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细节
AN EXQUISITE PEARL, COLOURED PEARL AND GEM-SET PENDANT, BY GUSTAVE BAUGRAND
Designed as an oval rock crystal bombé plaque, applied with the enamel profile of Cleopatra, adorned with a rose-cut diamond and vari-cut ruby and emerald headdress and decoration, within a similarly-set frame, to the diamond, yellow diamond and grey pearl scrolling surmount, and diamond and pearl drop, circa 1867, 9.0 cm, with French assay mark for gold
Signed Baugrand for Gustave Baugrand
Please note that the pearls have not been tested for natural origin, and that the yellow diamonds have not been tested for natural colour origin.
Designed as an oval rock crystal bombé plaque, applied with the enamel profile of Cleopatra, adorned with a rose-cut diamond and vari-cut ruby and emerald headdress and decoration, within a similarly-set frame, to the diamond, yellow diamond and grey pearl scrolling surmount, and diamond and pearl drop, circa 1867, 9.0 cm, with French assay mark for gold
Signed Baugrand for Gustave Baugrand
Please note that the pearls have not been tested for natural origin, and that the yellow diamonds have not been tested for natural colour origin.
出版
H. Vever, La Bijouterie Française au XIXe siècle, Tome II, Paris, Imprimerie Georges Petit, 1908, p. 276
注意事项
Items which contain rubies or jadeite originating in Burma (Myanmar) may not be imported into the U.S. Please be advised that a purchasers inability to import any such item into the U.S. or any other country shall not constitute
grounds for non-payment or cancellation of the sale.
With respect to items that contain any other types of gemstones originating
in Burma (e.g., sapphires), such items may be imported into the U.S.,
provided that the gemstones have been mounted or incorporated into jewellery outside of Burma and provided that the setting is not of a temporary nature (e.g., a string).
On lots marked with an + in the catalogue, VAT will be charged at 8% on both the premium as well as the hammer price.
更多详情
Gustave Baugrand was born in 1826. He learned under the apprenticeship of his father, Victor, a well noted Parisian stone setter and jeweller. He first came to the attention of the public in 1852, when he formed a partnership with Paul Marret.
Marret, six years previously, had taken over his uncle’s business, located at 19 rue de la Paix in Paris, France. After Marret’s unexpected death in 1853, Baugrand continued to run the atelier with the help of Marret’s widow, until eventually becoming the sole proprietor in 1864 when Paul Marret’s widow remarried.
‘Marret & Baugrand’ presented at the Paris World Fair of 1855 and were awarded a ‘Médaille d’Honneur’. They were particularly acclaimed for ‘a garland of cornflowers so delicately mounted that the slightest breath set the flowers trembling’. They created simple and elegant jewels and the finesse of their work was outstanding. So much so that the same year Marret & Baugrand earned their first commission from Empress Eugénie for a diamond ‘tour de peigne’ which allowed them to supply the imperial court as official ‘Joaillier de Sa Majesté l’Empereur’.
In the year of 1862, at the London World Fair, they presented a collection of jewellery including a pearl and diamond necklace that was considered very modern and chic for the time. Their collaboration flourished. Marret & Baugrand became well-known jewellers to the aristocracy.
Gustave Baugrand was pivotal in forerunning the development of jewellery in fashion, by turning to Ancient Egypt and Greece for sources of new inspirations and idea. These themes were present at the London 1862 World Fair, where they exhibited a fantastic diamond tiara in the Ancient Greek style.
The Baugrand exhibition was largely commented and praised in ‘Les Merveilles de l’Exposition Universelle de 1867’ by Jules Mesnard. It is said that the harmonious group of diverse and varied artistic pieces represented what every exhibitor should aspire to. ‘Le Beau’ is what attracted Baugrand, whatever the era, whatever the country; he produced pieces inspired by the Middle Ages and Renaissance artists, Ancient Greece and Egypt alongside modern technology.
It is important to remark that Baugrand was an exception to his trade, as both a salesman and a creator of jewellery. Behind the shop at 19 rue de la Paix were the ateliers where his workers were designing, drawing and crafting the spectacular pieces that he imagined. Gustave Baugrand was interested in the participation of the craftsmen in the company, and he surrounded himself with brilliant artists that were able to create the inspiring pieces he envisioned.
Baugrand passed away during the ‘Siege of Paris’ in 1870. He died at the top of his glory, respected by all for his creativity and craftsmanship. Henri Vever moved his business from Metz to Paris at the same time, and ended up buying Baugrand’s shop after his death. It is a testament to Baugrand’s genius that another master jeweller of its time should decide to invest in Baugrand business and name.
Marret, six years previously, had taken over his uncle’s business, located at 19 rue de la Paix in Paris, France. After Marret’s unexpected death in 1853, Baugrand continued to run the atelier with the help of Marret’s widow, until eventually becoming the sole proprietor in 1864 when Paul Marret’s widow remarried.
‘Marret & Baugrand’ presented at the Paris World Fair of 1855 and were awarded a ‘Médaille d’Honneur’. They were particularly acclaimed for ‘a garland of cornflowers so delicately mounted that the slightest breath set the flowers trembling’. They created simple and elegant jewels and the finesse of their work was outstanding. So much so that the same year Marret & Baugrand earned their first commission from Empress Eugénie for a diamond ‘tour de peigne’ which allowed them to supply the imperial court as official ‘Joaillier de Sa Majesté l’Empereur’.
In the year of 1862, at the London World Fair, they presented a collection of jewellery including a pearl and diamond necklace that was considered very modern and chic for the time. Their collaboration flourished. Marret & Baugrand became well-known jewellers to the aristocracy.
Gustave Baugrand was pivotal in forerunning the development of jewellery in fashion, by turning to Ancient Egypt and Greece for sources of new inspirations and idea. These themes were present at the London 1862 World Fair, where they exhibited a fantastic diamond tiara in the Ancient Greek style.
The Baugrand exhibition was largely commented and praised in ‘Les Merveilles de l’Exposition Universelle de 1867’ by Jules Mesnard. It is said that the harmonious group of diverse and varied artistic pieces represented what every exhibitor should aspire to. ‘Le Beau’ is what attracted Baugrand, whatever the era, whatever the country; he produced pieces inspired by the Middle Ages and Renaissance artists, Ancient Greece and Egypt alongside modern technology.
It is important to remark that Baugrand was an exception to his trade, as both a salesman and a creator of jewellery. Behind the shop at 19 rue de la Paix were the ateliers where his workers were designing, drawing and crafting the spectacular pieces that he imagined. Gustave Baugrand was interested in the participation of the craftsmen in the company, and he surrounded himself with brilliant artists that were able to create the inspiring pieces he envisioned.
Baugrand passed away during the ‘Siege of Paris’ in 1870. He died at the top of his glory, respected by all for his creativity and craftsmanship. Henri Vever moved his business from Metz to Paris at the same time, and ended up buying Baugrand’s shop after his death. It is a testament to Baugrand’s genius that another master jeweller of its time should decide to invest in Baugrand business and name.