Eugène Fontenay

Eugène Fontenay (1824-1887) was a Parisian jeweler of critical acclaim known for his jewels in the “Archaeological style." As a third generation jeweler he first apprenticed with Marchand and Dutrieh, the latter known for rediscovering the art of enameling on gold. By the age of 24, Fontenay set up his own workshop at 2 rue Favart in Paris’ 2nd arrondissement, north of the Palais Royal. In 1861, jewels from the famous Campana Collection, one of the nineteenth century's greatest assemblages of Greek and Roman antiquities acquired by Napoleon III for the French nation, were exhibited at the Louvre Museum. Referred to as Italian Archaeological Jewelry they became a source of inspiration for Fontenay. At the Paris Exhibition in 1867, Fontenay held his first exhibition under his own name and was awarded a gold medal for his jewelry designs based on Greek, Roman, and Etruscan examples.

Instead of literally copying jewels from antiquity, Fontenay adapted the elements of ancient jewelry designs and created jewels that were more compatible with current lifestyles and fashion. His necklace designs showcased his formidable talent, and according to Henri Vever, he successfully revamped “the parures of the beauties of Mycenae, of Cyprus and Tyr into ornaments for the Parisienne of today.”  The necklace offered here is an example of the refinement he brought to the art of archaeological revival jewelry.

Other examples of necklaces by Fontenay are illustrated in The Belle Epoque of French Jewellery 1850-1910, p. 58.

Fontenay was very much involved with the academic side of the jewelry trade. Along with other jewelers including Frédéric Boucheron and Antoine Mellerio, Fontenay became one of the founders of the Chambre Syndicale de la Bijouterie-Joaillerie-Orfèvrerie, and supported the establishment of a network for younger craftsmen, including a school where all aspects of the trade could be taught to future students. He also shared his depth of knowledge by publishing articles in magazines and journals, including the Revue des Art Décoratifs. His book, Bijoux Anciens et Modernes was published posthumously in 1887.