facing dexter, wearing a plumed helmet and bearing a shield with applied central mask medallion, gold pendant mount

Excellent condition.
"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."

Empress Catherine II had a great passion for carved and engraved gems, both Ancient and those produced during the late 18^th century revival of this art, which her interest greatly encouraged and which continued into the 19^th century after her death in 1796.  She admitted in letters to her agent Baron Grimm that her fervour for these objects was a kind of ‘illness’ or ‘gluttony’.  Her prodigious acquisitions formed the core of the Hermitage’s collection, estimated at more than 10,000 gems today.

The iconography of Minerva was adopted by the Empress in the presentation of her image from 𝕴the very outset of her reign.  The coronation festivities 🐠of 12 September 1762 included a masquerade, The Triumph of Minerva.  The message was clear: Russia was entering a new and glorious era, and the new Empress was the personification of wisdom and protection of the arts.  The fact that Minerva was a virgin goddess who refused to marry may also have appealed to Catherine following her difficult marriage to Peter III.