A MOROCCAN EMERALD AND AMETHYST INSET GOLD NECKLACE (LEBBA)

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This impressive collection of Moroccan gold jewellery once belonged to the famous Tazi family of Tangier who were given the rank of Pacha, as the king's representative, from around 1684. The family can be traced to the rule of the Sultan Moulay Ismail, ancestor of King Muhammad VI. Many of the pieces in the current collection were royal gifts from the 18th and 19th centuries but some of the pieces, such as the eagle pendant (lot 342), date back to the 17th century. The Tazis were the oldest of the three leading families of Morocco; the other important families being the Mokkri and the Glaoui. By the end of the 19th century, the Pacha became known as the Mendoub; the last holder of this title died in 1971. In the late 19th century the jewels were given to Mia Fatma Tazi, the favourite wife of Si Ahmed Tazi, the Mendoub who held post at that time. From the 1920's the elegant Palais du Mendoub in Tangier became the home of the Tazi family. It later became known as the 'Forbes Palace' after Malcolm Forbes, millionaire and press tycoon, who purchased half of the palace in 1970. The palace witnessed much opulent living and Forbes' extravagance was legendary. The collection is notable in that the pieces are made of gold. Moroccan jewellery was predominantly silver during the 18th and 19th century. Heavy silver pieces are characteristic of the mountain Berbers, the nomads and the country people. These gold pieces, by contrast, were undoubtedly made for the upper classes, the rich city dwellers. The most usual gemstones to be found in Moroccan urban jewellery are the emerald, ruby, amethyst and garnet, as illustrated in this group of jewels. Largely due to its geographical position, Moroccan jewellery has been influenced both by Europe, notably ancient Rome and Baroque Spain, but also by the craftsmanship of rural Africa (the Berbers) and that of the Arab world. The pair of fibulae (lot 346) certainly recall those worn by the Romans to support their loose upper garments; many of the tab'as (Moroccan medallions) bear a strong resemblance to the rich, gem-encrusted roundels seen in 17th century Spanish jewellery (see lot 325). The tab'a would traditionally have been worn on the forehead in the manner of the bride pictured. The Arab impact on the design of this collection of urban Moroccan jewellery is also strong. In the 8th century the Arabs conquered Morocco, bringing with them Islam and their own style of craftsmanship. Arab women had a strong preference for gold rather than silver and also for more delicate workmanship such as fine filigree and incised gold. Despite the Arab invasion, the rural Berbers kept their customs and their own jewellery aesthetic which was heavier and less finely crafted than that of their Arab counterparts. The jewellery produced in the northern part of Morocco is thus more Arab in design and that from the south more subject to rural Berber influences. However, the craftsmen, predominantly Jews, were constantly on the move and so adopted stylistic elements from many different areas. Not only are the pieces visually stunning, but they also hold deeper meaning, both through their history and also in terms of the symbolism they represent. Diamonds, emeralds, rubies and pearls were among the most highly prized precious stones in North Africa. They were valued for their obvious physical beauty but also for their deeper symbolic meaning: the red ruby was thought to strengthen the heart, the emerald was believed to be an antidote against snake poisons and the pearl has always been a symbol of purity and innocence. A recurring motif is that of the rarnati, or pomegranate. It is a typical indication of Moroccan urban jewellery. On the lebba necklace (lot 324), the pendants are composed of inverted rarnati (pomegranates, conceived in the form of a lily), encrusted with gemstones sparkling like ripe seeds. Its associations with fertility and plenty are well-known; furthermore, the juice of the pomegranate was also said to protect against the evil eye. The Khamsa, (Hand of Fatima), forms the centrepiece of two of the necklaces in the collection (lot 331 and 333). This form of the hand, with the three middle fingers closed and the thumb and little finger bent outwards, is a blessing symbol, bestowing happiness, dating back to the Neolithic period. The crescent moon is another recurring symbol, signifying growth and abundance. The iconography of the star is seen in Judaism, Christianity and Islam and thereby reinforces the interplay of different cultures. The inhabitants of the Maghreb believed in the power of the Evil Eye and thus sought protection from it. Wellhausen stated in 1887, 'for the Arabs ornament and amulet are one and the same thing' (Wellhausen 1961, p. 165, as quoted in Pessah Shinar, 'Magic and Symbolism in North-African Jewellery and Personal Adornment', in Jewellery and Goldsmithing in the Islamic World, International Symposium, The Israel Museum, Jerusalem, 1987, p.134). The shapes that occur in Moroccan jewellery, as epitomised in this collection, are also significant: soft circular, ovoid and drop-shaped forms contrast with more angular rectangles and squares. The circle may be seen to represent things eternal and unchanging and is associated with the feminine. It recurs throughout this collection both in the cut of the precious stones and in the form of the pieces themselves, (see lot 325). The square and rectangular outlines make a strong visual impact against the softer forms (lot 334 and 336). The five-pointed star is yet another striking and significant motif. The number five is also particularly meaningful: in a similar way to the Hand of Fatima, it is thought to bring good luck to the wearer and historically finds representation in Islam and Judaism alike. Visually it provides prominent ornamentation and is illustrated beautifully at the apex of the emerald-set gold tiara (lot 347) and more subtly in the rose-cut diamond inset gold earrings (lot 328). Moroccan jewellery certainly does use numbers symbolically. As well as the number five, the numbers seven, three and nine are also endowed with beneficial powers and are given special significance; these numbers recur in various forms of decoration throughout this collection. The variety of the collection and the workmanship involved is wonderfully rich and exciting. Many of the pieces are decorated on the reverse with intricate champlevé enamelling which was itself considered a superior craft. The pattern would have been engraved in the gold and then filled in with the coloured enamel powders and fused with heat. Cloisonné enamelling can be seen on the large cylindrical beads (qannuta) of the eagle necklace. This is an ancient technique and probably dates back to the Carthaginians, who arrived in the Maghreb in 500 BC. Many of the earrings and pendants have openwork backs with hinged doors to enclose incense, to further enhance the beauty of the jewellery and of the wearer. Despite the fact that most jewellery in North Africa would have originally been bought by weight, the workmanship counting for very little, it is nevertheless the intricate craftsmanship itself and the immense visual impact that lends such value and uniqueness to this beautiful collection. Moroccan jewellery, as exemplified so beautifully in this magnificent group, is a fusion of Islamic and European goldsmithing techniques. However, despite the numerous external influences of design and craftsmanship, the Moroccan style is exceptional and powerful in its expression. The pieces make an incredible impact both in their grand form and also in the interplay of colourful gemstones and variety of decoration, often seen within the same piece. The craftsmen were particularly skilled in multiple techniques and were adept at combining not only various shapes and forms, but also different and contrasting finishes to further enhance the beauty and diversity of a piece. Round forms highlight those that are angular and static pieces sit alongside extravagantly long pendants; fine gold filigree-work contrasts with colourful enamel-work; cabochon gemstones sit alongside dazzling rose-cut pieces. The jewels are further enriched by their deeper symbolic and talismanic meaning. Whether worn singly or as a group, this collection expresses the very spirit of the Moroccan aesthetic tradition. Much of this jewellery would have been given at the time of marriage and would have been worn at weddings and special occasions. It is a rare and outstanding collection and a unique example of Moroccan urban jewellery at its very best.

