JNA Sep/ Oct 2021

MARKET INTELLIGENCE 56 | JNA Sep/Oct 2021 One of the more prominent bat interpretations was René Lalique’s decoration for his showcase at the 1900 Exposition Universelle, as well as a bat ring, both of which are in the Musée des Arts Décoratifs (MAD) in Paris. “The association of the bat with blue enamel (blue is also the colour of melancholy) and a heart-shaped moonstone on Lalique’s bat ring makes perfect sense,” she added. Probably the most obvious characteristic of the Art Nouveau style is the flowing whiplash line. “It was used to suggest movement and was an interpretation of the shapes and lines found in plants, a woman’s hair, feminine curves – essentially everything that moved, waved and undulated in nature,” explained Suzanne Martinez, co-owner of Lang Antiques in San Francisco. In terms of materials, Art Nouveau jewellers focused more on the creativity and originality of the design and its craftsmanship than they did on the materials. “They valued the aesthetic of original art over intrinsic value and expectation. This also explains the importance of glass and enamel in jewellery – a revulsion against traditional value (‘just’ gems) in jewellery,” noted Molesworth. According to Martinez, jewellers captured the iridescence on the wings of a dragonfly or imitated the ripple of water on a pond, the shimmer of a wing in flight, the colour of an orchid or the scales of a dragon by using all kinds of enamel techniques, especially plique-à-jour, as well as the use of unusual material such as horn with patina, shimmering pearls and coloured gemstones that imitated the hues in nature. Alexandris agreed, “In the hands of Art Nouveau artists, the butterfly metamorphosed into a dragonfly with wings so real that the insect might at any moment flutter to life and fly away. The play of light through the insect’s enamelled gossamer wings is captured in translucent plique-à-jour enamel. To emphasise movement, the wings were often set en tremblant , a French term used to describe pieces with a trembling effect that was produced by elements on wires or springs.” Other techniques were used masterfully in new ways to add mystery and depth to a piece, such as champlevé enamel and pâte de verre, a type of glass that could be worked to make it appear like a gemstone. The artists and the auctions Some of the most important contributors to the Art Nouveau jewellery aesthetic in France were Henri Vever, Georges Fouquet, Lucien Gaillard, Gaston Lafitte, and of course, René Lalique. Among many others were Masriera in Spain, Philippe Wolfers in Belgium, Wilhelm Lucas von Cranach and Theodor Fahrner in Germany, Ella Naper in the UK and the American companies Tiffany & Co and Marcus & Co. Cassius-Duranton cited Henri Vever (1854-1942) as one of the main leaders of the Art Nouveau movement. She said, “Among his remarkable creations is the Sylvia pendant, a spectacular 12cm-high piece, showing the arabesques and hybridisation between the insect and the female figure. It was one of the most famous pieces showcased at the 1900 Exposition Universelle in Paris, winning a Grand Prix.” Sylvia is now part of the Art Nouveau collection at the MAD in Paris. “Georges Fouquet (1862-1957) took his father’s company to new heights as one of Art Nouveau’s important jewellers, by using opals, enamel over chased gold and coloured stones to produce his jewels, while Lucien Gaillard specialised in plaques de cou, hair combs and pendants. Influenced by Japanese style, Gaillard worked with horn, enamels, opal and coloured stones in his designs, before eventually specialising in patination,” said Martinez. “The maestro of Art Nouveau jewellery was René Lalique. His designs were, and still are today, completely unmissable. Flora and fauna – especially peacocks, dragonflies, insects, flowers, foliage, and his emblematic nude figures – were set in glass and enamel as a priority, with diamonds and gems usually as accents,” explained Molesworth. “He also successfully made the transition from Art Nouveau to Art Deco, becoming even more famous for his pure glass works in the 1920s and 1930s.” “A true innovator, René Lalique possessed an extraordinarily fertile imagination,” added Alexandris. “His spectacular pieces are brilliant, technically incomparable and startling in their originality and sensuality. His jewellery provided imagery at its most magical and evocative.” Beginning as a revolution in the interpretation of design, Art Nouveau spread to all disciplines, from art to architecture, from fashion to furniture, from objets d’art to jewellery, where designs embodied an emotional depth not seen in other jewels. Although the movement ended in the first two decades of the 20 th century, Art Nouveau has seen a remarkable renaissance in the first two decades of the 21 st century. Copies of these jewels abound, while the original pieces, signed and unsigned, show up regularly at auctions, with prices continuing to climb. In 2017, Christie’s even devoted an entire sale to magnificent Art Nouveau pieces, some of which sold above their highest estimates. With its softness, organic elegance and mystical romanticism, Art Nouveau jewellery will continue to be enjoyed by millions of people around the world. Enamelled ‘plaque de cou’ featuring natural pearls by Fritz Falk, circa 1900s 弗里茨·法爾克的琺瑯長方形頸飾，採用天然珍珠，約 1900 年代