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Details
AN ART NOUVEAU ENAMEL, OPAL AND GOLD CORSAGE PIN FINIAL, BY RENE LALIQUE
Centering an oval-shaped openwork scene, depicting three gray enameled satyrs confronting a gray enameled maenad, with a calibré-cut black opal, to the polished gold borders, extending a series of textured gold terminals, each enhanced by blue and translucent purple enamel, the base further decorated by a blue enamel organic motif, the reverse in chased gold relief, mounted in gold, (pin stem deficient), circa 1899-1900
Signed Lalique for René Lalique
Centering an oval-shaped openwork scene, depicting three gray enameled satyrs confronting a gray enameled maenad, with a calibré-cut black opal, to the polished gold borders, extending a series of textured gold terminals, each enhanced by blue and translucent purple enamel, the base further decorated by a blue enamel organic motif, the reverse in chased gold relief, mounted in gold, (pin stem deficient), circa 1899-1900
Signed Lalique for René Lalique
Literature
Sigrid Barten, "René Lalique, Schmuck und Objets d'art 1890-1910: Monographie und Werkkatalog", Prestel-Verlag, München, 1977, page 478
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 94-95
Michael Koch, "The Belle Epoque of French Jewellery: 1850-1910", Thomas Henage & Co. Limited, London, 1991, page 221
Alastair Duncan, "The Paris Salons, 1895-1914: Volume II", Antique Collectors' Club, Woodbridge, Suffolk, 1994, page 34
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 82
Yvonne Brunhammer, "The Jewels of Lalique", Flammarion, Paris, 1998, page 94-95
Michael Koch, "The Belle Epoque of French Jewellery: 1850-1910", Thomas Henage & Co. Limited, London, 1991, page 221
Alastair Duncan, "The Paris Salons, 1895-1914: Volume II", Antique Collectors' Club, Woodbridge, Suffolk, 1994, page 34
"René Lalique: 1860-1945", APT International Inc., Tokyo, 2000-2001, page 82
Exhibited
"Art Nouveau: Belgium, France", Rice Museum, 26 March-27 June 1976; Chicago, The Art Institute, 28 August-31 October 1976, no. 410
"Art Nouveau Jewelry by René Lalique", Baltimore, The Walters Art Gallery; Richmond, Virginia Museum of Fine Arts, Fort Worth, Kimbell Art Museum, Los Angeles County Museum of Art, 1985, no. 55
"Pariser Schmuck: vom 2. Kaiserreich zur Belle Epoque", Munich, Bayerisches Nationalmuseum, 1 December 1989-4 March 1990, no. 141
"René Lalique, Jewelry Glass", Paris, Musée des Arts Décoratifs, 22 October 1991-March 1992, no. 207
"René Lalique", Tokyo, The National Museum of Modern Art, 23 May-12 July 1992, no. 25
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 106
"Art Nouveau Jewelry by René Lalique", Baltimore, The Walters Art Gallery; Richmond, Virginia Museum of Fine Arts, Fort Worth, Kimbell Art Museum, Los Angeles County Museum of Art, 1985, no. 55
"Pariser Schmuck: vom 2. Kaiserreich zur Belle Epoque", Munich, Bayerisches Nationalmuseum, 1 December 1989-4 March 1990, no. 141
"René Lalique, Jewelry Glass", Paris, Musée des Arts Décoratifs, 22 October 1991-March 1992, no. 207
"René Lalique", Tokyo, The National Museum of Modern Art, 23 May-12 July 1992, no. 25
"The Jewels of Lalique", New York, National Design Museum, Smithsonian Institution, 3 February-12 April 1998; Washington D.C., International Gallery, Smithsonian Institution, 15 May-16 August 1998; Dallas, Dallas Museum of Art, 13 September 1998-10 January 1999, no. 106
Further details
This piece was based on a fifth century B.C.E. red-figure bowl Lalique may have encountered at the British Museum while studying in London. The ancient bowl or drinking cup, by the Attic vase Brygos Painter, depicts the legend 'Hera and Iris pursued by the Silenes' with satyrs in these exact poses, but reverse order. The nude female figure was an addition by Lalique.