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art jewelryasasart ONLINE AUCTION N11214 | 24 SEPTEMBER — 4 OCTOBER 2022

propertyTo+1New133410Tuesday10Mondaypm3Octoberam–5pm4Octoberam–5pmYorkAvenueYork,NY100212126067000learnmoreabouttheinthissale,please visit SOTHEBYS.COM/N11214 sothebys.com FOLLOWUS@SOTHEBYS #SothebysArtAsJewelryAsArt art jewelryasasart PLEASE NOTE THIS LOOKBOOK IS PART OF THE PROMOTIONAL MATERIAL FOR OUR UPCOMING SALE. FOR FURTHER INFORMATION AND COMPLETE CATALOGUING FOR PROPERTY IN THIS SALE, PLEASE SHOWNALSOSOTHEBYS.COM/N11214VISIT:NOTELOTSARENOTACTUALSIZE FRONT COVER: MODEL ZARA BLACKS WEARING ALEXANDER CALDER’S LADY KENNETH CLARK TIARA, CIRCA 1937-1938 BACK COVER: MODEL ZARA BLACKS WEARING ETTORE SOTTSASS FOR CLETO MUNARI’S DOUBLE-BARRELED RING, 1984 THIS PAGE: MODEL MARYAM TURKEY WEARING AFRO LIBIO BASALDELLA’S AFRO FOR MASENZA-ROMA COLLAR 1948 AND FRANCO CANNILLA’S GOLD LINK BRACELET FOR MASENZA-ROMA, 1948. ART PHOTOGRAPHY: PHOTOGRAPHER: JORDAN DONER HAIR: DAMIAN MONZILLO MAKEUP: TATI THUNDER © 2022 PHOTO BY JORDAN DONER DESIGN AND CREATIVEBURCHDIRECTION:STUDIO

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AUCTION 24 September – 4 October 2022 Sale N11214 NEW YORK EXHIBITION Free and open to the public

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MODEL ZARA BLACKS WEARING CLAUDE LALANNE FOR ZOLOTAS’ SILVER NECKLACE AND CLAUDE LALANNE FOR ZOLOTAS VERMEIL NECKLACE, 1975 PHOTO BY JORDAN DONER

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Thesharply.more

I have learned about the artists, their jewelry creations, and their history and philosophy, the more fascinating I find them. I am confident that collectors and other readers of this auction will be equally

—DIANE VENET

his auction presents a collection of carefully selected and thoughtfully curated pieces of artists' jewelry. I aim to share my passion for artists' jewelry with discerning collectors and to excite the interest of lovers of all kinds of art in this DEVELOPING AND IMPORTANT GENRE . The works presented are miniature sculptures. Acquiring one of them allows the buyer to experience an INTIMATE RELATIONSHIP WITH THE PIECE ITSELF , the artist who created it, as well as a direct connection to the art movement it reflects.

Artists’ jewelry tends to mirror the artistic mode of the day; therefore, the sale is divided into sections loosely defined by some of the significant art movements of the 20th century. An emphasis is placed on prominent artists, though some who are lesser-known are included owing to the excellence of their works. Many are known for works on a large physical scale, but all have been DRAWN TO EXPLORE THIS MEDIUM IN MINIATURE . In this reduced scale, the contrasts and detailing stand out

ART AS JEWELRY AS ART BY TIFFANY DUBINwearjewelry,idon’twearart’

has a very PERSONAL CONNECTION TO THE ARTISTS who created them. The artists in each section are known for their work in particular mediums. Upon my visit to his studio in Les Fusains in Paris, specialistview

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Eachcaptivated.work

T

5

6 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 7

Hubert Le Gall entrusted me to include his unique and delicate Alaskan Fisherman with a Jewelry Stand Mirror and Swallow, all of which include obsidian (volcanic glass). He shared the insight that many artists feel that it is more challenging to garner power in the small than they can easily get in the massive.

and professionals who are artists, singers, and creatives themselves.

Jordan’s photographs show the works worn by distinctive individuals interacting with them, demonstrating how one can live with art in meaningful ways. These works were not made to be squirreled away in a drawer, vanity, or safe; they were meant to be celebrated on the body in a vibrant, interactive fashion. The way we define ourselves and the ART WE CONNECT WITH IS AN INTEGRAL PART OF WHO WE ARE and is what ultimately defines us as creative beings.

Visionary artists include, for example, Luz Camino’s unique works consisting of thinly-sliced agate combined with her skill in using the 14th-century plique à jour technique. Tito Pedrino used stones such as aquamarine in bold and powerful ways in his Aquamarine Necklace. INNOVATIVE INTERPRETATIONS OF THE SURROUNDING WORLD are reflected in works like the handmade ‘Atlas’ Jewelry Box by sculptor Luna Benai, while the violinist Yury Revich’s The Expressivity: Shostakovich Eye Jewelry is inspired by the edginess, expressivity, discomfort, and surreal beauty of music composer Dimitri Shostakovich. James de Givenchy is a recognized visionary whose work will be a classic reference for future generations, just as we now look back to early jewelry artists such as Suzanne Belperron, born in 1900, who pioneered a new aesthetic in jewelry.

This auction also highlights HOW ARTISTS’ JEWELRY INTERACTS WITH THE HUMAN FORM . I was fortunate enough to call on photographer Jordan Doner to photograph many of these works on friends, colleagues,

here are DISCOVERIES TO BE MADE OR RENEWED regarding visual artists and artisans who have significantly impacted what we define as jewelry. For example, in 1948 in Sweden, the pioneering silversmith Vivianna Torun Bülow Hübe rebelled against the 19th-century tradition of men adorning their wives in large diamonds to make a statement. Torun took wood and wire and created works that changed the established aesthetic of beauty. (A little secret: Picasso looked at Torun's jewelry creations and modeled his early jewelry works on them. She was one of his many muses.) While Torun was refining jewelry in Sweden, Alexander Calder was playing with similar ideas and materials in America and London with his jewelry works.

Today, collecting art is often seen as an investment, and works assembled here are indeed wise investments since most are either unique pieces or from small editions. THEY ARE SCARCE AND WILL ONLY BECOME MORE SO . Most were made some distance in the past, and all were painstakingly made by hand. The knowledge and craftsmanship that went into their creations will eventually disappear. Of course, other beautiful works will be created, but they will not be the group of unique pieces presented.

morebecomesisjewelry‘whenart,itthanthesumoftheparts’

T

The works here represent historical moments of creative expression from Calder’s kinetic genius in the 1930s and 1940s to today's visionaries, who are creating with their art what I view as the HEIRLOOMS NOT JUST OF TODAY BUT OF TOMORROW . Throughout this auction, you will see how each artist has explored mediums on different scales using diverse materials and combining different techniques.

—JAMES DE GIVENCHY

The focus of artists and their jewelry was and is on three elements: ensuring that it is LIMITED OR UNIQUE ; that a piece is EMBLEMATIC OF THEIR OEUVRE , and that it is REPRESENTATIVE OF THE TIME in which it was made. They wish to challenge the boundaries of design, and often their jewelry not only needs explanation but it cannot be viewed out of context from the rest of their work. As with all art, the importance lies in the process and artistic merit itself and not on the base value of the medium. Everyday materials, inspiration, and skillful finessing turn such creations into unique works of art. The originality of thought and technique is a constant throughout.

Those participating in this auction have the eye and the confidence to know that BOUNDARIES HAVE SHIFTED . Art can be worn and experienced as part of who we are and want to be. Artists’ jewelry is inspirational and aspirational. OUR APPEARANCE SPEAKS TO WHO WE ARE , inwardly and outwardly. Those who forge their path as collectors will also embrace the vision that has guided me in bringing together these original and beautiful works that will only become more valued over time.

‘i don’t like to roomintowalkaandseethatsomeonecouldbewearingwhatiamwearing.iliketobeunique’ —LISA PERRY A MODERN WAY TO DRESS UP YOUR POMODOROS: MODEL LUCIA VIVES WEARING ARNALDO POMODORO’S PENDANT/BROOCH,1962UNTITLED GIÒ POMODORO’S CUTTLEFISHBONE-CAST BRACELET, 1963 AND POLYHEDRAL CROCODILE HANDBAG WITH SOLID SILVER HARDWARE BY KATIA LUNA BENAï, ONE OF OUR VISIONARY ARTISTS © 2022 PHOTO BY JORDAN DONER 8 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

This selection of artist jewelry is an opportunity to reintroduce these works to the discerning collector in a new context and as a defined category of art for a collection that happens not only to be intended for adornment, but much more than that – as a means of personal expression. Art as Jewelry as Art conveys aesthetic and tactile pleasures that are enjoyed and understood across cultures, time, and space. In short, their APPRECIATION AND EMOTIONAL VALUE ARE UNIVERSAL , whatever the cultural and historical specifics of any given work may be.

11 I. JEWELRY AS... KINETICISM 12 Alexander Calder Harry Bertoia Pol JesúsBuryRafael Soto Tapio AlbertoGiorgioWirkkalaFacchiniGiorgi II. JEWELRY AS... ABSTRACT EXPRESSIONISM 68 Afro Libio Basaldella Franco Cannilla III. JEWELRY AS... SCULPTURE 78 César Baldaccini Louis TomGiòArnaldoUmbertoLouiseSophiaArmandVuittonFernandezVariNevelsonMastroianniPomodoroPomodoroOtterness IV. JEWELRY AS... SURREALISM 136 Salvador Dalí Lisa Sotilis Man MéretKathleenNikiJeanKikiLouiseClaudeRayLalanneBourgeoisSmithArpdeSaintPhalleVanceOppenheim V. JEWELRY AS... AVANT-GARDE 200 Pablo Picasso Jean AlbertoMaxGeorgesCocteauBraqueErnstGiacometti VI . JEWELRY AS... MAVERICK 234 Vivianna Torun Bülow-Hübe Ettore Sottsass Line JeanVautrinBoggio VII. JEWELRY AS... MINIMALISM 272 Hiroshi Sugimoto Lucio Fontana Anish MarcoGiampaoloEdCarmenKapoorHerreraRuschaBabettoRigovacca VIII. JEWELRY AS... MODERNISM 298 Andrew Grima Tom Scott for Andrew Grima Alan ThierryJeanJeanGilbertFaustoHouseCharlesJohnHouseGardofKutchinskyDonalddeTempleofCartierMariaFranchiAlbertLurçatVendomeVendome IX . JEWELRY AS... VISIONARIES 348 Michelle Oka Doner Hubert Le Gall James de Givenchy Tito Pedrini Luz MetagoldenLunaYurySuzanneCaminoSyzRevichBenaï ACKNOWLEDGMENTS 388 MODEL ZARA BLACKS WEARING RIGOVACCA’SMARCOJAVELIN EAR CUFF AND GIORGIO FACCHINI’S SPATIALISMO (SPACE UNIVERSE) NECKLACE, © 2022 PHOTO BY JORDAN DONER

13

jewelrykineticismas... I LOTS 1 – 22 PHOTOS COURTESY OF ALEXANDER ENGLISH X LOUISA GUINNESS GALLERY, NATURAL HISTORY MUSEUM DANCERS WEARING CALDER’S ‘UNTITLED’ SILVER AND WIRE NECKLACE AND FLOWER HEADPIECE

KINETIC means ‘relating to or resulting from motion’ and comes from the Greek word for movement. Artists have incorporated motion into their work since the early 20th century, and Kineticism was an important art movement in the late 1950s and 1960s. Some experimented with geometric shapes, creating works that were static and yet gave the viewer an impression of movement. Kinetic jewelry functions in much the same way: while maintaining a constant linear relationship to the wearer’s body, it reacts to their movement in a three-dimensional space.

—LOUISA GUINNESS

ALEXANDER CALDER (1898 – 1976) The ingenious American sculptor Alexander Calder created his first piece of jewelry at age seven. Calder constantly explored movement in his art, an investigation fundamental to his unique jewelry. The components of sculptural objects worn on the body are static, yet when precisely shaped and assembled they may seem to - and sometimes do - move in three-dimensional space. Calder’s radical experimentation with sculptural forms and movement led to the creation not only of his celebrated mobiles but also to beautiful jewelry that embodies the principles of kinetic art. calder

PEGGY GUGGENHEIM WITH HER SILVER BED HEAD (1943), C.1952. PHOTOGRAPH © SOLOMON R. GUGGENHEIM FOUNDATION PHOTO ARCHIVIO (ARS),YORK©©PHOTOGRAPHAOPPOSITE:CAMERAPHOTOEPOCHELEEKRASNERWEARINGCALDERBRACELET,1940BYHERBERTMATTERCALDERFOUNDATION,NEWYORK2020CALDERFOUNDATION,NEW/ARTISTSRIGHTSSOCIETYNEWYORK

‘like true vessels of calder’s artistic manifesto, the women who wore his jewellery were some of the most forward thinking ofunconventionalandtheirtime’

15

alexander

INVITATION

GÉRARD PHILIPE AND JEANNE MOREAU (WEARING A CALDER BRACELET), IN NUCLEA ,' A PLAY BY HENRI PICHETTE, DIRECTED BY JEAN VILAR (SETS AND ACCESSORIES BY CALDER), TNP, THÉATRE DE CHAILLOT, PARIS, 1952 © 2020 CALDER FOUNDATION, NEW YORK ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

— MARIAN WILLARD

1

ANOTEsimilar bracelet can be seen at the Victoria & Albert Museum, made for the American artist Audrey Skaling and gifted to the museum by her mother Lucienne Papadaki Darby (VAM M.18-2013). Wire was an important element of Calder’s work and his preferred material for jewelry. He hammered and twisted the wire to achieve strong, simple forms. The Calder Foundation’s historical photos of the Calder Jewelry exhibition at the Willard Gallery, New York (historical photo CF, 3–25 December 1940) shows a similar bracelet on view. In Marian Willard’s press release for the show, she writes, 'these works of art are savage and deliberate and self-confidently sophisticated . . . This is a master modern artist’s contribution to the history of fashion. For a world already in chains, it is superb stuff.'

circa 1938, this work is registered in the archives of the Calder Foundation, New York; under the number uniqueAC-B-000038silverbracelet hand-beaten from an undulating continuous strip of flattened silver wire, forming deep curves and fitting close to the wrist; the bracelet, featuring the recognizable hammer and chisel marks that Calder was known for, opens at the back with the ends curled around into simple spirals motif width: 2 1/4 in.; 5.9 cm inner diameter: 2 1/8 by 1 7/8 in; 5.4 by 4.8 cm.

