Masterpieces of French Jewelry

11/29/2006

Legion of Honor
10 February–10 June 2007

San Francisco, 29 November 2006— The astonishing inspiration and the refined workmanship, as well as the intriguing variety of French jewelry are celebrated in this exhibition of over 150 of the finest examples of French jewelry from the 20th century. Whether acquired as works of art, such as the Lalique pieces bought by Henry Walters from the Paris 1900 exposition, or for wearing, such as the Cartier pieces belonging to Marjorie Merriweather Post, French jewelry possesses a reputation for being the finest in the world. It has been collected by Americans since the Gilded Age for its innovative design and superb workmanship.

Featured in the show are works by the most famous Parisian jewelers ranging from the sensuous Art Nouveau forms created at the beginning of the century by René Lalique, Boucheron, Lucien Gautrait, and Georges Fouquet, to the daring and exotic creations of Cartier, Lacloche Freres, and Van Cleef and Arpels in the Art Deco era, to the ingenious and beautifully-made designs of JAR of the late 20th century. The display also includes a fine and varied range of work by unknown jewelers of the century.

Drawn entirely from American collections, this exhibition is organized by the National Jewelry Institute at the Forbes Gallery, New York, where it opened in September 2006. It features pieces from the Hillwood Museum and Gardens, Washington D. C., as well as pieces from important private collections—many of which have never been shown before. The private collections include those of Dame Elizabeth Taylor, Christopher Forbes, Dina Merrill Hartley, and Iris Cantor.

The dazzling array of jewelry presented includes necklaces, brooches, pendants, rings, bracelets, and earrings utilizing gold, platinum, or silver embellished with precious stones including diamonds, rubies, sapphires, and emeralds, as well as semi-precious stones such as tourmaline, amethyst, agate, citrine, lapis, coral, moon-stone, and rock crystal. Some of these pieces are crafted in sumptuous combinations with enamel, ivory, or tortoise shell. The exhibition also includes stunning and fanciful personal effects such as evening bags, fans, opera glasses, vanity cases, perfume bottles, ink wells, and an umbrella handle, all of which are designed and produced with the same level of finesse as the jewelry and incorporate the same luxurious materials.

In addition to timeless, classically inspired designs, a number of motifs are found in the jewelry and personal effects. The human form and mythological references frequently appear, particularly in objects form the Art Nouveau period. Animal, bird, insect, and flower motifs appear throughout the exhibition, and the snake is also a popular theme. Art Deco pieces often display the "Machine Age" aesthetic; and in the 1950s Post World War II period, jewelers frequently incorporated permutations of the tassel into their designs, which was frequently combined with gold snake chains.

Highlights of the Exhibition
The exhibition boasts many standout pieces. Among them from the Art Nouveau period is Lalique’s brooch, Winter Landscape, c. 1899–1900. This virtuoso object is made of 18K gold, opaque enamel, black pearl, and glass and demonstrates the fascination that nature held for Art Nouveau artists. Lalique’s skill in working with his materials is evident in the surprising depth of his forest scene and the realistic looking snow-laden tree branches in the foreground. Also of particular note from this period is Owl Handbag, c. 1906, by an unknown maker. Made of gold mesh, the bag is topped with curving bands of heavy chiseled 18K gold sculpted in the form of an owl’s wings and face, and set with fierce diamond and garnet eyes.

The arresting Cartier Bow Brooch, 1913, represents the Edwardian era’s fully developed 20th century "Garland" look, a style derived from18th-century bow and flower designs. Made of platinum, diamonds, and crystal and measuring 12 cm by 12 cm, the beautifully formed piece exemplifies the highest level of glamour and luxury. A dazzling Art Deco platinum, sapphire, and diamond necklace made by Cartier and De Sedles, 1936–1937, is a masterful example of ingenious design, opulence, and luxury. The necklace, which was once owned by Marjorie Merriweather Post, is comprised of two bracelets and a central piece that could be worn as a brooch. When assembled as a necklace, it is such a seamless and elegant unit that it is difficult to determine the location of the clasp. Another standout piece from this era, also by Cartier, is a dimin-utive Panther Brooch, which was commissioned in 1928 by the boxer Gene Tunney for his wife. The appealing 2 cm by 3.5 cm brooch in the form of a panther reclining in attentive repose with its tail curled over its haunch, is fashioned of diamonds and onyx and set on a geometric platinum and onyx base.

A vanity case, Minaudière, 1949, by Van Cleef & Arpels from the Post World War II period, displays the masterful melding of several design motifs and materials. The 12 cm circular lacquer case ornamented with gold, diamonds, and rubies, is distinguished by its scalloped edges and gold snake coiled handle and tassel. Boucheron also employed the tassel and snake motifs to fine effect. Parure, c.1950, a tasseled necklace. ring, and bracelet set made of 18K gold, emeralds, sapphires, and rubies is an update of traditional Indian designs. In an 18K gold, ruby, and diamond necklace, bracelet, and earclips set, also from 1950, Boucheron suspended the scalloped, semi-sunburst clusters of jewels in the necklace and bracelet from sleek
gold snake chains.

Naturalistic and sculptural contemporary jewelry design is perhaps epitomized by the Bangle Bracelet, c. 1967, made JAR (Joel Arthur Rosenthal). The titanium cuff, encrusted with sinuous floral motifs of diamonds and colored stones, has a three-dimensional quality that suggests a work of sculpture as much as a wearable piece of jewelry. Equally naturalistic is his Blue Butterfly, c. 1987, a brooch that measures an imposing 15 cm in diameter, and is made of 18K gold, silver, Montana sapphires, and diamonds. The piece reflects his fascination with stones and his great attention to detail, as seen in the expressively asymmetrical, diamond encrusted antennae.

As jewelry continued to evolve, it has sometimes been valued more for its design as works of art than for the precious gems used to create it. In France in the 1960s and 1970s, artists such as Jean Arp, Max Ernst, André Derain, Man Ray, and Pablo Picasso approached jewelry design as if they were making works of art that could be either displayed or worn. A number of gold pieces in the exhibition by these artists illustrate the way in which artists and sculptors created jewelry by downscaling subjects and objects to make them wearable ornaments, once again reflecting the collector’s view that fine jewelry is first and foremost a work of art.

Catalogue
The exhibition is accompanied by a fully illustrated catalogue written by Judith Price, President of the National Jewelry Association. and published by Running Press. Available in the Museum Stores.

Organization and Credit
French Jewelry is organized by the National Jewelry Institute at the Forbes Gallery, New York. The exhibition is generously supported by Christie’s, Boucheron, Citigroup Private Bank, and Remy Cointreau USA.

Admission Fees and Hours
The Legion of Honor open from 9:30 a.m. to 5 p.m. Tuesday through Sunday. Admission is $10 for adults, $7 for seniors age 65 and older, $6 for youths ages 13–17, and children 12 and under are free. There is a $2 discount on paid admission upon presentation of a valid MUNI transfer or Fast Pass. Admission tickets to the Legion may be used on the same day for free entrance to the de Young. Admission is free at both museums on the first Tuesday of the month. For further information please call the Hotline at 415-863-3330 or visit www.legionofhonor.org