K金鍍銀鑲鑽石項鏈

· 鑲圓形鑽石，共重約25.00卡拉
· 周邊鑲圓形鑽石，共重約47.00卡拉
· 長度14英寸
· 附法國純度驗證標章及René Lalique工匠標章戳記
· 約1890年
· 附Lacloche Frères品牌盒子

*拍品資料以英文為主，中文翻譯僅供參考

In very good condition, especially considering the piece's age. The larger diamonds are approximately I-K color and predominantly VS clarity, with a few SI stones, several are chipped at the girdles, typical of diamonds of this era. The smaller diamonds are approximately I-L color, some with a slightly brownish or grayish tint and VS-SI clarity. Beautiful movement when worn. Fits a small to medium neck. The fitted and signed box is dark brown embossed leather, with a blue velvet interior, signed Lacloche Freres Paris, Bureaux and Ateliers, 47.R.de Chateaudun, Paris, Nice, Aix-les-Baines,
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.

René Lalique is considered by many to be the father of modern jewelry. His mixing of high and low materials, his interpretations of the natural world, and his occasional pushing of conceptual boundaries to what a contemporary critic pronounced a “violent” aesthetic make him the clear progenitor of Art Nouveau jewels. As with many great artists, the progression of Lalique’s visual vocabulary began with hints of iconic works to follow, transitional periods imbued with tempered renderings of future trademarks. 

The present necklace captures a moment in Lalique’s career when he had established himself as a superior craftsman but had yet to take full credit for his genius. He began his education at 14 under the tutelage of Parisian jeweler Louis Aucoc and, at the time this piece was created for Lacloche, he was an independent designer. While it was common for important workshops to manufacture for high-end retailers such as Cartier, Van Cleef & Arpels and Lacloche, these pieces were generally not stamped with a maker’s mark.  By 1890, however, Lalique’s reputation as a creative and superlative jeweler was well known and Lacloche Frères surely recognized that offering a jewel stamped by Lalique was a mark of distinction.

When producing jewels for other firms, Lalique took a more conservative approach, but here we find innocent love knots foreshadowing sinuous snake motifs favored by Lalique just a few years later. When viewed through this lens, diamond pendants become serpent heads and entwined ribbons stealthily encircle the neck. It is the design, not the gemstones, that constitutes the necklace’s true value. Irene Sargent, writing in 1903, observed that Lalique “reacted strongly against the excessive, one might almost say the abusive, employment of diamonds.” Though not humble in size, the diamond drops are magnified by movement, capturing the flicker of candlelight or a conveniently placed bulb. 

It is a historically important necklace, notable not only for its harmonious beauty, but also for being the sole collaboration between Lalique and Lacloche known to still exist.