A matched pair of penannular bracelets, each formed in tightly-bound plaited gold wire with terminals formed as the crested heads of makara, their eyes set with rubies; mounted in a lined presentation case. [2]

PROVENANCE:
Habsburg, Feldman, GOLD, Important Ancient and Ethnic Jewellery and Works of Art in Precious Metal, Hotel des Bergues, Geneva, 14 May 1990, no.105, 111.
Acquired by the current owner from the above sale.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12800-241416.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

LITERATURE:
Cf. for the ancient prototypes of such bracelets Demandt, M.H.S., ‘Early Gold Ornaments of Southeast Asia: Production, Trade and Consumption’ in Asian Perspectives, Vol. 54, No. 2, 2016, pp.305-330, fig.8.

FOOTNOTES:
Gold jewellery in northern Thailand holds both aesthetic and cultural significance, deeply rooted in regional identity, status, and spiritual belief. Traditionally crafted by skilled artisans, such pieces were not only symbols of wealth and social standing but also believed to offer protection and merit. In Lanna culture (the historic kingdom of northern Thailand), gold was closely associated with religious offerings, marriage rituals, and rites of passage, often passed down through generations as cherished heirlooms. The intricate designs—frequently featuring floral and mythical motifs—reflect both indigenous styles and broader Southeast Asian influences, underscoring gold’s enduring role in both personal adornment and communal heritage.