Gold archaeological-revival necklace and earrings, Eugène Fontenay, circa 1870

The continuous uniform fringe decorated with beads, wirework and florettes, the matching fringe earclips with open triangle surmounts, necklace length 15½ inches, maker's mark for Fontenay, French assay marks. 

The pieces are hefty and in good condition, with minor amounts of discoloration to a few spots. The necklace clasp tongue is signed with maker's mark EF and also stamped with french assay marks. The earrings are not signed, but are thought to be of the same hand.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A demi-parure of very similar design is illustrated in French Jewelry of the Nineteenth Century, Henri Vever, translated by Katherine Purcell, p. 643.  

Eugène Fontenay (1823-1887), son of goldsmith Prosper Fontenay, founded his own workshop on the rue Favart, Paris, in 1847. By the 1850s he had achieved considerable success, culminating in the execution of a tiara for the Empress Eugènie in 1858.  However, it is his work of the 1860s for which he is most renowned. Called the "archeological style," Fontenay's pieces were influenced by ancient Greek, Roman, and Etruscan examples, and were certainly inspired by the 1860 arrival in Paris of the Campana Collection, ancient jewelry purchased by Napoleon III. In addition to exquisite goldwork, Fontenay collaborated with the enamelist Eugène Richet on a series of jewelry containing enameled plaques which employed antique themes and an antique style. He received a gold medal at the 1867 Paris World Exhibition for his work in this style, and counted among his many prominent clients the Viceroy of Egypt, the Shah of Persia and the King of Siam.

Fontenay was a founding member of the Chambre Syndicale de la Bijouterie-Joaillerie-Orfèvrerie in Paris and was awarded the cross of the Légion d'Honneur as a member of the jury at the Vienna exhibition in 1873 as a result of his masterly Report on the goldsmiths' and silversmiths' work.  In 1882, Fontenay retired and devoted his time to publishing numerous articles on jewelry, as well as working on his masterpiece, Les Bijoux Anciens et Modernes, published posthumously in 1887.

Henri Vever in his extensive work  French Jewelry of the 19th Century, described Fontenay as a "man of distinction and rare intelligence, of great discernment and impeccable taste. A true artist and a distinguished writer, he handled a pen as skilfully as a paint brush." See Vever,  translated from the French by Katherine Purcell, p. 642.