Auction 86 - Glyptics and Ancient Jewelry

A rare eastern greek carnelian seal intaglio. Emblema with Zeus Labraundos for thr Satrapy of Caria.

4th century B.C.

H: 32 mm

This rare representation is composed with two bearded and draped male figures, each holding a spear/sceptre in the left hand and a double axe in the right. The two figures are facing each other, in the same attitude and both show a mature face. The left hand holding the spear also holds a part of the himation, each raising a foot slightly in the same move. This emblematic scene, very rare and of historical interest, refers to the satrapy of Caria, and in particular the coinage of Idrieus. Idrieus, or Hidrieos was a ruler of Caria under the Achaemenid Empire, nominally a Satrap from the House of Hecatomnus (the Hecatomnids) created when they succeeded the assassinated Persian Satrap Tissaphernes in the Carian satrapy.

An exact comparison is identifiable with the drachm: Head of Apollo wearing laurel wreath, drapery at neck. Rev: legend (“IDRIEOS”), Zeus Labraundos standing. Circa 351/0 to 344/3 BCE or Satraps of Karia, Pixodaros AR Didrachm. Halikarnassos, circa 341/0-336/5 BC. Laureate head of Apollo facing, turned slightly to right / Zeus Labraundos standing to right, holding double-axe (labrys) over shoulder and and lotus-tipped sceptre; SNG Copenhagen 597; SNG Kayhan 891; SNG Von Aulock 2375-6; Pixodarus -. 6.90g, 20mm. On Greek coins of the classical period (e. g. Pixodauros) a type of Zeus venerated at Labraunda in Caria that numismatists call Zeus Labrandeus stands with a sceptre upright in his left hand and the double-headed axe over his shoulder.

This carnelian cylinder seal is drilled lengthwise, multiple internal cracks and a worn surface. Wear marks and little missing on the surface.



UK private collection, London.

A semitic (paleo-hebrew) chalcedony scaraboid stamp-seal. Winged solar-disc and inscriptions.

7th century B.C.

11 x 14 x 6 mm

Scaraboid shaped stamp-seal with a slightly domed back. On the base, two registers separated by two horizontal lines: on top, the winged solar-disc with crescent moon; three lines and sun. The second register is a paleo-hebrew or phoenician inscription. Chips on the edge.



U.K., private collection 70's, in the same family since then.

A semitic (paleo-hebrew) carnelian scaraboid stamp-seal. Deer and inscriptions.

7th century B.C.

14 x 16 x 8 mm

Scaraboid shaped stamp-seal with a slightly domed back and pierced lengthwise. On the base, a deer (ibex type) turned to the right and framed at the top and bottom by two horizontal lines; phoenician or aramaic inscriptions. Drill technique for the animal. Wear marks.

Parallel : British Museum, London, inv. 02971.


U.K., private collection 70's, in the same family since then.

A rare greco persian chalcedony six-faced tabloid engraved seal. Hunter with animals.

Second half of the 5th century B.C.

10 x 14 x 6 mm

Rectangular stone, with one side flat, the other cut into five facets. Each of the six sides have an engraved figure. The stone is perforated horizontally. Slight chips. The smaller face is engraved with a dog, facing right. The two lateral smaller faces with respectively a hunting dog and a stag. The two larger lateral faces with an ostrich and a fox. The reverse, with a hunter, standing, facing left, putting an arrow to his bow. Very fine quality and rare type. This specific shape and iconography is referred to the graeco-persian period.

See parallels: J. Boardman, Greek gems and finger rings, pp. 313-317, pl. 893, 906 ss. ; Boardman, Intaglios and rings from a private collection, n. 89; G. M. A. Richter, The engraved gems of the greek, etruscan and romans, part I, n. 517-518. Antiken Gemmen, Band II, Berlin, n. 189-190.

U.K., private collection 70's, in the same family since then.

A rare eastern greek fluorite carved idol. Owl.

4th - 3rd century B.C.

H: 48 mm

The tridimensional sculpture is depicting the famous owl of Athens or Athens noctua. The mythological animal is characterized by an horizontal elongated head with big rounded open-eyes. The head feathers and the pupils are deeply carved. The face is frontal meanwhile the body is turned to the left. The wings, and some other feathers are represented by the same carved-lines. The posture of the bird and the general appearance are referring to the mythological owl of the goddess Athena, symbol of the city of Athens (see coinage production). This sculpture can be seen as a votive idol or a very precious protective amulet empowered by the image linked to the goddess of wisdom and strategy. This ancient micro-sculpture is carved in an extraordinary deep purple bicolor fluorite.

