Of foliate design, the three detachable flower heads set with cushion-shaped, circular- and rose-cut diamonds, suspending five articulated pendant drops similarly set,

French assay marks for gold, white metal tested as silver, indistinct maker's marks on the pin. Diamonds estimated to weigh approximately 50.00 carats in total, mixed quality but lively stones with good brilliance. One stone deficient on the inside of one petal at the back. Pair of earrings each with the central tassel deficient. Tarnish and scratches to metal commensurate with age and wear. Well preserved piece, in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. 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. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the 1840s, naturalism and romanticism was a popular source of inspiration for jewellery.  Floral creations, such as realistic bouquets, leaves and branches with bunches of grapes or berries were worn as hair ornaments, brooches or devant de corsages. They were decorated with cascading drops of diamonds imitating rain, dew drops or seeds falling from flower heads. This articulated decoration known as en pampille produces a beautiful sparkling effect as it reflects the light.  A historical example employing t♛his technique is the famous garland of red currant leaves set in diamonds commissioned in 1856 by the Empress Eugénie, part of the French Crown Jewels which were sold in Paris by the French Government in 1887. Massin also refined the technique of setting jewels en tremblant which became a model for jewellers to follow throughout Europe.

The present corsage ornament is a fine example of the jewellery of this period, exemplified in ಌthe rare pieces created by the designer Oscar Massin (1829♐ – 1892).

In the middle of the 19th Century, Oscar ♓Massin exuded great influence over the art of jewellery making both in France and abroad.  Born in 1829 in Liège, Belgium, Massin moved to Paris after an apprenticeship in the region where he learned the processes of jewellery production including design, manufacture, setting, polishing and engraving. He joined the jeweller Thèodore Fester as a designer in 1851 and became the chef d'atelier for the goldsmith Léon Rouvenat in 1854.  In 1855 he was hired by the jewellery house Viette to assist with a diadem and the setting of the famous Regent a rare 141 carat cushion-shaped diamond, the diadem was commissioned for the Em🥂peress Eugénie and exhibited at the Exposition Universelle of 1855.

He stayed in London to study the art of English goldsmith and jewellery techniques.  In 1861 Oscar Massin became the business partner to Nicolas Tottis before establishing his own workshop in Paris, first at 32 rue des Moulins and then at 3 avenue de l'Opéra.  As a leading jeweller of his time, Massin was a very skilled technician who improved the art of setting by elaborating light but solid and supple mountings allowing a new liberty in the artistic conception of jewellery. He won several awards including the Grand Prix at the Exposition Universelle of 1878.