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A copy (?) set in a snuff box lid was sold at auction, eve, Paris, 2019, lot 64
A COPY OF 586
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 much copied subject - see last picture.
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 1135
BACK OF 127
BACK OF 133.
BACK OF 135.
BACK OF 150.
BACK OF 217
BACK OF 224
BACK OF 496 ?
BACK OF 535
BACK OF 537
BACK OF 917
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 (Doyle , NY: Thursday, June 20, 2013, lot 25): 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.
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.'
CAFFREY CATALOGUES THE SUBJECT 'JASON IN THE ARGO, RESCUING CHILDREN'. CHRISTIE'S MISREADS THE SIGNATURE LIKOS
Cameo after Poniatowski (Ebay)
Cf. Seidmann, Marchant 124 (the original once in the Marlborough collection).
CHAFFERS CATALOGUES IT AS EMPEROR AURELIUS
Chalcedony set by Taffin jewelery.
Christie's 1839 misidentified - no material
CHRISTIE'S 1839: SARDONYX
CHRISTIE'S AND PONIATOWSKI SIGNATURE
CHRISTIE'S: APOLLONIDES AND CORNELIAN (REPEATING T314)
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: CORNELIAN - THE VEIL FORMED IN THE DARKER PART OF THE STONE
CHRISTIE'S: CORNELIAN ; SEE ALSO T472
CHRISTIE'S: CORNELIAN. Now set in a necklace by Elizabeth Gage.
CHRISTIE'S: CRYSTAL; Tyrrell: Amethyst
CHRISTIE'S: KROMOU. SEE ALSO CALANDRELLI DRAWING FOR T375
CHRISTIE'S: NO MATERIAL OR INSC.
CHRISTIE'S: NO MATERIAL OR INSCR.
CHRISTIE'S: NO MATERIAL OR INSCRIPTION
CHRISTIE'S: NO SIGNATUR
CHRISTIE'S: NO SIGNATURE
CHRISTIE'S: ORPHEUS REPULSED BY ACHERON
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
COPY OF A DRAWING BY MICHELANGELO
COPY OF A PICTURE BY GAVIN HAMILTON, AT ROME, THE PROPERTY OF THE EARL OF EXETER
COPY OF THE BAS-RELIEF OF W. BROWN, LONDON
COPYING THE MEDAL OF COMMODUS (CHOUL)
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.
Described in the Mercury as representation of 'the human soul asleep till fired and inspired by love'.
Described in the Mercury as 'the first meeting of Hercules and Dejanira', with the correct signature Philemon.
Discoloured for the figures (see King 318).
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
EITHER PAOLETTI OR CADES HAS THE PONIATOWSKI VERSION
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 engraving, which is characterised by the feel of the design
Etruscan scarab with meander pattern.
Five-layered, set in a gold ring; oval bezel with clipped ring and open back.
Foiled, in mount with inset stones; mount 37x27.
Foiled, set in a plain octagonal gold ring.
Foiled, set in an enamelled gold ring.
For sale by Bruschini Tanca Antiques. Not an amethyst (as the catalogue records) but a cornelian. The setting attributed there to Carlo Giuliano (1831-1895)
Formerly on the reverse of S230.
Formica at the bottom.
Found by Pre-Construct Archaeology Ltd
Fragment. Engraved on both faces.
Fragment. Engraved on both sides.
From a bronze ring.
From an ancient gold ring
FRONT OF 1136
FRONT OF 1484
FRONT OF 1502
FRONT OF 292
FRONT OF 534
FRONT OF 536
FRONT OF 538
FRONT OF 542
FRONT OF 544
FRONT OF 548
FRONT OF 550
FRONT OF 558
FRONT OF 570
FRONT OF 573
FRONT OF 578
FRONT OF 581
FRONT OF 596
FRONT OF 598
FRONT OF 600
FRONT OF 604
FRONT OF 606
FRONT OF 612
FRONT OF 614
FRONT OF 616
FRONT OF 623
FRONT OF 757
FRONT OF 918
FRONT OF 929
GARNET WEIGHING 300 CARATS
Gilt ring, swivel bezel
Glass cast sold by Bertolami
Glass copy (?) of the original sold by Artemis Gallery Thu, Nov 8, 2018.
GLASS COPY: Ebay: 1.03.03
Glass impression (?) Ebay
Glass impression ex Hartley Brown: for sale Artemis Gallery, Thu, Jan 16, 2020, lot 64.
