Neoclassical Carnelian Gemstone with Bacchic Procession

Of tapering cylindrical form, extensively decorated in red, white, green and blue enamel in a foliate and floral design with scalloped borders, plain suspension loop; in 23 carat gold, unmarked, enamel restored; possibly of Indian workmanship. 4.84 grams, 42 mm



By repute found in the UK. Acquired Noonan's, London, UK, 15 September 2020, no.202. Property of a British collector. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12997-244313.

The enamelling is similar to Indian enamelled works from the Mughal period, all of which are rare, and these are regarded as gifts for a royal child. This whistle, however, is reported as originally being found in the UK and may be earlier in date.

Comprising nine casts taken from intaglios and cameos featuring mythological scenes including labours of Hercules, each numbered on the reverse. 89 grams total, 38-60 mm



From a private Tyneside collection, formed since the early 2000s.

A substantial ring with a box-shaped bezel set with a table-cut red spinel of deep purplish-red hue, the reverse of the bezel convex with chamfered ends. 6.93 grams, 24.30 mm overall, 17.05 mm internal diameter (approximate size British M 1/2 , USA 6 1/4, Europe 13.09, Japan 12)



Private English collection, formed between the late 1970s and early 1990s. Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12996-245986.

The box bezel is typical of both Spanish and Islamic goldsmithing traditions. The small pointed projection at the rear of the hoop, however, is not a common feature in Spanish rings but is a distinctive hallmark of Islamic goldwork — a form ultimately rooted in Middle Eastern traditions of the Sasanian, Fatimid, and Mamluk periods. This detail likely reached Spain through the transmission of techniques from the Middle East into Islamic North Africa, and subsequently into the goldsmithing repertoire of al-Andalus. These forms were adapted by Spanish goldsmiths to accommodate the tastes of a Christian clientele, reflecting the deep and enduring influence of Islamic craftsmanship in post-Reconquista Spain.