consisting of a brooch in the form of a diamond set rose spray, the leaves set with calibré-cut emeralds, the four buds of pink foiled glass, tied with a trailing diamond-set ribbon, accompanied by two pins decorated with diamond-set foliate motifs each suspended with a pearl and diamond-set tassel.
Contained in its original fitted case bearing the name of the retailer Froment-Meurice.
Illustrated
See no.263 (pg 233) of ‘From Function to Fantasy, The Brooch: From 1200 BCE to the Contemporary’ (Wartski, 2005).
Contained in its original fitted case bearing the name of the retailer Froment-Meurice. The talented chaser Louis Audouard (1814-1880), together with his brother Philibert, are acknowledged by historian Henri Vever as frequent collaborators of the distinguished jewellery firm of Froment-Meurice. As specialist chasers, they learnt their skills from their father Philibert Honoré Audouard, whose mark registered from 1844 to 1856 is stamped on the brooch of the demi-parure.
François-Désiré Froment-Meurice (1802-1855) was barely sixteen when he started his training in his late father’s workshop, supervised by one of its skilled chasers. Apart from fast gaining goldsmithing skills, he studied draughtsmanship and sculpture, and was running the business by 1832. He quickly earnt the respect of collaborators and sculptors including James Pradier whose models he translated into intricate jewellery. Along with Frédéric-Jules Rudolphi, Jean-Valentin Morel and Jules Wièse, Froment-Meurice was regarded as one of the chief exponents of the Romantic style. His goldsmith’s work and jewels were often historicist, figurative, and characterised by their sculptural quality, drawing inspiration from the Medieval and Renaissance styles.
Amongst the distinguished patrons he attracted was the Duc de Luynes, known for his exquisite artistic taste, and it was partially as a result of his commissions that his business survived the 1848 Revolution. He was awarded prizes at every exhibition to which he contributed, and won the coveted Council Medal for his display at the Great Exhibition of 1851, the most prestigious award granted by the International Jury. He suddenly died at the height of his career on the eve of the 1855 Exposition Universelle.
His son Emile (1837-1913) inherited the family business at the age of 18; he was trained by his late father’s own apprentices and continued to collaborate with the leading designers in Paris. He was personally appointed by Emperor Napoleon III to create the goldsmith’s work decorating the ceremonial cradle presented by the City of Paris to the new-born Imperial Prince in 1856. His display at the 1867 Exposition Universelle won him a gold medal; it included lavish gem-set and enamelled jewellery in the Renaissance taste, whilst several commissions from the Emperor were featured amongst the sumptuous examples of goldsmith’s work. The firm gained a reputation for innovation whilst also retaining the motifs of Renaissance revival that his father had so cherished. Froment-Meurice’s contributions to the 1878 Exposition Universelle were equally well received, and he was awarded a Grand Prix in 1889 for his goldsmith’s work. At the 1900 Exposition Universelle, it was his display of jewellery that won him another Grand Prix.
Highly regarded as technicians and goldsmiths, both father and son succeeded in attracting the most talented modellers, designers and chasers, as borne out in this demi-parure. Its key piece, the brooch, set with a three-dimensional rose that is voluptuous in its volume, is surrounded by a halo of exuberant colour. The free hanging diamond-set tassels of both the brooch and pins reect the contemporary fashion for ‘pampilles’ or cascading ornaments that characterised jewellery of the 1830’s to 1850’s.
A similar study of a rose spray by Audouard, the leaves enamelled instead of emerald-set and with a diamond set bow at the base, was owned by the couturier Elsa Schiaparelli.