Neo-classical Cameos. Neoclassicism is a revival of the styles and spirit of classic antiquity inspired directly from the classical period,which coincided and reflected the developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style. While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered. The case of the supposed main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology. Reference: Wikipedia
Many gems were carved in the neo-classical style popular in the late 1700s and early 1800s, when taste in the arts echoed the subject matter and style of the Greek and Roman masters. Thousands of gems were made in this style in Italy and brought back by British Grand Tourists, who went there to visit the newly-discovered classical antiquities and archaeological sites. Reference: Victoria & Albert Museum
An early 19th century gold, half-pearl and onyx cameo brooch/slide, possibly by Michelini Oval, depicting the bust of a neo-classical maiden, in profile facing left, with bands in her hair, within a gold and half-pearl border, cameo with scratched signature in field in Greek letters, French import marks, pearls untested, detachable brooch fitting, cameo: length 4.4cm, width 3.7cm, brooch length 5.7cm FOOTNOTES Luigi Michelini (active c.1810) was a pupil of Giuseppe Girometti and worked in Paris. He was listed in the 1839 ‘Pocket Companion to Paris; For the use of the English’ which states “he is considered to be the cleverest engraver”. He is known to have signed in Greek and in different styles.
Sold for £13,750 inc. premium at Bonhams in 2016
GOLD AND ENAMEL CASED CYLINDER WATCH WITH DUMB QUARTER-REPEAT AND EN-SUITE CHATELAINE. . Movement with cylinder escapement. Enamelled case with medallions of George III and Queen Charlotte. Chatelaine with medallions of Roman altar scene, head of Hercules, head of Mercury and a swan, all in neo-classical style. : With the watch a small leather-bound booklet: MEMORANDA (for Private Use) James Middleton Paton 1875.
Reference: © The Trustees of the British Museum
A 19th century Neo-Renaissance gold-mounted agate cameo pendant The oval cameo carved to depict the bust of Charles V of Spain, Holy Roman Emperor (1500-1558), in profile facing right, within an open work green, white and red enamel border suspending three pearl drops, to a ropework suspension loop, dimensions 6.0 x 4.0cm, pearls not tested for natural origin
Sold for GBP 2,500 at Christies in 2012
Antique, Hardstone Cameo and Diamond Pendant Centering one oval hardstone cameo depicting the profile of a neoclassical woman, approximately 27.0 x 22.0 mm., within an oval frame decorated with small gold balls, edged with fine twisted gold, framed by an intertwining wire mesh serpent, its scaled and decoratively engraved head topped by 2 pear-shaped and oval rose-cut diamonds, flanked by 4 rose-cut diamonds, accented by small square-cut ruby eyes, supported by a pendant loop of similar design to the cameo frame, approximately 29.6 dwts. With fitted box.
Cameo: very nice carving, translucent. Diamonds: I-J-SI2. Minor dents on lower left and right sides, slight separation between 2 rope-twist strands on lower left side, rich yellow gold hue. Overall good condition. 3 3/16 (including pendant loop) x 1 15/16″.
Sold for $3,125 (includes buyer’s premium) at Doyle New York in 2015
MEISSEN PATE SUR PATE COVERED CUP & PLATE WITH NEO CLASSICAL FIGURAL CAMEOS PLAYING HARPSICHORD & LUTE WITH FLORAL TRIM & GARLAND FINIAL , INCISED 72 – CUP IS 3 3/4″ x 5 1/2″ ; SAUCER IS 5 1/2″ D ery small piece of the ribbon missing on one of the covers
Sold for $6,000 at Echoes Antiques & Auction Gallery, Inc. in 2018
The Last Kiss of Romeo and Juliet. Giovanni Beltrami (Italian, Cremona 1770 or 1777–1854 Cremona)
The front of the oval rock crystal is flat with a wide, outward sloping beveled edge. Into the flat back Giovanni Beltrami engraved a miniature version of Francesco Hayez’s painting, The Last Kiss of Juliet and Romeo (Milan, Brera). The image and its accompanying inscription are carved in reverse so that they are correctly oriented when the crystal is viewed from the front. Beltrami executed his reproduction exclusively in matte engraving. Its silvery translucence makes The Last Kiss appear to be suspended both within and beyond the transparent confines of the highly polished stone – an illusion underscored by the slight cropping of the scene’s corners. The crystal’s beveled cut and lucent clarity act like a lens to enlarge the engraved details and impart startling three-dimensionality to the figures of Juliet and Romeo. The gemstone was commissioned by Count Giovanni Battista Sommariva (1760–1826).
Sommariva’s emphasis on contemporary art endowed his collection with its unique distinction and historic importance. His preference for Italian and French works mirrors the international taste that is characteristic of the Napoleonic and post-Napoleonic eras. His equal enthusiasm for classical and troubadour subjects, such as The Last Kiss of Juliet and Romeo, reflects the transition from Neoclassicism to Romanticism. The Renaissance tale of the doomed lovers of Verona, later immortalized by Shakespeare, was undergoing a revival. Sommariva’s special interest in this subject is indicated by the fact that sometime between 1822 and 1825 he acquired one of the seven luxury editions of Luigi da Porto’s Novella di Giulietta et Romeo that were illuminated by Giambattista Gigola (1767–1841). These years bracket his acquisition of Hayez’s The Last Kiss and the completion of the painting’s reproduction in crystal.
Reference: The Metropolitan Museum of Art
A gold and enamel snuff box set with a hardstone cameo, Adrien-Jean-Maximilien Vachette, Paris, circa 1807-1813, retailed by Etienne Nitot & fils of rounded rectangular form, the lid inset with a cut-cornered rectangular multi-layered agate cameo of Bacchus in profile to sinister, vine tendrils in his hair, the ground chased with neo-classical scrollwork, the sides and base engine-turned within flat-cut leaf borders picked out in blue enamel, the corners with urns, the rim engraved: No. 104 / Etienne Nitot & fils, Joaillers & Bijoutiers de LLMM l’Impératrice & le Roi & la Reine de Westphalie à Paris 9.2 cm., 3 5/8 in. long
Sold for 3,750 GBP at Sothebys in 2015
