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Lot Essay
Cf. Claude Frgnac, "Les Bijoux de la Renaissance la Belle Epoque", Hachette, 1966, page 100
Roselyne Hurel and Diana Scarisbrick, "Chaumet Paris: Deux Sicles de Cration", Muse Carnavalet exhibition, Paris, March 25 - June 28, 1998, page 57
Circa 1800, the use of amethysts and topazes in jewellery, such as those in the present suite, became extremely fashionable. The style is suspected to have come from England and to have been brought to France in the 1820s. The mountings showed the progress in manufacturing at the beginning of the Industrial Revolution. Relief was achieved by mechanical stamping and the finish was done by hand. The fitted case and the floral motifs of this set are surprisingly similar to those of an ensemble created by Jean-Baptiste Fossin (b. 1785), predecessor of the Chaumets, that appeared in the exhibition "Chaumet Paris: Deux Sicles de Cration".
Roselyne Hurel and Diana Scarisbrick, "Chaumet Paris: Deux Sicles de Cration", Muse Carnavalet exhibition, Paris, March 25 - June 28, 1998, page 57
Circa 1800, the use of amethysts and topazes in jewellery, such as those in the present suite, became extremely fashionable. The style is suspected to have come from England and to have been brought to France in the 1820s. The mountings showed the progress in manufacturing at the beginning of the Industrial Revolution. Relief was achieved by mechanical stamping and the finish was done by hand. The fitted case and the floral motifs of this set are surprisingly similar to those of an ensemble created by Jean-Baptiste Fossin (b. 1785), predecessor of the Chaumets, that appeared in the exhibition "Chaumet Paris: Deux Sicles de Cration".