Gold and Colored Stone Choker, Designed by Paulding Farnham

The collar composed of an openwork ground of collet-set variously-cut colored stones including faceted citrines, amethysts and topazes, accented by cabochon pink and green tourmalines, the central motif with a cabochon pink tourmaline atop a cabochon green tourmaline atop a faceted citrine platform, gross weight approximately 129 dwts, length 13½ to 13 inches, with a removeable section measuring ½ inch; circa 1908.

Formerly From the Collection of Lucia James Madill, sister-in-law of Paulding Farnham (pictured above).

In very good condition with gentle wear to the mounting and a warm patina to the gold. The faceted light purple amethysts, light yellow to medium-deep orange citrines and colorless to pale blue topazes are eye-clean to lightly included. The medium-light yellowish green and medium purplish pink cabochon tourmalines are lightly to moderately included. The mounting is nicely flexible and well-finished. To shorten, squeeze the release bar and slide off the additional link.
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.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.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 international acclaim Paulding Farnham garnered during his tenure as Tiffany & Co.’s head designer can be attributed not only to the novelty of his collections, but also to the broader dialogue between fine and decorative arts revealed by his work at the turn of the twentieth century. An artist who used jewelry as his primary expressive platform, Farnham first achieved recognition for the realistically rendered enamel orchids he created for the Paris Exposition in 1889. His leadership strengthened Tiffany & Co.’s position as a forerunner in both design and craftsmanship, enabling the company to compete and succeed commercially as jewelers on a global scale.

The choker-form necklace shown here, however, was never intended for sale. A prime embodiment of the Arts and Crafts style, it was made as a gift for Farnham’s sister-in-law, Lucia James Madill. Designs such as this effectively placed Farnham among the creative leaders of his time. That is, he was among those who integrated the whimsical with the objective, breaking free from the neoclassical hold of the preceding generation. Similar to Gustav Klimt’s Art Nouveau masterpiece Blumengarten, Farnham’s work was inspired by a natural landscape that, far from being stagnant and cold, was blooming and vibrant.

Like Klimt, Farnham expressed interest in not only the physical beauty of the earthly world but also the science that sustained it, and was able to communicate an understanding of both in his jewelry. Working with gemologist George Frederick Kunz to source the unusual stones that would become a trademark of Tiffany & Co.’s art-jewelry aesthetic, Farnham borrowed from nature’s pictorial geometry and color schemes to weave together the graceful matrix of form and hue shown here. This harmonious composition of gemstones was a marked departure from the garland style’s monochromatic palette, demonstrating Farnham’s foresight into the creative developments that would span the decorative and fine arts alike. One of his final known works, this necklace manifests his desire to experiment with the effects of light and texture within gemstones, anticipating the celebrated style of his successor Louis Comfort Tiffany.