LOT 0283

Merovingian Gold Earrings with Garnets

6TH CENTURY A.D.

1 1/4 in. (21.44 grams total, 30-32mm).

Of circular form, each composed of a plain gold hoop terminating in a cube-shaped setting displayed upon panels of almandine garnet, carefully cut and backed with gold foil to enhance their translucency and depth of colour; the polygonal settings formed of intersecting gold struts. [2]

New York art market.
Christie's, New York, 18 December 1998, no.316.
with Ariadne Galleries, New York, acquired at the above sale.
Private American collection, acquired from the above, 27 April 2016.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13449-257970.

See The Metropolitan Museum of Art, New York, for an earring of closely related form with cubic garnet setting, inv. 22.50.10; The Dumbarton Oaks Collection, Washington D.C., for a pair of near-identical type, with polygonal garnet inlays within geometric gold frameworks, inv. BZ.1940.1.6–7; The British Museum, London, for a complete pair inv. AF.516.a-b, together with further single examples, inv. 1923,0716.65; 1923,0716.64; 1923,0716.13.

Collectively, these objects demonstrate the wide diffusion of this Ostrogothic type across the Mediterranean, highlighting both the technical mastery of cloisonné work and its symbolic value within elite Gothic adornment. Their integrity is exceptional for jewels of this period, and they would be suitable, if desired, for sympathetic adaptation with discreet loops for modern wear. The use of garnet inlaid into gold cells reflects the continuation of Late Roman cloisonné techniques, adapted and developed within the Ostrogothic world. Such earrings, with their bold cubic settings and luminous stones, would have projected wealth and status, while also embodying the cultural synthesis of Roman and Gothic traditions in Italy and the wider Mediterranean during the 6th century. Displayed upon a modern bespoke bronze stand, included with the earrings.