French or Italian, circa 1575

entitled: GALBA

Overall, the condition of the cameo is very good, with minor dirt and wear to the surface consistent with age. There is some dirt to the crevices. It is possible that there is a very small loss to the edge of the drapery on Galba's proper right shoulder. There is naturally occurring veining to the stone, including a subtle vein running through the centre at the back of the stone. There is a very slight nick to the back of the stone at the centre. There is a small loss to the lower left side of the stone at the back, this appears to have been present when the stone was carved and has been nicely finished. There are various losses to the black enameling on the mount, and some minor losses and wear to the white enamel. There are various nicks and scratches to the gold mount. The pearl is probably replaced.
"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."

This handsome cameo, distinguished by the precise handling of the stone's strata to reveal a finely rendered portrait in the brown layer, which strongly contrasts with the polished plain white background, relates to three others documented in princely cameo collections and dated to the second half of the 16th Century. The first is the ‘lady in a vail’ from the collection of the Earl of Arundel, purchased as part of the group from the Gonzaga’s in Mantua circa 1620, later entering the Marlborough gem collection, and now in the Victoria and Albert Museum, dated to 1550-80 (inv. no. A.45-1978). Two others are the cameos of Antoninus Pius and Attila, part of the Imperial Habsburg collection, now in the Kunsthistorisches Museum, Vienna (see E. Kris, Die Kameen im Kunsthistorischen Museum, Vienna, 1927, nos. 344, 345, pl. 50) dated to the 16th century. Such cameos were long thought to be Italian but have more recently been suggested by the late Rudolf Distelberger as originating from Paris (see R. Distelberger, Die Kunst des Steinschnitts, Vienna, 2002, nos. 132-133, 135). Whether the cameo was carved in Paris or not, there is strong evidence of Italian influence: the image of Galba can be related to 16th Century Italian bronze plaques, in particular see an example in the Metropolitan Museum (inv. no. 09.194.25b) and another from Padua (see G. Toderi, Medaglie e Placchette del Museo Bardini di Firenze, Florence, 1998, no. 258) and also contemporary prints, for example, those of Marcantonio, circa 1520, and Angelo del Moro, circa 1550.

As one of the twelve Caesars, Galba was evidently much sought after by eminent collectors. Other equally distinguished renaissance examples of Galba cameos are in the Cabinet des Medailles, Paris (inv. no. 13-504403); the Arundel-Marlborough gems, now in the Victoria and Albert Museum (inv. no. A.31-1937); and an example in the British Museum (inv. no. 1867,0507.515).