CHRISTIE'S: NO SIGNATURE  
CHRISTIE'S: ORPHEUS REPULSED BY ACHERON  
CHRISTIE'S: PYRGOTELES  
CHRISTIE'S: SARDONYX  
CHRISTIE'S: SINEUS  
CHRISTIE'S:SARDONYX  
CHRISTIE'S:SARDONYX; SEE ALSO T814  
City Museum and Art Gallery. Entry 10946/09.97  
Collections of intaglios and cameos of emperor heads based on coin types were very popular in the 18th century.  
COMPARE TO THE CALENDRELLI DRAWING ALSO 1839-833  
COMPARE TO THE CALENDRELLI DRAWING ALSO T945  
copy made by Chavdar Chushev, sold on ebay Febuary 2005  
Could this be the gem described in: Allgemeines Repertorium der neuen in-und auslandischen Literatur  
Could this be the gem described in: Allgemeines Repertorium der neuesten in-und auslaendischen Literatur fuer 1830, p.333?  
Could this be the gem described in: Beck: Allgemeines Repertorium der neuesten in-und auslaendischen Literatur fuer 1830 (1830), p.333?  
CUT FROM A SCARAB  
Cut in sunken relief.  
Cut in the brown layer, set in a gold ring with serrated edge.  
Discoloured for the figures (see King 318).  
Dont l' Original en Came est dans le Collge de S Ignace Rome.  
Drawn from a Cornelian from the Cabinet of Chev  
Drawn from a Jasper blood from the Cabinet of the King of France.  
Drawn from a stone which published by Maffei at summer  
DREYFUSS/KRESS BRONZE IN THE NATIONAL GALLERY OF ART WASHINGTON, BASED ON THIS GEM  
EGYPTIAN PEBBLE  
EITHER PAOLETTI OR CADES HAS THE PONIATOWSKI VERSION  
End style.  
Engraved face.  
Engraved in the upper black layer, set in a modern gold ring.  
Engraved into an antique gold ring  
Engraved on both sides  
ENGRAVED ON BOTH SIDES - BELONGS TO 298  
ENGRAVED ON BOTH SIDES - BELONGS TO 299  
Engraved on both sides.  
Etruscan  
Etruscan engraving, which is characterised by the feel of the design  
Etruscan engravings  
Etruscan ringstone.  
Etruscan scarab  
Etruscan scarab with meander pattern.  
Etruscan scarab.  
Etruscan work  
Etruscan work.  
Etruscan.  
Etuscan scarab  
Figure 7  
Five-layered, set in a gold ring; oval bezel with clipped ring and open back.  
Foiled  
Foiled, in mount with inset stones; mount 37x27.  
Foiled, set in a plain octagonal gold ring.  
Foiled, set in an enamelled gold ring.  
Foiled.  
Formerly on the reverse of S230.  
Formica at the bottom.  
Found by Pre-Construct Archaeology Ltd  
FRACTURE  
Fragment  
Fragment.  
Fragment. Engraved on both faces.  
Fragment. Engraved on both sides.  
From a bronze ring.  
From an ancient gold ring  
Furtwngler probably confused the Calandrelli copy of the Boncompagni and Boncompagni Ludovisi collections, now in Boston, Museum of Fine Arts, coll. Warren, inv. 10.174, with the original when he believed it to be ?ex-Ponitowski collection (Furtwaengler, A.: Die antiken Gemmen (1900): 112, pl.23.4 'ex Poniatowski collection').  
Furtwngler probably confused the Calandrelli copy of the Boncompagni and Boncompagni Ludovisi collections, now in Boston, Museum of Fine Arts, coll. Warren, inv. 10.174, with the original when he believed it to be ex-Ponitowski collection (Furtwaengler, A.: Die antiken Gemmen (1900): 112, pl.23.4 'ex Poniatowski collection').  
Furtwngler probably confused the Calandrelli copy of the Boncompagni and Boncompagni Ludovisi collections, now in Boston, Museum of Fine Arts, coll. Warren, inv. 10.174, with the original when he believed it to be from the Ponitowski collection (Furtwaengler, A.: Die antiken Gemmen (1900): 112, pl.23.4 'ex Poniatowski collection').  
Furtwngler probably confused the Calandrelli copy of the Boncompagni collection, now in Boston, Museum of Fine Arts, coll. Warren, inv. 10.174, with the original when he believed it to be from the Poniatowski collection (Furtwaengler, A.: Die antiken Gemmen (1900): 112, pl.23.4 'ex Poniatowski collection'). It is more likely that Calandrelli's design for Poniatowski was an original composition, as the drawing suggests, and not a copy of the Bon  
Furtwngler probably confused the Calandrelli copy of the Boncompagni collection, now in Boston, Museum of Fine Arts, coll. Warren, inv. 10.174, with the original when he believed it to be from the Ponitowski collection (Furtwaengler, A.: Die antiken Gemmen (1900): 112, pl.23.4 'ex Poniatowski collection').  
Furtwngler probably confused the Calandrelli copy of the Boncompagni collection, now in Boston, Museum of Fine Arts, coll. Warren, inv. 10.174, with the original when he believed it to be from the Ponitowski collection (Furtwaengler, A.: Die antiken Gemmen (1900): 112, pl.23.4 'ex Poniatowski collection'). It is more likely that Calandrelli's design for Poniatowski was an original composition, as the drawing suggests, and not a copy of the Bonc  
Furtwngler took the stone for ancient, Beazley for 16th cent. The reversed type appears on an ancient Medici gem in Naples (see LHG; without the small boy).  
