Migration Period Horn Comb

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. 21.44 grams total, 30-32mm



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.

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.

Comprising a flat-section hoop widening at the shoulders, a rectangular bezel with two standing figures, one with his arm raised. 4.25 grams, 22.51 mm overall, 17.37 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

Of Byzantine type, obverse with low-relief Corpus Christi; reverse with enigmatic legend '[?] NIXIXIN'. 31.77 grams, 72 mm



Ex R Ungar, Parthenon Gallery, London, UK, 2006. From an important North London, UK, private collection.

The reverse may bear a blundered attempt at the 'INRI' legend, which appears in Byzantine and late Roman art, for Iesus Nazarenus, Rex Iudaeorum 'Jesus King of the Jews'.