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拍品專文
The oval stone depicting a resting or sleeping dog, likely a Molossian hound, is carved from agate, with two distinctive layers of cream above translucent brown, which Story-Maskelyne (op. cit. p.115) had erroneously thought to be 'glass imitating onyx'. For a similar cameo, cf. nos. 185-6 in U. Gehrig, ed., Tierbilder aus vier Jahrtausenden, Antiken der Sammlung Mildenberg, Mainz am Rhein, 1983. Although the symbolic meaning behind the depiction of the dog is unknown, perhaps it refers to the loyalty of the animals as well as their courage and reliability. The mid-19th Century gold mount depicts an encircling snake or Ouroboros, biting its tail, representing eternity, with eyes inset with diamonds.
This cameo has a long illustrious ownership history. It belonged to George Spencer, 4th Duke of Marlborough (1738-1817), whose collection of gems and cameos was arguably the largest and finest ever assembled. It remained at Blenheim Palace, the seat of the Dukes of Marlborough, until 1875, when the entire collection of gems was first sold at Christie’s en masse to David Bromilow. The collection remained intact until his daughter sold the gems, again at Christie’s, in 1899.
This cameo has a long illustrious ownership history. It belonged to George Spencer, 4th Duke of Marlborough (1738-1817), whose collection of gems and cameos was arguably the largest and finest ever assembled. It remained at Blenheim Palace, the seat of the Dukes of Marlborough, until 1875, when the entire collection of gems was first sold at Christie’s en masse to David Bromilow. The collection remained intact until his daughter sold the gems, again at Christie’s, in 1899.