GARNET WEIGHING 300 CARATS  
gild ring  
Gilt ring  
Gilt ring, swivel bezel  
GLASS COPY: Ebay: 1.03.03  
GLASS IMPRESSION  
Glass impression (?) Ebay  
Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia.  
Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia. SET IN A NECKLACE WITH THIRTEEN INTAGLIOS.  
Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia. T854.  
Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia. THE AMETHYST APPEARS TWICE IN THE NORTHWICK CATALOGUE  
Glass impression Tagliamonte in Venice.  
Glass impression: Chavdar Cushev  
Glass impression: Chavdar Cushev - wrong material in catalogue: amethyst  
GLASS IMPRESSION: EBAY  
Glass impression: Ebay: 27.03.03  
Glass impression: Tagliamonte, Venice.  
gold mount  
Gold ring  
gold ring, inset garnets  
Gold ring, swivel bezel  
Gold, Orange Glass Intaglio and Cabochon Citrine Clip-Brooch, Elizabeth Locke 18 kt., mother-of-pearl backed, with maker's mark, ap. 31.3 dwts.  
Greek work of Allione.  
Greek work of Athenion  
Greek work of Aulo.  
Greek work of Diodcoride.  
Greek work of Farnaces  
Greek work of Mirone.  
Greek work of Onesas.  
GUARNACCINO  
Guarnaccino Yellowish-red garnet  
Heavily polished.  
High-relief.  
IDENTICAL TO THE NEXT  
Image of impression kindly supplied by Dana B. Pollard Collection.  
Image of impression kindly supplied by Dana B. Pollard.  
Imitating a Sard  
Imitating onyx.  
Imitating sard  
Imitation of a sard  
Imitation of agate. In the collection of prints is another soldier with in the same attitude with letters XXX.  
IMPERFECT INSCRIPTION: NIKOMAS?  
IMPRESSION MISSING  
Impression: Berlin, Antikensammlung  
Impression: Kromou  
In a beaded setting  
In a beaded setting; mount 20x13.  
In a beaded setting; mount 21x18.  
In a beaded setting; mount 26x22.  
In a floral setting  
In a gilt silver mount.  
In a gold ring.  
In a gold setting with inset stones; mount 35x30.  
In a mount with inset stones.  
In a rope-pattern setting; mount 35x27.  
In a setting  
In a setting with inlaid stones; mount 72x55.  
In a setting with inset stones; mount 155x110.  
In a setting; mount 35x23.  
In an enamelled setting with flowers; mount 70x58.  
In an enamelled setting with small table diamonds; mount 58x37.  
In ancient gold mounting.  
In gold wire setting with garnets; mount 72x51.  
IN GOLD-ENAMELLED MOUNT  
IN ORIGINAL FILIGREE SETTING  
In setting of a gold vine; mount 48x40.  
In setting with garnets; mount 48x36.  
In the form of a scarab  
In the form of a scarab.  
In the form of an ancient scarab made of gold  
In the photograph, this gem appears AFTER no. 6.I.H.24  
In the photograph, this gem precedes no. 6:1.H.23  
INSCR.: ALLOS?  
Inscription in Etruscan alphabet 'Neptune'.  
Intaglio  
INTAGLIO MARKET - PROBABLY NOT THE PONIATOWSKI GEM  
It is oblong with three borders.  
It was set in a 'festoon swag' with other intaglios while property of the estate of Robertson Davies and was sold in the setting by Dupuis.  
It was was sold set in a 'festoon swag' with four other intaglios by Dupuis, who handled the estate sale of Brenda and Robertson Davies.  
It was was sold set in a 'festoon swag' with other intaglios by Dupuis, who handled the estate sale of Brenda and Robertson Davies.  
It was was sold set in a 'festoon swag' with other intaglios by Dupuis.  
Italic  
Italic. Set in a gold ring.  
Italic. Set in a modern gold ring.  
JACINTH GUARNACCINO  
Judith Barber found this cameo copy of the Poniatowski intaglio on ebay.  
L' Original en Came toit dans le Cabinet du Prieur Vaini Rome.  
La parole, XXX l'anne, signifie une chose qui rtourne en soi - mme.  
Likos in Christie's  
Lippert says it belongs to the Duke of Orleans, which is not true...'  
LIPPERT: CHALCEDONY  
LITERARY SOURCE: B. CORNWALL  
LITERARY SOURCE: SHELLEY  
LITERARY SOURCE: SHELLEY. Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia.  
Marlborough 233 (C. Davis)  
MATERIAL: STRIPED SARD  
metal ring  
missing impression  
MISSING IMPRESSION, BY BROWN?  
Monson signature: Charitonos  
MONSON: ADMON [VENUS AND AENEAS]  
MONSON: GNAIOS  
MONSON: PYRGOTELES  
Moulded on a Cornaline of the Cabinet of the Emperor with Florence  
Moulded on a Sard of the Cabinet of the Emperor with Florence.  
Moulded on an amethyst.  
Mounted as a gold seal with openwork handle.  
Mounted as a seal  
Mounted as a seal.  
mounted in 18k yellow gold, 4.0 x 3.5 cm.  
Mounted in a enamelled frame with sardonyxes and onyxes; mount 123x91.  
Mounted in a ring enamelled with thyrsoi and vines (see King 1861, 317).  
