Both earrings depict a seated sphinx with a female head, a seated lion’s body, an s-shaped tail, and wings that curve upwards and back to cover the side of the...
Both earrings depict a seated sphinx with a female head, a seated lion’s body, an s-shaped tail, and wings that curve upwards and back to cover the side of the head. The wings are detailed with rows of small lines, representing the powerful wings of an eagle. Both sphinxes sit on a rectangular plinth decorated on each side with scrolling filigree. Each wears a filigree crown surmounted by a cinquefoil rosette covering the join of the ear hooks. When worn, the sphinxes face forwards. The pair aren't a matched pair and although it is possible that the two earrings come from different pairs originally, the high level of similarity and that one is less worn than the other, it is likely that the less-worn was an ancient copy to replace the lost original.
Hans M. F. Schulman (1913 – 1990) Collection, USA and the Netherlands, acquired in the 1930s, thence by descent
Exhibitions
Literature
This pair of gold earrings is characteristic of a well-known Classical Greek type, taking the shape of a seated winged sphinx atop a decorated rectangular plinth. Although clearly intended to be a pair, the two sphinxes are not an exact match, with one sphinx likely an ancient copy of the other to replace a lost original.
The earrings have been crafted primarily from sheet metal, which has been carefully pressed over an existing mould or “former,” a close example of which can be found in the Staatliche Antikensammlungen, Munich. Finer details, such as the hair, face, and body, were likely finished by hand. Beaded filigree can be observed on both the plinth and crown, used to create detailed scroll/wave and teardrop patterns respectively. Both earrings feature perforations at the base, a practical feature used to allow hot air to escape during manufacture.
Despite the pair being very similar in form and size, the second earring (with the flatter face) is likely a copy of the first, with the details reflecting the work of a different goldsmith. The original, more naturalistic in design, features finer filigree and detailing. Further discrepancies can be observed in the scroll/wave pattern around the plinth, the shape of the crown, and the hair details. Despite these differences, the earrings together make for a charming pair, equally reflective of the rich heritage of Classical craftsmanship.
Sphinxes themselves are popular mythical beasts, common to both Mediterranean and Near Eastern cultures alike. Typically associated with the myth of Oedipus, this riddle-telling monster was as much a symbol of protection as it was a symbol of danger. Thus, in wearing this pair of earrings, one’s face would be flanked by these fearsome yet beautiful creatures.
Other finely-detailed jewellery of mythological subjects in the round have been found throughout the Hellenistic world, but some of the most impressive come from the North Pontic cities, especially around the Cimmerian Bosporus. There is a similar, enamelled pair of sphinx earrings in the Museum of Historical Treasures of Ukraine, Kyiv, inv. no. 2282/2. Also a pair of Nikai earrings from the Pavlovsky kurgan, now in the Hermitage (acc. no. Pav. 3) have splendid wings and hooks with rosettes. From Kul Oba come a pair of gold bracelets with sphinx protomes, now in the Hermitage, (acc. no. KO 19-20). For further discussion, see J. Ogden and D. Williams, Greek Gold. Jewellery of the Classical World, London 1994, pp. 122-98.