Glass impression Tagliamonte in Venice.
Glass impression: Chavdar Cushev - wrong material in catalogue: amethyst
GLASS IMPRESSION: EBAY
Glass impression: Ebay: 27.03.03
Glass impression: Gorny & Mosch, 9th July 2021, lot 512
gold ring, inset garnets
Gold ring, swivel bezel
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 Yellowish-red garnet
Image of impression kindly supplied by Dana B. Pollard.
Imitating a 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 OF REVERSE 670 MISSING IN TRAY
Impression: Berlin, Antikensammlung
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 NECKLACE OF THE DUCHESS OF GLOUCESTER
IN A ROMAN BULLA'
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
Inscription in Etruscan alphabet 'Neptune'.
INTAGLIO MARKET - PROBABLY NOT THE PONIATOWSKI GEM
It is oblong with three borders.
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.
Italic. Set in a gold ring.
Italic. Set in a modern gold ring.
Judith Barber found this cameo copy of the Poniatowski intaglio on ebay.
Link to record using the address http://www.beazley.ox.ac.uk/record/3F64B612-F843-4D8A-84C7-6669ACA07366
Link to record using the address http://www.beazley.ox.ac.uk/record/8B5C2DF4-2FCF-4677-A8E7-AF29A36002E6
Link to this record using the address http://www.beazley.ox.ac.uk/record/C2DFB2D8-F711-4CF8-88E3-80754CA7E08D
Link: classics.mfab.hu/talismans/cbd/221 with obverse
Lippert says it belongs to the Duke of Orleans, which is not true...'
LITERARY SOURCE: B. CORNWALL
Marlborough 233 (C. Davis)
MATERIAL: STRIPED SARD
MISSING IMPRESSION, BY BROWN?
Monson signature: Charitonos
MONSON: ADMON [VENUS AND AENEAS]
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 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 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 1839-331 [HERCULES AND ANTAEUS, Solon]
OR 1839-668; T924
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
Photo and impression: Anne M. Coleman
Photo and impression: R. Schmidt
Photo and impressions: Anne M. Coleman
Photo Antikensammlung, Staatliche Museen zu Berlin. Photographer: Barbara Niemeyer.
Photo of original intaglio courtesy Hadrien Rambach, 2012
Photo of original with kind permission of F. von Truchsess. Sold for by Lemperz for 7.440 Euro
Photo, impression and identification: R. Schmidt.
Photo, impression and identification: R. Schmidt. The preceding record, T1117, has a similar description and the same Kromos signature. Only when the second gem emerges will know if there is a progression of action and prove, that the identifcation is indeed correct. See also 1839-1441. This also affects the Monson provenance.
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, SCARISBRICK: CORNELIAN, NO INSCRIPTION; SEE ALSO THE EARLY CALANDRELLI DESIGN - NOT IMPLEMENTED
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: BURNED CORNELIAN
PONIATOWSKI: BURNT SARD
PONIATOWSKI: CHALCEDONY SAPPHIRINE, CHRISTIE'S: CRYSTAL
PONIATOWSKI: CHALCEDONY, CHRISTIE'S: AMETHYST
PONIATOWSKI: EUTYCHES SON OF DIOSKOURIDES. THE GEM IS LISTED BY KING AND COOK AS: Head of lo
PONIATOWSKI: GUARNACCINO: Yellowish-red garnet
PONIATOWSKI: NO NAME
PONIATOWSKI: ONYX OF CORNELIAN
PONIATOWSKI: SARD. RAYEE
Possibly the Tagliamonte glass impression. None of the other catalogs has the signature KUINTIL
PROBABLY REVERSE OF 310
Punic letters in the field.
Pyrgoteles IN TYRRELL
Quintus Caecilius Metellus, intaglio now set in a necklace.
RASPE COMPARES A MEDAL OF FAUSTINA
RASPE RECORDS: 'IN A GOLD RING'
RASPE: COPY OF A DRAWING BY MICHELANGELO (FOR HIPPOLYTO DE MEDICI)
RASPE: COPY OF A LAMP IN THE BARTOLI COLLECTION (LUCERN).
RASPE: 'DESIGN OF MICHELANGELO'
RASPE: 'STUDIED AFTER BURCH'
Recognized by the owner: http://www.prehaps.net/NATURE/NATURE.html
Recorded as Late Republican or Early Imperial garnet, possibly showing Maecenas. Here the Poniatowski engraver is copying the well-known bust signed Q.HORTENSIVS.
