BRACELET WITH CAMEMAS, ONE SIGNED AMASTINI (1751-c.1816) In 750°/°° gold Articulated links set with seven cameos on agate probably from the late 18th century - early 19th century representing mythological and religious figures, such as Saint Peter or a figure of Alexander in a Minerva medallion signed Antonio Angelo AMASTINI (1751-c.1816) Adjustable clasp Mid-19th century Gross weight: 62.37 g Cameo signed Amastini 3,3 x 2,5 cm (small chip at the bottom of the bust) Other cameos from 2.4 x 1.5 to 3.1 x 2.5 cm (Very fine chips, scratches from use) The "Amastini" signature is generally associated with the dynasty of Roman glypticians Angelo Amastini (1754 - 1815) and his son Niccolo, active between the end of the 18th century and the beginning of the 19th century. Stone engravers and dealers, their works were sold and distributed in Rome as part of the European "Grand Tour" to many tourists who took them back to their countries of origin, which explains their presence in numerous European museums and private collections. Faced with the proliferation of fake cameos and antique intaglios, Anton Pichler (1697-1779) was the first stone engraver to sign his work in order to discourage counterfeiters and ensure that the name of the engraver would go down in history, bringing in his wake the best glypticians of the time, such as Nathaniel Marchant (17391816), Antonio Berini (1770-1861), Filippo Rega (1761-1833), Benedetto Pistrucci (1783-1855) and Angelo and Niccolo Amastini. The latter mainly offered copies of engraved stones, bas-reliefs and antique coins in the form of cameos and intaglios, so our work never claimed to be antique. It is based on the classic iconography of Alexander in Minerva used in the Modern Period and very popular around 1800, which was repeated by a large number of Roman lapidaries such as Nicola Morelli (1771-1838). Although stylistically very similar, the works of the father and son can be distinguished by the use of a signature, which for the father takes the form of "A. T. AMASTINI", "A. MASTINI" or "K T A I AMASTINΠ" in a mixture of Greek and Latin characters. While his son Nicolo Amastini is said to have used the signatures "N. MASTINI" and "AMASTINI", the form in which our cameo is signed and the reason why we believe it is a work attributable to him. Related works 1. A cameo showing the profile of Napoleon signed A. MASTINI is kept at the BNF (inv. cameo.936) https://medaillesetantiques.bnf.fr/ws/catalogue/app/collection/record/ark:/12148/c33gb21s25 2. A hard stone cameo depicting a Bacchante is in the British Museum (inv. 1978,1002.253) https://www.britishmuseum.org/collection/object/H_1978-1002-253 3. Also in the British Museum, a cameo signed "N. MASTINI" is identified as being by Niccolo Amastini and is referenced (Inv. 1978,1002.633) https://www.britishmuseum.org/collection/object/H_1978-1002-633 4. In German institutions, two cameos by Amastini are in the Staatliche Münzsammung Munich (Inv. N. unknown) as well as a cameo in the Kunsthistorisches Museum;. (Inv. Eichler & Kris 1927, no.597). 5. For representations of Alexander as a Minerva, see the Comesso cameo (agate, sardonyx, chalcedony and cornelian) from the Guy Ladrière Collection which featured in the Exhibition at the École des Arts Joailliers in Paris in 2022 or the Renaissance cameo "Alexander the Great" on lapis lazuli held in the Cabinet des Médailles at the BNF (cameo.667) https://medaillesetantiques.bnf.fr/ws/catalogue/app/collection/record/ark:/12148/c33gb1dg1t Bibliography 1. Philippe MALGOUYRE, Pierres gravées camées, intailles et bagues de la collection Guy Ladrière, Éditions Mare & Martin, 2022. This catalogue accompanies the exhibition at the École des Arts Joailliers in Paris from 12 May to 1 October 2022.