細節
AN ELEGANT ART NOUVEAU OPALESCENT GLASS, DIAMOND, SEED PEARL AND ENAMEL SAUTOIR, BY RENE LALIQUE
Designed as two molded opalescent glass pendants of stylized poppy blossom design, each within a rose and old mine-cut diamond and gold frame, applied with mottled blue enamel, suspended by cream-colored enamel stems and blue enamel terminals from a braided seed pearl chain (chain shows some restoration), in a suede fitted case, circa 1899 --25 ins. long
Signed by Lalique
René Lalique, the consummate designer, created works-of-art in jewelry that, although wearable, transcended pure ornamentation. Designing within the Art Nouveau idiom of sinuous movement, fantasy creatures, struggling women, seasonal changes and suggestions of plant cycles, he created jewelry that was fluid and sculptural. Constantly experimenting with new forms and materials, he stretched beyond the parameters of jewelry design, creating a vernacular for a new generation of jewelers. He introduced nontraditional materials such as horn and glass into jewelry design. In the late 1890s, he began to use glass in his jewelry, a medium in which he could express colorations not obtainable in gemstones and enamel. Particular types of glass could embody the essence of a season such as frosted glass embodied the coldness of winter; a theme he repeated in many jewelry forms. On the illustrated sautoir, the glass pendants simulate frost while the edging of diamonds suggest icicles. For an illustration of the original drawing for the pendants, see Sigrid Barten, René Lalique Schmuck und Objets d'Art 1890-1910, Munich, 1978, page 275.
Designed as two molded opalescent glass pendants of stylized poppy blossom design, each within a rose and old mine-cut diamond and gold frame, applied with mottled blue enamel, suspended by cream-colored enamel stems and blue enamel terminals from a braided seed pearl chain (chain shows some restoration), in a suede fitted case, circa 1899 --25 ins. long
Signed by Lalique
René Lalique, the consummate designer, created works-of-art in jewelry that, although wearable, transcended pure ornamentation. Designing within the Art Nouveau idiom of sinuous movement, fantasy creatures, struggling women, seasonal changes and suggestions of plant cycles, he created jewelry that was fluid and sculptural. Constantly experimenting with new forms and materials, he stretched beyond the parameters of jewelry design, creating a vernacular for a new generation of jewelers. He introduced nontraditional materials such as horn and glass into jewelry design. In the late 1890s, he began to use glass in his jewelry, a medium in which he could express colorations not obtainable in gemstones and enamel. Particular types of glass could embody the essence of a season such as frosted glass embodied the coldness of winter; a theme he repeated in many jewelry forms. On the illustrated sautoir, the glass pendants simulate frost while the edging of diamonds suggest icicles. For an illustration of the original drawing for the pendants, see Sigrid Barten, René Lalique Schmuck und Objets d'Art 1890-1910, Munich, 1978, page 275.
來源
The Barbra Streisand Collection of 20th Century Decorative and Fine Arts, Christie's New York, March 3, 1994, lot 74