18 Karat Gold, Kunzite and Emerald Necklace, Tony Duquette

The flexible bib necklace set with numerous oval and cushion-cut kunzites, accented by 12 cabochon emerald beads measuring approximately 13.9 by 14.4 by 8.4 mm to 10.3 by 10.1 by 5.6 mm, internal circumference 15 inches, signed Tony Duquette.

In good condition. One repair is visible on the reverse at eight o'clock from the clasp. Emeralds are very slightly bluish green, and are moderately included, each with a small drilled hole through the center. Kunzite is a light pink hue, and eye-clean. Necklace displays a nice flexibility and lies nicely on the collar.
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.

Over the top. More is more. Exotic excess.  These are phrases which accurately describe the lavish, fantastic world of American artist and designer Tony Duquette, whose extraordinary oeuvre encompassed theatrical costume, sets for the stage and screen, interiors and, of course, jewelry.  Duquette was born in Los Angeles in 1914 and showed artistic talent at an early age, earning scholarships to Chouinard Art Institute and the Yale School of Theatre. In his 20s, while freelancing for design legends like William Haines and Adrian, Duquette was discovered by international style guru Elsie de Wolfe. Her introduction of Duquette to the editors of Vogue in 1943 advanced a career that would include a Tony Award for Costume Design (the original Broadway production of Camelot) and a solo exhibition at the Louvre in Paris (the first American artist to be so honored).

Not simply a designer, Tony Duquette was a dreamer more interested in beauty than luxury, a vision reflected by his audacious and unorthodox combining of periods, materials and colors.  In his West Hollywood studio Duquette famously juxtaposed 18^th Century French antiques with gilded trees and a ceiling covered with plastic serving trays. The Tony Duquette Studios opened in 1956 and became the legendary venue in which the artist feted entertainment and social luminaries. With his wife Elizabeth, also a talented artist, Duquette created spectacular settings for parties held to showcase his talents and dazzle his clients. The studio décor changed seasonally, an eclectic mix of Chinoiserie, 18^th century French, Venetian and Balinese sensibilities with a healthy dose of palm trees, coral, antlers and gilded sunbursts. Original ballet and opera performances (enhanced by Duquette’s costumes) were also an important part of studio events.

 Duquette worked on sets and costumes for MGM while maintaining an impressive list of private clients like Greta Garbo, Mary Pickford, Doris Duke, Norton Simon and J. Paul Getty. A commission from the Duke and Duchess of Windsor launched his business internationally which led to his work on a castle in Ireland for Elizabeth Arden.  In addition to their studio the Duquettes created magical environments in their own homes: Sortilegium, their 175-acre Malibu ranch, Cow Hollow, their San Francisco Victorian and Dawnridge in Beverly Hills. Sadly, Sortilegium was destroyed by fire in 1993 along with a trove of Duquette’s work, but Dawnridge remains as a legacy to his creative genius.

Duquette’s jewelry is distinguished by his bold use of color and volume.  Collier-style necklaces designed as mosaics of stones like lot 339 made of palest kunzite accented with emerald beads make a bold statement. Wide bracelets of gargantuan gems like lot 340 of emerald cut smoky quartz and polished gold require (or inspire) confidence and style in the wearer.  Hutton Wilkinson, who was Tony Duquette’s business partner and design collaborator for thirty years, sums up Duquette’s philosophy: “If it’s not fabulous, it’s meaningless”.