Mounted in an ancient gold ring  
Mounted in an ancient iron ring  
Mounted in an antique ring  
Mounted in an iron ring with chased gold shoulders and bezel.  
Mounted in blue enamel gold locket with fleurs-de-lis.  
Mounted in enamelled gold, with a pair of folded wings, a pearl under the chin; mount 50x38.  
Mounted on a gold fob with enamelled fleurs-de-lys making a design like a mask.  
Mounted on a gold ring.  
Mounted on an antique bronze ring  
Name of the maker KVINTIA  
NO INSCR OR MATERIAL IN CHRISTIE'S  
NO MATERIAL OR INSC. IN CHRISTIE'S  
NO MATERIAL OR INSC. IN CHRISTIE'S; SEE ALSO T1142  
NO.115 IN THE TASSIE CATALOGUE  
NO.115 IN THE TASSIE CATALOGUE. ENGRAVED BY PICHLER  
Now set in a gold bangle by Bulgari. Christie's 2014 description of the lot: Centering upon an oval-shaped cornelian intaglio, depicting pimnide in profile, with baguette-cut diamond bomb shoulders, to the fluted gold hinged cuff, inscribed to the reverse of the intaglio 'EPIMENIDE 1 QUARTO XIX SEC', inner circumference 15.7 cm Signed Bulgari  
Now set in a gold bangle by Bulgari. Christie's description of the lot: Centering upon an oval-shaped cornelian intaglio, depicting pimnide in profile, with baguette-cut diamond bomb shoulders, to the fluted gold hinged cuff, inscribed to the reverse of the intaglio 'EPIMENIDE 1 QUARTO XIX SEC', inner circumference 15.7 cm Signed Bulgari  
Now set in a necklace  
Now set in a necklace.  
OBVERSE OF 354  
OBVERSE OF 372  
OF THE LARGEST SIZE  
ON A CUP  
On a gold seal  
On the photograph, this description goes with the gem that follows on from no. 12.II.A.430  
On the photograph, this description seems to go with the gem that is two after no. 12.II.A.427  
ONYX  
ONYX IN THREE LAYERS  
ONYX OF CORNELIAN  
ONYX OF FOUR LAYERS  
ONYX OF THREE COLOURS  
ONYX OF THREE LAYERS  
ONYX OF THREE STRATA  
ONYX OF THREE STRATA, SET WITH SMALL BRILLIANTS  
ONYX OF THREE STRATA, SWIVEL SETTING  
ONYX OF TWO LAYERS  
ONYX OF TWO STRATA  
ONYX OF TWO STRATA, CIRCULAR SHAPE  
OR 1839-1322  
OR 1839-331 [HERCULES AND ANTAEUS, Solon]  
OR 1839-668; T924  
OR CHALCEDONY  
OR SARDONYX (TASSIE)  
orange over white  
ORIENTAL CHRYSOLITE OF BRILLIANT QUALITY  
Original is in the Cabinet of Mylord Holdernesse.  
Original must be engraved with much smoothness  
OTHER LITERARY SOURCE: BYRON  
Outlined Etruscan work  
Outlined Etruscan work.  
PARTIALLY RESTORED WITH GOLD  
PERHAPS 1839-1146; SEE T1141  
PHILLIPS: AMETHYST; SET IN AN AMETHYST NECKLACE WITH TWELVE CAMEOS AND INTAGLIOS. The gem copies the bust of Aeschylus from the Capitoline Museums, Rome  
Phoenician  
Photo and impression: Anne M. Coleman  
Photo and impressions: Anne M. Coleman  
Photo Antikensammlung, Staatliche Museen zu Berlin. Photographer: Barbara Niemeyer.  
Photo of original intaglio courtesy Hadrien Rambach, 2012  
Photograph by George Athanasopoulos, courtesy of Hadrien Rambach. Copyright: The Numismatic Museum, Athens.  
Photographed (from a Cades set) by steptoeandson32uk.  
PICHLER BY ATTRIBUTION  
Picture does not match description.  
Picture of plaster impression kindly given by Ian Robson.  
Pierre gravees: PLOTARCHOS  
PIERRE GRAVEES: AMETHYST  
Pierres Gravees: gives oriental cornelian as material, CHRISTIE'S 1839: NO MATERIAL OR INSCRIPTION, SARISBRICK: CORNELIAN, NO INSCRIPTION; SEE ALSO THE EARLY CALANDRELLI DESIGN - NOT IMPLEMENTED  
Pierres Gravees: gives oriental cornelian as material, CHRISTIE'S 1839: NO MATERIAL OR INSCRIPTION, SCARISBRICK: CORNELIAN, NO INSCRIPTION; SEE ALSO THE EARLY CALANDRELLI DESIGN - NOT IMPLEMENTED  
Pierres Gravees: gives oriental cornelian as material, CHRISTIE'S: NO MATERIAL, INSCR.; SEE ALSO THE EARLY CALANDRELLI DESIGN - NOT IMPLEMENTED  
plaster impression  
Plaster impression donated by Lee Burgess  
PONIATOWSKI : NO INSCRIPTION  
PONIATOWSKI AND CHRISTIE'S: CHALCEDONY SAPPHIRE  
PONIATOWSKI AND CHRISTIE'S: NO INSCR.  
