- 1783
A RARE AND EXCEPTIONAL GEM SET AND DIAMOND BRACELET, VAN CLEEF & ARPELS, 1925
Estimate
6,600,000 - 8,500,000 HKD
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Description
- diamond, onyx, ruby, sapphire, emerald, platinum
Designed as a band of circular-cut diamonds, decorated with five quatrefoil motifs depicted by buff-top rubies and onyx, alternating with lotus motifs set with similarly cut emeralds and sapphires, mounted in platinum, length approximately 190mm, signed Van Cleef Arpels, numbered, French assay and maker's marks.
Literature
Cf: Sarah D. Coffin, Set in Style: The Jewelry of Van Cleef & Arpels, New York, 2011, pg. 183 for a similar example by Van Cleef & Arpels.
Condition
Accompanied by Van Cleef & Arpels Certificate of Authenticity. Please refer to the certificate for further details. Signed Van Cleef Arpels, numbered 25174, Clasp stamped with French maker's mark and assay mark for platinum. Emeralds are medium green of intense saturation. Sapphires are medium dark blue of moderately strong saturation. Rubies of medium purplish red to strong saturation. The onyx is in very good condition. All gemstones have natural inclusions and slight abrasions typical of polished gemstones of the period. Diamonds weighing approximately 23 to 28 carats in total are bright and lively. Signs of minor wear to metal consistent with age. Clasp closes securely and is fitted with a safety closure. Overall in very good condition. Box stamped Van Cleef & Arpels.
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.
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.
Catalogue Note
Accompanied by Van Cleef & Arpels certificate of authenticity. ___________________________________________________________
EGYPTIAN EUPHORIA
The Roaring Twenties was a period in Western culture of exuberant creativity and joie de vivre. The delicate designs and curves of the Art Nouveau movement gave way to the striking geometrics of Art Deco. Having gained the right to vote and proven their competency in jobs that were predominantly male oriented in the past, women of this era were more independent than ever before. They were fearless and fantastical, seeking freedom from the stereotypes of the past. This vibrancy was reflected in all aspects of their lifestyle, as they relished in adorning themselves with white powder, bright red lipstick and dark black eyeliner for a mystical and exotic appearance.
Jewellery was quick to respond to these revolutionary changes in fashion, ever evolving to suit the modern woman of the time. Jewels of the twenties were envisioned as ornaments personifying the lifestyle and taste of the wearer. The most glamourous evening gowns of 1920s were all about liberation –bare arms were in vogue which led to a rise of band bracelets, as nude arms called for dazzling embellishments.
Embracing the exotic, jewels from this period sought motifs from faraway lands – notably Egypt. Distant civilizations from the Middle East have always been a honeypot for designers seeking inspiration, reflected in the decorative arts since the 19th century. Napoleon Bonaparte's Egyptian campaign first sparked the interest in the West, flamed by events such as Jean-François Champollion's deciphering of the hieroglyphs, the erection of the Luxor obelisk, and the inauguration of the Suez Canal, which greatly boosted Egyptian tourism amongst Europeans in the following years.
In the 20th century, the avant-garde woman found herself completely bedazzled by a fresh wave of archaeological motifs, due to the discovery of Tutankhamun's tomb in 1922 by Howard Carter. From the remote Valley of the Kings, an outbreak of Egyptomania seized all aspects of aesthetics. Striking chromatic contrasts discovered in the artistry of ancient Egypt captivated the jewellers in Paris for a decade. This was especially true for Van Cleef & Arpels; with their cutting-edge execution in workmanship, excellence that marked the Maison's renowned ingenuity, and a passionate desire to be connected to the past, the most striking Egyptomania jewels were born.
Lot 1783 is a culmination of its era, an exotic Egyptian-revival bracelet from Van Cleef & Arpels. The wide diamond bracelet serves as a tabula rasa to the bright and contrasting colour schemes of the finest sapphires, rubies, emeralds and onyx, depicting the subtle beauty of lotus flowers, which were a prominent decorative motif in Egyptian art. Enamored by these ancient figures, Van Cleef & Arpels' archival sketches for such pieces reveal a meticulous study that sought understanding of the iconography of the ancient empire. The designer of the bracelet may have sketched with the knowledge in mind that the flowers were a symbol of creative energy and regeneration and unification.
One can imagine the most iconic woman of the Roaring Twenties wearing this very bracelet draping from her arms in the spotlight, a result of the imagination of the finest designers who catered to the taste of the fashion leaders of their era. The past is never too far for timeless jewels, transcendent of the era it was created in – to bring true colour to the discerning collector who seeks individuality.
EGYPTIAN EUPHORIA
The Roaring Twenties was a period in Western culture of exuberant creativity and joie de vivre. The delicate designs and curves of the Art Nouveau movement gave way to the striking geometrics of Art Deco. Having gained the right to vote and proven their competency in jobs that were predominantly male oriented in the past, women of this era were more independent than ever before. They were fearless and fantastical, seeking freedom from the stereotypes of the past. This vibrancy was reflected in all aspects of their lifestyle, as they relished in adorning themselves with white powder, bright red lipstick and dark black eyeliner for a mystical and exotic appearance.
Jewellery was quick to respond to these revolutionary changes in fashion, ever evolving to suit the modern woman of the time. Jewels of the twenties were envisioned as ornaments personifying the lifestyle and taste of the wearer. The most glamourous evening gowns of 1920s were all about liberation –bare arms were in vogue which led to a rise of band bracelets, as nude arms called for dazzling embellishments.
Embracing the exotic, jewels from this period sought motifs from faraway lands – notably Egypt. Distant civilizations from the Middle East have always been a honeypot for designers seeking inspiration, reflected in the decorative arts since the 19th century. Napoleon Bonaparte's Egyptian campaign first sparked the interest in the West, flamed by events such as Jean-François Champollion's deciphering of the hieroglyphs, the erection of the Luxor obelisk, and the inauguration of the Suez Canal, which greatly boosted Egyptian tourism amongst Europeans in the following years.
In the 20th century, the avant-garde woman found herself completely bedazzled by a fresh wave of archaeological motifs, due to the discovery of Tutankhamun's tomb in 1922 by Howard Carter. From the remote Valley of the Kings, an outbreak of Egyptomania seized all aspects of aesthetics. Striking chromatic contrasts discovered in the artistry of ancient Egypt captivated the jewellers in Paris for a decade. This was especially true for Van Cleef & Arpels; with their cutting-edge execution in workmanship, excellence that marked the Maison's renowned ingenuity, and a passionate desire to be connected to the past, the most striking Egyptomania jewels were born.
Lot 1783 is a culmination of its era, an exotic Egyptian-revival bracelet from Van Cleef & Arpels. The wide diamond bracelet serves as a tabula rasa to the bright and contrasting colour schemes of the finest sapphires, rubies, emeralds and onyx, depicting the subtle beauty of lotus flowers, which were a prominent decorative motif in Egyptian art. Enamored by these ancient figures, Van Cleef & Arpels' archival sketches for such pieces reveal a meticulous study that sought understanding of the iconography of the ancient empire. The designer of the bracelet may have sketched with the knowledge in mind that the flowers were a symbol of creative energy and regeneration and unification.
One can imagine the most iconic woman of the Roaring Twenties wearing this very bracelet draping from her arms in the spotlight, a result of the imagination of the finest designers who catered to the taste of the fashion leaders of their era. The past is never too far for timeless jewels, transcendent of the era it was created in – to bring true colour to the discerning collector who seeks individuality.