Tag: jewelry

René Lalique

René Lalique, Serpents Pectoral, 1899, Gold and Enamel, Museu Calouste Gulbenkian, Lisbon, Portugal

The eccentricity and the fragility of René Lalique jewelry made it unwearable for most women of the Belle Époque, with the exception of some figures from the financial and artistic elite like the actress Sarah Bernhardt, the socialite and art patron Countess Greffulhe or the Folles Bergère vedette and dancer Liane Pougy. The British Armenian-born  financier and oil magnate, Calouste Gulbenkian, bought them however, to privately display in showcases in his mansion on Avenue d’Iéna in Paris.

These jewelry pieces dating from the early twentieth century perfectly illustrate the René Lalique’s uniqueness and sense of observation coupled with a highly fanciful imagination. Lalique is considered to be the inventor of modern jewelry, breaking away from the statuesque and soulless jewelry of the time. Bodice pieces, chokers and combs highlight the originality of materials, never or little used until then in jewelry, such as horn, ivory, translucent enamel, glass and ornamental stones. The delight in exploring the glassy depths of moonstone would later inspire Lalique’s research into glass. 

Before his turn to mass production of glass, Lalique’s unique serpents-motif objects were in the top tier of his jewelry creations. The Gulbenkian Serpents pectoral, made in 1899, is one of the great examples of René Lalique’s jewelry production, not only for the mastery of its execution, as for the theme chosen. Reptiles were a source of inspiration to which Lalique returned throughout his life not only for jewelry, but also for his glass, bronzes, and other creations.

Classified as a pectoral instead of a brooch due to its 21 cm. size, the serpents pectoral is made up of nine serpents entwined to form a knot from which the bodies of the other eight fall in a cascade, the ninth rising in the centre, at the top of the jewel. The reptiles, in the attack position, have their mouths open from which strings of pearls were hung as was apparently the case with a similar pectoral, whereabouts now unknown, which was highlighted at the Paris Universal Exhibition in 1900 and reproduced in a publication of the period.

This nine-serpents pectoral was acquired by Calouste Gulbenkian directly from Rene Lalique in 1908. It now resides in Lisbon’s Museu Calouste Gulbenkian with over 100 works of René Lalique collected by Gulbenkian in his lifetime.

Frog Effigy Pendant

Veraguas-Gran Chiriquí, Frog Effigy Pendant, 700-1520 AD, Gold, Walters Art Museum, Baltimore, Maryland

Sometime after 500 CE, gold became the preferred material for fashioning personal adornments, supplanting jadeite and other green stones from which artists had made impressive pendants and necklaces for centuries. The relatively sudden appearance of gold and the specialized knowledge needed to work it imply the introduction of metallurgy from outside the region.

All evidence points to northwestern Colombia as the point of origin of the metal arts, a region filled with other archaeological and art historical lines of evidence indicating a long-standing history of contacts between the two regions. Gold pendants were cast in a variety of forms, from relatively naturalistic portrayals of animals to composite creatures combining human and zoomorphic features. The frog may be a totem, symbolic of transformational abilities or special connections to the supernatural.

Gold Headdress

Gold Headdress, 2600 BC, Gold Leaves, Strings of Lapis and Camelian

This ornate headdress and pair of earrings were found with the body of Queen Puabi in the Royal Cemetery at Ur. The headdress is made up of 20 gold leaves, two strings of lapis and carnelian, and a large gold comb. In addition, she wore chokers, necklaces, and large lunate-shaped earrings.

Her upper body was covered by strands of beads made of precious metals and semiprecious stones that stretched from her shoulders to her belt. Ten rings decorated her fingers. A diadem or fillet made up of thousands of small lapis lazuli beads with gold pendants depicting plants and animals was apparently on a table near her head.

Two attendants were in the chamber with Puabi, one crouched near her head, the other at her feet. Various metal, stone, and pottery vessels lay around the walls of the chamber.

Her name and title are known from the short inscription on one of three cylinder seals found on her person. Although most women’s cylinder seals at the time would have read “wife of ___,” this seal made no mention of her husband. The fact that Puabi is identified without the mention of her husband may indicate that she was queen in her own right. If so, she probably reigned prior to the time of the First Dynasty of Ur, whose first ruler is known from the Sumerian King List as Mesannepada.

Pectoral Ornamental Necklace

Pectoral Ornamental Necklace, Egypt, 18th Dynasty

This pectoral necklace clasped with three scarab beetles was discovered in the intact KV62 tomb of Tutankhamun who ruled during the 18th dynasty of Egypt’s New Kingdom. This jewellry depicts Scrab Beetles or Kehpri, pushing the sun. The pectoral is today part of the collection of the Cairo Museum. This photo was taken at the King Tut exhibition at the Pacific Science Center in Seattle, Washington State, USA.