PROPERTY OF A PRIVATE COLLECTOR ALEXANDER CALDER

LouisaPROVENANCEGuinness Gallery, London

‘these works of art deliberatesavageareandand self-confidently sophisticated’

TO CALDER JEWELRY, WILLARD GALLERY, NEW YORK, 1940. © 2020 CALDER FOUNDATION, NEW YORK / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK INSTALLATION PHOTOGRAPH, CALDER JEWELRY WILLARD GALLERY, NEW YORK, 1940. © 2020 CALDER FOUNDATION, NEW YORK / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK 16 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

Acquired from the above by the present owner

AlexanderLITERATURERower, ed., Calder Jewelry, Calder Foundation, New York, 2007, pp. 114, 115, & back end papers

‘UNTITLED’ BRACELET

60,000 - 80,000 USD

London,EXHIBITEDLouisa Guinness Gallery, The Boldness of Calder, September — November 2016

personalwasjewelry‘makingvery for him, uniqueexistseachandpieceasawork’ — CALDER FOUNDATION CHAIRMAN AND DIRECTOR ALEXANDER S. C. ROWER, THE ARTIST’S GRANDSON

1942

LEFT AND RIGHT: PHOTOS COURTESY OF LOUISA GUINNESS GALLERY X ALEXANDER ENGLISH, MODEL WEARING SILVER AND CLOTH NECKLACE CIRCA

20 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

for close friends and acquaintances, it is regarded by some as the purest manifestation of his art: Never satisfied with superfluous decoration, Calder used jewelry as an alternative way of communicating his artistic ideals. He developed a direct process using honest industrial materials such as brass and steel wire that he bent, twisted, hammered, and riveted in an immediate way. At once primitive and refined, the resulting works show the eccentricities of his hand expressing subtly tactile qualities.’ (Alexander Rower, Calder Jewelry, Calder Foundation, New York, 2007, p. 13)

Sweeney, Alexander Calder, Museum of Modern Art, New York, 1943, p. 48

‘Oftennecklace.created

Christie’s New York, The Arthur and Anita Kahn Collection, December 8, 2015, lot 3 Louisa Guinness Gallery, London Acquired from the above by the present owner

NewEXHIBITEDYork,Metropolitan Museum of Art, Calder Jewelry, December 9, 2008 – March 1, 2009 for similar example

circa 1942, this unique necklace is registered in the archives of the Calder Foundation, New York, under the number hammeredAC-A-15934silver,cloth cord, and ribbon approximate: 16 by 2 1/4 by 3/10 in.; 40.6 by 5.7 by 0.8 cm

180,000 - 230,000 USD

JamesLITERATUREJohnson

SILVER AND CLOTH NECKLACE

Calder’s outlook on modern art can be seen in the simplicity of his materials and construction. In this Silver and Cloth Necklace, he uses colored fabric to link the work together and a serpentine clasp to hold the forty-four hammered silver feathers, giving the work a hand-sewn quality with an unequaled delicacy. The silver feathers can be compared to the large petals he used in his mobile at the Arts Club in Chicago in 1942. Metalwork from numerous ancient cultures significantly influenced Alexander Calder. He was attracted to the directness of ancient processes and loved the simplicity of their forms, such as with the Native American influence illustrated in this

2

PerlsPROVENANCEGalleries, New York

A SIMILAR NECKLACE FROM THE 2008 CALDER JEWELRY EXHIBITION AT THE METROPOLITAN MUSEUM OF ART. CA. 1943, SILVER WIRE, CORD, AND RIBBON; COURTESY CALDER FOUNDATION, NEW YORK. © 2008 CALDER FOUNDATION, NEW YORK / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

London, Louisa Guinness Gallery, The Boldness of Calder, September — November 2016

PROPERTY OF A PRIVATE COLLECTOR

Dublin, Irish Museum of Modern Art, Calder Jewellery, April 1 — June 21, 2009 for similar example

Alexander Rower, ed., Calder Jewelry, Calder Foundation, New York, 2007, pp. 228, 229

AlexanderNOTE

ALEXANDER CALDER

LEFT AND RIGHT: PHOTOS COURTESY OF ALEXANDER ENGLISH X LOUISA GUINNESS GALLERY, 2016, MODEL ANNE TATTON WEARING CALDER’S ‘UNTITLED’ SILVER AND WIRE NECKLACE, CIRCA 1940

PrivatePROVENANCEEuropean collector

Carandente, ‘Alexander Calder,’ Louisiana Revy, vol. 36, no. 1, September 1995, p. 23 Jessica Holmes, Simplicity of Means: Calder and the Devised Object, Jonathan O’Hara Gallery, New York, 2007, p. Joan5

DanielLITERATUREMarchesseau and Harry Abrams, The Intimate World of Alexander Calder, Solange Thierry, Paris, 1989, p. 112, Giovanni270

This necklace design is seen in Calder’s 1932 The Circus, a drawing of circus rings and circus bleachers. His jewelry pieces become kinetic when worn, thus creating performance art as the details of the piece come to life via use. Through his jewelry, Calder challenged the concept of what a jeweler was supposed to be and pushed the boundaries between pieces of art and utility. ‘He remained obedient to the rule of sculpture, which Louis Carré had formulated in 1934 (Manifesto of the Union des Artistes Modernes): Prefer forms without decoration to decoration without forms.’ (Ibid )

Simon and Brigitte Leal, Alexander Calder: The Paris Years, 1926-1933, Whitney Museum of American Art, New York, 2009, p. 175

Louisa Guinness Gallery, London Acquired from the above by the present owner

24 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

PHOTO BY TOM CARTER

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ThisNOTEseven-tier Untitled Silver Necklace necklace spans past the wearer’s collarbones into the sky. This seemingly dramatic and yet straightforward necklace accentuates and lengthens the wearer’s body. Marcel Duchamp invented the word ‘mobile’ from Calder’s sculptures in motion to refer to the basic notion of equilibrium plus ‘mobility.’ (Daniel Marchesseau and Harry Abrams, The Intimate World of Alexander Calder, Solange Thierry, Paris, 1989, p. 270)

PROPERTY OF A PRIVATE COLLECTOR ALEXANDER CALDER

circa 1940, this unique work is registered in the archives of the Calder Foundation, New York, under the number silverAC-N-000005andwire necklace

150,000 - 200,000 USD

approximately: 9 4/5 by 14 4/5 by 1/2 in.; 24.8 by 37.5 by 1.2 cm.

INSTALLATION

CALDER’S

PHOTO COURTESY OF LOUISA GUINNESS GALLERY INSTALLATION THE BOLDNESS OF CALDER

NewEXHIBITEDYork,Willard Gallery, Calder Jewelry, 1940, illustrated in a group photo London, Louisa Guinness Gallery, The Boldness of Calder, September — November 2016

‘UNTITLED’ SILVER AND WIRE NECKLACE

PROPERTY

Calder’sNOTE

LITERATUREDanielMarchesseau and Harry Abrams, The Intimate World of Alexander Calder, Solange Thierry, Paris, 1989,p. 330 Alexander Rower, ed., Calder Jewelry, Calder Foundation, New York, 2007, p. 13 Diana Küppers, Künstlerschmuck = objets d’art, Hirmer, Munich, 2009, cover image

Louisa Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 79

lot Acquired211 from the above by the present owner NewEXHIBITEDYork,Perls Galleries, Calder: Jewelry, November 15 –December 17, 1966 London, Louisa Guinness Gallery, The Boldness of Calder, September – November 2016

OF A PRIVATE COLLECTOR ALEXANDER CALDER

LEFT AND RIGHT: PHOTOS COURTESY OF ALEXANDER ENGLISH X LOUISA GUINNESS GALLERY, 2016. MODEL ANNE TATTON WEARING CALDER’S UNTITLED SPIRAL BROOCH, CIRCA 1940 26 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

spiral

Alexander Calder possessed an exceptional talent for working on an intimate scale while never allowing the work to seem weak. He produced approximately 2,000 pieces of exquisite jewelry in his lifetime, each piece designed and hand-made by the artist. Offering unique pieces not only contained a combination of his signature working practices but also displayed the same sense of artistic formality and grace observable in his larger-scaled projects. This brooch anticipates the monumental sculpture he would reveal in a show in 1996 at the Guggenheim entitled The Spiral (No! to Frank Lloyd Wright) at Chalk & Vermilion Fine Arts, Greenwich, Connecticut.

UNTITLED this unique work is registered in the archives of the Calder Foundation, New York, under the number AC-B-000007 brooch of flattened brass and steel wire approximate: 6 1/5 by 4 7/10 by 1/2 in.; 15.8 by 12 by 1.3 cm. -

4

Sotheby’s

, November

150,000

in 1966 in New York. ‘Never satisfied with superfluous decoration, Calder used jewelry as an alternative way of communicating his artistic ideals.’ (Alexander Rower, ed., Calder Jewelry, Calder Foundation, New York, 2007, p. 13).

200,000 USD

Untitled Spiral Brooch, a tightly wound coil of lustrous metal gradually spiraling outward, illustrates a theme that ran throughout his jewelry practice. In this work, the flat ribbon of brass wraps in on itself until it seemingly disappears or expands on the other end as an ever-coiling, expanding circular tornado. This work was shown in Calder’s legendary exhibit at the Perls Galleries Gallery New York, Art 2006,

SPIRAL BROOCH 1940,

Contemporary

LouisaPROVENANCEGuinness

5

NewEXHIBITEDYork,Perls Galleries, Calder: Jewelry, November 15 –December 17, 1966 Berlin, Académie der Kunst, Alexander Calder, May – July London,1967

FLOWER HEADPIECE

hammered

150,000 - 200,000 the above by the present

circa 1940, this unique work is registered in the archives of the Calder Foundation, New York, under number AC-H-000015 brass with leather stand approximately: 10 by 6 in.; 25.4 by 15.2 cm.

DanielLITERATUREMarchesseau and Harry Abrams, The Intimate World of Alexander Calder, Solange Thierry, Paris, 1989,p. 330 Louisa Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 87

Calder’s spirals were a signature of his oeuvre and a prominent hallmark of Flower Headpiece. They resemble the delicately dancing elements of the artist’s standing mobiles and serve to charmingly crown the wearer.

the

USD LouisaPROVENANCEGuinness Gallery, London Acquired from

owner A SIMILAR WORK BY ALEXANDER CALDER, A HAIR COMB (CIRCA 1940, GILDED BRASS, 1968.7.4.) IS AT THE SMITHSONIAN NATIONAL MUSEUM OF AMERICAN ART IN WASHINGTON, D.C. IT WAS A GIFT OF MR. AND MRS. ALEXANDER CALDER © 2018 CALDER FOUNDATION, NEW YORK / COPYRIGHT AGENCY, AUSTRALIA LEFT AND RIGHT: PHOTOS COURTESY OF ALEXANDER ENGLISH X LOUISA GUINNESS GALLERY, 2016. MODEL ANNE TATTON WEARING CALDER’S ‘FLOWER HEADPIECE’ CIRCA 1940

As it was readily available, Calder often relied on brass during the war years. As with this lovely Flower Headpiece, he would use abstractions of natural motifs like flowers to animate his jewelry. This work was shown in Calder’s legendary exhibit at the Perls Galleries in 1966 in New York. It can also be viewed online at the Calder Foundation in their historical photo section.

Louisa Guinness Gallery, The Boldness of Calder, September – November 2016

PROPERTY OF A PRIVATE COLLECTOR ALEXANDER CALDER

DuringNOTE the 1930s and 1940s when intricate updos were in fashion, the decorative hair comb became a popular accessory. Alexander Calder began making them to appeal to women with avant-garde tastes who liked to make a dramatic entrance.

CALDER, LADY CLARK WITH SIR KENNETH IN HER ARM, 1937, SHEET METAL, WIRE, AND PAINT, 17 X 9 IN. © 2020 CALDER FOUNDATION, NEW YORK / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK ‘the great clark boom... kenneth & jane were the glamorous young couple everybody wanted to know.... in december, vogue let readers into a jeweled secret. calder, a young american abstract sculptor, whose show is now running at the mayor gallery, occasionally makes jewellery of great charm and originality’ — JED PERL, CALDER, THE CONQUEST OF TIME , THE EARLY YEARS: 1898-1940 , P. 549

New York, American Folk Art Museum, Masterpieces of American Jewelry, August 2004 – January 2005

Lady Kenneth Clark Tiara was purchased by Sir Kenneth Clark, the English art historian and Director of the National Gallery in London, for his wife Lady Jane Clark at the Freddy Mayor Gallery in London sometime in 1937 or 1938.

6

FreddyPROVENANCEMayorGallery, London

Acquired from the above by the present owner

AN IMPORTANT EUROPEAN

London, Somerset House, Masterpieces of American Jewelry, February – June 2005

ALEXANDER CALDER

circa 1937-1938, a unique work registered in the archives of the Calder Foundation, New York, under the number aA16409brass tiara designed as an unbroken circlet; the front extends into a graduated series of vertical brass bands, each decorated with a spiral terminal outside circumference: 20 7/8 in.; 53 cm. circlet: 6 1/4 by 6 3/4 in.; 15.9 by 17.1 cm. spiral heights: 1 5/16 to 3 1/8 in.; 3.33 to 7.9 cm.

200,000 - 300,000 USD

MODEL ZARA BLACKS WEARING ALEXANDER CALDER’S LADY KENNETH CLARK TIARA, CIRCA 1948

‘whenever i wear my tiara i am amazed by how light but sturdy it is, how ofbestriphowbalanced,perfectlyandversatileaofmetalcaninthehandsagenius’ — SARAH HOOVER 32 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

London,EXHIBITEDMayor Gallery, Calder: Mobiles and Stabiles, December 1 – December 24, 1937

Sir Kenneth and Lady Kenneth Clark (acquired from the above circa 1938)

Paris, Musée des Art Décoratifs, The Intimate World of Alexander Calder, February – May 1989

Paris, Musée Carnavalet, Masterpieces of American Jewelry, January – May 2006

Piasa Auction House, Paris, Bijoux d’artistes, December 2, 2015, lot 42

Judith Price, Ralph Esmerian, Ashton Hawkins, and Zane White, Masterpieces of American Jewelry, Running, Philadelphia, 2004, p. 90

TheNOTE

New York, Cooper Hewitt Museum, The Intimate World of Alexander Calder, October 1989 – March 1990

DanielLITERATUREMarchesseau and Harry Abrams, The Intimate World of Alexander Calder, Solange Thierry, Paris, 1989, p. 302 Penny Proddow and Marion Fasel, Bejeweled: Great Designers, Celebrity Style, Abrams, New York, 2001, pp. 82-85

Douglas Cooper, the curator of the Freddy Mayor Gallery between 1933-1938, secured Alexander Calder’s inclusion in an exhibition at the gallery, which opened in December 1937.

Writer Jed Perl notes that the same month, ‘Vogue let readers 'into a little secret’. Calder, a young American abstract sculptor whose show is now running at the [Freddy] Mayor Gallery, occasionally makes jewelry of great charm and originality’.... The social pages of the time emphasized that ‘many visitors [to the Mayor exhibition] were wearing Calder’s jewelry, with [Lady] Jane [Clark] at the head of the list.’

FROM COLLECTION

LADY KENNETH CLARK TIARA

UNTITLED HAIRBAND

FROM AN IMPORTANT EUROPEAN COLLECTION

GiftPROVENANCEoftheartist to Nelly Pichette, Paris

ALEXANDER CALDER

7

34 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 DETAIL

The first gift Alexander Calder gave his wife, Louisa, was a bracelet named Medusa, referencing her untameable and wild natural hair. It is possible that his plethora of hair ornaments in brass were inspired by Louisa’s hair. Untitled Hairband, with Alexander Calder’s traditional spirals on each end, can also be worn as a crown.

