Lot Essay
Cf. Françoise Cailles, "René Boivin, Jeweller", Quartet Books, London, 1994, page 101
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Masterworks
On 11 April of last year, Christie's held, as part of the Magnificent Jewels sale, "Masterpieces of the Jeweler's Art". It illustrated and highlighted exceptional objects and stones from different periods to showcase the true artistry of the jewelry designer, manufacturer and stonecutter. Unlike an artist painting a picture, creating a piece of jewelry is a collaborative effort and often this can involve a partnership of eight to ten people from designer to lapidary worker, setter, engraver and so on. The "workmaster" is all-important, understanding the initial inspiration and making sure the execution is absolutely right by all those involved.
The items in this masterwork section illustrate the genius of three jewelers. The House of Boivin took on a commission that could be argued as eccentric. A macabre subject translated into an object that is stylish, witty and striking. JAR's sublime photograph frame screams serenity, with the most subtle of touches carving a ripple of water on the crystal. Rubel's bracelet is arguably one of the great Deco jewels, combining delicacy and magnificence in the same breath.
Jewelry without compromise, the sign of a genuine masterwork
Boivin
In September 1938, an eccentric American from Texas entered the Maison Boivin, located on the Rue de l'Opera, with the skull of an ox in his arms, placed it on a table and instructed Madame Boivin to make a brooch based on the head. This extraordinary creation, referred to as the "Longhorn" brooch, was finally delivered to the client on January 31st, 1940. Such exceptional commissions were not unusual for the house and as Françoise Cailles, author of René Boivin, Jeweler, writes "[clients] had no idea what they would find there, nor what kind of jewel they might end up with, but they could be sure of one thing; it would be at once bold and original."
Maison Boivin, was founded in Paris by René Boivin during the 1890's and he, along with his wife Jeanne, sister of famous couturier Paul Poiret, produced some of the most bold and daring creations of the early 1900's. Widely considered the first woman jeweler of the 20th century, Madame Boivin assumed control of the company upon her husband's death in 1917. For the next forty years, Jeanne Boivin, together with her daughter Germaine and Juliette Moutard her designer, firmly established the house as one of the most innovative and artistic design forces in Paris.
Unseen since its delivery to the client in 1940, the brooch bears no hallmarks or maker's mark and it is this detail that may have contributed to its anonimity. Juliette Moutard explained that Madame Boivin didn't feel the need to sign her pieces as she believed they spoke for themselves. "Their origin could be guessed simply by looking at them." (Cailles, René Boivin, Jeweler, p. 105) The first entry recorded on September 29th, 1938, describes a ribbon made of blue enamel and in the original gouache rendering of the brooch, pictured on page 101 in her book, it appears with calibré-cut sapphires. In its final form, the ribbon is comprised of purple sapphires. The rendering also depicted the garland with green stones and diamonds, while the final piece is made of demantoid garnets and emeralds. It is also believed that the garland and ribbon design was the work of Juliette Moutard.
Fantastical and spectacular, the brooch is a testament to Madame Boivin's desire that each jewel express the personality and identity of its wearer.
AN IMPORTANT DIAMOND AND GEM-SET LONGHORN BROOCH, BY BOIVIN
Details
AN IMPORTANT DIAMOND AND GEM-SET LONGHORN BROOCH, BY BOIVIN
The sculpted and pierced pavé-set diamond and yellow diamond longhorn head, extending polished gold horns, each adorned by a cascading calibré-cut purple sapphire ribbon and an articulated calibré-cut demantoid garnet and cabochon emerald laurel garland, mounted in gold, circa 1940
The sculpted and pierced pavé-set diamond and yellow diamond longhorn head, extending polished gold horns, each adorned by a cascading calibré-cut purple sapphire ribbon and an articulated calibré-cut demantoid garnet and cabochon emerald laurel garland, mounted in gold, circa 1940
Further details
Christie's would like to thank Madame Françoise Cailles for her assistance in researching this piece