A collection of George III wax and glass seals late 18th century, by James Tassie

comprising ninety one was seals and five coloured glass seals, all depicting classical subjects, some labelled and contained within a mahogany  case in the form of a book fastened by a sliding gilt-tooled leather covered spine entitled `SELECT GEMS' , together with a collection of sixty seven coloured glass intaglios and seals also by James Tassie, depicting similar classical subjects mounted in a glazed frame

Very good overall condition. One oval seal loose. Old marks and sctaches consistent with age and use. Exceptional quality
"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."

A Scottish gem-engraver and modeller, James Tassie ( 1735-1799) was born of humble parentage at Pollokshaws, near Glasgow in 1735. During his earlier years he worked as a stonemason, but , having seen the collection of paintings brought together in Glasgow by the printers Robert and Andrew Foulis, he moved to the city, attended the academy which had been established there by the Foulis brothers, and became one of the most distinguished pupils of the school. Subsequently he visited Dublin in search of commissions, and there met Dr Quin, who had been experimenting as an amateur, in imitating antique engraved gems in coloured paste. Dr Quin engaged Tassie as an assistant, and together they perfected the discovery of a glass paste, admirably adapted by its hardness and beauty of texture for the formation of gems and medallions.

Tassie was encouraged to move to London by Quin to further his career. At first he had a hard struggle to make his way. But he worked on steadily with great care and accuracy and scrupulously destroying all impressions of his gems which were in the slightest degree inferior or defective. Gradually the beauty and artistic character of his productions came to be known. He received a commission from the Empress of Russia for a collection of about 15,000 examples; all the richest cabinets in Europe were thrown  open to him for purposes of study and reproduction; and his copies were frequently sold by fraudulent dealers as originals. He exhibited in the Royal Academy from 1769 to 1791. In 1775 he published the first catalogue of his works, a thin pamphlet detailing 2856 items. This was followed in 1791 by a large catalogue, in two volumes with illustrations of nearly 16,000 pieces.

In addition to his impressions from antique gems,  Tassie executed many large profile medalion portraits of his contemporaries and these form the most original and definitely artistic class of his works.

His nephew, William Tassie ( 1777-1860), also a gem engraver and modeller, succeeded to James Tassie`s business and added largely to his collection of casts and medallions. His portrait of William Pitt, in particular, was very popular and circulated widely.