Christie’s New York, Post-War and Contemporary Morning Session, November 11, 2010, lot 169

LITERATURE

circa 1948, this unique work is registered in the archives of the Calder Foundation, New York, under the number brassA20137wire approximately:hairband51/2 by 6 by 3/4 in., 13.9 by 15.2 by 1.9 cm.

Acquired from the above by the present owner

Calder Au Donjon De Vez: Sculptures Monumentales, Stabiles, Mobiles, Bijoux, Tapisseries, Oeuvres Sur Papier: [exposition], 26 Mai-29 Septembre 1996, Donjon De Vez, Association des amis du Donjon de Vez, Vez, 1996, illustrated on no. 22 on p. 29

100,000 - 150,000 USD

NOTE

Vez,EXHIBITEDDonjon de Vez, Calder au Donjon De Vez, May 26September 29, 1996

‘UNTITLED’ SPIRAL PENDANT

The strong appeal of artist jewelry is based on the uniqueness of the works and the intimate link with the artist that designed them. The originality of these works allows them to compete with more valuable but conventional jewels. Artist’s jewelry has the advantage of hidden value only understandable by those in the know.STRATA

GiftPROVENANCEoftheartist to his sister-in-law Mary James Brown, AcquiredMassachusettsbydescent to William Slater Brown, Christie’sMassachusettsNewYork: Post War and Contemporary Sale, May 14, 2009, lot 215

FROM AN IMPORTANT EUROPEAN COLLECTION

70,000 - 90,000 USD

ThisNOTEunique ‘Untitled’ Spiral Pendant was gifted by the artist to his sister-in-law, Mary James, Louisa Calder’s sister. The spiral shape was a recurring theme in Alexander Calder’s brass, copper, silver, and gold creations.

Piasa Auction House, Paris, Bijoux d’artistes, December 2, 2015, lot 41

8

37

circa 1957, this unique work is registered in the archives of the Calder Foundation, New York, under number A09893 spiral copper pendant 2 by 3 3/8 in.; 5 by 8.5 cm

ALEXANDER CALDER

Acquired from the above by the present owner

HARRY BERTOIA (1915 - 1978) Arieto Bertoia, the Italian-born and naturalized American known as Harry Bertoia, was a sculptor and designer who gained recognition from an early age for his exquisite jewelry creations. When the architect Eliel Saarinen, Director of the Cranbrook Academy of Art, examined young Bertoia’s portfolio of jewelry in 1937, he signed him up on the spot for a full scholarship. Bertoia opened his first ironworks studio in 1939 and continued to make innovative jewelry pieces during the war years when metal was scarce and very expensive. Bertoia went on to create large sculptures and became especially well-known as the inventor of sound sculptures, which he called ‘sonambients.’ His collection of furnishings for Knoll, including the famous diamond chair, contributed to his international renown as a multi-faceted designer. Bertoia’s jewelry was intimate in scale, yet powerful and subtle. He discovered that light would perform wonderful dances if enough space was left between the metal shapes. His jewels were displayed alongside Alexander Calder’s at the Museum of Modern Art and the Walker Art Center in 1946.

38 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

harry bertoia

Yvonne J. Markowitz, Artful Adornments: Jewelry from the Museum of Fine Arts, Boston, MFA Publications, Boston, 2011, p. 166

MODEL XXXX XXXX WEARING HARRY BERTOIA’ S RARE CRABSHAPED BROOCH, 1943

9

PrivatePROVENANCEcollection of the private secretary to Eero Saarinen Wright Auction, Chicago, Harry Bertoia: Material and Form, May 2, 2007, lot 817a

Acquired from the above by the present owner

Town & Country, May 2018, ill. p. 114

41

Nancy Schiffer and Val O. Bertoia, The World of Bertoia, Shiffer, Atglen, PA, 2003, p. 25 for a similar example

Bertoia’sNOTE

shaped like a crab that responds to the wearer’s movement and vibration 4 by 2 ¾ in.; 10.2 by 7 cm.

jewelry work is very rare, and his hammered brass and silverwork came from his years at Cranbrook Academy of Art in Bloomfield Hills, Michigan. His pieces like this Crab-Shaped Brooch are handmade and created with rivets and tension fittings. A similar example can be seen in Yvonne J. Markowitz, Artful Adornments: Jewelry from the Museum of Fine Arts, Boston, MFA Publications, Boston, 2011, p. 166.

35,000 - 40,000 USD

Reading,EXHIBITEDPA, Reading Public Museum, In Nature’s Embrace: The World of Harry Bertoia, September 16, 2006 – January 7, LITERATURE2007

HARRY delicatecircaCRAB-SHAPEDBERTOIABROOCH1943sterlingsilverbrooch

‘SNAKE’ BROOCH 1943, unsigned silver snake-shaped brooch with vertical loop piercing head and a pin back 2 ⅞ by 1 ½ in.; 7.3 by 3.8 cm. 35,000 - 40,000 USD

WrightPROVENANCEAuction, December 2016, lot 139 Acquired from the above by the present owner

Nancy Schiffer and Val O. Bertoia, The World of Bertoia, Shiffer, Atglen, PA, 2003, ill. p. 27 June Kompass Nelson, Harry Bertoia, Sculptor, Wayne State University Press, Detroit, 2018, ill. fig. 15 Town & Country, May 2018, pictured with Calder jewelry on model worn as hair ornament, ill. p. 114

10

HARRY BERTOIA

(MAGAZINE) TOWN & COUNTRY, MAY 2018 SOLD TOGETHER WITH LOT 10. FEATURED IN ‘THE CULTURE OF BEAUTY,’ MODEL WEARING CALDER JEWELRY AS HAIR ORNAMENTS, P. 114, © VICTOR DEMARCHELIER.

43

Reading,EXHIBITEDPA, Reading Public Museum, In Nature’s Embrace: The World of Harry Bertoia, September 16, 2006 – January 7, LITERATURE2007

the above

HARRY IN THE 1970S.

Art

45

11 HARRY BERTOIA ‘UNTITLED’ BRONZE FRINGE PENDANT WITH KINETIC MOVEMENT circa 1976, unsigned, unique kinetic fringe pendant formed from twenty-eight hanging silicon bronze rods suspended from a horizontal copper rod with a suspension loop at each end 3 1/8 by 2 3/4 in.; 8 by 6.7 cm 10,000 - 15,000 USD

by Post-War

true

Reading

Wear:

Museum, PA, 2006, p. 54 Martine

PHOTO © THE HARRY BERTOIA FOUNDATION.

2006 – January 7, MarkLITERATURE2007Coir, In Nature’s Embrace:

focused

2012, p. 14, no. 10 ThisNOTE‘Unitled’ Bronze

In Nature’s Embrace:

Ltd.,

Kenneth J. Dukoff, New York Wright Auction, Chicago, Harry Bertoia: Material and Form, May 2, 2007, lot 819 Acquired

PROVENANCE from by Reading Public Museum, The World of Harry Bertoia, September 16, The World of Harry Bertoia, Public Newby Haspeslagh, to Jewellery Painters and Sculptors Didier, London, Fringe Pendant with Kinetic Movement was meant to be part of a new line of jewelry on gong-shaped pendants, dramatic bracelets, and hanging brooches for a limited-edition jewelry project with Kaare Bernston of Oslo, and this was one of only two fringe pendants completed before his death. In this work, to the Bertoia style, the rods are of slightly varying length and mirror the larger sound ‘sonambient’ sculptures that he is best known for.

the present owner Reading,EXHIBITEDPA,

,

BERTOIA

POL BURY (1922 - 2005) Belgian artist Pol Bury is often called one of the fathers of kinetic art. He translated his moving sculptures into jewelry, often making the pieces exact replicas of his larger sculptures at a vastly reduced scale. His signature orbs, rods, and stacks are a recurring motif in his jewelry, serving as a direct link to his sculptural practice: never static and always in motion. When worn on the body, the interaction between the work and the wearer brings movement to life. Bury’s process was to create cardboard models before he gave his jewelry designs to goldsmiths to produce.

pol bury

TheNOTEexcitement of Pol Bury’s moving sculpture - its articulations; its sounds; the visuals that keep the wearer entranced - is only heightened by its function as jewelry and its ability to be worn. His Arcs de cercle sur un carré ring, a later improvement upon the first collection that Cartier showcased, is another tally-mark in Bury’s catalogue raisonné and a testament to his creative kinetic sculpture.

POL

LouisaPROVENANCEGuinness Gallery, London

‘ARCS DE CERCLE VERTICAUX UN CARRÉ’ RING 1971, maker’s mark on band, hallmarked 18k gold designed by Bury and made by Jacques Bugin for Galerie Maeght, Paris, in an edition of 30 18k gold ring featuring a flat square upon which are many small arcs of metal approximate: 4/5 by 4/5 by 1/5 in.; 2 by 2 by 0.5 cm 7,000 - 9,000 USD ‘bury jewellery is actually far more sensual mathematicalthan in its perpetual motion ’ NEW YORK POST, 1971 POL BURY © ARCHIVES POL BURY, PARIS2015,ADAGPPARIS 47

PROPERTY OF A PRIVATE COLLECTOR BURY

DoreLITERATUREAshton, Pol Bury, Galerie Maeght, Paris, 1970, p. 138 Bijoux de Pol Bury, Galerie Maeght, Paris, 1972, no. 14

12

Acquired from the above by the present owner

LouisaPROVENANCEGuinness Gallery, London

DianeLITERATUREVenet,From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 232 for bracelet version Louisa Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 133

A PRIVATE COLLECTOR POL

WithNOTEhis signature rods, Pol Bury creates a delightful and sensually simple piece of moving sculpture. The curious articulations, sounds, and appearance of the work are only heightened by its function as jewelry and its ability to be worn. His Tiges sur un carré design, part of the first collection that Cartier showcased in 1971, is another tallymark in Bury’s catalogue raisonné and a testament to his creative kinetic sculpture. OF BURY

‘TIGES SUR UN CARRÉ’ RING 1974 signed Pol Bury, hallmarked and numbered designed by Bury and made by Gennari for Galerie Maeght, Paris, edition 10/30 18k gold ring with a square table with moving rods mounted on a approximately:band1by 1 by 1/4 in.; 2.5 by 2.5 by 0.6 cm size: 4.25 (US); I (UK) 7,000 - 9,000 USD ‘...he thinks the rings, bracelets and medallions should be sold with their own cubes [and] when they are not being worn they could be set on the cubes like a miniature sculpture’ —EUGENIA SHEPPARD INSIDE FASHION,’ NEW YORK POST, APRIL 12, 1971 THE 1962 POL BURY WALL SCULPTURE RETRACTILE CONSISTS OF A TEXTURED WOODEN SQUARE WITH PROTRUDING BUNCHES OF WRITHING TENTACLES POWERED BY A HIDDEN MOTOR © ARCHIVES POL BURY, PARIS ADAGP 2015, PARIS 49

Acquired from the above by the present owner

13 PROPERTY

BURY’S ‘BOULES DES DEUX COTES D’UN CYLINDRE’ BRACELET, CIRCA 1968 © LOUISA GUINNESS GALLERY,

Acquired from the above by the present owner

Caracas, Venezuela, Estudio Actual, Pol Bury, 1971 New York, Cartier, April 13 - May, 1971 Paris, Galerie Maeght, Bijoux De Pol Bury, 1972 Boston, Institute of Contemporary Art, Jewelry as Sculpture as Jewelry, 1973

ThisNOTE‘Boules des deux côtés d’un cylindre’ Bracelet was part of an edition of twenty-five produced by the goldsmith GEM Montebello, which sold out immediately when it was exhibited at Cartier in 1971. Bury worked with the Parisian gallery Maeght in order to bring these tiny versions of his larger work to fruition and fully believed that they were works of art of identical value, suggesting that owners display his jewelry like museum pieces when they were not adorning the body.

1968,BRACELETsigned

Pol Bury ‘68 on reverse, stamped with maker’s mark GM 18k gold with articulated spheres on the interior and exterior of the cylinder with original box; edition 20/25 ( which sold out in 1972); executed by GEM Montebello, internalMilan diameter: 2 4/5 in.; 7.2 cm. (excl. spheres) 40,000 - 60,000 USD

Manon Lecaplain, Emmanuel Guigon, et al., Picasso y las joyas de artista, Museu Picasso, Barcelona, 2021, p. 122

Emmanuel Guigon, Bijoux d’Artistes: une collection, Silvana Editoriale, Milan, 2012, p. 67

51 14 PROPERTY OF A PRIVATE COLLECTOR

DoreLITERATUREAshton, Pol Bury, Galerie Maeght, Paris, 1970, p. 139, no. 98b

ALEXANDER ENGLISH

POL ‘BOULESBURYDESDEUX

Marilena Mosco, L’arte del Gioiello e il Gioiello d’artista dal ‘900 ad oggi = the Art of Jewelry and Artist’s Jewels in the 20th Century, Giunti, Florence, 2001, p. 290, fig. 112, and p. 297, tav. LV.

LouisaPROVENANCEGuinness Gallery, London

Bijoux de Pol Bury, Galerie Maeght, Paris, 1972, no. 29

NewEXHIBITEDYork,Sculpture to Wear, Inc., 1971

Louisa Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 135

Rosemarie Pahlke, Pol Bury: monographies de l’art moderne, avec catalogue raisonné, Brussels, Gemeentekrediet, 1994, no. J 69-3

CÔTÉS D’UN CYLINDRE’

POL PHOTO BY

LOT 15 SOLD TOGTHER WITH PROMOTIONAL PHOTO BY UGO MULAS. ON BACK OF PHOTO IS A BIO OF POL BURY BY JOAN SONNABEND © UGO MULAS AND ARCHIVES POL BURY, PARIS ADAGP 2015, PARISDETAIL

40,000 - 60,000 USD

POL

SculpturePROVENANCEtoWear, Inc., New York (acquired in 1968 for Acquired$3600) from the above by the present owner

52 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 53 15

DoreLITERATUREAshtonPol Bury, Maeght, Paris, 1970, p. 139 Bijoux de Pol Bury, Galerie Maeght, Paris, 1972, no. 32 Ralph Turner, Jewelry in Europe and America: New Times, New Thinking, Thames and Hudson, 1996, p. 24 Diana Küppers, Künstlerschmuck = objets d’art, Hirmer, Munich, 2009, p. 38

Emmanuel Guigon, Bijoux d’Artistes: une collection, Silvana Editoriale, Milan, 2012, p. 67

‘BOULESBURYDESDEUX CÔTÉS D’UN CARRÉ’ BRACELET

NewEXHIBITEDYork,Sculpture to Wear, Inc., 1971

Spoleto, Italy, Palazzo Collicola, Gioielli Come Sculture –Jewellery as Sculpture: Bijoux d’Artistes, July 7 – 29, 2018

InNOTE1971, the New York Post noted that Bury ‘…thinks the rings, bracelets and medallions should be sold with their own cubes… [so] when they are not being worn they could be set on the cubes like a miniature sculpture. He may be starting more than he thinks. Bury’s jewellery certainly can stand alone as miniature works of art.’ — Morelle Davidson, ‘Jewellery Maker Profile: Pol Bury,’ Knowledge Centre

Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 60 Manon Lecaplain, Emmanuel Guigon, et al., Picasso y las joyas de artista, Museu Picasso, Barcelona, 2021, p. 123 for later version

1968, marked Pol Bury 68, edition 6/50 and stamped GEM 750 and silver hallmark 800; model no. PB/2 18k gold and silver bracelet with original box, together with promotional photo by Ugo Mulas, on back of photo is a bio of Pol Bury by Joan Sonnabend wrist diameter: 2 1/8 in.; 5.4 cm. square: 2 by 2 by 1 1/8 in.; 5 by 5 by 3 cm.