The use of this mineral, from the eastern regions, is very ancient and can be also related to this function as Pline the Elder (H.N XXXVII). During the Antiquity, the amulets, sculpted figures and vessels productions in fluorite are attested in ancient Greece and Rome as a precious stone. Wellknown for the crystals wonderful colors and the perfect cleavage. According to current studies, fluorite is referrable to the ancient and precious Murra, used to produce cups and table vases. The oldest mention is from Sesto Properzio. The most complete description is by Caius Pliny the Second, who considers it a gem, although it was not considered as such, for example, by the jurist Cassio Longino around 50 A.D.

In the luxury of the Roman canteens, murrine were preferably used for hot drinks (Marco Valerio Marziale). Murra cups and vases were not lacking at the court of the Ptolemies (Gaio Svetonio Tranquillo). The first seems to have arrived in Rome with Pompey with the treasures of Mithridates. Pliny describes the particular aroma that this tableware emanated. The nature of murra is not yet well understood, Corsi, in 1845, hypothesizes it is a type of fluorite and C. E. N. Bromehead (1949) summarizes all the previous discussions, insisting on identifying murra with fluorite. Pliny describes “the murra vases come from the East. There they are found in several localities, not even famous, especially in the Parthian kingdom, but the most beautiful, however, are in Carmania. It is thought to be a liquid substance that solidifies under the ground by heat. […] Their splendor is without intensity and more than splendor it is properly luster. But what makes their value is the variety of colors, due to the repeated turning of the veins to purple red or pure white or a third shade between the two, when, as for a passage of color, the purple red becomes flaming or the milky white turns red. There are those who especially appreciate the edges and certain shades reissued, as seen in the inner part of the rainbow. Others like dense veins - any transparency or fading is a defect for them - as well as granules and spots that are not outgrowth, but, as also happens in the human body, mostly flat. Even the smell of the substance is a reason for value. The crystal is the result of a cause contrary to the one exposed, of a very intense solidification by freezing […]”.
See the Kantharos or Crawford Cup, British Museum, London, 1st-2nd A.D, found on the border between Syria and Turkey, or The Barber Cup, British Museum, London, 1st-2nd A.D, found on the border between Syria and Turkey (However, other research establishes that the “murra” should instead be identified with several specimens of banded agate and not with the fluorite).

This unique specimen is a beautiful exemple of the ancient craftsmanship from the choice of the bicolor fluorite and its artisitc treatment, combining both the stone and the mythic animal characteristics to emphasize the power of the symbolic hence the protective function of the sculpture. Wear marks. No missing parts. Extremely rare.

Enrico Butini Enigma dei vasi murrini. Leggende, storia, letteratura, indagine archeogemmologica. L'ERMA di BRETSCHNEIDER 2019; Dario Del Bufalo, Murrina Vasa: a luxury of imperial Rome, Roma 2016.

U.K. private colletion. Property of East London gentleman; formerly acquired by R. Ancient Art from Rabi Gallery (Mount street, London) in the 80's

A fine greek garnet microsculpture mounted on a modern gold ring. Lioness.

5th-4th century B.C.

Stone: 16 mm Ring: 16 x 18 mm 12.80 gr

The feline is lying down, with the body in profile and the head raised facing frontally. The eyes are round, made of a different stone and set in the garnet microsculpture in two small holes. The style and the execution are typical of this classical Greek production. Attractive vivid color of the stone. The postclassical gold massive ring is inspired by ancient models. Slight wear marks. Very rare.

Parallels: G.M.A. Richter, Catalogue of engraved gems. Greek, etruscan and roman. The Metropolitan Museum of New York, p. 15 n. 55; Antiken Gemmen in Deutschen Sammlungen, Band I, Staatliche Munzsammlung Munchen, p. 70 n. 358.

European private collection.

A rare etruscan agate intaglio set in an ancient massive gold ring. Silenus.

5th century B.C.

intaglio : 6 x 9 mm
ring : 15 x 14 mm
16, 02 gr.

The figure is in the “Knielauf” position and turned on the left. Groundline.Cable border. The mounting is a plain broad hoop, rounded without, flat within and ending on either side with female head characaterized by
an archaic style with large almond eyes. The heads are supporting the almond-shaped bezel set with the agate intaglio and decorated with incised short braided lines. This ring typology is typical archaic greek
(Boardman, 1967) yet the style and production of this example is etruscan as well as the intaglio execution. The form of the ring is referrable to the “lion ring” type conserved in the British Museum, London.
The use of the ring with “cartridge” or with engraved stone as stamp-seal, becomes very widespread in the middle of the 6th century B.C., and often represents single figures; real or fantastic animals, or complex scenes.
Very fine and rare specimen.

