The other roundels in this group (see numbers above) are not as easy to categorize as the Teke pectoral disc ornaments 2006.544.12, 2012.206.6a, .6b, 2011.584.12, and 2015.648.3. Most are new to the literature, and while some are related to Teke works, others, such as the Kazakh and Afghan examples, represent a different style. However, when taken together they illustrate that the roundel form was widespread. Nos. 2009.530.9 and 2014.714.4a, 4b are perhaps closest to the Teke examples: they exhibit arabesque designs in fire gilding and ram’s-head terminals as well as rosettes inset with carnelians, all previously noted Teke design features. No. 2014.714.4a, 4b is particularly notable for its musical qualities. According to Marilyn Wolf, each large bell emits a different tone when struck, a skillful arrangement that would have created a pleasing melody as the wearer moved.
Layla S. Diba in [Diba 2011]
22. Marilyn Wolf, conversation with the author, August 2007.
Marshall and Marilyn R. Wolf, Toronto, Canada (by 2006–9; gifted to MMA)
Diba, Layla S. "Silver Ornaments from the Marshall and Marilyn R. Wolf Collection." In Turkmen Jewelry. The Metropolitan Museum of Art, 2011. no. 89, p. 136, ill. pl. 89 (color).
Artist: Date: late 19th–early 20th century Accession Number: 2009.530.9 Date: late 19th–early 20th centuryMedium: Silver; fire-gilded and chased with rams head terminals, decorative wire and table cut carnelianAccession: 2009.530.9On view in:Not on view
Artist: Date: late 14th–16th century Accession Number: 1989.87a–l Date: late 14th–16th centuryMedium: Gold sheet; worked, chased, and set with turquoise, gray chalcedony, and glass
Accession: 1989.87a–lOn view in:Gallery 455
Artist: Date: late 19th–early 20th century Accession Number: 2013.968.8 Date: late 19th–early 20th centuryMedium: Silver; fire-gilded and repousse with openwork and beaded stamped decoration, table cut carnelian, embossed pendants, and perforated terminations.Accession: 2013.968.8On view in:Not on view