Bodice Ornament
1860-70 (made)
| Artist/Maker | |
| Place of origin |
The bodice ornament was perhaps made by Crouzet, who worked for all the major Parisian goldsmiths, producing jewellery of fine quality and original design. He is known to have produced pieces in the Moroccan taste. The jewel may have been suitable for wear during mourning.
By the 1860s, as European commercial jewellery lost its appeal in artistic circles, jewellery from the Middle East and India became an important influence. In London, the Art Journal encouraged an appreciation of jewellery from countries such as Syria and Palestine. In Paris, jewellery made in the Moroccan style reflected the French engagement with North Africa.
By the 1860s, as European commercial jewellery lost its appeal in artistic circles, jewellery from the Middle East and India became an important influence. In London, the Art Journal encouraged an appreciation of jewellery from countries such as Syria and Palestine. In Paris, jewellery made in the Moroccan style reflected the French engagement with North Africa.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Gold , enamelled and set with diamonds and pearls |
| Brief description | Four bodice ornaments, gold, enamelled in black and set with pearls and diamonds, 1860-70 |
| Physical description | Four units, gold, enamelled in black and set with pearls and brilliant-cut diamonds in the Moroccan manner of Crouzet |
| Dimensions |
|
| Style | |
| Marks and inscriptions | (Translated from Arabic.)
|
| Credit line | Cory Bequest |
| Production | In the Moroccan manner of Crouzet |
| Subject depicted | |
| Summary | The bodice ornament was perhaps made by Crouzet, who worked for all the major Parisian goldsmiths, producing jewellery of fine quality and original design. He is known to have produced pieces in the Moroccan taste. The jewel may have been suitable for wear during mourning. By the 1860s, as European commercial jewellery lost its appeal in artistic circles, jewellery from the Middle East and India became an important influence. In London, the Art Journal encouraged an appreciation of jewellery from countries such as Syria and Palestine. In Paris, jewellery made in the Moroccan style reflected the French engagement with North Africa. |
| Bibliographic reference | Shirley Bury, Jewellery 1789-1910, The International Era, Vol. II. p.687, colour plate plate 192 |
| Collection | |
| Accession number | M.146-1951 |
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| Record created | February 9, 2006 |
| Record URL |
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