LALIQUE: AN ART NOUVEAU GOLD RING, CIRCA 1900 Designed as a...

Hammer

€6,000

LALIQUE: AN ART NOUVEAU GOLD RING, CIRCA 1900 Designed as a tapered wide band etched with a series of dancing nymphs, signed Lalique, with maker's mark 'RL' for René Lalique, ring size Q A very similar ring sold for US$12,000 at Christie's in New York, on April 12th 2005 (lot 273) The Art Nouveau movement flourished at the turn of the twentieth century, underpinning a period of creativity and artistic innovation across all fields of design. Artists, inspired by and drawing heavily on forms of the natural world, embraced new, fluid, organic and graceful lines within their work. The Art Nouveau style was broadcasted to a global audience at the 1900 Paris Exposition with René Lalique, hailed as the “Master of Art Nouveau Jewellery,” making his international debut. Japanese art, with its simplicity of form, deference to the natural world, and use of colours, lent itself well as a source of inspiration for Art Nouveau jewellers. A preference for delicate pastel hues led them to experiment with semiprecious stones like amethyst, agate, softly curved and shimmering opal, pearl and moonstone. The gentle glow of these stones embedded a sense of finely crafted dynamism and mystery in Art Nouveau jewellery that emphasised its unique aesthetic as having pioneered a language of design distinct from that of mainstream jewellery at the time. Eugène Gaillard, a designer particularly inspired by exotic art forms, specialised in the technique of “plaque de cuisson” and worked often with horn, enamel, opal and coloured stones. The Art Nouveau movement coincided with a period of significant social change and female empowerment. This shift is reflected in the jewellery of the time, which often featured a highly symbolic female form as its central motif. That symbolism was intwined with a sort of mystic femininity, with female forms depicted as a spirits of nature, goddesses, nymphs and fairies. Lalique drew inspiration from the natural world and the place of man within in it, with his ethereal designs evoking an engagement with these motifs and themes of amorous liberation; delicate orchids, iridescent dragonflies, sinuous snakes, and mysterious profiles of women intertwined with the flora and fauna appear frequently in his work. His designs reflect these themes of feminine liberation and fantasy, which can be seen especially in his designs in which the figures of nymphs and spirits are raised in relief as though their liberation is symbolically linked to their physicality. Lalique’s designs envisioned jewellery as a point of focus rather than a decoration for its wearer. His pieces were often large, bold, and sculptural – informed by his foundational knowledge of traditional techniques such as “plique-a-jour” enamelling, and blended with the distinct, dynamic aesthetic he pioneered. The iconic “Femme Libellule” (dragonfly-woman) brooch was de signed by Lalique in 1882, and perfectly encapsulates his vision. The piece depicts a nude woman as its central motif, with the figure emerging out of a dragonfly, seemingly frozen in a process of metamorphosis. This brooch, evoking a sense of rarified femininity, was worn by Sarah Bernhardt, a French actress and follower of Lalique’s career, at the height of her fame. After taking over the workshop of a Parisian jeweller, Lalique worked independently for private clients such as Bernhardt, as well as opera stars and aristocrats, whose patronage ensured his lasting legacy. The timeless and global appeal of Lalique’s designs remains, with his pieces featuring in the prestigious collections of The Metropolitan Museum of New York and the Victoria and Albert Museum in London.