Poniatowski 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 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
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.'
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
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: 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
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
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 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: Chavdar Cushev
Glass impression: Chavdar Cushev - wrong material in catalogue: amethyst
GLASS IMPRESSION: EBAY
Glass impression: Ebay: 27.03.03
gold mount
Gold ring
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
Guarnaccino Yellowish-red garnet
Heavily polished.
High-relief.
IDENTICAL TO THE NEXT
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.
Italic
Italic. Set in a gold ring.
Italic. Set in a modern gold ring.
JACINTH GUARNACCINO
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
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 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
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 of original intaglio courtesy Hadrien Rambach, 2012
PICHLER BY ATTRIBUTION
Picture does not match description.
Pierre gravees: PLOTARCHOS
PIERRE GRAVEES: AMETHYST
Pierres Gravees: gives oriental cornelian as material, CHRISTIE'S: NO MATERIAL, INSCR.; 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 SIGNATURE: SOSTRATOS
PONIATOWSKI: ADMON
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 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: SARD. RAYEE
PONIATOWSKI: SARDONYX
PONIATOWSKI: SKIMMIOS
PONIATOWSKI: TAMYROS
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
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 1839-1394; SET IN A NECKLACE WITH ELEVEN INTAGLIOS
SEE ALSO 1839-1412
SEE ALSO 1839-1414
SEE ALSO 1839-1441
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 1839-406 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 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 T645
SEE ALSO T645 AND T647
SEE ALSO T646 AND T647
SEE ALSO T697; CHRISTIE'S: NO SIGNATURE OR MATERIAL
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 IDENTICAL 1839-1560
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 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 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; 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; INSCRIPTION READ BY PHILLIPS: KARILLOS
SET IN A NECKLACE WITH THIRTEEN INTAGLIOS; PHILLIPS: NO INSCRIPTION
SET IN A NECKLACE WITH TWELVE INTAGLIOS
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 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. 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.
SEY IN NECKLACE WITH FIFTEEN INTAGLIOS
SIGNATURE NOT VISIBLE IN FIELD
Silver gilt ring
Silver ring
Silver ring, swivel bezel
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 bust and vases are bleached by heat (King 317).
THE DRAWING MIGHT BELONG TO T608
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 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 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 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 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.
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: 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 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