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About This Artwork
Cameo Portraying Emperor Claudius as Jupiter, Cameo: Roman, AD 41/54
Mount: Italian, late 16th century
Mount: gold, pearls, and enamel
7.6 x 5.7 x 0.8 cm (3 x 2 1/4 x 5/16 in.)
Gift of Marilynn B. Alsdorf, 1991.375
This work appears in the online catalogue Roman Art at the Art Institute of Chicago, featuring art historical essays and conservation reports on artworks from the ancient Roman world in the Art Institute’s collection. Entries include new high-resolution photography, stunning 360-degree views of the works, and in-depth technical imaging and analysis. The volume is free to the public.
Art Institute of Chicago, Renaissance Jewels from the Collection of Melvin Gutman, 1951–62, no cat.
Baltimore Museum of Art, Renaissance Jewels from the Collection of Melvin Gutman, 1962–68, cat. 42 (ill.).
Martin D’Arcy Gallery of Art, Loyola University of Chicago, The Art of Jewelry 1450–1650: A Special Exhibition of Jewels and Jeweled Objects from Chicago Collections, Spring 1975, cat. 43 (ill.).
Mantua, Italy, Palazzo del Te and Palazzo Ducale, Gonzaga: La Celeste Galeria; L’Escercizio dell Collectionismo, Sept. 1–Dec. 8, 2002, no cat.
Staatliche Museen zu Berlin im Alten Museum, Antikensammlung, Mythos und Macht: Erhabene Bilder in Edelstein, July 26, 2007–May 25, 2008 (cameo returned Feb. 18, 2008), no cat.
The Art Institute of Chicago, Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art, Gallery 152, November 11, 2012 - present.
Andrew Fountaine, The Arundel Cabinet (London, May 1731), p. 8, case D, no. 13, available at http://www.carc.ox.ac.uk/xdb/ASP/browseBooks.asp.
Rudolf Erich Raspe, A Descriptive Catalogue of a General Collection of Ancient and Modern Engraved Gems, Cameos as well as Intaglios: Taken from the Most Celebrated Cabinets in Europe; and Cast in Coloured Pastes, White Enamel, and Sulphur by James Tassie, Modeller (J. Tassie and J. Murray, 1791), pp. 88–89, no. 965.
M. H. Nevil Story-Maskelyn, The Marlborough Gems, being a Collection of Works in Cameo and Intaglio, formed by George, Third Duke of Marlborough (1870), pp. 1–2, no. 4.
Marlborough Collection, Album of Photographs of the Gems (1875), p. 1, no. 4, available at http://www.beazley.ox.ac.uk/gems/marlborough/default.htm.
Christie’s, London, Catalogue of the Marlborough Gems: Being a Collection of Works in Cameo and Intaglio, formed by George, Third Duke of Marlborough, sale cat. (Christie’s, London, June 28, 1875), pp. xxi, 2, no. 4.
Christie’s, London, The Marlborough Gems, sale cat. (Christie’s, London, June 26–29, 1899), lot 4.
Adolf Furtwängler, Die antiken Gemmen: Geschichte der Steinschneidekunst im klassischen Altertum (Giesecke & Devrient, 1900), vol. 1, pl. 65, no. 48; vol. 2, p. 302, no. 48 (ill.).
Christie’s, London, Catalogue of an Important Collection of Greek, Roman, and Etruscan Antiquities, and Antique and Renaissance Gems: The Property of Humphrey W. Cook, sale cat. (Christie’s, London, July 14, 1925), lot 203.
Parke-Bernet, New York, Part Two of the Notable Art Collection Belonging to the Estate of Joseph Brummer, sale cat. (Parke-Bernet, New York, May 11–14, 1949), lot 238 (ill.).
M. L. D’Otrange, “A Collection of Renaissance Jewels at the Art Institute of Chicago,” Connoisseur 130, 527 (Aug. 1952), p. 69 (ill.), p. 71.
The Complete Encyclopedia of Antiques, ed. L. G. G. Ramsey (Hawthorn Books, 1962), pp. 506–07, pl. 186, A.
Marie-Louise Vollenweider, Der Jupiter-Kameo (Kohlhammer, 1964), p. 11, n. 17.
Parker Lesley, “Pendant Cameo of an Imperial Figure with Divine Attributes in Gold, Enamel and Pearl Frame,” in Renaissance Jewels and Jeweled Objects from the Melvin Gutman Collection, exh. cat. (Baltimore Museum of Art, 1968), pp. 116–18; p. 117, cat. 42 (ill.).
Parke-Bernet, New York, Medieval and Renaissance Jewelry and Vessels of Rock Crystal and Other Semi-precious Stones: The Melvin Gutman Collection Part II, sale cat. (Parke-Bernet, New York, Oct. 17, 1969), lot 52, pp. 24–25 (ill.).
Donald F. Rowe, “Pendant of a Roman Emperor,” in The Art of Jewelry 1450–1650: A Special Exhibition of Jewels and Jeweled Objects from Chicago Collections, exh. cat. (Loyola University of Chicago, 1975), p. 60, cat. 43 (ill.), back cover (ill.).
Wolf-Rüdiger Megow, Kameen von Augustus bis Alexander Severus (De Gruyter, 1987), p. 202, no. A84, pl. 27.2.
Fulvio Canciani and Alessandra Costantini, “Iuppiter,” in Lexicon Iconographicum Mythologiae Classicae, vol. 8 (Artemis, 1997), p. 456, no. 408.
Martha McCrory, “Cameos and Intaglios,” in “Renaissance Jewelry in the Alsdorf Collection,” special issue, Art Institute of Chicago Museum Studies 25, 2 (2000), pp. 56–57, cat. 21 (ill.); pp. 94, 105–06; cover (ill.).
Elizabeth Rodini, “The Language of Stones,” in “Renaissance Jewelry in the Alsdorf Collection,” special issue, Art Institute of Chicago Museum Studies 25, 2 (2000), p. 24.
Marie-Louise Vollenweider and Mathilde Avisseau-Broustet, Camées et intailles, vol. 2, Les portraits romains du Cabinet des Médailles (Bibliothèque Nationale de France, 2003), p. 79.
Gertrud Platz-Horster, “Zwei römische Kaiserkameen der Sammlung Alsdorf in Chicago,” in Mythos und Macht: Erhabene Bilder in Edelstein, ed. Gertrud Platz-Horster (Antikensammlung Staatliche Museen zu Berlin, 2008), pp. 24–28; p. 86, figs. 5–7.
Boardman, John, with Diana Scarisbrick, Claudia Wagner, and Erika Zwierlein-Diehl, The Marlborough Gems Formerly at Blenheim Palace, Oxfordshire (Oxford University Press, 2009), p. 35, no. 2 (ill.).
Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Art Institute of Chicago, 2012), pp. 78–79, cat. 16 (ill.), p. 112.
Art Institute of Chicago, Art Institute of Chicago: The Essential Guide (Art Institute of Chicago, 2013), p. 72 (ill.).
Mathilde Avisseau-Broustet, “Cameo Depicting Jupiter,” in The Berthouville Silver Treasure and Roman Luxury, ed. Kenneth Lapatin, exh. cat. (J. Paul Getty Museum, 2014), pp. 134–37, fig. 83.
Sandra E. Knudsen, “Cat. 138 Cameo Portraying Emperor Claudius as Jupiter: Curatorial Entry,” in Roman Art at the Art Institute of Chicago (Art Institute of Chicago, 2016).