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La Bretonne
Descended from a long line of jewelers, Henri Vever (1854-1942) was part of a circle of manufacturers and creators of the decorative arts, and he had a wide knowledge of very diverse disciplines. He was well informed on ancient art, was familiar with manufacturing techniques after a long and arduous apprenticeship and he had also trained as a designer. This wealth of resources, together with his experience of materials and his technical expertise, enabled him to produce his innovative, meticulously made pieces of jewelry.
The House of Vever began by producing objects in the Renaissance revival and the Oriental style. At the 1900 World's Fair, Vever reputedly displayed the finest objects in the Art Nouveau style. This presentation revealed exceptional creative power not only in number, but also in the quality of the items on display. Great efforts were devoted to making jewelry set with gems, each outstandingly original and showing perfect harmony of composition. The work was so sucessful, the panel judging the jewelry design catagory awarded him a Grand Prix. This striking pendant, decorated with the profile of a Breton girl wearing a traditional headdress, attracted considerable attention. It is fashioned in opal enamel, and carved amethyst against a background of a flowering bloom.
It is during the second half of the 19th century, with artists such as Paul Gaugin and Emil Bernard from the Pont-Aven school and poets such as Corbières, Renan, Brizieux or Hérédia that the Breton culture became an important source of inspiration. The Breton woman or Bigoudine has been immortalised in many books or paintings as well as in several pieces of Art Nouveau Jewelry. They typically feature the women in their traditional Breton Sunday costumes with its characteristic white coiffe.
We know of at least two other pieces by Vever shown at the Paris exhibition of 1900 depicting Breton girls: one in a full ivory costume, the second of a woman in profile wearing a white bonnet.
A MAGNIFICENT ART NOUVEAU ENAMEL AND GEM-SET "LA BRETONNE" PENDANT, BY HENRI VEVER
Details
A MAGNIFICENT ART NOUVEAU ENAMEL AND GEM-SET "LA BRETONNE" PENDANT, BY HENRI VEVER
Centering upon a sculpted female bust in profile, decorated with calibré-cut opal Breton costume, the bonnet extending to form a scrolling frame, enhanced by old European, single and rose-cut diamond trim, to the carved amethyst sleeve, against a green and yellow enamelled floral background, suspending a drop-shaped cabochon amethyst from a detachable rose-cut diamond foliate hoop, mounted in gold, circa 1900, in a black leather case
Signed Vever, Paris
Centering upon a sculpted female bust in profile, decorated with calibré-cut opal Breton costume, the bonnet extending to form a scrolling frame, enhanced by old European, single and rose-cut diamond trim, to the carved amethyst sleeve, against a green and yellow enamelled floral background, suspending a drop-shaped cabochon amethyst from a detachable rose-cut diamond foliate hoop, mounted in gold, circa 1900, in a black leather case
Signed Vever, Paris
Literature
Michael Koch, "The Belle Epoque of French Jewellery 1850-1910", Thomas Heneage & Co. Limited, London, 1990, pages 202-203
A. Kenneth Snowman, "The Master Jewelers", Harry N. Abrams, Inc., New York, 1990, page 149
Henri Vever, "French Jewelry of the Nineteenth Century", Thames & Hudson, London, 2001, page 1122 and 1175
A. Kenneth Snowman, "The Master Jewelers", Harry N. Abrams, Inc., New York, 1990, page 149
Henri Vever, "French Jewelry of the Nineteenth Century", Thames & Hudson, London, 2001, page 1122 and 1175
Exhibited
Exposition Universelle, Paris, July 1900