Cameo (carving)

While traditional cameos were commonly crafted from onyx and agate, artisans have explored diverse materials over time.

Rare examples include ancient cameos cut from precious stones like emeralds, lapis lazuli, and even unusual mediums such as ostrich eggshells, which produce a striking two-tone effect.

[4] Sir Wallis Budge alleged that the noun cameo apparently comes from kame'o, a word used in kabbalistic slang to signify a 'magical square', i.e. a kind of talisman whereupon magical spells were carved.

Roman cameos became less common around in the years leading up to 300 AD, although production continued at a much reduced rate right through the Middle Ages.

The Neoclassical revival began in France with Napoleon's support of the glyptic arts, and even his coronation crown was decorated with cameos.

[8] In Britain, this revival first occurred during King George III's reign, and his granddaughter, Queen Victoria, was a major proponent of the cameo trend, to the extent that they would become mass-produced by the second half of the 19th century.

Historical patrons of cameo art included influential collectors like the Earl of Bessborough, who began an extensive collection in the 18th century, later acquired by the Duke of Marlborough.

These Victorian cameos were admired for their delicate softness and intricate carvings, which often depicted mythological figures, famous individuals, or symbolic themes.

This era's cameos were softer and had a unique texture compared to the more rigid materials used in earlier periods, making them highly prized by collectors.

[10] While the Victorian era popularized large shell cameos, these were often set in bright gold frames that, though eye-catching, sometimes overshadowed the intricate carvings.

Wealthier patrons favored gold or silver settings, while the more affordable Pinchbeck frames enabled the middle class to partake in this popular trend.

[12] Roman glass cameos are rare objects, with only around two hundred fragments and sixteen complete pieces known,[12] only one of which dates from the later period.

The Renaissance cameos are typically white on a grayish background and were carved from the shell of a mussel or cowry, the latter a tropical mollusk.

[15] Classically the designs carved onto cameo stones were either scenes of Greek or Roman mythology or portraits of rulers or important dignitaries.

The combination of a highly developed artistic ability, craft skill and many years of experience are needed to be able to create lifelike portraits.

The traditional themes of classical scenes from mythology or a standard image of a young lady, are more likely to be made with the help of the ultrasonic carving machine as a limited collection of typically 50–200 pieces.

The actual cameo is mainly cut with a metal scraping tool called a bulino, an invention of Jewish artisan Antonio Cimeniello.

When the details are completed, the shell is then soaked in olive oil, cleaned with soap and water and selectively polished with a hand brush.