After Antonio Canova (1757-1822) Italian, probably Rome, circa 1816-1820

Hakone, Open-Air Museum and Fukuoka, City Museum, The art of gem engraving from Alexander the Great to Napoleon III, 2008, no. 193

J. Boardman et al., The art of gem engraving from Alexander the Great to Napoleon III, exh. cat. Open-Air Museum, Hakone, and City Museum, Fukuoka, 2008, pp. 166 and 347, no. 193

There is an area of restored breaks to the left of the cameo caused by naturally occurring hairline fissures which are stable elsewhere. Otherwise there is wear and dirt to the surface consistent with age and handling. There are a few minor nicks and some tarnishing to the mount.
"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."

Canova's work was often the subject of cameos. See, for example, the Palamedes cut by Niccolò Morelli for Count Sommariva sold in these rooms on 8 July 2010, lot 64. There is an onyx cameo with the same composition as the present example, measuring 55mm, in the Metropolitan Museum of Art, New York (inv. no. 40.20.27), formerly in the Milton Weil Collection.