English, circa 1570

Overall, the condition of the cameo is good, with minor dirt and wear to the surface consistent with age. There are some chips and minor losses to the white framing rim layer, bordering the queen. There may be a very small loss to the ruff at the back. There are some very minor surface abrasions. There is minor wear to the later 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."

In contemporary depictions of Queen Elizabeth's courtiers they are often shown wearing cameo portraits of the queen which were presented to her favourites as ambassadorial gifts; note in particular the painting by Robert Peake, Queen Elizabeth going in procession to Blackfriars in 1600, illustrated by Strong (op.cit., plate I).

RELATED LITERATURE

R. Strong, Portraits of Queen Elizabeth I, Oxford, 1963, pp.128-133; R. Strong,  The Cult of Elizabeth, London, 1977; A. Somers-Cocks, "Intaglios and Cameos in the Jewellery Collection of the Victoria and Albert Museum", Burlington Magazine, vol. CXVIII, 1976, pp. 366-376; Princely Magnificence: Court jewels of the Renaissance, 1500-1600, exh. cat. Victoria and Albert Museum, London, 1980, nos. 32-33