PONIATOWSKI AND CHRISTIE'S: NO INSCRIPTION  
PONIATOWSKI AND CHRISTIE'S: SARDONYX  
PONIATOWSKI AND CHRISTIE'S:CORNELIAN  
PONIATOWSKI AND TYRREL: ADMON  
PONIATOWSKI SIGNATURE: SOSTRATOS  
PONIATOWSKI: ADMON  
PONIATOWSKI: AMETHYST  
PONIATOWSKI: APOLLONIDES  
PONIATOWSKI: AULOS  
PONIATOWSKI: BURNED CORNELIAN  
PONIATOWSKI: BURNT SARD  
PONIATOWSKI: CHALCEDONY  
PONIATOWSKI: CHALCEDONY SAPPHIRINE, CHRISTIE'S: CRYSTAL  
PONIATOWSKI: CHALCEDONY, CHRISTIE'S: AMETHYST  
poniatowski: chares  
PONIATOWSKI: CHRYSOLITE  
PONIATOWSKI: CORNELIAN  
PONIATOWSKI: DIOSKOURIDES  
PONIATOWSKI: EUTYCHES SON OF DIOSKOURIDES  
PONIATOWSKI: EUTYCHES SON OF DIOSKOURIDES. THE GEM IS LISTED BY KING AND COOK AS: Head of lo  
PONIATOWSKI: EUTYCHES SON OF DIOSKOURIDES. THE GEM IS LISTED BY KING AS: Head of lo  
PONIATOWSKI: EUTYCHES SON OF DIOSKOURIDES. THE GEM IS LISTED BY KING AS: Head of lo: three-quarter face, fillet round the  
PONIATOWSKI: GAIRANOS  
PONIATOWSKI: GUARNACCINO: Yellowish-red garnet  
PONIATOWSKI: NO NAME  
PONIATOWSKI: ONYX  
PONIATOWSKI: ONYX OF CORNELIAN  
PONIATOWSKI: POLYCLETES  
PONIATOWSKI: POLYCLETES. Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia.  
PONIATOWSKI: SARD. RAYEE  
PONIATOWSKI: SARDONYX  
PONIATOWSKI: SKIMMIOS  
PONIATOWSKI: TAMYROS  
Possibly the Tagliamonte glass impression. None of the other catalogs has the signature KUINTIL  
Possibly this Di Castro gem, Victory holding bridle, with the signature Gnaios.  
PROBABLY REVERSE OF 310  
Punic letters in the field.  
Pyrgoteles IN TYRRELL  
Quintus Caecilius Metellus, intaglio now set in a necklace.  
Relief set against a rough iron ground in an iron ring.  
re-mounted in a medieval mount  
Representation of an archaic style surrounded by meandro  
Resembling an engraved stone in the Cabinet of the Emperor of Florence  
RESTORED  
RETOUCHED BY BROWN  
REVERSE OF 353  
REVERSE OF 371  
REVERSE OF 433  
REVERSE OF 435  
REVERSE SEE 434  
RING  
Rock Crystal copy ebay 24-Sep-05  
Rouster  
Rssemble beaucoup une autre sorte de Cachet Persan de la mme pierre, publi par Bianchini.  
SAPPHIRIZED  
SARDONYX OF UNUSUAL SIZE  
Sawn off a scarab  
Sawn off a scarab.  
SCARAB  
SCARABAEUS  
SCARISBRICK CATALOGUE: ELLENIOS  
SCARISBRICK CATALOGUE: IDENTIFIES AN EMPEROR  
SCARISBRICK CATALOGUE: IDENTIFIES ULYSSES DRAWING A SPEAR FROM DIOMEDES' FOOT  
See 1:A.I.32 for possible Greek inscription.  
SEE 1839-454 FOR THE CALANDRELLI DRAWING. THIS IS POSSIBLY THE RIGHT RECORD FOR THE TIFFANY'S ENTRY.  
SEE ALSO 1839-1045 FOR THE CALANDRELLI DRAWING  
SEE ALSO 1839-1196  
SEE ALSO 1839-1313  
SEE ALSO 1839-1313. Set now by Taffin jewelry.  
SEE ALSO 1839-1394; SET IN A NECKLACE WITH ELEVEN INTAGLIOS  
SEE ALSO 1839-1412  
SEE ALSO 1839-1414  
SEE ALSO 1839-1441  
SEE ALSO 1839-1441 - THE DESCRIPTION APPEARS IN BOTH MONSON SALE CATALOGUES. PERHAPS IT DIDN'T SELL IN 1851.  
SEE ALSO 1839-1441 - THE DESCRIPTION APPEARS IN BOTH MONSON SALE CATALOGUES. PERHAPS IT DIDN'T SELL IN 1851. PERHAPS ONE OF THE GEMS IS T1117.  
