Nowadays there are very few places for the production of fine stone sculptures, and the activity remains incredibly low.

Until the beginning of the 20th century, France was one of the countries perpetuating the art of glyptics. Following the decline of the craze for cameos and intaglios during this period - but also because of the refusal on the part of glypticians to pass on their know-how for fear of losing their clientele - there are very few French craftsmen still active today (only about ten).

The teaching of this art even ends up disappearing in 1995. Due to the lack of engravers, the French clientele and the major jewellery houses in particular gradually turned to other European countries and the world, in particular Germany, in Idar-Oberstein.

Maxime Rips working at his workbench

In order to approach the technical aspect of glyptics, I had the chance to speak with one of the last glypticians in France, Maxime Rips. Graduated from the Boulle school in 1963, then from the Ecole Nationale Supérieure des Beaux-Arts de Paris in 1967 where he learned engraving on fine stones, sculpture, and bas-relief, Maxime Rips was later a professor of engraving on fine stones for more than 25 years at the Ecole Nationale des Beaux-Arts de Paris. The latter, too, since this art is unfortunately no longer taught in France due to a lack of students.

A true enthusiast, he works alone in his workshop on his own creations, but also on commission for a very eclectic clientele, made up of individuals (amateurs or collectors) and professionals (Cartier, Van Cleef & Arpels, ...etc).

Maxime Rips has been kind enough to welcome me in his workshop to explain me his job, you will find below a summary of the steps leading to the elaboration of an agate cameo. Here, the subject will be a portrait :

Obtaining and studying a rough stone: it is above all the stone which will be the source of inspiration, and which will condition, according to the distribution of its colors, its shape, or its inclusions, the work of the glyptician. 

Drawing up a paper or wax drawing: this is an important step - especially if it is an order - it allows the glyptician to accurately determine the customer's expectations. Wax will be preferred for portraits.

Drawing on the stone: first sketch allowing the glyptician to start carving the stone.

Portrait drawn on a hijacked agate

Brutting: the most important pieces are removed with a saw.

Trimming: shaping the cameo with a diamond wheel.

Shaping of the face rather general: one uses a reel, to which a bouterolle is fixed, this tool is then set in motion by the reel, then wears out and cuts the stone. To help its action, we use an abrasive which is diamond powder, as well as a mixture of oil and petroleum for the majority of stones, or water for more fragile stones such as coral or opal. Maxime Rips makes his own tools from bouterolles which he cuts in various calibres according to his needs, as lapidary tools do not allow engraving on small surfaces. The stone, to be well maintained, must be fixed on a wooden handle with a special cement.

Shaping the main lines of the face (nose, forehead...etc)

Sculpture in more detail: use of thinner and thinner bouterolles, the portrait is detached from the background for more ease.

Boxwood polished

Cameo sculpture with a button attached to a reel

While glyptics enjoyed great periods of popularity in the past, and although there is still an attraction for these objects as antiques today, carvings on fine stones are becoming increasingly rare in contemporary jewellery. It is unfortunate to note that this art, little practiced and more taught in France, tends to disappear...