rectangular with hinged dome cover, matted surfaces and molded borders, mounted with eight rectangular micromosaic panels of Roman ruins and four of flower baskets, also mounted with fifteen shell cameo busts of classical female figures, spaced by malachite cabochons, the keyhole concealed by a hinged cameo, on four malachite ball feet

one malachite foot glued on, one malachite cabochon missing though collet remains, one malachite also replaced on cover, lock loose, otherwise good 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.
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.

James Aldridge specialized in mounted pieces. His most important client was probably William Beckford. See William Beckford 1760-1844: An Eye for the Magnificent, items 37, 38, 110, 117, 119, 125 and 127 for examples of other pieces in hardstone and porcelain mounted by him. Further pieces mounted by James Aldridge are at Brodick Castle, see the catalog Beckford and Hamilton Silver from Brodick Castle, Spink & Son, 1980.

The bright blue glass surrounds to the micromosaics also appear on a bracelet in the Gilbert collection, dated c. 1815-25.  A similar dense flower basket is dated c. 1825, and a "specimen block" by Giacomo Raffaelli, c. 1800, combines micromosaics, lapis, malachite, and gilt bronze (Jeanette Hanisee Gabriel, The Gilbert Collection: Micromosiacs, 2000, pp. 235, 43, and 60-61).