SEE ALSO 1839-1531  
SEE ALSO 1839-1688  
SEE ALSO 1839-1855  
SEE ALSO 1839-1862. SET IN A BOX BY CARTIER'S  
SEE ALSO 1839-1879  
SEE ALSO 1839-2170  
see also 1839-2499  
SEE ALSO 1839-315 FOR THE CALANDRELLI DRAWING  
see also 1839-372  
see also 1839-372 (ex Monson collection)  
SEE ALSO 1839-406 FOR THE CALANDRELLI DRAWINGS  
SEE ALSO 1839-607  
SEE ALSO 1839-895 FOR A POSSIBLE DESIGN AFTER THE CALANDRELLI DRAWINGS  
SEE ALSO ABOVE KING'S VERSION AND THE GLAS IMPRESSION WITH THE FRAMED SIGNATURE  
SEE ALSO ABOVE KING'S VERSION AND THE GLAS IMPRESSION WITH THE FRAMED SIGNATURE, AND ANOTHER COPY FOUND ON EBAY  
SEE ALSO ANOTHER CLOSE COPY BY CALANDRELLI (?) IN MIRROR IMAGE  
SEE ALSO CALANDRELLI DRAWING A.II.38  
SEE ALSO CALANDRELLI DRAWING FOR AN EARLY DESIGN OF THE SUBJECT. TIFFANY: APOLLONIDES  
See also http://www.lombardiabeniculturali.it/opere-arte/schede/2o050-00202/?viewautori&offset23&hid8065&sortsortint  
SEE ALSO T 607 FOR THE CALANDRELLI DRAWING  
See also T1107  
SEE ALSO T136  
SEE ALSO T165  
SEE ALSO T18  
SEE ALSO T339 FOR THE CALANDRELLI DRAWING  
SEE ALSO T35  
SEE ALSO T36  
SEE ALSO T402  
SEE ALSO T403  
SEE ALSO T440 FOR THE CALANDRELLI DRAWING  
SEE ALSO T471  
SEE ALSO T621  
SEE ALSO T622  
SEE ALSO T627 FOR THE CALANDRELLI DRAWING  
SEE ALSO T645 AND T645  
SEE ALSO T645 AND T647  
SEE ALSO T646 AND T647  
SEE ALSO T697; CHRISTIE'S: NO SIGNATURE OR MATERIAL  
SEE ALSO T698  
see also T765  
SEE ALSO T767  
SEE ALSO T769  
SEE ALSO T793  
SEE ALSO T837 FOR THE TIFFANY'S AUCTION ENTRY  
See also T861  
See also T862  
see also T984  
see also T985  
SEE ALSO THE ALMOST IDENTICAL 1839-983 (T772)  
SEE ALSO THE CALANDRELLI DRAWING T928 FOR THE EXCHANGE OF PRESENTS  
See also the drawing by Vimercati Sozzi Paolo (1801/ 1883) in the Museo Poldi Pezzoli. http://www.lombardiabeniculturali.it/opere-arte/schede/2o050-00203/  
See also the drawing in the Museo Poldi Pezzoli. http://www.lombardiabeniculturali.it/opere-arte/schede/2o050-00203/  
See also the drawing in the Museo Poldi Pezzoli: http://www.lombardiabeniculturali.it/opere-arte/schede/2o050-00202/  
SEE ALSO THE IDENTICAL 1839-1560  
see also the identical 1839-2499  
SEE ALSO THE IDENTICAL 1939-2304  
SEE ALSO THE IDENTICAL T158 (1839-2163); PHILLIPS: SARDONYX; SET IN A NECKLACE WITH TWELVE INTAGLIOS  
SEE ALSO THE IDENTICAL T158 (1839-2163); WELLINGTON CATALOGUE: SARDONYX; SET IN A NECKLACE WITH TWELVE INTAGLIOS  
SEE ALSO THE TWO OTHER CASSIUS  
SEE ALSO THE TWO OTHER CASSIUS PORTRAITS  
See also Tom Swope's Blog (http://tomswope.blogspot.co.uk/2012/05/lost-poniatowski-gem.html)  
See also Tom Swope's blog: http://tomswope.blogspot.co.uk/2012/05/lost-poniatowski-gem.html  
SEE T1013 FOR REFERENCES TO THE CALANDRELLI DRAWINGS  
SEE T410 POLYKLEITOU  
SEE T827 FOR THE CALANDRELLI DRAWING AND PUBLICATION  
Set as a pendant.  
Set in a 16th-century gold ring, enamelled in black with the letters D.I(TH)S.B.  
Set in a beaded mount; mount 20x15.  
Set in a beaded pendant, a shell above; mount 45x34.  
Set in a blue enamelled ring, decorated with stars.  
Set in a border of turquoises, the back with enamelled flowers on a white ground.  
SET IN A BRACELET WITH SEVEN INTAGLIOS  
SET IN A BRACELET WITH SIX INTAGLIOS  
Set in a brass ring.  
set in a gilded bronze ring  
Set in a gilt ring  
Set in a gilt silver openwork mount with inset glass; mount 75x45  
Set in a gilt silver setting.  
Set in a gold and enamel hinged bangle by Phillips of Cockspur Street, circa 1870.  
Set in a gold mount with a broad enamelled border, with figures of a Triton, Nereid, Erotes and hippocamps, and four rubies; a rosette and wreath on the back; mount 35x31.  
Set in a gold mount with bow-shaped suspension loop.  
Set in a gold mount, scrolls on the back; the upper part of the intaglio restored in gold.  
Set in a gold mount.  
Set in a gold pendant with a chrysoprase and rubies.  
Set in a gold pendant with openwork handle.  
Set in a gold pendant.  
Set in a gold ring  
Set in a gold ring inscribed Tel il nest 'tere is none such as he'.  
Set in a gold ring with enamelled black scrolls.  
Set in a gold ring with enamelled dots and hatching.  
Set in a gold ring, heavily polished in the 18th century, reducing the contours of the figure and detail of the inscription.  
Set in a gold ring.  
Set in a gold-wired loop border with inset stones; mount 37x29.  
Set in a heavy gold mount similar to 711.  
Set in a modern brass ring.  
