Afro

carat weight of the bracelet within its frame - round and oval cut rubies round cut (2.1x2,1x1,1; 1.9x1.9x1.1; 2x2x1.5)mm oval cut (3.7x4.3x1.6; 4.9x4x2.2; 3.8x4.5x1.7;4.2x4.2x3.4;5.7x4x2.9;4.2x4.6x3.4)mm total carat weight is approximately 2.50; brilliant cut diamond for a total approximate weight of 0.30 carats carat weight of the collier within frame - round and oval cut emeralds round cut (4.4x4.4x2.5;5.4x5.4x3.5;4x4x1.9) mm oval cut (3.7x4.3x1.6; 4.9x4x2.2; 3.8x4.5x1.7;4.2x4.2x3.4;5.7x4x2.9;4.2x4.6x3.4)mm. total carat weight is approximately 2.00; brilliant cut diamond for a total approximate weight of 0.42 carats Bracelet: the security chain was added in a second phase, gold 750, round cut rubies and oval cut rubies within frame weight is approximately 0.30 carats in total; typical inclusions are visible as well as minor scratches and wearing Collier:750 gold, round and oval cut emeralds estimated within the frame weight approximately 2.00 carats overall; brillaint cut diamond within frame wight approximately 0.42 total; minor scratches and wearings
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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."

COLLIER

firmato sul retro di un pendente Afro, Masenza Roma

collier in oro con pendenti decorati da diamanti taglio brillante, smeraldi di taglio circolare ed ovale, esemplare realizzato da Masenza su disegno di Afro

diametro cm 13; lunghezza totale inclusi i pendenti cm 17,6

Eseguito nel 1960 circa

Opera registrata presso l'Archivio Afro, Roma 

L'opera è accompagnata da certificato su fotografia rilasciato dall'Archivio Afro, Roma

Si prega di fare riferimento alle "Notizie Importanti per gli acquirenti" riportate in catalogo.
Please refer to Important Notice to Buyers.

Le opere sono accompagnate da attestato di libera circolazione

Export licences are available for these works

Nell'immediato dopoguerra, Mario Masenza succede al padre nella gestione della gioielleria di famiglia con sede nei locali di Palazzo Fiano in via del Corso a Roma. In un Paese segnato profondamente dalla guerra, Masenza concepisce l'idea completamente inedita per il panorama italiano di far incontrare il mondo del gioiello con quello dell'arte. Coinvolge così artisti contemporanei nelle sue creazioni orafe.
L'avventura del gioiello firmato da pittori e scultori è inscindibile dalla figura di Mario Masenza, tanto che la rivista "Epoca" del dicembre 1951 pubblica il servizio Gioielli d'Autore in cui si parla del "cenacolo" di artisti costituitosi intorno al gioielliere romano. Coloro che sembrano aver maggiormente trasposto nelle loro opere l'ideale di Masenza sono Franco Cannilla e Afro Basaldella.
Quale coronamento della loro notevole qualità artistica Palma Bucarelli, convinta sostenitrice della validità del gioiello d'autore e lei stessa proprietaria di una vasta collezione, curerà, nel dicembre del 1981, in via Frattina a Roma, una mostra nella quale vengono esposte le creazioni di quasi tutti gli artisti che nel corso di un trentennio avevano collaborato con Masenza.

Right after the Second World War, Mario Masenza succeeded his father in the management of the family’s jewellery store located along Rome’ s Via del Corso, inside Palazzo Fiano. The country had deeply been damaged by the war, In this context Masenza was able to conceive a completely new concept that combined  art and jewels. Thus he decided to involve contemporary artists in his creation of jewels. The adventure of  jewels signed by a contemporary artist or sculptor is characteristic of Mario Masenza’s production, as a consequence of this, the magazine Epoca of December 1951, dedicated an entire article to the group of artists that gathered around the Roman jeweller. The ones who mostly  absorbed Masenza’s ideal in their creations were Franco Cannilla and Afro Basaldella. In addition to their already great artistic quality, Palma Bucarelli – who highly appreciated these works of art and collected them- decided to curate an exhibition dedicated to all the artists who had worked for Thirty Years with Masenza, in a Roman Gallery in 1981.