A set of ten Italian plaster intaglio impression trays in five simulated books, first half 19th century

depicting reproductions of famous sculptures, portraits, and ancient statuary. Bindings inscribed Gem Sculpture, J. Pikler, Vol. VI, VII, VIII, IX, and X.

Books with minor tears and losses to the leather bindings. Gilding to the sides is slightly rippled and with some losses. Some covers are slightly loose from the binding. Plaster intaglios with some surface dirt. Paper lining with some stains and tears. One cameo detached but present.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

18th-century antiquarians and connoisseurs revived the ancient Greek and Roman tradition of collecting engraved gemstones and cameos stored in Daktyliothecae (gem cabinets).  In response to the growing demand, artists began producing copies after ancient intaglios, as well as new models in an antique style and even portraits of contemporary figures.  These were made in plaster, glass paste or wax and often housed in simulated book bindings. In Rome a thriving trade developed to satisfy the Grand Tour market, led by gem engravers including Luigi Pichler [Pikler] (1773-1854) and Pietro Paoletti (1801-1847).  Artists from Northern Europe, especially Britain, also specialized in the technique, notably James Tassie (1735-1799) and his nephew William (1777-1860), and the Royal Academicians Edward Burch (1730-1814) and his pupil Nathaniel Marchant (1739-1816).