Bracelet, François-Désiré Froment-Meurice

<p> Bracelet, Fran&ccedil;ois-D&eacute;sir&eacute; Froment-Meurice, about 1850. Museum no. 167-1854. &copy; Victoria &amp; Albert Museum, London</p>

Bracelet
Made by François-Désiré Froment-Meurice
Paris, France
About 1850
Height 3.1 cm
Silver with parcel-gilt, and enamel decoration panels of foliage
Museum no. 167-1854
© Victoria & Albert Museum, London

By the middle of the 19th century the revival of interest in medieval and Renaissance art and architecture was having a profound influence on jewellery design. At the forefront of this historicist movement was the Parisian goldsmith Francois-Désiré Froment-Meurice. This piece, in the form of cast figures of cherubs alternating with openwork, was purchased by the Museum directly from Froment-Meurice at the Great Exhibition of 1851 for £18.

Hair Ornament (Raggiera), Mark of Carlo Pirotta

<p> Hair Ornament (Raggiera), Mark of Carlo Pirotta, About 1860. Museum no. 388:1 to 46-1868. Castellani Collection. &copy; Victoria &amp; Albert Museum, London</p>

Hair Ornament (Raggiera)
Mark of Carlo Pirotta
Milan, Italy
About 1860
Silver headdress, consisting of forty five pins with flat openwork heads resting on a pair of interlocking pins with large hollow egg-shaped ends
Museum no. 388:1 to 46-1868
Castellani Collection
© Victoria & Albert Museum, London

Pendant, Reinhold Vasters

<p> Pendant, Reinhold Vasters, about 1860. Museum no. 696-1893. Ex Spitzer Collection. &copy; Victoria &amp; Albert Museum, London</p>

Pendant
Enamelled gold pendant in the form of a three masted ship hung with pearls
Designed and made by Reinhold Vasters
Aachen, Germany
About 1860
Height 12 cm
Museum no. 696-1893
Ex Spitzer Collection
© Victoria & Albert Museum, London

Brooch with cameo of Queen Victoria, by Félix Dafrique; cameo by Paul Lebas (active 1829-70)

<p> Brooch with cameo of Queen Victoria, by F&eacute;lix Dafrique; cameo by Paul Lebas (active 1829-70), dated 1851. Museum no. M.340-1977. &copy; Victoria &amp; Albert Museum, London</p>

Brooch with cameo of Queen Victoria (front above, back below)
By Félix Dafrique; cameo by Paul Lebas (active 1829-70)
Paris
Dated 1851
Shell, gold, enamel, emeralds and diamonds
Museum no. M.340-1977
© Victoria & Albert Museum, London

This brooch was shown at the Great Exhibition in London in 1851, perhaps to attract the queen’s attention during one of her many visits to the exhibition. The image was taken from a portrait that showed the queen in Garter robes.

The Parisian jeweller Félix Dafrique revived a Renaissance style of jewel called ‘commesso’ (meaning ‘joined’). The cameo was cut by Paul Lebas, a well-regarded sculptor and gem engraver, who often exhibited at the Paris Salon. His most prominent works included cameo portraits of the French royal family.

The brooch was shown at the Great Exhibition, where over 6 million visitors viewed more than 13,000 exhibits.

In carving the cameo, Lebas probably followed this engraving. The original portrait shows the queen facing the other way, but the engraving is in reverse.

Sully was a society portraitist from Philadelphia. On a visit to London in 1837 he was commissioned to paint a portrait of the new queen. He was delighted with her ‘sweet tone of voice, and gentle manner’. She, in turn, was pleased with the portrait, which highlighted her best features: her shoulders and the curving line of her neck.

Necklace and earrings, Nitot &amp; Fils

<p> Necklace and earrings, Nitot &amp; Fils, about 1806. Museum no. M.3A&amp;B-1979. &copy; Victoria &amp; Albert Museum, London</p>

Necklace and earrings
Nitot & Fils
France
About 1806
Faceted table-cut emeralds in borders of brilliant-cut diamonds; briolette emerald drops; open-set in gold and silver
Length 41.0cm
Museum no. M.3A&B-1979
© Victoria & Albert Museum, London

Part of a parure presented by Napoleon to his adopted daughter Stephanie de Beauharnais (1789-1860), a connection of the Empress Joséphine, on her marriage to the Grand Duke of Baden's heir in 1806. Probably made by Nitot. The marriage was arranged to consolidate the Confederacy of the Rhine. A photograph of Gerard's portrait of the bride wearing the complete parure is shown with the necklace and earrings. The painting belongs to the Grand Duke of Baden.

This necklace and earrings are part of a larger set or parure of jewellery. It is believed that the French emperor Napoleon Bonaparte and his consort Joséphine gave them to their adopted daughter, Stéphanie de Beauharnais, on her arranged marriage to the heir of the Grand Duke of Baden in 1806. The marriage was arranged to consolidate the Confederacy of the Rhine.

Nitot & Fils, the principal jewellers to Napoleon and Joséphine, probably made the necklace. The large stones and the simplicity of design are typical of jewellery favoured at the court of Napoleon. The emerald drops at the back of the necklace can be detached and worn as earrings. They are later in date.

Bracelet, probably made by Charles Riffault for Frederic Boucheron

<p> Bracelet, probably made by Charles Riffault for Frederic Boucheron, about 1875. Museum no. 747-1890. &copy; Victoria &amp; Albert Museum, London</p>

Bracelet
Probably made by Charles Riffault for Frederic Boucheron
Paris, France
About 1875
Gold openwork with translucent and plique-à-jour enamel set with pearls and diamonds
Width 8.1cm
Museum no. 747-1890
© Victoria & Albert Museum, London

This bracelet was made by the reknowned Parisian jeweller Frédéric Boucheron (1830-1902). Boucheron gathered around him a team of fine designers and craftsmen to execute his work. Charles Riffault revived the technique of translucent or unbacked cloisonne enamelling, which he patented, but granted the monopoly of the process to Boucheron. From about 1864, Riffault executed enamels in this manner for Boucheron, who exhibited them at the International Exhibition in 1867 and 1878.