€15,500
A RARE ART NOUVEAU ENAMEL AND DIAMOND 'PANSY' RING, BY CHARLES RIVAUD, CIRCA 1900
The cushion-shaped diamond weighing approximately 2.20cts, within a raised petal mount, applied with blue enamel, to shoulders, set with rose-cut diamonds and blue enamel, mounted in 18K gold, signed CR for Charles Rivaud, French import mark, with maker’s original case stamped 'CH. Rivaud, 23, rue de Seine, Paris', ring size M
A very similar model is reproduced in the book "Paris Salons 1895 - 1914 - Joaillerie - II: les designers de L à Z" by Alastair Duncan, with the mention "Paris Salon 1904”.
Charles Magloire Rivaud, an imaginative artist and skilled artisan, continues to captivate the jewellery world with his enduring legacy. Born on April 5, 1859, in the village of Boismorand, Loiret, France, Charles was destined for greatness in the realm of jewellery, inheriting a rich tradition spanning three generations. His journey began in Paris, where he discovered his passion and embarked on a transformative path in jewellery making.
Rivaud delved into electroplating, pioneering techniques that would reshape the industry. His marriage later in life marked a significant turning point, merging his love for craftsmanship with a deep commitment to his beloved city. Establishing his workshop on the Quai de l'Horloge, Charles envisioned a space where creativity thrived, welcoming fellow artists and enthusiasts alike.
Renowned for collaborating with esteemed sculptors such as Oscar Roty, Jean Dampt, and Victor Prouvé, Rivaud gained prominence as a publisher of meticulously sculpted medal-adorned brooches, notably the celebrated Broche du Souvenir in 1898. His partnership with Victor Prouvé was prominently featured at the Salon de la Société Nationale des Beaux-Arts, showcasing Prouvé's medal brooches—Aurore, Crépuscule, Gaule, le Bonheur—published by Rivaud.
Amidst Parisian society, Charles remained steadfast in his pursuit of artisanal excellence. Collaborating with renowned sculptors and painters, he elevated his creations to unparalleled heights, captivating patrons, and critics alike. Through each meticulously crafted piece, Charles Rivaud breathed life into a world where tradition intersected with innovation, and beauty transcended the constraints of time.
Among his remarkable creations, stands the iconic 'Centenary bracelet', a testament to his reverence for history and artistic genius. Crafted to commemorate the 100th anniversary of the French Revolution, this masterpiece encapsulated the essence of a bygone era, immortalizing the ideals of liberty, equality, and fraternity. Adorned with intricate details and symbols of enlightenment, the Centenary bracelet remains a timeless symbol of Charles Rivaud's enduring legacy.
His participation in the Universal Exhibition in Paris exhibited Rivaud's important contribution to Decorative Arts. From 1901 to 1913, his Salon contributions spanned a diverse array of jewellery, from iron rings in 1903 to a corsage plate depicting Rodin's Head of Saint John in 1912.
Rivaud's mastery was symbolised by his unique mark— the letters CR accompanied by an electric battery—a testament to his ingenuity and legacy in the world of decorative arts. His legacy extended beyond craftsmanship; Rivaud was also the founder of the Société du Salon d'Automne and a member of the Société des Artistes Décorateurs.
Charles Rivaud contributions were noted in several Salons between 1906 before his passing in 1923. His son, André-Charles, succeeded him in 1924, ensuring the continuation of Rivaud's esteemed legacy. Rivaud leaves behind a legacy of innovation and creativity that continues to inspire generations. His unwavering dedication to excellence and passion for the craft.
Victorians cherished hidden meanings: this fascination reflected in jewellery craftsmanship. Flowers, rich in romantic symbolism, conveyed sentiments through the Language of Flowers. To Victorians, blooms embodied tender emotions like attachment and compassion.
During the era, this floral vocabulary became a discreet form of communication, aligning with Victorian propriety. Amid the excess of floral symbols, the pansy held a special significance, symbolising "think of me," derived from the French word pensée for "thought."
Literature including Shakespeare's Hamlet, abounds with references to pansies, hinting at their contemplative essence. In the floral language, pansies conveyed thoughts of the giver toward the recipient, often associated with platonic or unrequited love.
The pansy's potent symbolism transcended into bespoke jewellery, adorned with exquisite enamel work, reinforcing its status as a cherished symbol of affection and contemplation.
Principal diamond: approx. 2.20cts, unable to assess colour due to yellow mount, estimated clarity SI1
One claw slightly thinner than the other ones, diamond slightly loose in its mount
one small rose cut shoulder deficient
Minor areas of loss to blue enamel commensurate with age
Normal signs of wear
Total gross weight approx. 9g
Accompanied by its original case signed C.H. Rivaued 23 R.de Seine Paris
Fees apply to the hammer price:
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28.6% inc VAT*
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25.00% inc VAT*
