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Cameos are, in effect, sculptures on a very small scale, and the skill required to fashion them was highly appreciated by collectors from the Middle Ages forward. By the early nineteenth century the demand for antique cameos nearly outstripped the supply, and, as is almost always the case when this occurs, fakes abounded in the marketplace. The accomplished Roman cameo artist Benedetto Pistrucci, who mainly worked in London, lamented: "I must mention that the cameo-dealers began to practise deceptions with my works, which did not please me at all. Scarcely had they received from me those which I had executed for them, when they effaced my name, and wrote that of some old artist of much renown ... or sold it as antique without any name at all." During the nineteenth century the pecking order for cameos was clear: those carved in classical times were the most desirable, followed by Renaissance examples, and finally contemporary pieces. An exhibition of more than one hundred cameos entitled Cameo Appearances is on view at the Metropolitan Museum of Art in New York City from March 8 to October 30. The show surveys the evolution of the cameo from ancient Greece and Rome to the nineteenth century using examples drawn from the museum's extensive holdings. Made possible by the David Berg Foundation, the exhibition briefly treats related mediums such as cameo glass, explains the differences between cameos and intaglios, and addresses the faking of cameos.
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Early cameos are carved from hardstones such as onyx, sardonyx, or agate, while later a number of less expensive substances were used that were also easier to carve. These included shell, coral, tortoiseshell, lava, jet, ivory, and paste. Frequently when a hardstone is carved, layers of different ...
Source: HighBeam Research, Cameos.(Current and coming)(art work)