René Lalique, Broche pendentif Paon. Or, émail translucide et opaque sur or avec paillons, deux opales taillées en forme de coeur et montées à jour, or gravé au revers; broche démontable et bélière pour pendentif. H. cm : 5,1 – l. cm : 5,6. 41869. Les Arts Décoratifs, Paris ©Photo Les Arts Décoratifs, Paris/Jean Tholance ©Adagp, Paris, 2010
Aquamarine and Diamond Necklace, Art Deco, “Two Peacocks” Pendant, Cartier, circa 1860, circa 1897-1898, circa 1900, circa 1939, circa 1965, Diamond ring, Dinh Van, double eagle bangle, France, Napoleon III period, New York, old and Chrysoprase Ring, Olga Tritt, Paul Robin, René Lalique, Tiffany & Co
Napoleon III period 18k gold, double eagle bangle with pearls and ruby eyes, Paul Robin, France, circa 1860. (Photo courtesy of James Robinson). James Robinson
René Lalique Gold and Enamel “Two Peacocks” Pendant, circa 1897-1898. Macklowe Gallery
An Antique Diamond Ring, by Tiffany & Co., circa 1900. Set with a cushion-cut diamond at center within radiating lines of blue enamel and diamonds. (Photo courtesy of S.J. Shrubsole). S.J. Shrubsole
A French Estate 18K Gold and Chrysoprase Ring, by Cartier, circa 1965. The ring is likely and early design by Dinh Van, who designed for Cartier in the 1960s. (Photo courtesy of S.J. Shrubsole). S.J. Shrubsole
An Impressive Art Deco Aquamarine and Diamond Necklace, by Olga Tritt, New York, circa 1939. Wartski
René Lalique (1860-1945), Art Nouveau Bracelet. Gold, sapphires, moulded glass, enamel and pearls. Paris, circa 1900. Véronique Bamps (stand 136). TEFAF 2015 Antiques (13-22 March 2015)
Eugène Fontenay (1823-1887). Necklace. Gold. Paris, circa 1870. Véronique Bamps (stand 136). TEFAF 2015 Antiques (13-22 March 2015)
Designed in archaeological revival style
Literature: Henri Vever, La Bijouterie Française au XIXeme Siècle, Vol. II, Paris, 1906, p. 169
A specialist in antique jewellery, Véronique Bamps has devoted herself for more than twenty-five years to European and American jewellery dating from the early 19th century to the 1950s. Based in Monaco, this internationally renowned expert reveals her discoveries, both signed and anonymous, which she selects for their style, originality, striking aesthetic qualities and techniques, at major international antique fairs.
Véronique Bamps. Directors :Véronique Bamps, Thierry Bamps, Michel Osipenco
"Three Graces" Pendant, c. 1895-1914, c.1900, c.1915, Chrysanthemum pendant-brooch, Elie Napper, Frederick James Partridge, Galleon Pendant, Guild of Handicraft, Henry Charles Barker, Joël Descomps, Liberty & Co., Lily-Pad hair comb, Mrs. W.H. (Elinor) Klapp, Octopus Waist Clasp, René Lalique, The Artificer's Guild, The Kalo Shop, Tiara with Corn Design, Winged Sylph Brooch
Frederick James Partridge (English, 1877-1942) for Liberty & Co. (English, established 1875), Tiara with Corn Design, c. 1900. Collection of Richard H. Driehaus. Photograph by John A. Faier, 2014, © The Richard H. Driehaus Museum
CHICAGO – The Richard H. Driehaus Museum in Chicago presents the major exhibition Maker & Muse: Women & Early Twentieth Century Art Jewelry, opening February 14, 2015.
René Lalique (French, 1860-1945), Winged Sylph Brooch, c. 1900 © The Richard H. Driehaus Museum
Maker & Muse is comprised of works drawn from the Collection of Richard H. Driehaus and prominent private and public collections throughout the United States. Driehaus Museum founder and art collector Richard H. Driehaus began acquiring Art Nouveau and Arts and Crafts jewelry in the 1990s and has never publicly shown his collection before. Additional pieces are being loaned from museums and private collectors from across the country including the Newark Museum, Tiffany & Co. Archives, and the Chicago History Museum.
René Lalique (French, 1860-1945), Chrysanthemum Pendant-brooch, c. 1900 © The Richard H. Driehaus Museum
The exhibition features more than 250 stunning pieces of jewelry created between the late Victorian Era and World War I. During this vibrant period, jewelry makers in the world’s centers of design created audacious new styles in response to the growing industrialization of the world and the changing role of women in society. Their work—boldly artistic, exquisitely detailed, hand wrought, and inspired by nature—became known as art jewelry.