Boston, Institute of Contemporary Art, Jewelry as Sculpture as Jewelry, 1973

JESÚS RAFAEL SOTO

jesús rafael soto

55 JesúsNOTE Rafael Soto designed these Penetrable earrings concurrently as he was creating large-scale works enabling people to physically enter the piece and observe how the object and body interact. A blend of geometric abstraction, Minimalist sculpture, and playground, his simple grids of colorful PVC tubing were usually suspended from free-standing frames and often placed outside. Soto always considered them ephemeral, and only a handful have survived the inevitable wear and tear. Penetrable earrings executed by GEM is a good example of how GEM Montebello created unconventional designs by well-known artists at reasonable prices.

25,000 - 30,000 USD

Paris,EXHIBITEDMusée des Arts Décoratifs, Bijoux d’Artistes de Calder à Koons, March 7, 2018 – May 31, 2019 Urbino, Palazzo Ducale, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, May 31 –September 8, 2019

Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, this example illustrated p. 167

JESÚS RAFAEL SOTO (1923–2005) Soto was granted a place at the Biennale Internazionale d’Arte di Venezia, Venice, Italy, in the Venezuela Pavilion in 1966, where he installed a curtain of fine wire rods that visitors could walk through. Soto, a Venezuelan artist, used the opportunity to explore movement and instability.

1968,‘PENETRABLE’signedGEM, 800, with maker’s mark a pair of large kinetic earrings in silver with silver-gilt bi-colored moving rods; executed by GEM Montebello for an edition of unknown size; omega clip-ons with supportive back-of-ear hooks 3 1/2 by 2 11/16 in.; 9 by 6.8 cm.

LorettaLITERATUREYarlow, Jewelry as Sculpture as Jewelry, Institute of Contemporary Art, Boston, 1973, another pair illustrated no. 124 Bijoux d’artistes = Artists’ Jewellery, Galerie Sven, Paris, 1976, another pair illustrated, p. 13, no. 21 Diana Küppers, Künstlerschmuck = objets d’art, Hirmer, Munich, 2009, another pair illustrated p. 152 Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, another pair illustrated p. 220 Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 180-181

In 1968, two years later, Soto designed earrings using a similar curtain of tightly packed and suspended metal rods. Both works chart the artist’s progression toward his Penetrable series, which have proven to be some of the most admired works in the history of contemporary art.

JESÚS

RAFAEL SOTO’S ‘PENETRABLE’ EARRINGS, 1968 PHOTO COURTESY OF © DIDIER, LTD, LONDON 16

PrivatePROVENANCEcollection, England

Emmanuel Guigon and Manon Lecaplain, Picasso I Les Joies D’artista = Picasso and Artist’s Jewellery, Fundació Museu Picasso de Barcelona, Barcelona, 2021, another pair ill. p. 158

Antwerp, DIVA, Wonderkamer II: Wouters & Hendrix, September 13, 2019 – February 16, 2020

From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 66 for 1970s version

HOPEAKUU (SILVER MOON)

FROM AN IMPORTANT EUROPEAN COLLECTION TAPIO WIRKKALA

Wirkkala’sNOTE

PiasaPROVENANCEAuctionHouse, Paris, Bijoux d’artistes, December 2, 2015, lot 13on Acquired from the above by the present owner

Silver Moon was first concieved in 1970. This work from 1973 is modeled after the largest necklaces and earrings in the original 1970 collection. It was inspired by antique jewels and the modernity of the age, and because the circles are different widths, they oscillate when worn.

TAPIO WIRKKALA’S HOPEAKUU, 1973 COURTESYPHOTOOF © DIDIER, LTD, LONDON 57

Wirkkala was interested in beautifying everyday objects, and in the 1970s applied the principles of modernity that he had developed to new pieces of jewelry. His models of necklaces and earrings that he called Hopeakku, or ‘silver moons’, are some of his most iconic work in the field and are instantly recognizable.

17

tapio wirkkala

DianeLITERATUREVenet,Bijoux d’artistes de Picasso à Jeff Koons, Skira Flammarion, Paris, 2011, p. 66-67 for 1970s

TAPIO WIRKKALA (1915 - 1985) Finnish artist Tapio Wirkkala was trained as a sculptor and began working at the end of World War II in his signature minimal, modern aesthetic. He created his first piece of jewelry in 1961 for the International Exhibition of Modern Jewelry held by the Victoria and Albert Museum and the Worshipful Company of Goldsmiths - a seminal event that established the careers of multiple art jewelers and established a new era in European adornment.

DianeversionVenet,

executed 1973, stamped NW U7 (for 1973), 925, Finnish hallmark for domestic silver sterling silver pendant comprised of thirteen concentric rings maintained by a central axis which permits the pieces to oscillate depending on the movement of the body; limited edition pendant designed by T apio Wirkkala for Nils Westerback, Helsinki, for Kultakeskus Oy, Finland pendant: 4 1/3 in.; 11 cm. chain: 20 1/2 in.; 52.3 cm.

3,000 - 4,000 USD

Seoul,EXHIBITEDKorea, Hangaram Design Museum of the Seoul Arts Center, Picasso to Jeff Koons: The Artist as Jeweler, December 11, 2013 – February 23, 2014

MARCHE SCHOOL. Urbino, Italy, nestled between the Apennine Mountains and the Adriatic Sea, was a hub during the Renaissance known for its masterful architecture and glorious landscape. From the 15th century to the present, spectators and admirers traveled from all over to view the arts - including architecture, painting, sculpture, and interior design - created in the region and witness the connections between these crafts and skills that do not distinguish between the major and minor arts.

GIORGIO FACCHINI NECKLACE, 1968. PHOTO © COURTESY OFFACCHINIGIORGIO 58 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

marche school

The historical art of goldsmithing sits side by side with the art of sculpture but garners more recognition for its technical superiority than its creativity. Urbino jewelers long ago gained international recognition for their work in the material, but in the past century their underappreciated artistic efforts have been more fully recognized and acknowledged. Artists important to the history of painting and sculpture in the 20th and 21st century continue to show jewels in this setting as authentic expressions of their sculptural language. Our featured artists in this group are Alberto Giorgio and Giorgio Facchini, both of whom studied under the famed sculptor Edgardo Mannucci.

KINETIC DRESS IN WOOL, 1970 PHOTO © ARCHIVES PIERRE CARDIN

7/8 by 11/16 in.; 2.22 by 2.7 cm.

AcquiredPROVENANCEdirectly from the artist by the present owner

18

GIORGIO FACCHINI (B. 1947) Facchini’s unique language of assembling metals and semi-precious stones geometrically resulted in part from the training he received from his uncle, sculptor and goldsmith Edgardo Mannucci, as part of the Marche school in Urbino. In this region, jewelry-making boasts a centuries-old tradition of technical superiority, leading the region to gain international recognition.

WHITE AGATE RING

Facchini’s work made such a strong statement that Op Artinspired fashion designer Pierre Cardin asked Facchini to return with him to Paris and design the jewelry for his 1969 Haute Couture Runway show. Doing so launched Facchini to international recognition and acknowledgement from museums, important private collections, prizes, and numerous exhibitions.

AMETHYST RING

2020, signed G. Facchini, Italian hallmark and 750 stamp unique 18k rose gold and amethyst ring 1 1/2 by 3/4 in.; 3.5 by 2 cm. size: 7 1/2 (US)

GIORGIO FACCHINI

circa 2012, signed Gorgio Facchini with Italian hallmarks and 18k stamp unique 18k rose gold trapezoid-shaped ring with white agate surrounding a central rose gold oval

AcquiredPROVENANCEdirectly from the artist by the present owner

giorgio facchini

3,000 - 4,000 USD

PIERRE CARDIN TWO-TONE JERSEY DRESSES WITH VINYL WADERS, 1969 PHOTO YOSHI TAKATA © PIERRE PELEGRY 61

3,000 - 4,000 USD

GIORGIO FACCHINI

19

GIORGIO FACCHINI © PHOTO COURTESY OF GIORGIO FACCHINI

size: 7 1/4 (US)

SPATIALISMO (SPACE UNIVERSE)

DETAILS

Spatialismo by Giorgio Facchini is a precious-metal necklace with gemstone inserts, brilliant-cut rubies, and cabochons. According to the artist, ‘the centre depicts the link through space to an unknown planet, the material touchdown of my thought-process, the voyage to an imagined but uncertain destination: life, space. And a fiery red rocket, launched towards unexplored worlds.’

1970, unique, signed Giorgio Facchini on pendant reverse, two partial 750 marks and a series of numbers and letters 18k yellow gold, rose gold, and white gold necklace with a pendant comprising a large, polished oval attached to long rectangular cuttlefish-bone case sections, overlaid by a geometric pattern of open circles and faceted rubies in raised cylindrical mounts that result in a cross motif pendant: 3 1/2 by 3 1/2 in.; 8.9 by 8.9 cm. chain: 26 in.; 66.4 cm.

AcquiredPROVENANCEdirectly from the artist by the present owner

Facchini, The Art of Jewelry: Sculptural Work by Giorgio Facchini, Collectors Gallery Brussels, October 2020, p. 2

20,000 - 30,000 USD

LITERATURE

NOTE

GIORGIO FACCHINI

20

InNOTEFacchini’s words, his Spatial Necklace ‘resembles a mechanical spacecraft in flight. Made of gold and precious metals, I created this necklace in 1974. For me it is a material-spatial evolution, an assemblage of varied images – figures, shapes, traces, and signs. The images are open to interpretation, familiar visual messages and forms which spur us perhaps to discovery.’

DETAILDETAILS

Spatial Necklace is representative of Facchini’s work consisting of geometric sections with representations similar to kinetic art. His alternating shiny and opaque surfaces balance shapes in original formats, giving life to his creations.

PHOTO BY STYLE STRATA,

GIORGIO FACCHINI

20,000 - 30,000 USD

NEW YORK

1974, unique, signed Giorgio Facchini 74; stamped 750 on clasp

SPATIAL NECKLACE

21

18k yellow gold and rose gold with interwoven snaffle-andbar link chain on a geometric pendant with textured gold multi-linked geometric designs pendant: 2 1/3 by 2 1/3 in.; 6 by 6.6 cm. chain: 22 in.; 56 cm.

AcquiredPROVENANCEdirectly from the artist by the present owner

22

TorriniPROVENANCEcollection, Florence

18k yellow gold curved rectangular brooch/pendant with four square kinetic elements, each bearing a circular cutout with a small central ring 2 1/8 by 1 1/2 by 1/2 in.; 5.4 by 3.9 by 1.2 cm. 5,000 - 7,000 USD

RICERCA FORMALE RADAR 1972-73, TORRINI FIRENZE COLLECTION

ALBERTO GIORGI’S RADAR BROOCH PENDANT PHOTO BY STYLE STRATA, NEW YORK

ALBERTO GIORGI (B. 1947) worked in the 1960s at a time when kinetic art was emerging and the contrast between tradition and technology was felt sharply. Giorgi, much like his countryman Giorgio Facchini, used geometry as an expressive tool to construct abstract narratives of moveable constellations that generated mysterious landscapes. His jewelry often recalled moonscapes, constellations, sidereal bodies, and planetary orbits controlled by strict principles of geometry.

inscribed on reverse RADAR, 1970, L 85, a. giorgi

Radar brooch/pendant ‘isn’t just an aesthetic object to wear. It is complex mechanisms that combine the artistic and technical origins of the 1960s. Engineering development, the relationship between machine and man, mechanics, invading space like instruments of celestial measurement, the whole consideration about time and the cultural period found expression and image in the sculptural work of Giorgi.’— Nastya Ivlieva, ‘Alberto Giorgi: Tradition and Kinetic Art.’

Giorgi collaborated with Torrini, the celebrated company of Florentine goldsmiths, around the time he created this Radar pendant. His three-dimensional kinetic pieces are reminiscent of complicated mechanisms; truly art Giorgi’sjewelry.

1970,RADARunique,

1970

ALBERTO GIORGI

66 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

AlbertoNOTE

DETAIL

II jewelry expressionismabstractas... LOTS 23 – 26

ABSTRACT EXPRESSIONISM. In Italy, the roots of this art movement are found in the School of Rome, a group of artists active from the 1930s to the 1950s. Mario Masenza, an avid collector with a passion for their art, was the third generation of renowned Roman jewelers who supplied the Italian royal family. In 1948, he began approaching contemporary artists with an offer to work with his goldsmiths to create jewelry. Over a period of thirty-odd years, Masenza collaborated with more than thirty artists, including Franco Cannilla and Afro Libio Basaldella, and is credited with breathing fresh life into goldsmithing in post-war Italy.

circa 1960s, signed Afro, inscribed on the inside MasenzaRoma, stamped with makers mark and 750 unique 18k yellow gold collar of a ‘calligraphic’ design, accented with round faceted white diamonds, doublehinged closure

Following a lull in the first half of the 20th century, artists and architects returned to designing jewelry in the post-war years. Jewelers also played their part, as in Rome, where the noble firm of Masenza, known for supplying the royal family for generations and for their wax modeling method executed by expert craftsmen, was influenced by the next generation’s love for and collecting of contemporary art. In 1946 Masenza commissioned a Mirko bracelet, and by 1948 all the best abstract expressionist painters and sculptors in Rome, such as Afro and Canilla, began to make works that would revolutionize Italian jewelry for the next century.

71

23

GrahamLITERATUREHughes, International Exhibition of Modern Jewellery 1890-1961, The Worshipful Company of Goldsmiths, London, 1961, no. 74 for similar work Rosemary Ramsey Stewart and Casa Italiana ZerilliMarimò, Afro, De Luca Editori d’Arte, Rome, 2015,p. 34 for a similar version

afro basaldella

PrivatePROVENANCEcollection, United States

AFRO LIBIO BASALDELLA

internal circumference: 14 1/3 in.; 36.3 cm. band at widest: 1/2 in.; 1.2 cm. 10,000 - 20,000 USD

ThisNOTEAfro for Masenza-Roma Collar was designed by Afro Basaldella and executed by the house of Mario Masenza. Masenza, born into a family of jewelers who had supplied the Italian Royal family since 1924, thought post-war art in Italy was exciting. As an art collector himself, Masenza recruited his favorite artists to design jewelry. Because all the jewelry was made in the workshop of Masenza, it developed a certain recognizable look and the bright yellow-gold color and hand of his craftsmen became a style unto itself.

