18 Karat Gold and Carved Jade 'Ru-yi' Necklace, David Webb

The detachable pendant comprised of two carved and pierced jade plaques, each fitted with pendant hooks and brooch fittings, the larger plaque carved on both sides with mushroom motifs symbolizing longevity, measuring approximately 54.0 by 34.5 by 8.4 mm, the smaller plaque with a carving depicting a melon amongst scrolling tendrils, an auspicious symbol conveying the wish for progeny, measuring approximately 33.9 by 21.9 by .7 mm, the links and surrounds of the necklace designed as ru-yi, representing hopefulness, further decorated with seven round carved jade plaques carved as flowerheads, measuring approximately 12.7 to 12.4 mm, gross weight approximately 260 dwts, pendant length 4 inches, necklace length 32 inches, the chain composed of various sections to allow for variety of wear and the creation of bracelets: two sections measuring approximately 6 inches, 3 sections measuring approximately 2 inches, and three sections measuring approximately 5 inches, 4 inches and 3 inches. This piece may also be worn as a belt. The two plaques on the pendant may be detached for variety of wear; both signed Webb; circa 1971.

David Webb: The Quintessential American Jeweler by Ruth Petalson, pages 274-275.

In very good condition with gentle nicking and scratching to the gold commensurate with wear and exhibiting an attractive patina. Bearing a significant heft, particularly when worn at its full length. The jade plaques are a medium-deep green with subtle light and dark veining seen under close inspection. The two largest plaques present a high polish with light scratching; the round plaques with a slightly more matte finish. The largest plaque is opaque with the remaining plaques being considerably thinner and semi-translucent. According to the consignor, an additional section of 2 inches was added as a gift by David Webb himself. Accompanied by AGL report no. CS 57236 stating that the two plaques in the pendant-brooch are natural jadeite jade, with no indications of impregnation.
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.

Accompanied by AGL report no. CS 57236 stating that the two plaques in the pendant-brooch are natural jadeite jade, with no indications of impregnation.

By the mid-1960s, David Webb had solidified his reputation as a world-class jeweler.  His unabashedly bold designs and meticulous craftsmanship attracted a devoted clientele that included the most prominent style icons of the era. Jackie Kennedy, Elizabeth Taylor, Doris Duke, and the Duchess of Windsor were among the Hollywood stars, socialites, and women of great renown who both wore and promoted Webb’s daring designs.  Webb’s jewels often showcased his love of nature and organic forms, with animals and flowers being among his favorite motifs. His artistic inclinations, however, extended well beyond fanciful enameled and gem-set creatures, and by the early 1970s, Webb had achieved a level of commercial success that allowed him to explore a more eclectic aesthetic. His diverse personal library, replete with decorative art guides, cartoon books, and tomes on archeology, as well as weekly visits to the Metropolitan Museum of Art in New York, provided ample inspiration. From brightly colored storybook illustrations and ancient Greek, Egyptian, Chinese, Indian, African, and Pre-Columbian artworks, Webb adopted an emboldened vocabulary of hammered gold, texture, shape, and color.

The present example epitomizes Webb’s genius ability to draw from his various sources of inspiration to create fresh, audacious jewelry that reflected the spirit of his time. In 1971, the same year Life Magazine declared, “Chineseness is this year’s magic fashion ingredient for both men and women,” Webb created the Ru-yi Necklace.  Composed of two carved jade plaques, seven jade medallions, and an abundance of hammered gold, the piece at once pays homage to China’s ancient past and celebrates the modern woman. The larger of the jade plaques depicts mushrooms, most likely of the lingzhi variety, which have long symbolized longevity and happiness in Eastern cultures. The smaller jade plaque may represent melons with tendrils, an auspicious emblem used to convey well wishes for progeny. The gold links and settings for both plaques are intricately crafted in the shape of ru-yi, a ceremonial form in Chinese folklore that symbolizes power and vitality. “Ru-yi” also translates to “as you wish,” which unifies the necklace’s symbols into a lovely blessing for the wearer to have a long and happy life with many children.  Set against the backdrop of the Women’s Movement of the 1960s and 70s, the style and iconography of the necklace reflects the desire to “have it all,” to be confident and independent while embracing the call to motherhood.

The unhindered boldness, uncompromised craftsmanship and fierce elegance that first drew women to David Webb when his New York salon opened in 1955 endure today, his designs continuing to captivate and empower the most stylish women in the world.