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Necklace of Coins Bearing Imperial Portraits
recto overall
recto overall

Necklace of Coins Bearing Imperial Portraits

CultureRoman
Date238-243 C.E.
MediumGold
DimensionsOverall: 30 1/4 inches (76.84 cm)
Credit LinePurchase: William Rockhill Nelson Trust
Object number56-77
On View
On view
Gallery Location
  • 104
Collections
DescriptionTwo-strand necklace bearing nine five-sided cylindrical dividers, eleven pendant-medallions and one clasp, in open-work technique, each framing an IMperial aureus of different type selected from among nine Emperors.Exhibition History

Exhibition of Gold, Cleveland Museum of Art, October 31, 1947-January 11, 1948.

 

Heads of State and Some Friends, The Nelson-Atkins Museum of Art, Kansas City, MO, January 4-February 6, 1983, no. 8.

 

I Claudia: Women in Ancient Rome, Yale University Art Gallery, New Haven, CT, September 6-December 1, 1996.


The Moon and the Stars: Afterlife of a Roman Princess, Mount Holyoke College Art Museum, South Hadley, MA, September 4-December 19, 1999, no. 38.

 

Luxury: Treasures of the Roman Empire, The Nelson-Atkins Museum of Art, Kansas City, MO, July 9-October 2, 2016.

Provenance

Near Alexandria [1];

 

With Dr. Jacob Hirsch, New York, by 1955;

 

Purchased from the Estate of Jacob Hirsch by The Nelson-Atkins Museum of Art, Kansas City, MO, 1955.

 

NOTES:

 

[1] According to William M. Milliken, “Exhibition of Gold,” Bulletin of the Cleveland Museum of Art 34, no. 9 (1947): 211-12 and Hirsch invoice dated November 23, 1955, NAMA curatorial files, this necklace is from the Egyptian coast near Alexandria. Other publications, including Cornelius Vermeule, “Numismatics in Antiquity,” Swiss Numismatics Review 54 (1975): 18-19, no. 29, describe the necklace as from Aboukir.

Published References

William M. Milliken, “Exhibition of Gold,” Bulletin of the Cleveland Museum of Art 34, no. 9 (1947): 211-12, with plate.

 

Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 40.

 

Cornelius Vermeule, “Maximianus Herculeus and the Cubist Style in the Late Roman Empire,” Bulletin (Museum of Fine Arts, Boston) 60 (1962): 17.

 

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 50.

 

Cornelius Vermeule, “Numismatics in Antiquity,” Swiss Numismatics Review 54 (1975): 18-19, no. 29, figs. 4-5.

 

Cornelius Vermeule, Greek and Roman Cypress: Art from Classical through Late Antique Times (Boston: Museum of Fine Arts, 1976), 122.

 

Pierre Bastien and Catherine Metzger, Le trésor de Beaurains (dit d’Arras), Numismatique romaine 10 (Wetteren, Belgium: Editions Numismatique Romaine, 1977), 177, 186, plate A. 

 

Catherine Metzger, “Les bijoux monétaires de l’antiquité tardive,” Dossiers d’archéologie 40 (1980): 86, (repro.).

Roger Ward, Heads of State and Some Friends, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1983), 12-13, no. 8.

 

Jutta-Annette Bruhn, “Nummus pro gemmis: Coin Settings in Roman Imperial Jewelry” (PhD diss., Brown University, 1991), 53, 77, 84-86, 90, 183-88, no. 36.

 

Lucia Pirizio Biroli Stefanelli, L’Oro dei Romani. Gioielli di età imperial (Rome: “L’Erma” di Bretschneider, 1992), 267, no. 229, fig. 262.

 

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 25, (plate), 123.

 

Diana Kleiner and Susan Matheson, I Claudia: Women in Ancient Rome (Austin: University of Texas Press, 1996), 179, no. 141.

 

Eve D’Ambra, Roma Art (New York: Cambridge University Press, 1998), 163-65, fig.115.

 

Bettina Bergmann and Wendy Watson, The Moon and the Stars: Afterlife of a Roman Empress (South Hadley, MA: Mount Holyoke College Art Museum, 1999), 18, 21, fig. 19, 26, no. 38.

 

Aimilia Yeroulanou, Diatrita: Gold pierced-work jewellery from the 3rd to the 7th century (Athens: Benaki Museum ,1999), 202, no. 5.

 

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 19, fig. 50.

 

Ashley Elizabeth Jones, “ ‘Lord, Protect the Wearer’: Late Antique Numismatic Jewelry and the Image of the Emperor as Talismanic Device” (PhD diss., Yale University, 2011), 5n17, 67, 70,  109, 160-61, 176, 178-83, 188, 193-94, 202-03, fig. 6.2.   

 

Anna Lina Morelli, “La patera di Rennes: analisi numismatica,” in Oggetti-simbolo: produzione, uso e significato nel mondo antico, Ornamenta 3, ed. Isabella Baldini Lippolis and Anna Lina Morelli (Ante quem: Bologna, 2011), 120.
Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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