DETAIL ON CLOSURE OF SIGNATURE AFRO AND INSCRIPTION MASENZA-ROMA

IMAGE DEPICTING THE INTERIORS OF THE MASENZA JEWELRY STORE, FOUNDED BY THE CHARISMATIC MARIO, DATES BACK TO JANUARY 1984 WHEN MARIO MASENZA INVITED IMPORTANT PAINTERS AND SCULPTORS OF THE EARLY 20TH CENTURY AND BEYOND SUCH AS FRANCO CANNILLA, LORENZO GUERRINI, AFRO AND MIRKO BASALDELLA, AND PERICLE FAZZINI. THESE ARE THE ONLY IMAGES PRESERVED BY THE PHOTOGRAPHIC ARCHIVE OF THE ARCHEOLOGY,SUPERINTENDENCESPECIALOFFINEARTSANDLANDSCAPEOFROME.

AFRO FOR MASENZA-ROMA COLLAR

AFRO LIBIO BASALDELLA (1912 – 1976) Commonly known simply as ‘Afro,’ Afro Libio Basaldella was an internationally-recognized Italian abstract painter and sculptor. He was a member of the School of Rome and was one of the artists commissioned by the jeweler Mario Masenza, a renowned Roman jeweler, who was the first to invite artists to his workshop to create what he termed ‘intellectual fashion.’ In October 1949, the Jewelry by Masenza exhibition opened in Milan, and Afro was among the artists and sculptors invited to create special pieces for this innovative show. Afro’s constantly-evolving jewelry designs were often inspired by ancient Etruscan, Roman, and Hellenistic sculptures, Aztec carvings, and pre-Columbian art. Many of his creations consisted of intertwined precious stones elegantly set in embossed and chiseled gold. The pieces displayed a pure handling of light that recalls the bold and energetic gestural style of his painting. By the mid-1950s, Afro had gained international recognition and his art was exhibited in 1961 at the Guggenheim Museum in New York with an accompanying monograph written in dedication.

8,000 - 10,000 USD

MASENZA - ROMA ATTRIBUTED TO AFRO LIBIO BASALDELLA

OfNOTEasimilar Afro/Masenza necklace, the Cincinati Art Museum writes: ‘At the time this necklace was designed, Afro’s paintings were largely abstract and he was highly influenced by Swiss painter Paul Klee and by Armenian American Arshile Gorky. This necklace expresses Afro’s interest in the primitive figural form. Designed by Afro, but made by Masenza’s workshop, deep-set cabochon stones and the dull gold textural finish are contrasted with diamond chips that form the eyes of the creature-like pendants.’ — Cynthia Amnéus, Cameron Silver, and Adam MacPhàrlain, Simply Brilliant: Artist-Jewelers of the 1960s and 1970s, D. Giles, Lewes, UK, 2020, p. 81

AFRO FOR MASENZA-ROMA CHOKER

RosemaryLITERATURERamsey Stewart and Casa Italiana ZerilliMarimò, Afro, De Luca Editori d’Arte, Rome, 2015, ‘Jewelry’ chapter, number 10, similar design for earrings Martine Newby Haspeslagh, Jewels of the Italian Modern Masters, Didier Ltd., London, 2015, p. 9, no. 3 Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, pp. 42, 45

MODEL DEBORAH DIXION WEARING ITALIAN HAUTE COUTURE WITH THE PAINTER AFRO. 1962, ROME © HARPERS BAZAAR

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circa 1955, inscribed on the reverse of the middle pendant MASENZA and ROMA, stamped 750 CE, italian hallmark on uniquechoker18k gold and emerald sculptural pendant and neck wire retailed by Mario Masenza, Italy; pendant of an abstract figurative form with three articulated emerald drops, suspended on a handmade wire choker choker diameter: 5.1 by 5.1 in.; 13 by 13 cm. pendant: 1 5/8 in.; 4.13 cm.

CIRCA 1950, GOLD & DIAMOND NECKLACE, SIMILAR EXAMPLE FORMERLY IN THE COLLECTION OF PRINCESS SORAYA OF IRAN © DIDIER LTD

PrivatePROVENANCEcollection, United States

VERSO

Luisa Somaini and Claudio Cerritelli, Jewelry by Artists in Italy: 1945-1995, Electa, Milan, 1995, p. 76 for other Cannilla examples

75

circa 1960s, unique, signed Cannilla, stamped MASENZAROMA

FRANCO CANNILLA (1911 - 1985) Italian sculptor and painter Franco Cannilla was also a highly talented jewelry maker. His pieces were usually produced in small or limited numbers and are regarded as more intimate expressions of his artistry than his larger works. His mini-sculptures, made to be worn as adornment, are what Calder described as ‘living works of art’ to be appreciated by the wearer as well as the observer and art lover. Often worked in gold, Cannilla’s jewelry is noted for its unique, ornate designs. He collaborated over a long period with Mario Masenza, heir to the jewelers who supplied the Italian royal family. In the 1940s, Masenza began inviting contemporary artists like Cannilla to come to his gold workshop and work with goldsmiths there, combining traditional metalworking techniques with contemporary aesthetics in a highly creative approach to goldsmithing. Masenza’s shop in Rome became a showplace for stylish and sophisticated works of wearable art executed by some of Italy’s most prestigious artists. Jewels by Cannilla were included in Masenza’s first major jewelry exhibition, Jewelry by Masenza, held in Milan in 1949. Cannilla’s relationship with the Masenza workshop continued until the late 1960s.

A EUROPEAN PRIVATE COLLECTOR FRANCO CANNILLA

18k gold horse-head brooch with eleven rubies for the mane and one round white faceted diamond for the eye 1 3/8 by 2 in.; 3.5 by 5 cm.

SIGNED CANNILLA STAMPED MASENZA-ROMA 25

6,000 - 8,000 USD

BRITT EKLAND, WEARING MASENZA-ROMA JEWELRY, LEAVES LONDON AIRPORT FOR BANGKOK, WHERE SHE IS DUE TO START FILMING THE MAN WITH THE GOLDEN GUN 1974. PHOTO BY DENNIS STONE/

GOLD AND RUBY HORSE-HEAD BROOCH

franco cannilla

MIRRORPIX/ GETTY IMAGES

PrivatePROVENANCEcollection, United States

Martine Newby Haspeslagh, Jewels of the Italian Modern Masters, Didier Ltd., London, 2015, p. 12 for similar brooch Cynthia Amnéus, Cameron Silver, and Adam MacPhàrlain, Simply Brilliant: Artist-jewelers of the 1960s and 1970s, D. Giles, Lewes, UK, 2020, p. 92

©

NOTE Gold and Ruby Horse-Head Brooch by Franco Cannilla is an excellent example of a unique and ornate jewelry design intended as a small sculpture to be worn, or as Alexander Calder described such pieces: ‘living works of art.’

FilibertoLITERATUREMenna, Mostra Antologica Di Franco Cannilla, Caltagirone, 1981, ill. p. 9 for similar example

Acquired from the above by the present owner

18,000 - 25,000 USD

PROVENANCEPrivatecollection, Europe

BRITT EKLAND WEARING FRANCO CANNILLA’S JEWELRY, GOLD LINK BRACELET FOR MASENZAROMA, CIRCA 1965 © PHOTO BY DENNIS STONE/ MIRRORPIX/GETTY IMAGES

77 26

Jewels of the Italian Modern Masters, Didier Ltd., London, 2015, p. 15 Cynthia Amnéus, Cameron Silver, and Adam MacPhàrlain, Simply Brilliant: Artist-Jewelers of the 1960s and 1970s, D. Giles, Lewes, UK, 2020, p. 95 for similar example

Vicenza,EXHIBITEDItaly, Museo del Gioiello Vicenza, Gioiello & Simbolo, Cincinnati,2014Ohio, Simply Brilliant: Artist-Jewelers of the 1960s and 1970s, October 22, 2021 – February 6, 2022 for a similar MartineLITERATUREexampleNewbyHaspeslagh,

FRANCO CANNILLA

GOLD LINK BRACELET FOR MASENZA-ROMA

circa 1965, unique, signed Cannilla and stamped MASENZA-ROMA, partial Italian assay and registry marks 18k yellow gold, consisting of six free-form repoussé decorated links of raised lines and abstract shapes 1 1/4 by 9in.; 3.1 by 23 cm.

ThisNOTEGold Link Bracelet for Masenza-Roma is a testament to Cannilla’s refined sense of biomorphism and of his ability to capture malleable, weathered forms in immovable and muted gold. Though it looks like it should be weighty - nearly a burden around the wearer’s wrist - in a stroke of genius Cannilla designed it to be hollow, producing a bracelet that is a pleasure to wear.

MODEL WEARING TWO FRANCO CANNILLA GOLD LINK BRACELETS FOR MASENZA-ROMA, CIRCA 1965 © PHOTO COURTESY OF MAHNAZ COLLECTION, NEW YORK

III (MAGAZINE) PURPLE NO.5, 2006, SOLD TOGETHER WITH LOT 27. CARINE ROITFELD WEARING COMPRESSION PENDANT BY CÉSAR © PHOTOGRAPH BY INEZ VAN LAMSWEERDE AND VINOODH MATADIN, PHOTO © COURTESY OF PURPLE FASHION NO. 5 jewelrysculptureas... LOTS 27 – 48

SCULPTURE. Sculptors are accustomed to working in three dimensions, exploring space in tangible works that appeal to both the visual and tactile senses. They are thus especially adept at designing wearable works of art. Many have readily embraced jewelry-making as an extension of their artistic practice, bringing to the medium a fresh approach to traditional materials and techniques to create more intimate and often strikingly new versions of their signature artworks. They create visionary, revolutionary architectural forms scaled to fit the human body.

79

‘for me art is a need, it’s what makes me get up in themorning, it’s whatallows me to think, it’s what allows mesee’to

(BOOK) SOLD TOGETHER WITH LOT 27. JAMES BALDWIN & FRANÇOISE GIROUD, COMPRESSIONSCÉSAR: D’OR, LIBRAIRIE HACHETTE, 1973. PHOTO © JEAN FERRERO

(BOOK) SOLD TOGETHER WITH LOT 27. CÉSAR IN 1973. JAMES BALDWIN & FRANÇOISE GIROUD, CÉSAR: COMPRESSIONS D’OR HACHETTE,LIBRAIRIE1973. PHOTO © JEAN FERRERO. (BOOK) SOLD TOGETHER WITH LOT 27. JAMES BALDWIN & FRANÇOISE GIROUD, CÉSAR: COMPRESSIONS D’OR, LIBRAIRIE HACHETTE, 1973. PHOTO © JEAN FERRERO (BOOK) SOLD TOGETHER WITH LOT 27. SAMPLE SKETCH OF JEWELRY INCLUDED IN ONE OF CESAR’S COMPRESSION WORKS. JAMES BALDWIN & FRANÇOISE GIROUD, CÉSAR: COMPRESSIONS D’OR LIBRAIRIE HACHETTE, 1973.

césar baldaccini

CÉSAR BALDACCINI (1921–1998) Known by the mononym César, this French sculptor was at the forefront of the Nouveau Réalisme movement, a style whose artists drew inspiration from urban life and created their works with everyday artifacts rather than traditional artistic materials. Famous for his radical technique of compressing objects and his fanciful representations of animals and insects, César often crushed together diverse objects to produce his totem sculptures. When he began making jewelry, he employed similar techniques on a much smaller scale. His ‘compressed’ jewelry often included elements deeply personal to the wearer, as he would reconfigure and weld together women’s belongings and combining old and new to create a unique work of art. Parisian clients in the know and people in his immediate entourage brought him pieces of jewelry that César would compress to create ‘mini autobiographies’ as wearable totems, emblematic of his larger sculptures. His works, whether unique pieces or limited editions, invariably reflect his preoccupations with materials, context, scale, and transformation as well as the link between objects and the passage of time.

—CÉSAR

81

CÉSAR 1998,‘COMPRESSION’BALDACCINIPENDANTsigned

César, French assay marks, and maker’s mark, registered in the Archives of Madame Denyse Durand-Ruel under number 814

27

Acquired from the above by the present owner

JamesLITERATUREBaldwin & Francoise Giroud, César: Compressions d’Or, Librairie Hachette, 1973, pp. 10-16

Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, pp. 52-53 for other examples

2 by 1 1/8 by 1/4 in.; 5 by 3 by 1 cm. (without bail)

82 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

PHOTO © JEAN FERRERO

Artcurial,PROVENANCEParis, January 17, 2022, lot 93

40,000 — 60,000 USD

FromNOTE the 1960s onward, French sculptor César compacted cars and all kinds of materials including paper, fabrics, and even family jewels. He used scraps of gold and silver, often set with other gemstones, to create works like this ‘Compression’ Pendant. They were crushed in a way that did not require solder for stability. Before compacting them, he would make photocopies of all the jewelry pieces contained in the compression.

(BOOK) SOLD TOGETHER WITH LOT 27. JAMES BALDWIN & FRANÇOISE GIROUD, COMPRESSIONSCÉSAR: D’OR, LIBRAIRIE HACHETTE, 1973.

18k white, yellow, and rose gold rectangular pendant with a diamond, emerald, ruby, sapphire, a coin showing Mercury with a caduceus, and retractable bail; executed by goldsmith Gérard Blandin; lot sold together with (magazine) Purple No 5, and (book) James Baldwin & Françoise Giroud, César: Compressions d’Or, published by Hachette, Paris, 1973

LOT 27: FRONT LOT 27: BACK WITH CÉSAR SIGNATURE

‘Et puis, il y a les bijoux de César. Estce la forme, la matière, l’énergie captive de l’or compressé ? Il y a là-dedans du sortilège. Objets magiques, ils sollicitent la main à peine ont-ils attiré l’œil. Prendre. Toucher. Peser. Caresser de la paume les arêtes douces. Refermer les doigts sur ce bloc exact. Passer le pouce sur la face étroite, puis sur la face large, puis sur l’autre face étroite, puis sur l’autre face large. Comparer. Discerner, sous le doigt, le rugueux du lisse dans la peau tiède de l’or. Volupté, pure volupté. Puis, vient la possession par le regard, et le trouble. Un trouble qui n’est plus de l’ordre des sens.

Quand passe à votre portée un bijou de César, si vous ne pouvez pas l’acheter, volez-le.’

Les chaînes tordues, ces anneaux convulsés, ces cabochons éclatés que l’on dirait comme pétrifiés dans un mouvement de fuite, ors blancs, rouges et jaunes confondus, seul le hasard les a organisés La main de Dieu dans la main de César, une double empreinte qui fait rêver. Certains blocs sont en coulées sereines, d’autres en volutes sauvages. Il n’en existe pas deux semblables. Le hasard ne bégaie jamais. Aussi faut-il se hâter de le prendre au mot.

— FRANÇOISE GIROUD

28

PROVENANCETheEcrinsofVersailles, Versailles, February 20, 2022, lot Acquired308

Louisa24

From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 152 for a later version Martine Newby Haspeslagh, Art to Wear: Jewellery by Post-War Painters and Sculptors, Didier, London, 2012, p.

ItNOTEisrumored that César made these ‘Le Sein’ pendants so that men would have something to fiddle around with in their pockets - a cross between a worry stone and a historical miniature portrait to recall one’s lover.

from the above by the present owner

88 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 152

CÉSAR BALDACCINI

nipplecésar1960sthe

‘LE SEIN’ PENDANT

circa 1967, signed César on the reverse silvered bronze pendant of a breast moulded from a dancer from the Crazy Horse in Paris in 1966, with a flat back and hole pierced at top for pendant loop; produced in an unlimited edition by Atelier Sven, Vienna 1 7/16 by 1 1/4 by 1/2 in.; 3.7 by 3.2 by 1.3 cm.

