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Provenance

Said to have belonged to Count Stephen Keglevich [1740-1793], Vienna.[1] Said to have belonged to the duke of Marlborough, Blenheim Palace.[2] (Duveen, New York); purchased 3 February 1923 by Joseph E. Widener, Elkins Park, Pennsylvania, probably as Italian, sixteenth century; inheritance from the Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, after purchase by funds of the Estate, 1942.

Bibliography
1935
Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 46.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 11, as Italian 16th Century.
1956
Steingräber, Erich. Alter Schmuck. Munich, 1956: 113, fig. 185; English ed. 1957: 112, fig. 185.
1979
Hackenbroch, Yvonne. Renaissance Jewellery. London and Munich: 1979: 41, no. 76, color pl. 4.
1981
Newman, Harold. An Illustrated Dictionary of Jewellery. London, 1981: 198, 199.
1983
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 165-166.
1993
Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 291-294, color repro. 292.
Technical Summary

Table-cut stones are in rectangular box settings. The enamel does not always fill the cavities provided. There has been some loss of enamel. The chalcedony is drilled through both vertically and horizontally. Four pin hinges connect the black enameled flange on the reverse side. The flange is worked separately so that the gem can be put into the mounting. The stone under the suspension loop could be quartz. The diamonds are of inferior quality.