Attributed to the Miseroni workshops Milan or Prague , circa 1610

Overall the condition of the cameo is very good with minor dirt and wear to the surface consistent with age. There are a few small nicks to the stone including a couple to the forehead; one to the underside of the bust; and a few to the reverse. There are a few minor scratches to the gold. There is natural veining to the stone.
"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."

Bloodstone has been used for depictions of Christ since the early Christian era. In the Renaissance the mastery of stone cutting was able to achieve greater heights as the bloodstone was cut to reveal the striking red inclusions as realistically placed stains of blood, symbolic of Christ’s suffering. Vasari relates that Matteo dal Nassaro executed a Descent from the Cross in bloodstone for Isabella D’Este, in which he took advantage of the red marks for this purpose. The bust of Christ cameos were evidently highly regarded as examples were acquired by great cabinets and kunstkammers - similar cameos are in the Cabinet des Médailles, Paris (Babelon, op. cit., nos. 408,409, pl. xlviii, xlix); Habsburg collection (nos. 416-417); Galleria degli Uffizi, Florence, and the Kunstkammer of Johann Wilhelm von der Pfalz, Kassel (inv. B XVI.Tab.B-II-7, described as ‘Miseroni Workshop, early 17th Century). They appear to follow the medallic models of Antonio Abondio (1538-91) who worked in Milan and Prague (Attwood, p.460, no.196a). The offered example is distinguished by the skilfull use of the red inclusions to create two droplets in the hair, one at the neck, and another on the cheek as though emanating as a tear from the eye. The Cabinet des Medailles cameo compares in this way with its extraordinary placing of droplets, which are also depicted on the Abondio medal. The choice of bloodstone was not only for its visual impact, it was also known to possess amuletic qualities. Rudolf II’s physician Anselmus Boetius de Boodt described the stone's use for effigies and its costliness and advocated it as an aide to heal wounds and prolong life (op cit.).

RELATED LITERATURE
A. Boetius de Boodt, Gemmarvm et lapidvm historia.., 1609, pp.130-130; M. E. Babelon, Catalogue des camees antiques et modernes de la Bibliotheque nationale, Paris, 1897; E. Kris, Die Kameen im Kunsthistorisches Museum, Vienna, 1927; P. Attwood, Italian medals, c.1530-1600 in British public collections, London, 2003