View full screen - View 1 of Lot 14. 'Boules des deux côtés d'un cylindre' Bracelet.

Pol Bury

'Boules des deux côtés d'un cylindre' Bracelet

Lot Closed

October 6, 04:12 PM GMT


40,000 - 50,000 USD

Lot Details


Pol Bury

1922 - 2005

'Boules des deux côtés d'un cylindre' Bracelet

1968, signed 6/25 Pol Bury ‘68 on reverse, stamped with maker’s mark GM

18k gold with articulated spheres on the interior and exterior of the cylinder with original box; edition 6/25 ( which sold out in 1972); executed by GEM Montebello, Milan

Internal Diameter: 2⅘ in.; 7.2 cm. (excl. spheres)

Louisa Guinness Gallery, London

Acquired from the above by the present owner

Dore Ashton, Pol Bury, Galerie Maeght, Paris, 1970, p. 139, no. 98b

Bijoux de Pol Bury, Galerie Maeght, Paris, 1972, no. 29 Rosemarie Pahlke, Pol Bury: monographies de l’art moderne, avec catalogue raisonné, Brussels,

Gemeentekrediet, 1994, no. J 69-3

Marilena Mosco, L’arte del Gioiello e il Gioiello d’artista dal ‘900 ad oggi = the Art of Jewelry and Artist’s Jewels in the 20th Century, Giunti, Florence, 2001, p. 290, fig. 112, and p. 297, tav. LV.

Emmanuel Guigon, Bijoux d’Artistes: une collection, Silvana Editoriale, Milan, 2012, p. 67

Louisa Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 135

Manon Lecaplain, Emmanuel Guigon, et al., Picasso y las joyas de artista, Museu Picasso, Barcelona, 2021, p. 122

New York, Sculpture to Wear, Inc., 1971

Caracas, Venezuela, Estudio Actual, Pol Bury, 1971

New York, Cartier, 1971

Paris, Galerie Maeght, Bijoux De Pol Bury, 1972

Boston, Institute of Contemporary Art, Jewelry as Sculpture as Jewelry, 1973

This ‘Boules des deux côtés d’un cylindre’ Bracelet was part of an edition of twenty-five produced by the goldsmith

GEM Montebello, which sold out immediately when it was exhibited at Cartier in 1971. Bury worked with the Parisian gallery Maeght in order to bring these tiny versions of his larger work to fruition and fully believed that they were works of art of identical value, suggesting that owners display his jewelry like museum pieces when they were not adorning the body.