Set in a modern gold mount; mount - 36x22.  
set in a modern gold ring  
Set in a modern gold ring.  
Set in a modern ring.  
Set in a modern ring; 'two unrecognisable personages on the back'.  
Set in a modern silver ring.  
Set in a mount of twisted of gold wire.  
Set in a mount with inset stone; mount 46x...  
Set in a mount with inset stones; mount 115x92.  
Set in a mount with inset stones; mount 25x20.  
Set in a mount with inset stones; mount 65x49.  
Set in a mount; mount 50x39.  
SET IN A NECKLACE WITH 13 INTAGLIOS  
SET IN A NECKLACE WITH ELEVEN INTAGLIOS  
SET IN A NECKLACE WITH ELEVEN INTAGLIOS. See also the drawing in the Museo Poldi Pezzoli, by Vimercati Sozzi Paolo (1801/ 1883), a design by Betrami. Other gems are copies from the Poniatowski collection. http://www.lombardiabeniculturali.it/opere-arte/schede/2o050-00165/  
SET IN A NECKLACE WITH ELEVEN INTAGLIOS; PHILLIPS: ARGIOS  
SET IN A NECKLACE WITH FIFTEEN INTAGLIOS  
SET IN A NECKLACE WITH SEVENTEEN INTAGLIOS  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS. Impression: Berlin, Antikensammlung  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS. Impression: Berlin, Antikensammlung. MISUNDERSTOOD AS PARIS WITH A SPEAR BY SCARISBRICK.  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS. SCARISBRICK CATALOGUE MISIDENTIFIES AS THESEUS SLAYING SISYPHUS.  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS; INSCRIPTION READ BY PHILLIPS: KARILLOS  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS; PHILLIPS: NO INSCRIPTION  
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS; THE WELLINGTON CATALOGUE RECORDS NO INSCRIPTION  
SET IN A NECKLACE WITH TWELVE INTAGLIOS  
SET IN A NECKLACE WITH TWELVE INTAGLIOS WHEN IT BELONGED TO WELLINGTON. NOW IN A BULGARI SETTING.  
Set in a pendant setting of scrolls; mount 35x32  
Set in a pendant; mount 30x27.  
Set in a plain gold ring  
Set in a plain gold ring.  
Set in a ring with diamonds at the shoulders.  
Set in a ring with full-length figures as each shank (see King 318).  
Set in a ring.  
Set in a silver gilt ring  
Set in a silver pendant.  
Set in an 18th cent. fob.  
Set in an 18th cent. ring.  
Set in an 18th-cent. gold ring, the bezel border engraved with flowers, the shoulders with husks and feathers.  
Set in an 18th-century gold pendant.  
SET IN AN AMETHYST NECKLACE WITH TWELVE CAMEOS AND INTAGLIOS  
Set in an ancient ring  
Set in an elaborate enamelled ring  
Set in an enamelled floral border; mount 55x49.  
set in an enamelled gold ring  
Set in an enamelled gold ring.  
Set in an enamelled gold setting, florals and scrolls at the back; mount 92x60.  
Set in an enamelled mount with flowers.  
Set in an enamelled mount; mount 86x68.  
Set in an enamelled seal.  
SET IN AN IRON RING  
Set in an octahedron of spinel on the suspension hoop.  
Set in an open mounting of silver with small diamonds; mount 33x23.  
Set in an open-backed ring.  
set in bronze ring  
set in bronze ring, Dorset ?  
SET IN CORDED GOLD MOUNT, WITH A LINE OF BLACK ENAMEL.  
Set in enamelled flowers ('style of Laudin, mid-17th century').  
Set in enamelled gold with garnets with clasped hands'; mount 60x45.  
Set in enamelled mount decorated with flowers.  
Set in gold as a pendant in the 18th cent.  
Set in gold as a pendant.  
SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL  
SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL.  
SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL. 27X41, 17X26.  
SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL. 27X43, 17X27  
SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL. 27X43, 17X27. Bought by the V&A for 2l. 18s.  
SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL. SEE ALSO 1839-2051  
SET IN GOLD FILIGREE MOUNT. TYRRELL: CORNELIAN  
SET IN GOLD FILIGREE MOUNT. TYRRELL: CORNELIAN. Glass impression in a private collection, curated by Alenka Simon&269;i&269;, National Gallery of Slovenia.  
SET IN GOLD FILIGREE MOUNT. WITH A LINE OF BLACK ENAMEL. 25X36, 16X22.  
Set in gold frame with 13 small rose diamonds.  
SET IN GOLD RING  
Set in gold ring with serrated edge  
Set in gold with diamonds and rubies, and floral filigree; mount 48x45.  
Set in gold with diamonds and rubies, enamelled roses. On the back wreathes and a stork, enamelled.  
Set in high relief in a mount with inset stones; mount 92x55;  
set in iron mount  
set in iron ring  
set in iron ring. Probably from Strageath  
set in modern gold ring  
Set in modern gold ring.  
SET IN NECKLACE WITH FIFTEEN INTAGLIOS  
set in silver ring  
SET IN SIMPLE MOUNT, Tiffany & Co. marked plaque soldered to the mount on the reverse of the pendant  
Set on a ring with enamelled fleurs-de-lys in white.  
Set with a swivel bezel  
several of the Monson gems appear in the 1851 and the 1854 sale. they probably didn't sell the first time.  
Several of the Monson gems appear in the 1851 and the 1854 sale. They probably didn't sell the first time. Monson 2 has the wrong signature (Gnaios).  
