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Lot Essay
Every storied jewelry house and designer has their unmistakable style. Defining characteristics and techniques that can only be attributed to that particular maker. The same goes for revolutionary Art Nouveau Jeweler and glass artist, Rene Lalique.
René Lalique (1860-1945) radically transformed traditional French jewelry design and manufacturing, asserting him as a master jeweler and a principal leader of the Art Nouveau movement. Lalique began his career working as a freelance designer for Cartier and Boucheron until 1888, when he founded his own workshop in Paris.
In the eyes of Lalique, jewelry of the 19th century was uninspiring and stagnant, partially due to its industrial influence along with the perception that jewelry was purely a symbol of wealth and status. Lalique saw a lack of artistic value in the jewelry of his time and sought to redefine a new style in a new century, where jewelry was no longer seen solely as a form of ornamentation but also as outstanding works of art. The turn of the century embraced transition and evolution, which defined Lalique’s Art Nouveau jewelry with “the bewitching theme of turbulent change, constant movement and transformation. ”
While Lalique did use precious stones and gold, it was his bold use of semi-precious materials that set him apart from his contemporaries. Lalique challenged the idea that the intrinsic value of the materials was entirely responsible for defining the worth of a piece. Lot 107, the Rare Art Nouveau Horn, Moonstone and Enamel Necklace exhibits Lalique’s revolutionary design and sophisticated use of materials to portray his imagination and inspiration from the natural world.
The presence of energy and movement is a defining feature of Art Nouveau and apparent in Lot 107. While delicate due to age and construction, the depiction of beetles engaging in battle is far from some of the more delicate imagery seen in Lalique’s creations. The sheer scale and graduation of the carved horn folding over the wearer, almost armor like, suggests a theme of power and strength. The ethereal and dream like evocation of moonstones and enamel accenting the collar add a particular softness to an almost arresting, but equally as intriguing work of wearable art.
In Lalique’s oeuvre of work, the insect form appears in astonishingly diverse variations, from hybrid insect-humans to the highly ornamented insects themselves. Lalique’s work often references literature and myths that interlace human figures and nature, creating whimsical and sometimes haunting narratives, this necklace certainly radiating a haunting beauty.
By 1912, Lalique had shifted his focus from jewelry to glasswork entirely, producing glasses, vases and even perfume bottles. At this point in his career, Lalique had established himself as a sensational jeweler globally. Lot 107 is no doubt a masterpiece of Lalique’s and captures the essence and spirit of his exquisitely individual Art Nouveau style.
René Lalique (1860-1945) radically transformed traditional French jewelry design and manufacturing, asserting him as a master jeweler and a principal leader of the Art Nouveau movement. Lalique began his career working as a freelance designer for Cartier and Boucheron until 1888, when he founded his own workshop in Paris.
In the eyes of Lalique, jewelry of the 19th century was uninspiring and stagnant, partially due to its industrial influence along with the perception that jewelry was purely a symbol of wealth and status. Lalique saw a lack of artistic value in the jewelry of his time and sought to redefine a new style in a new century, where jewelry was no longer seen solely as a form of ornamentation but also as outstanding works of art. The turn of the century embraced transition and evolution, which defined Lalique’s Art Nouveau jewelry with “the bewitching theme of turbulent change, constant movement and transformation. ”
While Lalique did use precious stones and gold, it was his bold use of semi-precious materials that set him apart from his contemporaries. Lalique challenged the idea that the intrinsic value of the materials was entirely responsible for defining the worth of a piece. Lot 107, the Rare Art Nouveau Horn, Moonstone and Enamel Necklace exhibits Lalique’s revolutionary design and sophisticated use of materials to portray his imagination and inspiration from the natural world.
The presence of energy and movement is a defining feature of Art Nouveau and apparent in Lot 107. While delicate due to age and construction, the depiction of beetles engaging in battle is far from some of the more delicate imagery seen in Lalique’s creations. The sheer scale and graduation of the carved horn folding over the wearer, almost armor like, suggests a theme of power and strength. The ethereal and dream like evocation of moonstones and enamel accenting the collar add a particular softness to an almost arresting, but equally as intriguing work of wearable art.
In Lalique’s oeuvre of work, the insect form appears in astonishingly diverse variations, from hybrid insect-humans to the highly ornamented insects themselves. Lalique’s work often references literature and myths that interlace human figures and nature, creating whimsical and sometimes haunting narratives, this necklace certainly radiating a haunting beauty.
By 1912, Lalique had shifted his focus from jewelry to glasswork entirely, producing glasses, vases and even perfume bottles. At this point in his career, Lalique had established himself as a sensational jeweler globally. Lot 107 is no doubt a masterpiece of Lalique’s and captures the essence and spirit of his exquisitely individual Art Nouveau style.