Renaissance Carnelian Gem in Gold Mount

A set of four framed and glazed historical prints: Sir Francis Drake, engraved by S. Freeman, published London, 1829, by Harding & Lepard; Sir Walter Raleigh, engraved by H. Robinson, published London, 1829, by Harding & Lepard; Spencer Compton, engraved by H. Robinson, published London, 1834, by Harding & Lepard; Anne Clifford, Countess of Dorset, engraved by H.T. Ryall, published London, 1830, by Harding & Lepard. 2.3 kg total, 32.5 x 24.5 cm each

Fair to fine condition.

Property of a North London, UK, gentleman. From the private collection of John Meredith, acquired since the 1990s; thence by descent.

With narrow shank and fleur-de-lys to each shoulder supporting an ellipsoid cell with inset carnelian intaglio profile bust of Nero with solar crown; supplied with a museum-quality impression. 3.64 grams, 22.23 mm overall, 20.44 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Private collection, Europe. Acquired on the English art market.

Nero, who reigned as Roman Emperor from 54 to 68 AD, is one of history’s most infamous rulers, known for his extravagant lifestyle, ruthless rule, and controversial actions. Born as Lucius Domitius Ahenobarbus, he was adopted by his great-uncle, Emperor Claudius, and ascended the throne at the age of 16, initially under the guidance of his mother, Agrippina the Younger, his tutor Seneca, and the Praetorian Prefect Burrus. Early in his reign, Nero promoted arts and cultural projects and enjoyed popularity, but as he gained autonomy, he became increasingly tyrannical. He allegedly ordered the deaths of his mother, wife, and other prominent figures. Nero is often (though likely inaccurately) associated with the Great Fire of Rome in 64 AD, after which he blamed and persecuted Christians, marking one of the earliest recorded persecutions of the group. His reign ended in turmoil and revolt, leading to his suicide in 68 AD, which marked the end of the Julio-Claudian dynasty. His legacy remains controversial, remembered as both a patron of the arts and an archetype of a decadent, cruel autocrat.

Representing Saint Antipas with a Gospel in his left hand and making the gesture of blessing with his right, dressed as a bishop, with sticharion, covered by omophorion, and surmounted by an epitrachelion; the Mandylion at the centre above the saint, Saint Mary on the left panel and Jesus on the right; Old Slavic inscription around the figures: 'ΙC ΧΡ' (Jesus Christ); 'ΜΡ ϴΥ'(Mother of God); Saint Antipas of Pergamum (Св Анти́па Перга́мский). 238 grams, 11.3 cm



Acquired from Chris Martin-Zakheim, Iconastas, 5 Piccadilly Arcade, London SW1. From the private collection of a West London, UK, gentleman, formed since the early 2000s.

The icon features meticulous craftsmanship typical of Orthodox iconography. Saint Antipas was popularly held to be a healer of tooth problems. He was martyred by burning in a brazen bull-shaped altar under the Emperors Nero or Domitian.