SEY IN NECKLACE WITH FIFTEEN INTAGLIOS  
SIGNATURE NOT VISIBLE IN FIELD  
Silver gilt ring  
Silver ring  
Silver ring, swivel bezel  
Sold by White's Auctions, April 5, 2016, Middleboro, MA, USA for 825  
Sold by White's Auctions, April 5, 2016, Middleboro, MA, USA for 825; for sale by info@bernardoantichita.com  
Sotheby's: Hammer Price with Buyer's Premium: 3,220 GBP  
SPOTTED  
Stauette bust.  
Stoke-on-Trent City Museum and Art Gallery. Entry 10946/09.97  
Supposed Etruscan work of the sublime style.  
T521 PYRGOTELES?  
T845  
Taken from a sard fragment in the Cabinet of the Chev. Vettori of Rome.  
Taken of a chalcedony of Mr. the Marquis Lucattelli in Rome.  
TAURINUS  
Thanks to Hadrien Rambach for giving the picture to the database and identified the head in the Calandrelli manuscript (Platz-Horster AI-56 'Giove Dodoneo con il nome di Atenion')  
Thanks to Hadrien Rambach for giving the picture to the database and identifying the head in the Calandrelli manuscript (Platz-Horster AI-56 'Giove Dodoneo con il nome di Atenion')  
THE AMETHYST APPEARS TWICE IN THE NORTHWICK CATALOGUE  
The bust and vases are bleached by heat (King 317).  
THE DACT. IMPRESSION IS WRONG HERE  
THE DRAWING MIGHT BELONG TO T608  
THE FIRST IMPRESSION IS FROM CADES. THE HERM FROM AN UNKNOWN SET. THIS IS POSSIBLY NORTHWICK LOT 612, CORNELIAN, XENO OF CYPRUS  
The gem didn't sell in the earlier 1851 Monson sale. For the image see also the drawing in the Museo Poldi Pezzoli: http://www.lombardiabeniculturali.it/opere-arte/schede/2o050-00202/  
THE GEM DIDN'T SELL IN THE FIRST MONSON SALE IN 1851  
THE GEM DIDN'T SELL IN THE FIRST MONSON SALE IN 1851, SEE ALSO THE NEXT TYRRELL NUMBER  
THE GEM DIDN'T SELL IN THE FIRST MONSON SALE IN 1851, SEE ALSO THE NEXT TYRRELL NUMBER, T985.  
The gem is not listed in the 1839 Christie's sale catalogue - probably it was thought it duplicated the previous entry (T90). The sale is undoubtedly the source in which it was acquired by Tyrrell.  
The gem is not listed in the 1839 Christie's sale catalogue - probably it was thought it duplicated the previous entry (T90, lot 355). The sale is undoubtedly the source in which it was acquired by Tyrrell.  
The gem is not listed in the 1839 Christie's sale catalogue - probably it was thought it duplicated the previous entry. The sale is undoubtedly the source in which it was acquired by Tyrrell.  
The greek inscription seems to belong to 1:A.I.33  
The image comes from a set of the Cades impressions, which contains a large series of Poniatowski portrait depictions. Among the heads of women only Cleopatra's has the Gnaios signature. Even though the profile is not close to the representations of Cleopatra on her coin portraits the loose bun and the attempt at a diadem are. She also seems to be wearing an Isis crown in her hair. This is probably the Poniatowski Cleopatra.  
The image comes from a set of the Cades impressions, which contains a large series of Poniatowski portrait depictions. Among the heads of women only Cleopatra's has the Gnaios signature. Even though the profile is not close to the representations of Cleopatra on her coin portraits the loose bun and the attempt at a diadem are. She also seems to be wearing an Isis crown in her her. This is probably the Poniatowski Cleopatra.  
The image comes from a set of the Cades impressions, which contains a large series of Poniatowski portrait depictions. Among the heads of women only Cleopatra's has the Gnaios signature. Even though the profile is not close to the representations of Cleopatra on her coin portraits the loose bun and the attempt at a diadem are. This is probably the Poniatowski Cleopatra.  
The image comes from a set of the Cades impressions, which contains a large series of Poniatowski portrait depictions. Among the heads of women only Cleopatra's has the Gnaios signature. Even though the profile is not close to the representations of Cleopatra on her coin portraits the loose bun and the attempt at a diadem are. This is probably the Poniatowski depiction.  
The image comes from the Cades impressions - containing many Poniatowski portrait depictions. Only the head Cleopatra was signed Gnaios. Even though the profile is not close to the representations of Cleopatra on her coin portraits the loose bun and the attempt at a diadem are. This is probably the Poniatowski depiction.  
The image comes from the Cades impressions which contains a large series of Poniatowski portrait depictions. Among the heads of women only Cleopatra's has the Gnaios signature. Even though the profile is not close to the representations of Cleopatra on her coin portraits the loose bun and the attempt at a diadem are. This is probably the Poniatowski depiction.  
The mirror image copy of this gem was on the market (ebay: wear-the-past, Salisbury) in September 2015.  
The modern necklace signed Lalaounis, no. A27  
The name of the engraver is unknown.  
The onyx was frequently engraved, a remarkable specimen being afforded by the Corinthian helmet on jasper-onyx. An imitation of this engraving constituted the chef-d'uvre of the notorious Poniatowsky collection.'  
The original is in the cabinet of Prince Ludovisi at Rome.  
