ANTONIO BERINI (1770-1861)ITALIAN, MILAN, CIRCA 1811 | Cameo with Caroline Murat

Overall the condition of the cameo is good with minor dirt and wear to the surface consistent with age. There is a slight horizontal fissure to below the neck. There are minor abrasions and dirt to some of the high points and to the edges of the drapery. There is minor wear to the blue enamel. There are some patches of wear to the frosted gold, especially on the right side. There are minor scratches to the glass and to the mount. There is a minor fissure and some scratches to the stone inlay to the reverse.
"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."

Born in Rome, Antonio Berini moved to Milan at a young age where he studied under Giovanni Pichler. He enjoyed the patronage of Count Capara and Count Giovanni Battista Sommariva. An outspoken anti-monarchist, Berini clashed with the Bonapartes when he was asked to carve a portrait of Napoleon, after he declared himself King of Italy in 1805; it was noticed in the cameo that along the emperor’s neck was an incision that looked suspiciously like blood. Because of this, the artist was imprisoned until the end of the coronation festivities. Caroline Murat became Queen of Naples in 1808, and so it is likely that this cameo was produced for a similar celebration as that of Napoleon – although the relationship between artist and subject undoubtedly remained politically charged.

Although prolific during his lifetime, many of Berini’s works are now lost, or are known only through plaster casts or scagliola. Upon the death of Sommariva, 9 gems attributed to Berini were sold in Paris in 1839. A rock crystal intaglio portrait of Emperor Nicholas I from the late 1820s engraved by Berini is in the Hermitage, and a sardonyx cameo of Napoleon circa 1805 carved by Bernini (apparently without any political statement) is in the British Museum (inv. no. 1978/1002.998).