2,000 - 3,000 USD

CÉSAR AND LE SEIN (1967) AT THE SCHNEIDER FOUNDRY IN MONTCHANIN (FRANCE), PHOTO © GEORGES KELAIDITES FONDS J.B. GILLOT/ADOC-PHOTOS

DianeLITERATUREVenet,

DETAIL

90 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

1 1/4 by 1 3/8 by 7/16 in.; 3.1 by 3.5 by 1.4 cm. chain: 18 1/4 in.; 6.4 cm.

29

18k gold pendant of a breast moulded from a dancer from the Crazy Horse in Paris in 1966; diamond set in nipple; flat back with pendant loop

10,000 - 15,000 USD

circa 1990, signed César on the reverse, edition 81/100, stamped 750, French eagle’s head hallmark; diamond mark with GF and a rabbit head in between letters; chain stamped 14KT ITALY

CÉSAR BALDACCINI

‘LE SEIN’ GOLD AND DIAMOND PENDANT

PROVENANCEHôteldeVentes, Monte Carlo, June 19, 2021, lot 169 Acquired from the above by the present owner

nipplecésar1990sthe

Diane24

Louisa Guinness, Art As Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 152

InNOTEthe 1970s, César experimented with ‘microsculptures’ as another aspect of his work. Among the microsculptures invented by César, we find the legendary Pouce (Thumb), as well as this ‘Le Sein’ Gold and DiamondPendant, a reproduction of a breast that he had molded from a dancer from the Crazy Horse in Paris.

DianeLITERATUREVenet,From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 152 (for a later version) Martine Newby Haspeslagh, Art to Wear: Jewellery by Post-War Painters and Sculptors, Didier, London, 2012, p.

Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 52-53 for similar example

‘Jewelry Box Louis Vuitton created for the occasion of the inauguration of the new building on L’Avenue Montaigne.

PrivatePROVENANCEcollection, United States

Creation60/850 Oriane de Vallee Acces Direct Nice’

- The edition numbered 20 to 682 hold a reproduction of the signature of the artist

2,000 - 3,000 USD

• Compression Louis Vuitton par César

30

• Mystery Box Louis Vuitton by Ben

mixed media, cardboard, gold varnish, resin, cord, and cardboard; box produced on the occasion for the inauguration of the Louis Vuitton boutique on Avenue Montaigne in May 1989; limited edition of only 850 pieces;

JEWELRY TRUNK INVITATION

Accumulation-style resin brooch by Arman

on the chicest street in Paris, Louis Vuitton opened up a boutique and gave the selected invitees this Jewelry Trunk Invitation, representing three contemporary artists important to France’s artistic legacy, as a gift.

-The edition numbered 1 to 25 hold the original signature of the artist

1includes:

LOUIS VUITTON

-The edition beginning with the number 826 to 850 has the original signature of the artist yet is reserved for artists and the editor

1 Mystery Box pendant by Ben Vautier

1989, printed with LV logos, handwritten 60/850 inside lid, Paris, le 24 mai 1989, etched signature to brooch Arman, signed and dated pendant Ben Vautier Louis Vuitton 1989

1 Compression brooch by César box: 9 by 5 5/8 by 4 3/8 in.; 22.8 by 4.3 by 11.2 cm.

InNOTE1989,

This jewelry box is realized in 850 examples.

LABEL ON INSIDE OF BOX (TRANSLATED)

93

Paris May 24, 1989

• Accumulation Louis Vuitton by Arman

ARMAN FERNANDEZ (1928 – 2005) French-American artist Arman, born in Nice in 1928, is most famous for his Dadaist Accumulations and abstract painting and deconstructions. With his friend and fellow painter Yves Klein, he was one of the founders of the Nouveaux Réalistes movement. His unique found-object sculptures were made by assembling assortments of everyday objects, including forks, musical instruments, and teapots, which he presented as art works in public places. Breaking musical instruments into parts was a recurring theme in his work, possibly because his father was an amateur cellist and Arman was granted an appreciation of music from an early age. He collaborated with many jewelers, including Argeco, Artcurial, Arthus-Bertrand, Filippini, Gennaro, and Pierre Hugo, creating limited editions of wearable art to share his ideas more broadly.

circa late 1970s, signed Arman on front, maker’s mark and French assay marks on the reverse, edition 7/8 18k gold violin brooch designed as a group of deconstructed violins

arman fernandez

2 by 1 5/8 in.; 5.3 by 4 cm.

VIOLIN BROOCH

4,000 – 6,000 USD

FromPROVENANCEanimportant European collection

31

FROM AN IMPORTANT EUROPEAN COLLECTION ARMAN FERNANDEZ

Milan,EXHIBITEDFondazione Mudima, Arman in Italy, 1991

ANOTEdissected violin like this one in Arman’s Violin Brooch is a common theme in his artwork. It was first translated into wearable art in the form of a series of gold brooches in the late 1970s and this recurring form continued to develop as multiples and jewelry throughout his career.

DETAIL ARMAN 131, 1984 SMASHING CELLO PHOTO @ ARMAN STUDIO 95

32A: signature and makers marks: diamond mark BD, mark A with circle around it, hallmark of Roman arch with 3windows1/8by2 3/4 by 3/8 in.; 8 by 7 by 1 cm.

34A

32

MD thrice, signed Pascal Morabito 18k gold pendant / brooch with assorted gold objects within, by goldsmith Pascal Morabito and attributed to 1Arman13/16 by 1 13/16 in.; 4.6 by 4.6 cm. 3,000 - 4,000 USD

34B

ARMAN FERNANDEZ

circa 1970s

DuringNOTE an illness, Arman began translating his theme of ‘accumulations’ in small objects starting with watch parts, as in the Two Accumulation Watch Movements above. This theme would recur throughout his work.

PrivatePROVENANCEcollection, United States

FromPROVENANCEanimportant European collection

FROM AN IMPORTANT EUROPEAN COLLECTION

ATTR. PASCAL MORABITO FOR circaUNTITLEDARMANACCUMULATION1970,stamped

TWO ACCUMULATION WATCH MOVEMENTS

97

33

32B: maker’s mark in diamond shape with BD, 750 on bottom right corner, signature Arman two 14k yellow gold and resin (Perspex) pendants containing assorted accumulations of small gold watch gears of various sizes (note that 32B has small crack in 2glass)3/8by 3/4 by 5/8 in.; 6 by 2 by 1.5 cm. 4,000 – 6,000 USD

circa 2000, French marks, stamped Vari, edition 1 of 8 for Artcurial and Vari

sophia vari

Vari’sNOTE ‘Paloma’ is a female given name, derived from Latin ‘palumbus’, which means ‘dove’, a symbol of peace. The name also can be understood as the Holy Spirit symbolized in this bird. From Vari herself: ‘The bird is a symbol of peace and freedom, and the constrast between the earth and the sky.’

SOPHIA VARI (B. 1940) Jewelry first became a part of Vari’s oeuvre after forty years of being a world-renowned sculptor and painter. After marrying the artist Fernando Botero, the international schedule the couple led kept her constantly on the move. Her solution was to carry a small box of plasticine from which she would explore on a small scale the preoccupations of her large-scale work. These miniature sculptures became the basis of her jewelry designs. In them, she elegantly intuits the line between function and form. Vari jewelry pieces are designed at her studio in Pietrasanta and produced by her atelier in Paris and Belgium.

34

Acquired from the above by the present owner

AcquiredPROVENANCEdirectly from the artist Galerie MiniMasterpiece, Paris

SOPHIA VARI AT HER HOME IN PIETRASANTA, TUSCANY © PHOTO COURTESY OF SOPHIA VARI

SOPHIA VARI

‘PALOMA’ (DOVE) CLIP EARRINGS

18k yellow gold, ebony, and coral sculptural pair of clip earrings composed of two geometric patterns in ebony, each decorated with one smooth border of yellow gold and a single spherical coral bead approximate: 2 1/4 by 1 3/8 in.; 5.7 by 3.3 cm. 12,000 - 15,000 USD

Paris,EXHIBITEDArtcurial, Bijoux Sculptés, 2010 (solo exhibition)

99

PhilippeLITERATUREGarcia and Laurence Mouillefarine, Bijoux sculptés: Sophia Vari, La Martinière, Paris, 2010, p. 85

Vari’sNOTE ‘Les Pléiades III’ cufflinks are inspired by the Pléiades of Greek mythology, the seven daughters of the Titan Atlas and the Oceanid Pleione: Maia, Electra, Taygete, Celaeno, Alcyone, Sterope, and Merope. They all had children by gods except for Merope, who married Sisyphus. The Pleiades eventually formed a constellation.

PhilippeLITERATUREGarcia and Laurence Mouillefarine, Bijoux sculptés: Sophia Vari, La Martinière, Paris, 2010, p. 133 for similar example

AcquiredPROVENANCEdirectly from the artist Louisa Guiness Gallery, London Private collection (acquired from the above in 2013) Acquired from the above by the present owner by Paris,EXHIBITEDbequestArtcurial, Bijoux Sculptés, 2010 (solo exhibition)

4,000 - 6,000 USD

SOPHIA VARI

101

‘LES PLÉIADES III’ CUFFLINKS

1974 PRESS PHOTO OF ARTIST SOPHIA VARI WITH BOB LONE AND HAROLD STREAM. PHOTO © COURTESY OF SOPHIA VARI SOPHIA VARI’S LES PLÉIADES III’ CUFFLINKS © FIGARO, PARIS, COLLECTOR’S GALLERY BRUSSELS

2011, signed VARI, stamped 1EA (artist’s proof), with French assay marks, edition of six plus two artist’s proofs 18k gold and ebony sculptural cufflinks approximately 5/8 by 1 1/8 in.; 1.6 by 2.9 cm.

35

PHOTO © JONATHAN MOORE, © COURTESY OF SOPHIA VARI

Vari’sNOTE

PrivatePROVENANCEcollection, Europe

SOPHIA VARI

8,000 - 12,000 USD

PHOTO COURTESY OF COLLECTOR’S GALLERY BRUSSELS, MODEL WEARING SOPHIA VARI’S SIDÉRO SCULPTURAL CLIP EARRINGS CIRCA 2000

‘SIDÉRO’ SCULPTURAL CLIP EARRINGS

36

circa 2000, each signed and stamped BREVETE twice, 18k gold and ebony sculptural pair of earrings, edition 3/8 1 3/4 by 1 by 5/8 in.; 4.5 by 2.5 by 1.6 cm.

Paris,EXHIBITEDArtcurial, Bijoux Sculptés, 2010 (solo exhibition)

Sidéro sculptural clip earrings are inspired by the mythological Sidero (Ancient Greek, ‘the iron one’). Sidero was the second wife of Salmoneus and the stepmother of Tyro, whom she mistreated. Pelias and Neleus, Tyro’s twin sons, sought revenge when they reached adulthood. Although Sidero fled from them into Hera’s territory, Pelias found her and murdered her atop the altar to Hera.

102 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 103

Acquired from the above by the present owner

VOGUE PARIS, 1974, PIERRE CARDIN ON SOPHIA VARI BOUBOULIS

PhilippeLITERATUREGarcia and Laurence Mouillefarine, Bijoux sculptés: Sophia Vari, La Martinière, Paris, 2010, p. 176

SOPHIA VARI

Médée

Louisa Guinness, Art as Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 184 for matching ring

Vari’sNOTES clip earrings were named after the Greek enchantress Medea who aided Jason, leader of the Argonauts, in his quest to obtain the prized golden fleece from her father, King Aeëtes of Colchis. She was of divine descent and had the gift of prophecy.

‘MÉDÉE’ CLIP EARRINGS circa 2000, signed VARI with French assay marks, edition 18k3/6 gold, ebony, and emerald roots sculptural clip earrings approximately: 2 by 1 1/3 in., 5.1 by 3.5 cm. 15,000 - 20,000 USD MODEL WEARING SOPHIA VARI’S ‘MÉDÉE’ CLIP EARRINGS CIRCA 2000 PHOTO © COURTESY OF COLLECTOR’S GALLERY BRUSSELS 105

Paris,EXHIBITEDArtcurial, Bijoux Sculptés, 2010 (solo exhibition)

PrivatePROVENANCEcollection, Belgium

37

104 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 SOPHIA VARI’S MÉDÉE BROOCH / ©CIRCAPENDANT2000,2022PHOTO BY STYLE STRATA, NEW YORK

PhilippeLITERATUREGarcia and Laurence Mouillefarine, Bijoux sculptés: Sophia Vari, La Martinière, Paris, 2010, p. 74

SOPHIA VARI’S MÉDÉE BROOCH /

PENDANT CIRCA 2000, 2022 © PHOTO BY STYLE STRATA, NEW YORK

15,000 - 20,000 USD

AcquiredPROVENANCEdirectly from the artist Galerie MiniMasterpiece, Paris Acquired from the above by the present owner

SOPHIA VARI

106 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

circa 2000, signed VARI with French assay marks, edition 18k3/6 gold, ebony, and emerald roots sculptural necklace approximately: 3 1/4 by 2 1/2 in.; 8.26 by 6.35 cm.

Paris,EXHIBITEDArtcurial, Bijoux Sculptés, 2010 (solo exhibition)

‘MÉDÉE’ BROOCH / PENDANT

DETAIL

PhilippeLITERATUREGarcia and Laurence Mouillefarine, Bijoux sculptés: Sophia Vari, La Martinière, Paris, 2010, pp. 72-73 Louisa Guinness, Art as Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 184 for matching ring

‘MedéeNOTES

is derived from my fascination with mythology as it explains every human feeling one has in life — all the good and all the bad. Mythology gives me inspiration and freedom and it is what I have chosen to name most of my work. Mythology also gives freedom to my jewelry and gives it no limits. My sculptural work always begins with a small model. I bring a box with plasticine when I travel which gives me the flexibility to work wherever I am. I have an idea for a sculpture and make a model. Then I decide if it would be good for a monumental work, or for a portable (wearable) sculpture. And that was the beginning of the portable sculptures for me, and still holds true for me today.’ — Sophia Vari

38

louise nevelson

‘Nevelson’s items of jewelry are really sculptures on a reduced scale, and demonstrate the same creative drive as her monumental works. In the 1970s (and 1980s) she created some unique pieces—brooches and necklaces—in wood and metal, sculptured and assembled by hand, and painted once again in black, white, or gilded, to which she would add to found objects.’ (Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 134)

SCULPTOR LOUISE NEVELSON IN AN UNDATED PHOTO FROM HER ESTATE

Nevelson’s jewelry, which embodies her distinctive brand of Minimalism, was held in such high regard even during her lifetime that her black painted wood and gold earrings were used as the cover illustration of MoMA’s groundbreaking 1967 exhibition Jewelry by Contemporary Painters and Sculptors.

