- 167
Natural pearl, gem set and diamond brooch/ pendant, Georges Fouquet, Late 19th Century
Estimate
12,000 - 15,000 GBP
Log in to view results
bidding is closed
Description
- pearl, diamond, enamel, chalcedony, ruby, gold
Designed as a lady with flowing hair and headdress, the face and hair composed of carved chalcedony, applied with plique-à-jour enamel and highlighted with cabochon and circular-cut rubies, circular-cut and rose diamonds, suspending a natural pearl, pendant loop, signed G. Fouquet and numbered, French assay marks, case, Fouquet.
Literature
Cf: Michael Koch 'The Belle Epoque of French Jewellery 1850-1910' Thomas Heneage & Co 1990, pages 294-315 for examaples of jewellery by Fouquet.
Condition
Accompanie by a report from The Gem & Pearl Laboratory stating the pearl is natural saltwater.
Stamped with French assay marks for 18 carat gold. Signed G. Fouquet, numbered 2772. Face composed of pale chalcedony, the hair light brown. Enamel various colours with foiling to give pearlescent effect, small chip and fracture to one cell on left wing Rubies light to dark red, typical inclusions visible to naked eye and under magnification. Pearl cream with slight pitting visible, light green and rosé overtones. Estimated total diamond weight approximately 0.20 - 0.25 carats, stones bright and lively. Later originally detachable brooch fitting, now fixed, with secure clasp. Abrasions to mount consistent with age and wear. In good condition. Accompanied by case signed G. Fouquet, 6, Rue Royale, Paris.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. 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. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. 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. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Accompanied by report from The Gem & Pearl Laboratory no. 06292 stating the pearl was found to be natural, saltwater.
Georges Fouquet 1862-1957 was a third generation Parisian jeweller and one of the leading exponents of Art Nouveau jewellery winning great praise at the Paris International Exhibition in 1900 with jewels designed by Alphonse Mucha. Mucha was also responsible for designing Fouquet new salon at 6 Rue Royale which Fouquet moved to in 1900. His jewels are typically heavily inspired by nature infused with the female form, utilising fine enamel work.
The Art Nouveau movement was a short lived flowering of creativity which grew out of the reaction against mechanisation of the second half of the 19th century. Its period of creativity was short lived lasting from the closing decades of the 19th century until just before the Great War of 1914. A reactionary movement, it sought inspiration from the organic forms of nature and femininity, infused with a dream like quality. Many of the plants and flowers beloved of the Victorians, the iris, fuchsia and lily, were adopted by the Art Nouveau movement, but took on a more realistic and life like form.
This change in attitude to the depiction of nature was influenced by the works of John Ruskin, Owen Jones and A.W.N. Pugin as well as the emerging interest in Japanese decorative arts. Jewellers of this period drew on these influences and re-worked it into the new ideology with its interest in nature’s cycle of death and rebirth, infused with the feeling of movement. Other favoured motifs of the movement where fantastical zoomorphic animals, sea monsters, serpents, chimeras and the dragonfly, sometimes merged with the contours of the female form.
Georges Fouquet 1862-1957 was a third generation Parisian jeweller and one of the leading exponents of Art Nouveau jewellery winning great praise at the Paris International Exhibition in 1900 with jewels designed by Alphonse Mucha. Mucha was also responsible for designing Fouquet new salon at 6 Rue Royale which Fouquet moved to in 1900. His jewels are typically heavily inspired by nature infused with the female form, utilising fine enamel work.
The Art Nouveau movement was a short lived flowering of creativity which grew out of the reaction against mechanisation of the second half of the 19th century. Its period of creativity was short lived lasting from the closing decades of the 19th century until just before the Great War of 1914. A reactionary movement, it sought inspiration from the organic forms of nature and femininity, infused with a dream like quality. Many of the plants and flowers beloved of the Victorians, the iris, fuchsia and lily, were adopted by the Art Nouveau movement, but took on a more realistic and life like form.
This change in attitude to the depiction of nature was influenced by the works of John Ruskin, Owen Jones and A.W.N. Pugin as well as the emerging interest in Japanese decorative arts. Jewellers of this period drew on these influences and re-worked it into the new ideology with its interest in nature’s cycle of death and rebirth, infused with the feeling of movement. Other favoured motifs of the movement where fantastical zoomorphic animals, sea monsters, serpents, chimeras and the dragonfly, sometimes merged with the contours of the female form.