Lions are a popular animal depicted in cameos, intaglios and other art. They are often associated with strength and royalty. They also have a place in mythology such as the winged lion, a mythological creature that resembles a lion with bird-like wings, and the Nemean lion, a vicious monster in Greek mythology that lived at Nemea. It was eventually killed by Heracles. It could not be killed with mortals’ weapons because its golden fur was impervious to attack. Its claws were sharper than mortals’ swords and could cut through any armour. Reference: Wikipedia.
A cat’s eye intaglio enamelled gold Ring India, 18th Century the octagonal cat’s eye engraved with a lion couchant, bezel and shoulders with polychrome floral enamelled decoration, hoop with remnants of enamel finger size G, 5 g.
Sold for £ 4,375 inc. premium at Bonhams in
Cameo of glass paste imitating sardonyx, engraved with a bearded Herakles attacking the Nemean Lion with a sword.
The lion terrorized the citizens of Nemea; although invulnerable to his weapons, it was killed by Herakles/Hercules as one of his Twelve Labours. The hero afterwards wore the animal’s pelt.
Reference: © The Trustees of the British Museum
ONYX OVAL CAMEO SCULPTURE REPRESENTING HERCULES AND THE LION OF NEMEA XVIIIth CENTURY Hercules turned to the left and holding the lion by the arms, his club placed between the feet; in a gold oval frame, applied on a background of tiger agate, encased in a circular ebony frame, with openwork enamel decoration Height: 3.3 cm. (1¼ in.), Total height: 11 cm. (4½ in.)
Sold for EUR 7,500 at Christies in 2009
Daum Nancy Cameo Glass Vase Of shaped cylindrical form, in green decorated with a gilt lion, signed. Height 9 3/4 inches.
Sold for $700 (includes buyer’s premium) at Doyle New York in 2001
18KT Gold, Venetian Glass, Mother-of-Pearl, and Dyed centered on a bezel set round green Venetian glass cameo depicting a winged lion in a square mounting accented with cultured pearls (5.5mm) at the corners, with cabochon half-moon dyed green chalcedony stones bezel set to each side, mount with bead detailing and completed with a collapsable bail and a double row pin stem clasp, signed and stamped 18KT. 1 7/8 in. 20.3 dwt.
Sold for $1,300 at Leland Little Auctions in
Stamp seal Period: Hittite Old Kingdom Date: ca. 17th–16th century B.C. Geography: Anatolia
The stamp seal was the principal type of seal used in Anatolia. This circular seal was carved from a black hematite and has a hammer-shaped handle. The image carved into the face of the seal is of a rampant lion above two addorsed recumbent bulls. The scene is surrounded by a guilloche pattern similar to those common on earlier seals from the Old Assyrian period in Anatolia, demonstrating that Hittite glyptic art had its foundations in the early second millennium B.C.
Reference: The Metropolitan Museum of Art
18th century oval jasper cameo with yellow and greenish black layers. Lion walking to right. Cracked and repaired around forelegs. Partial ground line.
Reference: Museum of Fine Arts Boston
AN IMPRESSIVE AGATE CAMEO, EARLY 19TH CENTURY Depicting a lion passant within a frame chased with foliate and scroll motifs, hinged pendant fitting.
Sold for 13,125 GBP at Sothebys in 2010
Ring brooch, gold, ruby, onyx. The outer ring is formed of a lopped branch, naturalistically chased and engraved, to which is applied broad leaves, each of which curls downwards to form a fine scroll. Between each pair of leaves is set a small ruby. Five spiralling stems attach this to a central roundel case set with the onyx cameo, which shows a lion seizing another animal. The case is edged with scrolling crockets alternately trefoil-headed and round-ended, and set with rubies. Traces of the base of a pin (now missing) on the right centre of the outer ring. The settings for the rubies are open at the back. Place of Origin Spain (made) Date 1300-1500 (made)
Reference: © Victoria and Albert Museum
Lions were common subjects for antique cameos. This beautifully carved piece could have been offered for sale as an antique or as a piece in which the art and techniques of antiquity were reflected. Few 17th-century collectors could have told the difference.
Reference: The Walter Art Museum
