[Sold via Kentshire.com, no longer viewable. Nothing further known.]
Jewelry in the Revivalist style (mostly Victorian period); includes Archeological, Egyptian, Etruscan, Renaissance, and Gothic Revival.
Egyptian Revival Scarab Brooch
An Egyptian Revival Gold and Scarab Brooch
[nothing further known, no source?]
Plique-a-Jour Enamel Egyptian Revival Scarab Brooch
With a wingspan of 4 and 3/4 inches, this soaring Egyptian Revival scarab brooch – circa 1920s – glows with translucent turquoise blue and shaded green plique-a-jour enamel feathers. Crafted in 800 silver (possibly German or Austrian origin) – exotically striking and beautiful.
Etruscan Revival Gold Plaque Bracelet
Gold bracelet, Giacinto Melillo, 1870s
Designed as nine hinged plaques applied with filigree, granulation and bead work in the Etruscan style, length approximately 195mm, signed GM for Giacinto Melillo, fitted case stamped Giacinto Melillo.
Cf: Charlotte Gere, et al., The Art of the Jeweller, A Catalogue of the Hull Grundy Gift to the British Museum: Jewells, Engraved Gems and Goldsmiths Work, London, 1984, pgs. 149-151, plate 959 for illustrations of a similar design by Alessandro Castellani.
Cf: Geoffery C. Munn, Castellani and Giuliano, Revivalist Jewellers of the Nineteenth Century, London, 1984, pgs. 88 and 93 for references to these jewels.
Cf: David Bennett and Daniela Mascetti, Understanding Jewellery, Suffolk, 1994, pg. 238 for an illustration of a similar bracelet by Melillo.
Cf: Daniela Mascetti and Amanda Triossi, Earrings from Antiquity to the Present, London, 1999, pgs. 28-29 and 101, for illustrations of the Etruscan ‘baule’ earrings and their consequent 19th century counterparts.
Giacinto Melillo (1845-1915) became the director of the Castellani jewellery store in Naples in 1870, at the age of 25. While relatively young, Melillo’s natural ability surpassed his age. The bracelet design was used by both Alessandro Castellani and Giacinto Melillo who signed with their respective initials ACC and GM. It is believed that the original inspiration for these plaques came from the discovery of fragments of Etruscan ‘baule’ earrings, popular between 700-500 BC. The Melillo bracelets were heavier than the Castellani versions due to the addition of gold plaques, applied with a four-petal flower motif to the reverse.
Source link (Sotheby’s, Magnificent Jewels and Noble Jewels, 13 May 2014, Geneva)
Egyptian-Revival Faience and Jeweled Brooch
Magnificent and Rare Egyptian-Revival Faience and Jeweled Brooch, Cartier, London
Designed as an Egyptian fan, or flabellum, centering an ancient green glazed faience bust of the goddess Sekhmet, depicted with a solar disc and a uraeus (cobra) upon her head, set against a lapis lazuli sky twinkling with diamond stars bordered by a black enamel aureole and repeating diamond-set stylized lotus motif, all surmounting a stylized lotus blossom; set in platinum and 18 karat gold with a total of 11 single-cut and 89 old European-cut diamonds; the back of the brooch fitted with an 18 karat gold crook, a symbol of state power in Egypt when held by the pharaohs in conjunction with a flail, placed as the connecting support element for the faience relic, signed Cartier Londres, numbered S.L 7353; circa 1923. With original fitted box stamped Cartier.
French Industrial Exposition, Grand Central Palace, New York, New York, April 22-May 3, 1924.
The Illustrated London News, January 26, 1924, “The ‘Tutankhamen’ Influence in Modern Jewelry,” which includes this brooch and indicates the range of pieces incorporating ancient fragments produced by Cartier London in the year and a half since the opening of Tutankhamen’s tomb in November 1922.
Cartier: 1900-1939 by Judy Rudoe, pages 136-138.
The Impossible Collection: The 100 Most Important Jewels of the Twentieth Century by Vivienne Becker, plate 20.
Deriving her name from the ancient Egyptian word ‘sekhem,’ or ‘powerful one,’ Sekhmet was depicted as a lioness. A solar deity, said to be the daughter of the sun god Ra, she was the warrior goddess and the goddess of healing for Upper Egypt, the protector of the pharaohs, and it was believed that her breath created the desert.
This is one of two brooches depicting the top of an Egyptian fan that were made by Cartier London in 1923. The other was sold at Sotheby’s New York Magnificent Jewels auction on December 4, 2007, lot 273.