The original is in the Cabinet of the Emperor of Florence  
The original is in the Cabinet Strozzi in Rome  
The original is in the Gallery of the Emperor of Florence  
The original is now in New York - see the article by Benjamin Mark: http://www.tyler-adam.com/articleinfo.php?articlesid655.  
The Paoletti version has the wrong signature: KALL (?)  
The picture in the Daktyliothek Poniatowski follows the Christie's description, the photo from Tiffany's Tyrrell's catalogue.  
The picture in the Daktyliothek Poniatowski follows the corrigenda description, the photo from Tiffany's Tyrrell's original description.  
THE PICTURED MUSE IS MORE LIKELY CALLIOPE  
THE PICTURED MUSE IS MORE LIKELY CALLIOPE II.84  
The same composition (including the spider) appears on Getty 2001.28.3 - without the inscriptions.  
The same composition (including the spider) appears on Getty 2001.28.3 (picture 2) - without the inscriptions.  
The Scarisbrick catalogue identifies her as Dia  
The Scarisbrick catalogue includes this twice (misidentified as Dia lot 16).  
The stone is shattered.  
The upper part, above the eye, is missing and had been restored.  
THE VEINS IN THE CORNELIAN ARE HAPPILY APPLIED TO ASSIST THE SUBJECT. TIFFANY: ORIENTAL SARDONYX  
The way in which the emperor is depicted is suggestive of the period of the Tetrarchy. The general appearance of the emperor is reminiscent of those of the porphyry statues of four tetrarchs in Venice and the Vatican, especially of the latter group. The Vatican tetrarchs with their stumpy bodies and broad heads are remarkably similar. There can be no certainty of the identity of the emperor who could be any one of a number of figures, including  
The way in which the emperor is depicted is suggestive of the period of the Tetrarchy. The general appearence of the emperor is reminiscent of those of the porphyry statues of four tetrarchs in Venice and the Vatican, especially thise of the latter group. The Vatican tetrarchs with their stumpy bodies and broad heads are remarkably similar.There can be no certainty of the identity of the emperor who could be any one of a number of figures, inclu  
The work of Dioscoride  
THIS COULD ALSO BE T725  
THIS COULD ALSO BE T726; SEE ALSO 1839-233  
This could be Tiffany Charity Sale 982: Contest between Titans and Serpents, or T278  
This description seems to go with the gem preceeding no. 12.II.A.428 on the photograph.  
This description seems to go with the gem that preceedes no. 12.II.A.430 on the photograph.  
THIS GEM, T224 OR 1839-2335 WAS ONCE IN THE HALLUM COLLECTION AND SOLD IN THE CHRISTIE'S AUCTION 14/15.07.1865, LOT 152  
THIS GEM, T224 OR T226 WAS ONCE IN THE HALLUM COLLECTION AND SOLD IN THE CHRISTIE'S AUCTION 14/15.07.1865, LOT 152  
THIS GEM, T226 OR 1839-2335 WAS ONCE IN THE HALLUM COLLECTION AND SOLD IN THE CHRISTIE'S AUCTION 14/15.07.1865, LOT152  
This impression is from a set of Cades containing many Poniatowskis. The helmet mentioned in the catalogue description is not shown.  
This is a copy of the gem by Chavdar Chushev.  
THIS IS POSSIBLY A MONSON GEM. SEE COMMENTARY TO T1118.  
THIS IS POSSIBLY NORTHWICK LOT 612, CORNELIAN, XENO OF CYPRUS  
This sard is peculiar - its surface is red and opaque (like red jasper) whilst its underside is clear and transparent.  
This seems to be the description for 5:1.F.41. Endimione seems to be standing, stroking a dog.  
THIS WAS NOT SOLD IN THE FIRST MONSON SALE IN 1851.  
THIS WAS NOT SOLD IN THE FIRST MONSON SALE IN 1851. SET IN GOLD FILIGREE MOUNT, WITH A LINE OF BLACK ENAMEL.  
THREE LAYERS  
TIFFANY: AQUAMARINE  
TIFFANY: BEAUTIFUL STRIATED SARDONYX  
Tiffany: Contest between Titans and Serpents (or Laocoon?)  
TIFFANY: THREE GREEK WARRIORS ADVANCING TO THE COMBAT. DARK SARD SET IN GOLD.  
TIFFANY'S MATERIAL: LIGHT SARD  
TWICE LISTED IN THE PIERRES GRAVEES  
TYRRELL: APOLLONIDES AND SARDONYX  
Tyrrell: aquamarine  
TYRRELL: CHALCEDONY  
TYRRELL: CORNELIAN  
TYRRELL: CORNELIAN, PONIATOWSKI: NO SIGNATURE  
Tyrrell: Gnaios  
TYRRELL: PYRGOTELES  
TYRRELL: SARDONYX  
Very likely to be identified with this Di Castro gem (picture), Victory holding bridle, with the signature Gnaios.  
WHITE ON A LIGHT BLUE GROUND  
Whole stone 15x13  
Whole stone 19x12  
WITH ENGRAVED BORDER (SCARISBRICK)  
With name of owner.  
WITH RED CORALINE  
With the name of the Engraver XXX. Amethyst original is in the Farnese Cabinet.  
WITYH FINE FILAMENTS OF CRYSTAL  
Work of Aspasio  
Worked in an Etruscan manner.  
Wrong signature recorded in catalogues  

Back to your selection