Gold, Pearl, Diamond and Enamel Pendant-Brooch, France, Circa 1900

Designed as a bare-breasted maiden with flowing hair and diaphanous drapery with arms outstretched in the form of American dancer Loië Fuller, applied with peach, cream and pale green enamel, the star at the top set with an old European-cut diamond, set at the bottom with two old mine diamonds, supporting a pearl drop measuring approximately 8.4 by 7.6 mm., indistinct maker's mark, French assay mark.

Parke-Bernet Galleries, Inc., New York, Sale no. 3193, Important Art Nouveau Jewelry & Objets de Vertu, April 24, 1971, lot 74.

Minor enamel damage in a few spots, the most noticeable on the left (facing) "wing". Less noticeable damage to the maiden's belly and knee. The pearl has not been tested for natural origin. The diamonds are of decorative quality. Hefty and beautifully executed. In good condition overall.
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.

Please note the pearl has not been tested for natural origin.

The inspiration for the present brooch was likely the American-born dancer Loïe Fuller who made her debut at the Folies-Bergère in 1892. Her energetic performances in swirling diaphanous fabrics echoed the spirit and energy of the Art Nouveau movement and soon took Paris by storm. Fuller had her own theater at the International Exhibition of 1900 where she performed such dances as "The Butterfly" and "The Orchid" and was much admired by fellow artists who immortalized her image in bronzes and posters as well as in jewels.

By 1900 the female form had achieved an almost cult-like status within the Art Nouveau movement. Usually nude or semi-draped in clinging fabric, these figures exhibited a sensuality that was in direct contrast with the prim, corseted image of the Victorian woman. Often depicted with butterfly wings, this image clearly symbolized the new found freedom and energy of the new century. The French jeweler Gaston Lafitte, who  worked in the Art Nouveau style well into the 1900s, produced a number of highly successful winged female pendants and brooches. Examples of his work are illustrated by Vivienne Becker, Art Nouveau Jewellery, p. 33, no. 22 (also shown on the cover) and p. 125, no. 124.