Parallels : F. Marshall, 1968, pl. VIII, n° 300; Metropolitan Museum, NY, inv.40.11.16; Cristofani,Martelli, L'Oro degli Etruschi, 1985, p.56, fig. 10.

U.K. private collection 1985. Formerly in Arthur Sambon (1867-1947) collection.

An etruscan agate scarab intaglio, mounted on an ancient gold ring. Hermes.

5th century B.C.

intaglio : 11 x 15 x 9 mm
ring diam_ 20 mm
7,5 gr.


The character can be identified as Hermes. The god is standing, the body turned on the left meanwhile his head is reversed on the right. He holds the caduceus in his left hand, and the purse in the right one. Clothes and hat in oriental style. Groundline. Cable border. For the mounting; hoop angular on the outside ending with small convex discs with agate scarab revolving on a wire swivel passing through the disks and twisted around the ends of the hoop. The stone is drilled lenghtwise and filled with gold.

Parallels : Marshall, F. , 1968, pl. XV, n°314.

U.K., private collection 80's.

An etruscan carnelian scarab intaglio, mounted on an ancient gold ring. Athlete.

5th - 4th century B.C.

intaglio : 9 x 11 x 6 mm
ring : 19 x 17 mm
9,27 gr.

The masculine figure is facing left, leaning forward, holding a sphere
(or a disc) with the right hand, while the left arm counterbalances
backward. The very developed musculature is marked by
voluminous shoulders and thighs, as well as the bust cut in “v”. His posture, his anatomy and his hairstyle recalls the figure of the Greek athlete, although the style of the incision is Etruscan.
Globular style. Cable border. The mounting is a thin broad hoop, convex without, concave within, ending in large cylindrical ornaments which are decorated with 2 ranges of 3 granules decorated with spool wires, separated by wires. Very fine conservation.

Parallels : Marshall, F., 1968, pl.X, n° 342; Nicolini, G. , Technique des ors antiques, pl. 221-224; J. Boardman,Greek Gems and Finger rings, 1970, pl.336, p. 183. P. Zazoff, Etruskische Skarabaen n. 294.

U.K. private collection 1985. Formerly in Arthur Sambon (1867-1947) collection.

An etruscan carnelian scarab intaglio, mounted on an ancient gold ring. Warrior and Faun.

4th century B.C.

intaglio : 12 x 16 x 8
ring : 17 x 21 mm
11,12 gr.


The two characters are facing left. The warrior is riding a horse, holding a spear in his left hand. Behind, the faun in “Knielauf” position also carries a weapon toward him. Globular style. Cable border. The mounting is a large broad hoop ending with small convex discs with carnelian scarab; the stone is revolving on a wire swivel passing through the disks and twisted around the ends of the hoop.The scarab is partially damage on the convex backside.

Parallels : J. Boardman, Intaglios and rings : Greek, Etruscan and Eastern,1975, n°188 et 189.

U.K. private collection 1985. Formerly in Arthur Sambon (1867-1947) collection.

An etruscan carnelian scarab intaglio mounted on an ancient gold ring. Centaur.

4th century B.C.

intaglio : 11 x 14 x 7 mm
ring diam _ 17 mm circa
3,73 gr.

The creature is turned on the left side, holding a spear. Cable border. Globular style. Attractive color of the stone.
The mounting is a large broad hoop ending with small convex discs with the carnelian scarab; the intagio is revolving on a wire swivel, passing through the disks and twisted around the ends of the hoop. Small chip on the scarab wing case.

Parallel: Aa.Vv., L'Oro degli Etruschi, M. Cristofani and M. Martelli, n. 270 for the setting type.

Property of a gentleman, UK, London.
Ex Christie's, Fine Antiquities, 6 July 1994, lot 339

An etruscan carnelian scarab mounted on an ancient gold ring. Antelope.

4th century B.C.

intaglio : 12 x 16 x 9
ring : 20 x 18 mm
7 g


The animal is running to the left side.
Globular style. Cable border. The mounting is a plain rounded hoop ending with convex terminals. The carnelian scarab revolved on a visible gold pin which passed through the terminals ending and twisted around the ends of the hoop.

Parallels : Museo Archeologico Nazionale di Napoli, inv. 27073/1228

U.K., private collection 80's.