Property from an Important Private Collection

Lacloche Frères

A Rare and Important Colored Stone and Diamond Bracelet | Lacloche Frères | 罕有彩色寶石及鑽石手鏈

Auction Closed

December 7, 09:12 PM GMT


1,000,000 - 1,500,000 USD

Lot Details


Property from an Important Private Collection

Lacloche Frères | A Rare and Important Colored Stone and Diamond Bracelet

Lacloche Frères | 罕有彩色寶石及鑽石手鏈

Composed of three main panels, the central panel depicting Pharaoh and a kneeling scribe, a winged sun disc and royal scepters to the right, flanked by panels depicting a figure of the Egyptian goddess Nekhbet, set throughout with old European- and single-cut diamonds, accented by buff top rubies, emeralds and sapphires, length 7¼ inches, signed Lacloche Freres; circa 1925.

Illustrated in The Jazz Age: American Style in the 1920s, the exhibition catalogue, by Sarah D. Coffin and Stephen Harrison, page 16.

Illustrated in Lacloche Joailliers by Laurence Mouillefarine and Véronique Ristelhueber, page 114.

To be featured in a forthcoming book on Egyptian revival jewelry by Laurence Mouillefarine.

Cooper Hewitt Design Museum, The Jazz Age: American Style in the 1920s, New York, 2017; also traveled to The Cleveland Museum of Art, Cleveland, 2017-2018.

L’Ecole, Through the Eyes of a Connoisseur, New York, 2018.

In the 1920s, the vocabulary of luxurious jewelry was largely spelled-out in diamonds and precious colored stones, and the shapes, forms and iconography were thematically influenced to a great degree by various ancient cultures. Vogue magazine published a number of features in 1921 on fashions in ancient Egypt, Greece and the Near East. The discovery of King Tutankhamen’s tomb in 1922 inflamed a fascination with the land of the pharaohs that spread across the globe, and jewelers turned to symbols from ancient Egyptian art as a source of inspiration for their creations of glittering statement pieces. It is a period when trends in fashion and jewelry were inextricably linked. Bias cuts and tunic shapes proliferated. Couturiers such as Doucet, Lanvin and Vionnet created evening dresses which perfectly complemented the latest fashions in jewels such as elongated pendant earrings and panel bracelets. Scarabs, sphinxes, pharaohs, scribes, musicians and archers along with gods in their animal forms such as Anubis and Nekhbet, were often accented by hieroglyphics in undecipherable narratives using diamonds, rubies, sapphires, emeralds and onyx to tell the story. Jean-Marcel Humbert, who was curator at the Musée du Louvre during the 1994 exhibition titled Egyptomania accurately observed that “Egyptomania” is more than a simple mania for Egypt. It is not enough to copy Egyptian forms, artists must “re-create” them in the cauldron of their own sensibility and in the context of their times.” This was surely the goal of Lacloche and they successfully achieved that goal. In 1925, at the Paris Exposition Internationale des Arts Décoratifs, Lacloche exhibited at the Grand Palais and was awarded a Grand Prix. The production of Art Deco Egyptian-themed jewelry was short-lived, lasting until the onset of the 1930s, and it is important to note that these Egyptian-themed examples were fewer in number compared with other types of jewels created during the same period. The exceedingly rare bracelet and pair of earrings by Lacloche offered here can be considered among the finest examples of Egyptian revival Art Deco jewelry and are highly sought-after by an ever increasing number of distinguished collectors.