An Italian micromosaic attributed to Antonio Aguatti, (D. 1846), after a design by Vallati (active during the 19th century), Roman circa 1800-1820

depicting  a stag being attacked by dogs in a wooded landscape

The colours overall are slightly deeper and more attractive, and the gilding of the frame is more golden than in the photograph. There is some very minor surface dirt on the plaque, and there is a very minor area of restoration above the tree branch in the far right corner which is hardly noticeable. There are three restored small cracks to the black marble border, but these are hardly noticeable. The plaque has been framed so that the bottom and the right black marble border is not visible, as it has now moved within the frame but can be easily adjusted. The detail to the plaque is superb. There are some hairline cracks and cracks generally to the giltwood frame, and retouching to the gilding with gilt paint, especially to the lower corners of the frame. This plaque is a fine example of the work of one of the leading early 19th century Italian mosaicists. In overall very good condition and highly recommended.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

For its superlative quality, the present  micromosaic can be safely attributed to Antonio Aguatti, one of the very best amongst the micromosaicists operating in Rome. He had his workshop in Piazza di Spagna, no. 96. In 1834, he is recorded as a professor of Mosaici Filati at S.V.M (Studio Vaticano del Mosaico).

The subject  of the 'Stag attacked by the dogs' was also a popular one. See for example (fig. 1)  the micromosaic by D. Moglia on designs of Vallati (recorded in  Benezit, ...peintre de chasses et d' animaux, active in the 19^th century), illustrated  in J. H. Gabriel, The Gilbert Collection, Micromosaics, London , 2000, page 24. 

HISTORY OF MICROMOSAICS
Micromosaics are made from literally thousands of tiny coloured enamel rods, painstakingly assembled and secured with a slow drying adhesive. The best micromosaics can contain over 5,000 of these tesserae per square inch.The final stages of the process involves waxing (to fill any gaps) and polishing to create the seamless surface characteristic of the art. 

The colour range of mosaics would have been fairly limited, as the material was translucent glass paste. So materials were developed, such as oil based mastics, until circa 1730 when the Vatican studio perfected opaque enamel and boasted it had over 15.000 colours and tints at the disposal of their artists. This new material also permitted mosaics to be thinner and flatter, allowing the artist to introduce more subtlety in execution: 'Painting became the ideal toward which mosaics aspired, but that aspiration would not have been possible without the thousands of different coloured tesserae, which permitted an exact imitation of the tonal range found in painting (F. Difederico, op.cit., p. 33). Mosaics did not only have an extraordinary lasting freshness of colour, but they also served a purpose of being able to survive fires, a worry during the 17th and 18th century. By 1770, most of the basilica's altarpieces by artist such as Raphael (1483 — 1520) and Guido Reni (1575— 1642) had been successfully copied in mosaic. One observer wrote: 'The popes have established at the Vatican a manufacture where are executed, as at the Gobelin prodigious work. One is well advised there to reproduce the works of the most celebrated masters under the pretext, however honourable, of conserving for posterity the chefs-d'oeuvre which a fire could so easily destroy. Raphael, Titian and the Domenichan are thus ensured eternal life' (see Edward Didron, 'Du Role Decoratif de Ia Peinture en Mosaique', Gazette des Beaux arts, series 2, vol. II, 1875, pp.442-459).
During the last quarter of the eighteenth century the materials used for mosaics were dramatically refined. This enabled mosaic makers to execute much smaller works, leading to the emergence of micromosaics. Most of these were bought by tourists visiting Rome and often executed by poorly paid Vatican mosaicists who established their own workshops. The earliest micromosaics had visible joints between the tiny tesserae and were limited in colours. Nevertheless they were highly sought after and admired, as proves the inclusion of micromosaics in a cabinet from Hamilton Palace, Lanarkshire, Scotland made for William Beckford (1760— 1844). Soon though the technique was fine-tuned and advanced so the tesserae could imitate the effect of brushstrokes and simulate textures such as animal hair, foliage and feathers. By 1810 over twenty highly successful workshops were active in Rome, mostly clustered around the Spanish Steps.

One of a pair of round micromosaics here illustrated fig. 2, with an identical subject and signed Aguatti, was sold by Pierre Bergé & Associé, 26 March 2004, lot 190.

A very similar panel but with the tree in the background by the same maker was sold in these Rooms, 8th December 2004, lot 34 (£45,000).