A MOROCCAN EMERALD AND AMETHYST INSET GOLD NECKLACE (LEBBA)

FEZ, 18TH CENTURY

Details

A MOROCCAN EMERALD AND AMETHYST INSET GOLD NECKLACE (LEBBA)
FEZ, 18TH CENTURY
Comprising a necklace of melon-fluted gold beads suspending nine multiple pendants, each with a large central inset cusped panel, smaller cusped panel below and upper triangular panel, lower crescent pendant, each panel inset, the larger with alternating emeralds and amethysts within bands of contrasting gemstones, also with engraved designs and enamelled details, the reverse also with enamelling and engraving, attachment rope
13in. (33cm.) across

Special notice

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis. Please note that the lots of Iranian origin are subject to U.S. trade restrictions which currently prohibit the import into the United States. Similar restrictions may apply in other countries.

Lot Essay

The necklace with multiple pendants seen here was also a very important part of the bride's adornment, composed either of nine or sometimes seven pendants. A very similar example was in the Benyaminoff Collection, exhibited at the Israel Museum and then sold at Sotheby's, 17 October 1997, lot 52. Other published examples are less ornate, such as two in private collections (Khireddine Mourad, Francis Ramirez and Christian Rolot, Arts et Traditions du Maroc, Courbevoie (Paris), 1998, p. 159; and Maroc, les tresors du royaume, exhibition catalogue, Paris, 1999, no.325, p.187).

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