Relief set against a rough iron ground in an iron ring.
re-mounted in a medieval mount
REPEAT OF THE PREVIOUS: RASPE DESCRIBES A DIFFERENT INTAGLIO (MINERVA STANDING WITH HELMET, SHIELD AND SPEAR, A PATERA HELD OVER AN ALTAR, A CHILD).
Representation of an archaic style surrounded by meandro
Resembling an engraved stone in the Cabinet of the Emperor of Florence
RETOUCHED BY BROWN
REVERSE - OF 566?
REVERSE OF 1484
REVERSE OF 291
REVERSE OF 353
REVERSE OF 371
REVERSE OF 433
REVERSE OF 435
REVERSE OF 533
REVERSE OF 541
REVERSE OF 543
REVERSE OF 545
REVERSE OF 549
REVERSE OF 557
REVERSE OF 566
REVERSE OF 569
REVERSE OF 572
REVERSE OF 577
REVERSE OF 580
REVERSE OF 585
REVERSE OF 588
REVERSE OF 595
REVERSE OF 597
REVERSE OF 599
REVERSE OF 603
REVERSE OF 605
REVERSE OF 611
REVERSE OF 613
REVERSE OF 622
REVERSE OF 689
REVERSE OF 929
REVERSE SEE 434
Rock Crystal copy ebay 24-Sep-05
SARDONYX OF UNUSUAL SIZE
Sawn off a scarab
Sawn off a scarab.
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. 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 1839-1531
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 1839-315 FOR THE CALANDRELLI DRAWING
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 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 T 607 FOR THE CALANDRELLI DRAWING
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 T646
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 T984
SEE ALSO THE ALMOST IDENTICAL 1839-983 (T772)
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 IDENTICAL 1839-1560
see also the identical 1839-2499
SEE ALSO THE IDENTICAL 1939-2304
SEE ALSO THE IDENTICAL T158 (1839-2163); WELLINGTON CATALOGUE: SARDONYX; SET IN A NECKLACE WITH TWELVE INTAGLIOS
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 by the current owner in a mount by Elizabeth Gage.
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 Beltrami. 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. 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; 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. @rethistle stopped by Tom Swope's Gallery and beautifully modeled the piece.
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 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. 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. 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, 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.
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, swivel bezel
Sold by HARTLEY BROWN LLC (NY). https://the-maac.com/shop/antique-jewelry/intaglio-pendant-from-the-collection-of-prince-stanislas-poniatowski/
Sotheby's: Hammer Price with Buyer's Premium: 3,220 GBP
Stoke-on-Trent City Museum and Art Gallery. Entry 10946/09.97
Supposed Etruscan work of the sublime style.
T1118, with identical inscription, has a very similar description. Possibly it will emerge that the two show a progression of events (first seizing, than hurling). R. Schmidt found the impression and identified the subject of what is more likely T1118 (see alos the commentary for that record)..
taffinjewelryPrince Poniatowski intaglio on amethyst. Set as a brooch in a blue ceramic and rose gold frame.
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.
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 (glass?) copy of the gem is missing the signature.
The alternative impression of the subject was found and identified by R. Schmidt, who kindly provided the photograph. The alternative version adds 'modesty cloaks' to the male figures, a tree in front of the fleeing pair, and even though the signature, Apollonides, is copied correctly it is not centred under the groundline as on the other known Poniatowski gems. The fact that it is in mirror image suggest that it might have been inspired by an im
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, T985.
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 glass version was found and identified by Arlene Verrall.
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 inscription: S. NASICA is not recorded in the catalogues. There are numerous patricians in the gens Cornelia with the name Scipio Nasica.
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 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 Paoletti version has the wrong signature: KALL (?)
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 II.84
The ring is a brown paste of the original intaglio.
The same composition (including the spider) appears on Getty 2001.28.3 (picture 2) - without the inscriptions.
THE SAME SEAL NOS. 634 TO 637
THE SAME SEAL NOS. 638 TO 641
THE SAME SEAL NOS. 642 TO 645
THE SAME SEAL NOS. 646 TO 648
THE SAME SEAL NOS. 649 TO 650
THE SAME SEAL NOS. 651 TO 652
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 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 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.
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: CORNELIAN, PONIATOWSKI: NO SIGNATURE
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