— LOUISE NEVELSON

LOUISE NEVELSON (1899 - 1988) Nevelson was born in Kiev, Russia (now part of Ukraine), but is known as an American sculptor because she lived most of her life in New York. Known for her monumental and monochromatic wooden sculptures and installation art, for her most iconic works, as well as for her first pieces of jewelry, Nevelson used wooden objects found among the debris on the streets of New York city, a process clearly influenced by Marcel Duchamp’s Dadaist foundobject sculptures and readymades. She applied the same principles to her jewelry - initially for herself as adornment - that she used for her monumental sculptures. Today, only about two hundred pieces of her jewelry still exist.

109

Her jewelry, nonfigurative assemblages like her sculpture that are usually painted a monochrome matte black and sometimes intertwined with gold, blended with her persona: an artist who enjoyed ‘living’ her art to the fullest. As she told author Diana MacKown, ‘my whole life is one big collage. Every time I put on clothes, I am creating a picture, a living picture for myself,’ with jewelry as adornment. (Diana MacKown, Dawns + Dusks: Taped Conversations with Diana MacKown, Scribner, New York, 1976, p. 121)

‘my whole life is one big forlivingaamclothes,ieverycollage.timeputonIcreatingpicture,apicturemyself.’

UNTITLED PENDANT

KnownNOTE for her monumental and monochromatic wooden sculptures and installation art, she began her practice by using wooden objects found among the debris on the streets of New York City until she had enough funds to create larger sculptures. Her process was clearly influenced by Marcel Duchamp’s Dadaist found-object sculptures and readymades. Nevelson applied the same principles to her jewelry - initially for herself as adornment - that she used for her monumental sculptures. Today, only about two hundred pieces of her jewelry still exist.

110 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 39

From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, ill. 135

Christie’sPROVENANCENewYork, Barry Friedman: The Eclectic Eye, Evening Sale and Day Sale, March 25, 2014, lot 4 Acquired from the above by the present owner

DianeLITERATUREVenet,Bijoux d’Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, pp. Diane138-139Venet,

LOUISE NEVELSON

FROM AN IMPORTANT EUROPEAN COLLECTION

5 by 3 1/8 by 3/4 in.; 12.7 by 7.8 by 2 cm. 15,000 – 20,000 USD

circa painted1985–86wood and brass pendant

15,000 – 20,000 USD

40

LouiseNOTE Nevelson began making jewelry for herself and her friends in the 1960s. Similar to this Untitled Pendant, ‘Nevelson’s items of jewelry are really sculptures on a reduced scale, and demonstrate the same creative drive as her monumental works.’(Diane Venet, ed., From Picasso to Jeff Koons, The Artist as Jeweler, Skira, 2011, p. 134)

LOUISE NEVELSON

UNTITLED PENDANT

DETAIL

1985, unique, unsigned painted wood and brass pendant 3 3/4 by 1 1/8 by 4 3/4 in.; 9.5 by 2.8 by 12 cm.

AcquiredPROVENANCEfrom the estate of the artist Wright Auctions, October 3, 2004, lot 300 Wessel Design, Roseville, Minnesota Acquired from the above by the present owner

DianeLITERATUREVenet,From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 135 for similar example

18,000 - 20,000 USD

1980–85, unique, unsigned, label on reverse inscribed EST.#50030

Acquired from the above by the present owner

Haspeslagh, Paint it Black, The Jewels of Louise Nevelson, Didier Ltd., London, 2019, p. 56, lot 22

MartineLITERATURENewby

According to Diane Venet, Nevelson’s jewelry is really sculpture on a reduced scale and demonstrates the same creative drive as her monumental works.

UNTITLED TRIANGULAR WOOD PENDANT

AcquiredPROVENANCEfrom the estate of the artist (no. 50030) Pace Wildenstein, New York (no. 28396)

triangular pendant assembled by hand from a triangular scrap of wood with one curved side and two straight sides, glued to two additional scraps, painted matte black, decorated with strips of silver and a suspension loop 6 3/8 by 2 3/4 by 1 1/8 in.; 16 by 7.3 by 3 cm.

LOUISE NEVELSON

115115

NEVELSON COLLABORATED WITH RUDI GERNREICH IN THE 1960s ON A SILK EVENING DRESS AND GIFTED IT TO THE METROPOLITAN MUSEUM OF ART IN 1979 (1979.336.12) © THE METROPOLITAN MUSEUM OF ART. IMAGE SOURCE: ART RESOURCE, NEW YORK.

41

NOTE Her jewelry, nonfigurative assemblages like her sculpture that are usually painted a monochrome matte black and sometimes intertwined with gold, blended with her persona: an artist who enjoyed ‘living’ her art to the fullest.

42 UMBERTO MASTROIANNI ‘METEORA 1970’ PENDANT 1970, unique, signed fabio bellani, AR, maker’s mark, 750 18k white and yellow gold necklace with certificate of authenticity from Ida Mastroianni and the Centro Studi dell’Opera di Museo Donazione Umberto Mastroianni under the inventory number Oro G 6/2020 disc diameter: 3 7/8 in.; 9.9 cm. disc height: 3/4 in.; 1.8 cm. choker diameter: between 5 3/8 and 5 3/4 in.; 13.6 and 14.6 cm. 20,000 – 30,000 USD umberto mastroianni MODEL ZARA BLACKS WEARING UMBERTO MASTROIANNI’S ‘METEORA 1970’ PENDANT, © 2022 PHOTO BY JORDANDONER 117

CommissionedPROVENANCE by Ida Mastroianni

London,EXHIBITEDMasterpiece London, June 25 – July 1, 2015 for similar Urbino,examplePalazzo Ducale, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, September 8 – May 31, 2019 for similar FlorianoLITERATUREexampleDeSanti,

119

Umberto Mastroianni: Scultore Europeo, Edieuropa, Rome, 2005, p. 82 for similar example Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 124 for similar example

– ’Una ‘scultura da indossare.’ Una collana di Umberto Mastroianni in asta a Milano,’ ArtsLife, March 26, 2019.

Private collection, Britain Acquired from the above by the present owner

abstract art and sculpture are famous for their strong, proud shapes and unexpected geometry. His interest in arcs and radiating lines built upon each other is showcased in this Meteora pendant, consisting of a large circular disc upon which is imposed an assemblage of sculptural mechanical elements including recoiling springs, gear wheels, shaped plates, and connecting rods. It almost looks to be a working mechanism of some kind, and wonderment keeps the viewer bound to its curious abstraction. Meteora is ‘molto significativo all’interno del suo percorso artistico di scultore-orafo…una vera e propria ‘scultura da indossare’’ (very significant within his artistic career as a sculptor-goldsmith…a real ‘wearable sculpture’).

DETAIL

UmbertoNOTE Mastroianni (1910-1998) A member of the Italian Futurist movement in the 1930s, Mastroianni was later drawn to Abstract Expressionism and its intrinsic sense of freedom as WWII took hold. He became a leading Italian abstractionist as well as a vocal proponent of European modernism throughout the latter part of the twentieth century. A prolific sculptor, painter and printmaker, he also made distinctive small sculptures to be worn as adornment. His dynamic works investigated the human form and movement and were created in different sizes and with a variety of materials. Over time, they became more jagged, as solid, plastic forms made way for more open structures as can be seen in the intricate disc pendant shown Mastroianni’shere.

121

NOTE

‘SPILLE’ (PLAY) BROOCH

ARNALDO POMODORO

arnaldo pomodoro

LITERATURE

4,000 – 6,000 USD

Turner, Contemporary Jewelry: A Critical Assessment 1945-75, Cassell & Collier Macmillan, London, 1976, illustrated p. 34

G229: STUDY FOR SPILLE (PLAY) FOR BROOCHES, 1958, INK ON TRACING PAPER DG / 59/30 © THE ARCHIVIO ARNALDOG132:POMODORODRAWING FOR BROOCHES, 1957 INK ON TRACING PAPER AND CARDBOARD © THE ARCHIVIO ARNALDO POMODORO WORKING ON THE BIG RECORD 1965 ARNALDO POMODORO FOUNDATION COLLECTION. PHOTO UGO MULAS © EREDI UGO MULAS. ALL RIGHTS RESERVED @UGO_MULAS_ARCHIVE

Spille (Play) is an early sculptural brooch by Italian artist Arnaldo Pomodoro. The hand-crafted pin with smooth finished white gold ‘beam’ supporting playful yellow and white gold rods is stationary but evokes kinetic energy. Pomodoro said: ‘The sculpture must be projected into space to remove, as far as possible, the weight from the material and the work’s fixed base. have always tried to express movement as an intensification of a condition of imbalance to create a striking contrast to any stasis or any reached or predictable order.’ (Ada Masoero, Arnaldo Pomodoro, Skira editore, Milan, 2017, p. 199)

1960, unique, signed and dated Arnaldo Pomodoro ‘60, G341 from the Archivio Arnaldo Pomodoro 18k white and yellow gold sculptural brooch 1 3/4 by 1 1/2 in.; 4.3 by 3.9 cm.

Sele Arte, n. 48, VIII, October-December 1960, ill. p. 54, n. Ralph227

ARNALDO POMODORO (B. 1926) Best known for his monumental spheres in bronze that today stand in major cities around the world, the Italian sculptor Arnaldo Pomodoro is considered one of the foremost contemporary artists. With no formal artistic training, he studied stage design and worked as a goldsmith while serving as a surveyor for the restoration of public buildings in Pesaro. Goldsmithing helped finance his early work as a sculptor, and he first showed his sculpture in Milan in 1955. As his reputation grew—he won the International Sculpture Prize at the 1963 Biennale de São Paulo, had a solo show at the 1964 Venice Biennale, many solo exhibitions at the Marlborough galleries in New York and Rome, and numerous exhibitions at major museums—he continued goldsmithing, using jewelry to explore ideas for sculptures and the reverse. By the early 1960s, his jewelry was being exhibited at all the most prestigious international exhibitions of artists and artistic jewelry, including the influential Jewelry by Contemporary Painters and Sculptors (1967) at the Museum of Modern Art in New York. The finelytextured surfaces of Arnaldo’s jewels resemble those of his monumental bronze sculptures, where smooth exteriors are torn open to reveal rough and twisted interiors and a delicate interplay of spaces and forms.

43

PrivatePROVENANCEcollector, United States

123 BACK 44

Cologne,EXHIBITEDMuseum für Angewandte Kunst, Von Picasso bis Warhol, Künstlerschmuck der Avantgarde, May 10 – August 9, Urbino,2009 Palazzo Ducale, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, May 31 – September 8, 2019

ARNALDO POMOMODORO AT WORK, 1962-1963 © ANTONIO BARIO

PrivatePROVENANCEcollection, United States

Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 149

ArnaldoNOTE

Pomodoro’s 1975 ‘Untitled’ Sterling Pendant Necklace, an example of which is in the public collection of the Centro Studi e Archivio della Comunicazione dell’Università di Parma, is an intriguing geometric version of the Pomodoro’s cuttlefish-bone jewelry made with GEM Montebello. The lost-wax casting process allowed the artist to arrange the bones into lines, concretizing natural forms (animal bones) into something that looks rather similar to a computer’s motherboard, a wholly man-made and extremely modern object. The satisfying weight of the silver medallion is contrasted with the fine detail atop its surface, which feels to the fingers exactly like the bones of an ancient animal and weds old and new in his signature style of abstraction.

Sotheby’s,LITERATURE

FRONT

‘UNTITLED’ STERLING PENDANT NECKLACE

1975, signed and dated Arnaldo Pomodoro 75 (on the vertical bar in the center of the pendant), edition 6/50, maker's mark GM AP 5 on top, stamped 925 sterling silver pendant decorated on both sides with textured surfaces in high relief formed from cuttlefish-bone lost-wax castings, with a long silver bar chain; from edition of 50 by GEM Montebello and artist’s proofs; recorded in the Archivio Arnaldo Pomodoro, Milan, under no. M/75/4 pendant: 2 1/4 by 2 5/8 in.; 5.7 by 6.7 cm. chain: 19 3/4 in.; 50 cm.

Diana Küppers, Künstlerschmuck = objets d’art, Hirmer, Munich, 2009, p. 128

Contemporary Art: New York, Monday February 26, 2007, Sotheby’s, New York, 2007, n. 156, ill. p. 168

ARNALDO POMODORO

10,000 - 15,000 USD

Pomodoro’sNOTE eclectic sense of texture and contrast produced this abstracted cuttlefish-bone-cast brooch in 1962. He explained that the method, traditionally used by goldsmiths to obtain rough forms, allowed him to exploit the linearity of natural bone formation and infuse his own creativity with original markings and molten forms. This pendant came originally from the collection of renowned Belgian collector and gallerist Maurice d’Arquian and has been exhibited and published as a major example of Pomodoro’s most refined work.

MODEL LUCIA VIVES WEARING POMODORO’SARNALDO PENDANT/BROOCHUNTITLED 1962, AND GIÒ POMODORO’S BRACELETCUTTLEFISH-BONE-CAST 1963, 2022

LuisaLITERATURESomaini and Claudio Cerritelli, Jewelry by Artists in Italy, 1945-1995, Electa, Italy, 1995, p. 128 for information on MartinetechniqueNewby Haspeslagh, The Sculptural Jewels of Arnaldo & Giò Pomodoro, Didier, London, 2013, ill. pp. 16 Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 151

45 ARNALDO POMODORO

Urbino,EXHIBITEDPalazzo Ducale, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, May 31 – September 8, 2019

CollectionPROVENANCEofMaurice d’Arquian, Brussels Sotheby’s London, May 19, 1988, lot 424 Artcurial, Contemporary Art 2, December 7, 2010, lot 139 Acquired from the above by the present owner

18k red and white gold circular cuttlefish-bone cast pendant/brooch with abstract design on a white gold rectangular plaque diameter: 2 1/8 in.; 5.4 cm. 20,000 - 25,000 USD

G126: DETAIL OF ARNALDO POMODORO DRAWING FOR BROOCHES, 1957, FROM THE ARCHIVIO ARNALDO POMODORO

©

PHOTO BY JORDAN DONER

UNTITLED PENDANT/BROOCH 1962, unique, signed Arnaldo Pomodoro ‘62, this work is recorded in the Archivio Arnaldo Pomodoro, Milan, under no. G/62/20

124 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 © FROM THE POMODORO ARCHIVES

GIÒ POMODORO AT HIS STUDIO IN MILAN © PHOTO BY PAOLO MONTI

Alongside his brother Arnaldo in the 1950s and 1960s, he utilized a method of casting cuttlefish bones to obtain vibrant decorative effects and molded surfaces. By the 1970s, his style had become geometric and quite unique. His use of colored enamels, hinges, and screws inspired the Cassetti company to sponsor a solo exhibition of his work as a sculptor, set designer, and jeweler in 1971.

‘Pomodoro’s ornamental work is accompanied by particular styles and aesthetics. His shapes evoke the sun and other natural elements, and he worked material with threads, inverted edges, and closed lines that define shapes that are at some times jagged and soft and sensual at others. His jewels are born from an appreciation and mastery of sculpture, and he declared ‘the signs are no longer organized along with plant and organic lines, but mineral ones, colder and more mental.’ (G. Folcini Grassetto, ‘Il Gioiello Italiano Contemporaneo tra proguettualita e Sperimentiazione,’ Grafica e Oggetti D’ Arte 24 (1996), p. 210.) Among many important shows, he was also included in the Guggenheim’s seminal exhibition The Italian Metamorphisis, 1945 – 1968 in New York.

