In its red morocco case engraved with gilt iron with the imperial numeral.
Cameo on two-layered agate with light nodule partially visible on purplish background.
Sun: 9,8 x 6,8 cm
Beginning of the 1810th century, circa 1812-XNUMX
Origin:
According to a missing document, was given by the Emperor to his sister Caroline Murat, Queen of Naples, then passed on to his son Lucien.
Sold by the latter during his migration to the United States and following his bankruptcy.
American Collection.
Belgian collection.
The sovereign is shown in profile to the left. The head is crowned with a crown of laurels supported by a headband tied at the nape of the neck and falling elegantly on the neck.
Characteristic physiognomic features such as the shape of the skull and the width of the neck, (with this wide cuff), are attributable to the portraits of the emperor in middle age and which can be precisely identified by the production of contemporary medals.
Contrary to the versions representing Napoleon I with the tunicated or draped bust, we have here a version of his profile that is clearer, idealized and sublimated as in the portraits of the sovereigns of Imperial Rome (Caesar, Augustus).
This cameo faithfully reflects the realistic portrait to be compared to the portraits on medals engraved by the famous Bertrand Andrieu, and in particular the portrait represented on the bronze medal depicting the Baptism of the King of Rome in 1811 (see fig.1.a-1.b ).
This type of portrait, considered to be the most accomplished and glorifying among the many productions made during these same years, will be reproduced on many large medals from 1810 to 1812 (see fig.2 and 3).
The nose is slightly aquiline, the mouth small, the chin prominent and rounded, the eye small and alert, the gaze noble and deep.
The cheek is generous, the neck wide, the skull very rounded and protruding, the hair made up of finely chiseled locks. The laurel wreath is characterized by foliage with a naturalistic rendering; finely engraved leaves and berries.
The effigy, carved in relief on the lighter upper stratum, is not characterized by the usual white color, but is instead characterized by a pinkish-white color with delicate violet hues joining the darker underlying stratum, characterized by extraordinary variegated inclusions.
The use of a similar variety of agate with inclusions on the bottom is found in a cameo made by Girometti and representing the sovereign George IV, around 1820 (Multum in parvo, Wartski catalog, n.90 p. 164).
Reference bibliography:
VANGELLI DE CRESCI, G., Ad Minima Ad Maxima, p. 278 n. 231-232, p. 279 n. 233a, p. 283 n. 243ab, p. 288 n. 275
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