49. Bust of a bearded man wearing a cap, by Luigi Saulini. Mid-nineteenth century. Onyx, 4.5 by 3.4 cm, mounted in gold as a pin. (Metropolitan Museum of Art, New York).
Article
An unknown cameo of James I and the Order of the Garter
33. Queen Elizabeth’s visit to Blackfriars in 1600, to attend the marriage of Lord and Lady Herbert, attributed to Robert Peake the Elder. 1600. Canvas, 132 by 188 cm. (Sherborne Castle; photograph by kind permission of J.K. Wingfield Digby).
Attributed works:
40. Christian IV of Denmark’s Great George, here ascribed to Corvinianus Saur. Copenhagen, 1606. Gold, enamel, pearls and diamonds, altered and mounted on a pedestal before 1696, 5.6 by 4.4 by 4.6 cm. (Rosenborg Castle, Copenhagen).
Attributed works:
41. Detail of Fig.40.
Attributed works:
42. Detail of Fig.40.
Western art unattributed:
34. James I. Brown on white sardonyx cameo, oval, 3.8 by 2.7 cm. (Rosenborg Castle, Copenhagen).
Western art unattributed:
35. Cup set with cameos. Northern European, 1635–50. Gold and enamel, 43.3 cm. high (overall). The moor with a dragon dates from c.1615 and originally formed an independent statuette. (Rosenborg Castle, Copenhagen).
Western art unattributed:
36. Hind. Brown on white sardonyx cameo, circular, 3.3 by 3 cm. (Rosenborg Castle, Copenhagen).
Western art unattributed:
37. Duke Ulrik, by an unknown painter. Copenhagen, 1605–10. Canvas, 104 by 83 cm. (Danish Museum of National History, Frederiksborg Castle, Hillerød).
Western art unattributed:
38. Detail of Fig.37.
Western art unattributed:
39. Duke Ulrik’s Lesser George. Sardonyx, gold and enamel set with fifty-four table-cut diamonds (one missing), 4.6 cm. diam. (cameo); 6.5 cm. diam. (overall). (Rosenborg Castle, Copenhagen).
Article
Russian Themes in the Work of the English Gem Cutters William and Charles Brown
Stones Cut in Cameo and Intaglio Techniques, by William and Charles Brown (Fig.35 Signed by Charles Brown Alone). Photographs Reproduced Actual Size. (Hermitage, Leningrad). 34. Catherine Instructing Her Grandsons. Cameo, Sardonyx. 35. Allegorical Representation On the Destruction of the Turkish Fleet. Cameo, Sardonyx. 36. Monument of Peter I by Falconet. Intaglio, Mountain Crystal. 37. Catherine II with a Shield. Cameo, Agate. 38. Allegory The Conquest of Ochakov. Cameo, Sardonyx. 39. Allegory for the Wedding of Aleksandr Pavlovich and Elizabeta Alekseevna. 1793. Intaglio, Cornelian Stone. 40. Allegory On Catherine's Recovery from an Illness. Intaglio, Topaz. 41 Portrait of Catherine II. Cameo, Sardonyx. 42. Catherine Crowning the General. Cameo, Sardonyx. 43. Funerary urn. Cameo, Agate.
Plate I. Ornamental Pendants, Belt-Hooks, Mouth-Pieces for Pipes, Plaques, etc. Carved from Agates of Various Colours. Chinese Utilizations of Parti-Coloured Hardstones
Non-western art unattributed:
Plate II. A-K'uei Hsing and the Fish-Dragon; B-Shou Lao (God of Longevity) with a Boy; C-Kylin and Water-Buffalo; D-Peach-Tree with Ling Chih Fungi at Its Foot and a Crane; E-Five Dragons Crawling around a Vase. Chinese Utilizations of Parti-Coloured Hardstones
The Adoration of the Shepherds, by Giovanni Bernardi. (Enlarged.) Rock-Crystal, 8.8 by 6.3 cm. (Mr. G. Mc. N. Rushforth). A Rock-Crystal Intaglio by Giovanni Bernardi
A-The Rape of Deianira; B-Venus and Adonis; C-Dedalus and Icarus. Rock-crystals by Giovanni Bernardi. (Hermitage Museum, Leningrad). Rock-Crystals by Giovanni Bernardi in the Hermitage Museum
Book Review
Meister und Meisterwerke der Steinschneidekunst in der Italienischen Renaissance