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Antique ArtNouveau Tourmaline Gems & Lampwork Glass WhiteGold Filigree Sautoir
About the Item
Epitomizing the Art Nouveau movement, this antique post-1912 sautoir drop necklace with a white-gold openwork-and-wire pendant and filigree clasp features a rainbow of handcrafted gem beads--the largest of which are carved "Rose of France" and purple amethysts plus faceted-pink and beveled-aqua tourmalines--along with what appears to be lampwork glass beads in periwinkle blue.
With a chased back, the triangular metal pendant with a plique-a-jour look is enameled with gem dust to suit a floral motif. Balancing a large prong-set single-cut colorless tourmaline with a single angular inclusion, the asymmetrical pendant is topped by smaller single-cut violet and aqua ones, along with an unusual multicolored greenish-blue one with sparkly inner fire that, given its central location, likely inspired the rainbow of colors throughout the necklace.
The V-shaped necklace closes with a filigree-topped marquise-shaped box clasp that fastens with a hook. Echoing the greens in the pendant, the necklace was strung with green silk cord that adds extra tiny pops of color among the beads.
Tourmalines became popular in America during the Art Nouveau period after mineralogist George Kunz sold green gems from Maine to Louis Comfort Tiffany beginning in 1876.
But because the first patent application for white gold was filed in 1913, the unsigned necklace most likely does not predate this year. The first patent for white gold was issued in Germany in 1915 after the outbreak of WWI. Unlike the filigree clasp where some golden color of the white gold has emerged over time on its underside, the pendant retains a bright silver tone throughout. If that may be due to rhodium plating, then the necklace could date later as it was first used in jewelry in the early 1920s.
- Metal:
- Stone:
- Stone Cut:
- Weight:31 g
- Dimensions:Width: 1.5 in (38.1 mm)Depth: 0.25 in (6.35 mm)Diameter: 7 in (177.8 mm)Length: 22 in (558.8 mm)
- Style:
- Place of Origin:
- Period:
- Date of Manufacture:1913-1925
- Condition:Wear consistent with age and use.
- Seller Location:Chicago, IL
- Reference Number:1stDibs: LU3244218436772
About the Seller
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- ShippingRetrieving quote...Ships From: North Adams, MA
- Return PolicyA return for this item may be initiated within 1 day of delivery.
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- Couture RobertGoosens 1969-1971 MadameGres RockCrystal Stone HammeredWire ChokerBy Robert GoossensLocated in Chicago, ILRobert Goosens, the French haute-couture parurier who enjoyed reinterpreting ancient and antique styles of jewelry with rock crystal and faux stones, collaborated with Madame Alix Gres, the Parisian fashion and theatrical-costume designer who founded Maison Gres, to make spiral-wire adornments for her couture gowns, such as this handmade hammered brass wire choker necklace with five dropped en-tremblant pendants that are decorated with unique colorful beads and wrapped wire. This necklace dates between 1969-1971 based on similar unsigned spiraled-wire "metal" jewelry without goldsmithing marks in the museum collection of TheMet (see our photo), which acquired it from Maison Givenchy founder Hubert de Givenchy, who was one of the most supportive fans of Gres. 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Like the hammered-wire jewelry designs of modern artist Alexander Calder, the creative complex construction of this necklace surprisingly required no metalsmith techniques, such as soldering or casting, just great skill with a jewelry pliers and hammer. For a bigger picture of couture clothing by Madame Gres during the decade beginning in 1969, she notably designed many museum-collected one-color silk-taffeta draped long gowns with empire waists and simple high collars or geometric cut-outs. Remarkably, the focal points for some of these unique dresses were at the wrists, from where long pouf sleeves voluminously droop around the hands to nearly the floor like two enormous long-petaled flowers. If paired with this equally downward-focused and balanced necklace from this same period, its bold Greco-Roman elements would have pulled a viewer's gaze of the dress from floor to face. 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