René Lalique (French, 1860-1945), Aquamarine Pendant, c. 1900 © The Richard H. Driehaus Museum
“The urge for a new aesthetic emerged simultaneously in many countries at the turn of the century,” says Elyse Zorn Karlin, Exhibition Curator. “Art jewelry styles are as unique to the regions in which they were created, but together were defined by a rebellion against the strictures of the past and a look toward an exciting, less-encumbered future. This exhibition is the most extensive look to date of the sheer diversity and beauty of art jewelry during this period, and offers a new and groundbreaking perspective on woman’s role within that world.”
Wilhelm Lucas von Cranach (German, 1861-1918), Octopus Waist Clasp, c.1900 © The Richard H. Driehaus Museum
Women were not only the intended wearers of art jewelry during the early twentieth century, but an essential part of its creation. From the world’s first independent female jewelry makers to the woman as artistic motif, the art jewelry of the new century reflected rapid changes in definitions of femininity and social norms.
Attributed to Guild of Handicraft (English, 1888-1907), Doubled-side Enamel Necklace, c. 1900 © The Richard H. Driehaus Museum
Exemplary examples of necklaces, brooches, bracelets, pins, rings, jeweled and enameled boxes, pendants, buckles, cloak clasps, accessories, and tiaras are featured in Maker & Muse. Each of the Museum’s second-floor galleries is devoted to jewelry showcasing the five areas of design and fabrication: the Arts and Crafts Movement in Britain, Art Nouveau in France and Belgium, Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago. Each gallery explores the historic social milieu associated with these movements, accompanied by selected contextual objects of the period.
Elie Napper (English, 1886-1972), Lily-Pad hair Combs, c. 1906 © The Richard H. Driehaus Museum
“The true beauty and value of art jewelry lies in the artist’s vision and mastery of technique, rather than in the sum value and size of precious metals and stones. Each of the works in the exhibition is truly a complete work of art in miniature,” says Mr. Driehaus. “I’m delighted to exhibit my jewelry collection for the first time for Driehaus Museum visitors to enjoy, and am honored to be joined by the distinguished collectors and museums who recognize and celebrate their artistic quality. Together, these works tell a complete story of many jewelers’ aspirations, techniques, and accomplishments.”
Joël Descomps (French, 1872-1948), « Three Graces » Pendant, c.1900 © The Richard H. Driehaus Museum
Highlights include four revival-style works by Mrs. Newman of London, who paved the way for female jewelry makers of the British Arts and Crafts movement; a daring brooch depicting the female nude form by the consummate French jeweler René Lalique; a Jugendstil pin by the Wiener Werkstätte, to be worn by the hostesses of Vienna’s premier Cabaret Fledermaus; rare designs by Julia Munson, the first director of Louis Comfort Tiffany’s jewelry studio; and exceptional works from Chicago’s distinguished Kalo Shop, founded by Clara Barck Welles.
The Artificer’s Guild (English, 1901-1942), Pendant, c.1900 © The Richard H. Driehaus Museum
The companion book Maker & Muse: Women and Early Twentieth Century Art Jewelry (The Monacelli Press) features essays by prominent experts in the jewelry field with each revealing new research about the unique women who created or inspired art jewelry. The book’s authors include Elyse Zorn Karlin, exhibition curator; Yvonne Markowitz and Emily Stroehrer of the Museum of Fine Arts, Boston; Janis Staggs, of the Neue Galerie, New York; Jeannine Falino, Independent Curator, New York; and Sharon Darling, Historian, Chicago. The publication is comprised of stunning, full-color images by primary photographer John A. Faier and features a preface by collector Richard H. Driehaus.
Henry Charles Barker (English, 1850-1950), Galleon Pendant, c.1915 © The Richard H. Driehaus Museum
Mrs. W.H. (Elinor) Klapp (American, 1845-1915), Brooch, c. 1895-1914. Collection of the Bronson Family. Photograph by Firestone and Parson © The Richard H. Driehaus Museum
René Lalique (French, 1860-1945), Panel Brooch, c. 1900. Collection of Richard H. Driehaus. © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris. Photograph by John A. Faier, 2014, © The Richard H. Driehaus Museum
The Kalo Shop (American, 1900-1970), Necklace, 1900. Collection of Neil Lane. Photograph by John A. Faier, 2014, © The Richard H. Driehaus Museum.
A finger ring by René Lalique. Photo Wartski
yellow gold, each side centred by a carved ivory face, the ring is surmounted by a cabochon emerald, the setting of the stone formed and enamelled to resemble a crown, the subject’s hair sensuously tumbles down the deeply engraved shoulders, the top of the shoulders are decorated with overlapping engraved leaves filled with black enamel.
Signed ‘LALIQUE’. Internal diamater: 19. 5 mm.
A design for a Lalique ring with faces on its sides is illustrated in Barton, Sigrid, René Lalique Schmuck und Objets d’Art:1890-1910, Prestel-Verlag München, 1977, no.1299.
The device of flowing tresses is found frequency in Lalique’s work, see op. cit. nos. 518, 943 & 1037.