Egyptian-Revival Jeweled Fan Brooch
Egyptian-Revival Jeweled Fan Brooch, Cartier, London, 1923
Composed of an Egyptian glazed steatite plaque of semicircular shape, circa 600 B.C., inscribed with hieroglyphs, the border of papyrus and lotus motifs decorated with pear-shaped cabochon sapphires and square segments of onyx and enamel within a ground of pavé-set old European-cut and single-cut diamonds, the base centering a stylized lotus blossom similarly set with old European-cut, single-cut and rose-cut diamonds and accented with 2 kite-shaped cabochon sapphires and a band of black enamel, mounted in platinum and gold, signed Cartier, Londres, numbered 7300. With original signed case.
An archive photograph of this brooch appears in the exhibition catalogue Cartier: 1900-1939, Judy Rudoe, p. 138, fig. 66. The caption under the photograph states that the inscription relates to Mentuemhat, mayor of Thebes.
The reverse of the faience segment is applied with a gold plaque inscribed with the following: “Overseer of the Priests, Overseer of the Gate of the Foreign Countries, The Priest of Thebes, Mentu-Em-Hat, The Son of the Priest of Amun, The Prince of Thebes, Nesptah The Overseer of the Two Houses of the Soul, Priests of the Tomb of This Priest.”
Auction Link | Found via Jewels du Jour
Egyptian Revival Brooch/Pendant
An archaeological revival gold and enamel brooch/pendant, by Robert Phillips, circa 1865
Set to the centre with a raised scarab rendered in scarlet guilloché enamel with black enamel spot and stripe detail, between a pair of finely modelled rearing gold cobras with black enamel decoration, suspended from a detachable gold and black enamel coiled cobra suspensory loop, terminating with a later burnt sienna guilloché enamel amphora drop, glazed compartment to reverse, detachable brooch fitting, unsigned, some minor enamel losses, pendant length 6.4cm, width 3.4cm, fitted case by Phillips, 23 Cockspur St, London
In mid 19th century Britain, interest in Egyptian artefacts was considerable. The Thebes Jewels, discovered in 1859 by Auguste Mariette, were exhibited in London in 1863 and contemporary accounts in The Times describe the extraordinary array of jewels and record the public amazement at the spectacle. The exhibition coincided with a trip made by the Prince of Wales to Egypt which culminated in a tour up the Nile to Thebes. Upon his return to London the Prince commissioned a suite of jewellery from Robert Phillips replicating the scarab jewels he had seen at Thebes. The parure was a gift for his bride, Princess Alexandra of Denmark and on the marble bust sculpted by Mary Thornycroft to celebrate the marriage, she wears one of the brooches. The marble was much copied and became widely known. In response to this public awareness Robert Phillips marketed various versions of the Thebes suite for sale. The brooch pendant offered here is a fine example of one of these rare jewels.
Castellani Scarab Bracelet
Place of origin:
Rome, Italy (made)
500-300 BC (made) — scarabs
before 1925 (made) — bracelet
Castellani (bracelet, maker)
Materials and Techniques:
Gold decorated with applied wirework and granulation, mounted with four carnelian scarabs
M.35-2001 (V&A Museum, London)
This bracelet may have been in the Castellani firm’s stock for a number of years as the business was winding down in the 20th century.
Ancient beads, scarabs and engraved gemstones from excavations were an essential element of jewellery made in the archaeological style. Mounted in gold, they were densely set in necklaces, bracelets, brooches, earrings or rings.
Castellani, the leading jewellers in Rome, acquired ancient stones in great quantities from many sources. The scarcity of scarabs caused Augusto Castellani to comment in 1862 that their high price ‘impelled the moderns to counterfeit them. And they so perfected this trade that the most experienced eye can barely discover the deception’.
Etruscan Revival Necklace
The hinged choker of torque design decorated at the front with two facing lion head terminals, with ruby and emerald detail, mounted in gold, inner circumference 32.8 cm
Egyptian Revival Lapis Lazuli Ring
Late Victorian Egyptian Revival Gold Ring with Lapis Lazuli
14K Gold, Lapis Lazuli
Archeological Revival “Bacchus” pendant
Archeological Revival “Bacchus” pendant attributed to Castellani, c. 1870
Source: Celebrating Jewellery by Daniela Mascetti and David Bennett
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Via: The Jewelry Loupe
Archaeological-Revival Intaglio Necklace
ARCHAEOLOGICAL-REVIVAL GOLD AND HARDSTONE INTAGLIO NECKLACE, ITALY, CIRCA 1870
Supporting 26 oval intaglios carved with themes and motifs from Classical antiquity, including carnelian, amethyst, garnet, chrysoprase, jasper, bloodstone and glass, alternating with rod fringes with floret terminals, length 14¾ inches, Italian assay mark, clasp deficient.