Egyptian-Revival gold and micro mosaic demi-parure, 1860s

Comprising; a pendant and a pair of ear pendants, each set to the centre with a micro mosaic depicting the profile of a pharaonic mask, in green and earth tones, to a foliate surround of red, white and blue, inset to archaeological-revival frames, the pendant with locket reverse,

Egyptian art had begun to influence the decorative repertoire of the decorative arts early in the 19^th Century. Napoleons campaigns in Egypt focused European interest on the mysterious civilization of the Pharaohs. Thomas Young’s preliminary study of the Rosetta stone published in 1815 and Champollion’s decipherment of hieroglyphics had created the basis of Egyptology and aroused academic interest in this civilization. At the same time the Italian adventurer Givanni Belzoni had helped to popularize ancient Egyptian art by supplying European collectors and museums with Egyptian antiquities. Jewellers, however, did not become sensitive to this potential source of inspiration until the 1860s, and it was not until the 1867 Universal Exhibition in Paris, that jewels with and Egyptian flavour became fashionable. The elements which helped  to promote Egyptian art, were the publication of Auguste Mariette’s papers on his excavations in Egypt in the 1850s and the arrival at the Louvre of the archaeological treasures he had unearthed in that area. Additionally the opening of the Suez Canal in 1869 and the premier of Verdi’s Aida in 1871 to great acclaim all helped to bring Egypt mania to the forefront of worldwide attention. All forms of the decorative arts fell under the influence of Egypt from sculpture, architecture to porcelain and jewellery. Jewels in the shape of falcons, winged scarabs and lotus flowers. Faïence and hard stone cameos, both antique and replica were widely used.Ancient Egypt was to provide a rich source of inspiration for jewellers such as Froment Meurice, Mellerio, Boucheron, Castellani, John Brogden, Robert Phillips and Carlo Giuliano.