Pearl, enamel, diamond and molded glass roses brooch, René Lalique, Circa 1900

Button pearls measuring approximately 4.4 mm., with detachable brooch fitting, signed Lalique.

Set with numerous rose-cut diamonds of decorative quality and 13 silvery-cream colored button pearls, with wrinkled skins and good luster. The reverse of the brooch is nearly fully enameled (possible later-added), and there are repairs and chipping to that enamel. The enameling on the front is more expertly executed and in better condition. Fitted with a removeable brooch fitting. Previously with pendant, pendant loop is still entact. Signed Lalique on the rim of the frame at the upper left quadrant. In good condition overall. The unexpected color palette of amber, orange and yellow found in this brooch places it within the milieu of René Lalique's "autumnal" compositions. A departure from the lilacs, blues and greens more commonly encountered in his floral creations, these muted tones enhance the piece's sentimental, almost nostalgic appeal. The brooch serves as a poignant metaphor for the period in which it was made—fin de siècle France—a time when reflections upon a waning era were answered by the anticipation of a dawning century. The just-past-their-prime, downward hanging blooms foretell an imminent passing while the plump, silvery white pearls—symbols of purity and rebirth—speak of promise. Such contrasts continue throughout the piece: spiky thorns press against the delicate skins of pearls, and the vines of wild roses twist into neatly-formed knots. This aesthetic frisson is completed by the combination of "high" (diamonds) and "low" (pressed glass), a practice for which Lalique was not only renowned but which also made him a prophet of post-modernist design. For all its possible interpretations, however, the piece is above all a beautiful, wearable jewel. For other examples of jewels by René Lalique incorporating pressed glass roses, please see The Jewelry of René Lalique, by Vivienne Becker, cat. nos. 57 & 84.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The unexpected color palette of amber, orange and yellow found in this brooch places it within the milieu of René Lalique's "autumnal" compositions.  A departure from the lilacs, blues and greens more commonly encountered in his floral creations, these muted tones enhance the piece's sentimental, almost nostalgic appeal.  The brooch serves as a poignant metaphor for the period in which it was made—fin de siècle France—a time when reflections upon a waning era were answered by the anticipation of a dawning century.  The just-past-their-prime, downward hanging blooms foretell an imminent passing while the plump, silvery white pearls—symbols of purity and rebirth—speak of promise.  Such contrasts continue throughout the piece: spiky thorns press against the delicate skins of pearls, and the vines of wild roses twist into neatly-formed knots.  This aesthetic frisson is completed by the combination of "high" (diamonds) and "low" (pressed glass), a practice for which Lalique was not only renowned but which also made him a prophet of post-modernist design.  For all its possible interpretations, however, the piece is above all a beautiful, wearable jewel.

For other examples of jewels by René Lalique incorporating pressed glass roses, please see The Jewelry of René Lalique,  by Vivienne Becker, cat. nos. 57 & 84.