QUALITY, RARITY, AGE, CONDITIONS etc. Giving a commercial value to an object of art is not easy, because the prices are defined by the market, but the beauty is culturally defined. For clearness I have the feeling we should try to use objective parameters instead of emotional words like "wonderful", "fabulous", "beautiful" and others, to define cameos quality and values. The parameters following are utilized to define the value of a cameo, and will be indicated beside each cameo listed on this site: 1) Quality of the Carving 5) Frame  2) Artistic Quality (subjective) 6) Condition 3) Rarity of the Subject 7) Material 4) Age  8) Evaluation and Price 1) Quality of the Carving: Quality of carving is intimately connected to the artistic expression. It is possible that a masterfully carved cameo is not very expressive, and that a very expressive cameo is not as well carved; but obviously a masterfully carved cameo will be beautiful and a poorly carved cameo will be less attractive. The quality of carving doesn't depend on the QUANTITY of details, but above all on the care and the precision of the details and the overall composition. I categorize cameos in two different types: cameos simulating painting and cameos simulating carving. "Pictorial" cameos are normally more detailed than "sculpturesque" cameos. "Pictorial" "Sculpturesque" Moreover, there are cameos carved effortlessly that are not accurate on tiny details, but are very expressive and show a strong artistic sense. In such cases, we should understand this peculiar choice of the carver, and/or artistic need. This occurs in cameos from the late 19th century and early 20th century, but these cases are almost rare. And here are several samples of carving: Rough Almost good Good Excellent  Museum Quality 2) Artistic Quality: Quality, as we said, is almost subjective and culturally defined. However, since most cameos depicts traditional subjects, then we can apply the same parameters which we apply for to say that a Canova's statue or a Reni's fresco is "more beautiful" than another one. 3) Rarity of the Subject: Some subjects, such as Bacchantes, were plentiful, and in demand at the same time. But when a cameo depicts Bacchantes in an unusual position (frontal instead of profile) then it is classified as "very rare". The subject "Three Graces" is very common, but I have never encountered a nice one. So, if someday I encounter one of excellent quality, then I will qualify it as "very rare". 4) Age: Most of the cameos we can find on the market are normally made from late 18th Century to today. We could say that the cameo "Golden Age" is between late 18th Century to 1840-50. Early cameos are not easy to find, as we can find them more easy in a Museum than in a shop! In someway, looking at the worldwide market, we could say that the age itself seems to be not so remarkable. Of course, when two cameos have the same quality, then the most antique will be more valued. 5) Frames: We are more interested in the cameos themselves than in the frames. Of course a beautiful, antique and mint gold frame, makes a cameo more precious.   But on the other hand the most beautiful cameo I have ever seen, of exceeding value, is framed in a very plain brass frame, though of excellent manufacture. 6) Condition: We are talking about antique cameos, 100-200 years old, and is quite normal to find chips on them. Accordingly, I think we should not to be too much worried about hairlines or incipient cracks which are often original (as we can see them even on new cameos, or on antique cameos that have never been worn). These are not necessarily due to the age of the cameo. The most important point is that the figure(s) should not be worn, and then the cameo should not be brocken or badly cracked. I love this cameo even though a fragment of the background is missing, and the second one although some details are missing. Nobody would say that the Venus of Milo is not so interesting because it is "broken"! So, when you see a very good cameo, buy it even if it is not in perfect condition, and try not to pay too much for it. 7) Material: Some materials are rarer than others, from shell (most common) to hard stone, coral, lava, and ivory (the rarest). Tortoiseshell was periodically used as a material for cameos around 1920–1930. We don't know about tortoiseshell cameos made in other eras. Cameos made in synthetic materials are moulded (not carved by hand) and should be considered like any costume jewelry, even if presented attractively. 8) Evaluation and Price: Evaluation and price are based on the above-mentioned considerations, and on the demands of the market. So it is possible that two cameos of the same age, quality and rarity, have different prices if one depicts a more popular subject.