The carnelian and onyx cameo depicting Bacchante facing right, the frame decorated with gold granulation, discs and scrollwork, the reverse of the mounting applied with the monogram for Ernesto Pierret.

In good overall condition, the mounting presenting minimal scratching and a rich, bloomed gold surface. The carnelian portion of the cameo is a more subdued orange than indicated by the printed catalogue. No apparent chipping to the delicate grapevines, nor to the bust. There is a naturally-occurring, very fine band of darker color that runs from the left-hand edge, through the pine cone and into the Bacchante's hair, but this does not appear to break the surface. Visible under 10x magnification. There appears to be a minor restoration with gold solder to reattach the gold disc at top, but this is seen only from the reverse and on close inspection.
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. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
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.

 For an illustration of Pierret's mark see Castellani and Giuliano by Geoffrey Munn, page 187, plate 187.

Ernesto Pierret (1824-1870) was born in Paris but moved to Rome in 1845. He then opened a shop in Piazza Firenze some twelve years later. In 1860 he moved to Via dell'Ultima and from 1865-1869 he settled in the Piazza di Spagna. Pierret, like Castellani, created jewels in the archaeological revival style, giving tourists another shopping option in Rome. As mentioned in Murray’s Handbook (1871), Pierret was noted as “one of the first artists in Rome, second only to Castellani and whose copies of antique jewellery are of the highest order”.