GIÒ POMODORO (1930-2002) Giò Pomodoro was born in 1930 in the small comune of Orciano di Pesaro, Italy. Ambitious from an early age, he learned the arts of chiseling and chasing from a goldsmith in his teens and then earned a diploma in surveying at the age of 21. He married architect Gigliola Gagnoni and embarked upon a career as an artist and set designer, successfully exhibiting in galleries in Milan, Rome, and Florence. He continued to work in precious metals and jewelry and presented his ‘fused silver’ collection at the Venice Biennale in 1956.

127

giò pomodoro

Darmstadt,EXHIBITED Germany, Hessisches Landesmuseum, Internationale Ausstellung Schmuck Jewellery, Bijoux, December 10, 1964 - February 14, 1965 Urbino, Palazzo Ducale, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, May 31 – September 8, 2019

GerhardLITERATUREBott, Ullstein Juwelenbuch: Abendländischer Schmuck Von Der Antike Bis Zur Gegenwart, Ullstein, Berlin, 1972, pp. 222, 236 for ill. and companion drawing Giuliano Centrodi and the Museum at the Fashion Institute of Technology, Giò Pomodoro: Ornamenti, 1954-1996, Artificio, Florence, 1997, pp. 46-47

GIÒ

129

Giorgio Facchini, Jewels as Sculptures: Sculptures as Jewels, 2018, pp. 32, 33, 74

TheNOTEearly works of Giò and Arnaldo Pomodoro are so closely interwoven that it is impossible to distinguish between them. The brothers worked and exhibited together throughout their lives even as they went their own directions, and they came together at the end of Giò’s life to rework earlier pieces from the beginning of their careers. The rare incident of both signatures occurring on this work is an example of their intertwined interests despite each having a highly distinctive body of work.

Paola Stroppiana, Scultura Aurea, Gioielli d’Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 156

Mrs.PROVENANCEFelixLandau, Los Angeles

Mrs. Barbara Poe Levee, Los Angeles

1963, unique, signed and dated Giò Pomodoro 63 on the reverse of one of the bracelet links, stamped 750, and signed Arnaldo Pomodoro on the back of two cufflinks 18k white and yellow gold bracelet created from a pair of central rectangular cufflinks made by Arnaldo Pomodoro with cuttlefish bone intricate relief designs; Giò added two long, tapered white gold links with intricate relief designs of growth rings as well as three smaller links with rectangle relief designs to create a full braclet width at center: 1 1/16 in.; 2.8 cm. flat length: 6 1/4 in.; 16 cm. 40,000 - 60,000 USD

46

CUTTLEFISH-BONE-CASTPOMODORO BRACELET

Didier Ltd., London

Martine Newby Haspeslagh, Jewelry by Contemporary Painters and Sculptors @ 50: 1967-2017, Didier Ltd., London, 2017, pp. 100-101, no. 117

Acquired from the above by the present owner

size: 7 (US)

B) 1 9/16 by 1 9/16 by 5/8 in.; 3.96 by 3.96 by 1.58 cm.

D) 1 7/8 in by 1 1/8 in.; 4.76 by 2.85 cm.

C) 1 1/4 in by 1 1/4 by 9/16 in.; 3.1 by 3.1 by 1.42 cm.

Giò Pomodoro

18k yellow and white gold and enamelled precious-metal ring with four interchangable pieces; lot sold together with original fitted felt box and signed Certificato di Garanzi No. 275 from L’Uomo e l’Arte s.p.a. 20 January 1972, which includes a black and white promotional photograph by unknown photographer (possibly Ugo Mulas); lot 47 also includes the 1971 Vogue Italia no. 242, magazine with promotional advertisement forL’Uomo e l’Arte, ‘giò pomodoro/gli ornamenti,’ p. 2 for illustration

47

12,000 - 15,000 USD

(MAGAZINE) SOLD TOGETHER WITH LOT 47. ADVERTISEMENT CLIPPING FROM DECEMBER 1971, ‘GIÒ POMODORO/GLI ORNAMENTI,’ L’UOMO E L’ARTE S.P.A., MILAN FOUR INTERCHANGABLE MOUNTS D B C A A 131

PROPERTY OF A PRIVATE COLLECTOR GIÒ 1970,UNIQUEPOMODOROMODULARRINGunique,eachpiecesigned

A) 1 5/8 by 1 1/4 by 1 1/4 in.; 4.13 by 3.1 by 3.1 cm.

L’UomoPROVENANCEel’Arte S.p.A., Milan, 1971

ORIGINAL FITTED FELT CASE AND SIGNED CERTIFICATO DI GARANZI NO. 275 FROM L’UOMO E L’ARTE S.P.A. 20 JANUARY 1972

Louisa Guinness Gallery, London

L’uomoEXHIBITEDel’Arte S.p.A., Milan, giò pomodoro/gli ornamenti, December 1971

InNOTE449the1970s,

L’UomoLITERATUREel’Arte, ‘giò pomodoro/gli ornamenti,’ Vogue Italia, no. 242, 1971, ill. p. 2

Sotheby’s East Hampton, Sculpture to Wear, August 2021

Collection of Thomas Wailing (acquired from the above in Christie’s1972) London, Thinking Italian Design, October 16, 2019, lot 31

Prominent fashion brands such as Bulgari later incorporated Pomodoro's modular jewelry ideas to great success, creating 'an easily recognisable and stylish product of high quality at a reasonable price.' (David Bennett and Daniela Mascetti, Understanding Jewellery, Antique Collectors' Club, Suffolk, England, 1989, p. 449)

David Bennett and Daniela Mascetti, Understanding Jewellery, Antique Collectors' Club, Suffolk, England, 1989, p.

jewelers were exploring the limits of abstract shapes and movable parts with modular jewelry as a reaction to mass production. Giò Pomodoro was no exception and created this Unique Modular Ring using a mechanical element in two tones of gold and joining it with distinctive shocks of black, white, and red enamels. The ring was designed in four parts with a fitted case and may have been shot by renowned photographer Ugo Mulas for its initial exhibition at the L’Uomo e l’Arte gallery in Milan in December 1971, giò pomodoro/gli ornamenti

(PHOTOGRAPH) SOLD TOGETHER WITH LOT 47. GIÒ POMODORO 1970 UNIQUE MODULAR RING SET WITH 1970 PROMOTIONAL PHOTO BY UNKNOWN PHOTOGRAPHER (POSSIBLY UGO MULAS)

132 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

Acquired as a gift from the above by the present owner

TOM OTTERNESS WITH BROAD PRIZE FOR URBAN EDUCATION, 2002 © COURTESY OF TOM OTTERNESS tom

PROPERTY CREATED FOR INAUGURAL ART AS JEWELRY AS ART AUCTION

TheNOTEworks of American sculptor Tom Otterness (b. 1952) decorate parks, subway stations, libraries, international public and private spaces and museums. Invariably huge, humorous, and provocatively playful, his sculptures frequently offer social commentary with a political bite. Otterness is always looking to push the boundaries of the conventional and invite the viewer to get engaged.

TOM OTTERNESS

CreatedPROVENANCEbyartist expressly for the Sotheby’s inaugural sale ‘Art as Jewelry as Art,' 2022

Otterness has created several pieces of jewelry in the past as gifts to family and friends inspired by his larger artworks. Kissing Angels is his first unique piece that was created specifically for Sotheby’s inaugural Art as Jewelry as Art auction.

48

This Kissing Angels unique 18k gold pendant necklace is an example of Otterness’ whimsical subversion of tradition and demonstrates why his works are often deemed cheeky or cartoonish. The simple, attractive forms are familiar, recognizable, and comforting to viewers, and the concept of kissing angels is personally significant to Tom and inspired by a smaller work called Guardian Angel. The latter, a work in white metal, was created for Peter Hort and produced on a large scale with all proceeds donated to the Rema Hort Mann Foundation for emerging artists and cancer patients. Kissing Angels is a unique work made for the same purpose. Hort was ‘instrumental in his conception of bringing art to people in the process of healing in hospitals,’ Otterness says, noting that when he designed Kissing Angels, he imagined the angels ‘in the air celebrating life and defying gravity.’

134 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 135

KISSING ANGELS

2022, unique, signed T.O., stamped 2022, 750, with Carrera casting mark solid 18k yellow gold pendant in the shape of two angel figures kissing in artist’s style of cone-and-sphere figures, their wings extended behind them; with original cable chain pendant: 1 7/8 by 3/4 in.; 4.76 by 1.9 cm. chain: 18 in.; 45.7 cm. chain thickness: 3/20 in.; .43 cm 15,000 – 20,000 USD otterness

IV jewelrysurrealismas...

By the 1930s Surrealism had transformed into an artistic style. Dream-like scenes, symbolic images, and illogical juxtapositions were the perfect way to contrast the real and the unreal to produce dream consumer products. Fashion photography, the aestheticization of fashion designs provided an opportunity for the Surrealists to give literal expression to the body through the mediums of fashion and jewelry.

137

LOTS 49 – 75

SURREALISM. One of the most extravagant movements to emerge in art, literature, fashion and jewelry in the 20th century, it still lives with us today. Making connections between the ‘everyday and the exceptional’ was the manifesto. The first generation emerged in Paris in the 1920s, focusing on the spoken and written word. Metaphor and the meaning of fashion was the basis of their language.

‘The ideal object to me is an object that is useful for absolutely nothing; that could not be used for writing or removing superfluous hair or for telephoning; an Object which could not be placed on the mantelpiece or a Louis XIV. [sic] commode; an Object which one is forced simply to wear--a Jewel’ he told American Vogue in July 1941 regarding the collection he created with Fulco di Verdura. The creation of jewels with di Verdura was the stepping-stone to Dal ’s work on his collection created with the support of Argentine Carlos Alemany (working from inside the St. Regis hotel) and Eric Ertman, the Swedish shipping magnate. The full set of works resides in the Dal Theatre-Museum in Figueres, Spain, and the Owen Cheatham Foundation. These jewels, which derived their motifs from his works on canvas, are emblematic of his iconography and rarely come to market.

— SALVADOR DALÍ dalí

salvador

They were near and dear to the artist’s heart: he made ‘small worlds’ of precious metal and stone: ‘in my jewels as in all my art, I create what I love.’ (Ghislaine Wood, ed., Ulrich Lehmann, and Jennifer Mundy, Surreal Things: Surrealism and Design, London: V&A Publications, 2007, p. 225)

139 PART OF LOT 49, CATHERINE DENEUVE WITH TELEPHONE BLACK AND WHITE PHOTO PRINT SOLD WITH LOT 49, SALVADOR DALÍ’S 'PERSISTENCE OF SOUND' EARRINGS, 1949 ‘the ear is a symbol thought’exchangeinstantaneousand–communicationsofthereminderdesigntelephoneunity:harmonyofandtheaofspeedmodernthehopedangerofof

SALVADOR DALÍ (1904 – 1989) The name of Spanish artist Salvador Dal is synonymous with the Surrealist movement. A consummate communicator, he worked in many mediums, including painting, sculpture, printmaking, fashion, and even filmmaking in collaboration with renowned directors like Luis Buñuel and Alfred Hitchcock. Accordingly, he was exhibited in institutions including the Museum of Modern Art and the Julien Levy Gallery as early as 1941.

PHOTO BY JORDAN DONER

New York, Museum of Arts and Design, From Picasso to Jeff Koons, The Artist as Jeweler, September 20 – January 8, 2012

LidaLITERATURELivingston, Dalí, A Study of his Art-in-Jewels, The Collection of the Owen Cheatham Foundation, New York Graphic Society, New York, 1959, pp. 34-5, no. II Salvador Dal Foundation, Dalí: Jewels – Joyas, The Collection of the Gala/Salvador Dalí Foundation, Umberto Allemandi, Turin, 2001, pp. 13, 58-61

NOTE Artist Salvador Dal is probably most famous for his work The Persistence of Memory (1931), a landscape painting of a distinct kind of unreality featuring melting clocks in the desert which now resides in the collection of the Museum of Modern Art in New York (162.1934). His surreal workswhich he did not restrict to oils or canvases but expanded to a variety of deftly-handled materials and methods - are at turns astonishing, entertaining, and thought-provoking. These Persistence of Sound earrings, featuring a pair of melting telephone receivers, are intriguing pieces of art in the same way. Are they meant to evoke the ear-melting effects of being on the telephone (in 1949, a device present in only 60 of American homes - a jump of twenty percent from the previous decade) and listening to a chatty relative for too long? Perhaps the pains of a call from one’s erstwhile lover? The literal melting of hot plastic on a steamy day Dal has depicted these mechanical devices out of 18k gold and crowned a miracle of modern e ciency and communication with diamonds, emeralds, and rubies to elevate it to another dimension entirely: that of the unreal.

Paris, Musée des Arts Décoratifs, Bijoux d'Artistes de Calder à Koons, March 7, 2018 – May 31, 2019

1949, each signed Dalí on fronts, 18k hallmarks pair of 18k gold earrings in the form of melting telephone receivers with post fittings; at the top of each is a faceted, domed ruby and a double band of five and four small diamonds above a kinetic cabochon ruby teardrop; at bottom on each is a single band of four diamonds, a cabochon emerald, and a kinetic cabochon emerald teardrop; produced by Alemany & Ertman Inc., New York together with the original fitted burgundy leather box; interior lid lined in cream silk with mount covered in rich purple velvet, sticker on underside of box numbered 16255 from

1DA4 O 1 7/8 by 5/8 in.; 4.7 by 1.6 cm. 150,000 - 200,000 USD AlemanyPROVENANCE&Ertman Inc., New York Private collection, Europe (acquired

49

Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, this pair illustrated pp. 66-7, no. 58

THE EARRINGS REFERENCE ONE OF DALÍ’S MOST CELEBRATED PAINTINGS, THE PERSISTENCE OF MEMORY (1931) ONE OF THE RARE WORKS OF ART THAT CAN BE CONJURED WITH THE MENTION OF TWO SIMPLE WORDS: 'MELTING CLOCKS'. LOT SOLD TOGETHER WITH ROBERT RADFORD BOOK ENTITLED DALÍ SALVADOR DALÍ’S ‘PERSISTENCE OF SOUND’ EARRINGS, 1949 TOGETHER WITH ORIGINAL ALEMANY & ERTMAN INC., NEW YORK, FITTED BURGUNDY LEATHER BOX. THE INTERIOR LID LINED IN CREAM SILK WITH PURPLE VELVET MOUNT. BOX WITH ORIGINAL INVENTORY NUMBER ON THE BOTTOM NO. 16255 1DA4 O

SALVADOR DAL

For the artist, born in 1904, telephones themselves may have always carried a surreal novelty, reminding him of ‘the hope and danger of instantaneous exchange of thought.’ (Lida Livingston, Dalí, A Study of his Art-in-Jewels, New York Graphic Society, New York, 1959, p. 34) And in these earrings, he moves the receivers away from the literal and into a figurative dimension that asks the wearer to spin their own tale around the piece. Unintentionally he has also created a call to the past, as though we have all used phones like those depicted in this piece for decades, even landline phones now look very different. The Persistence of Sound has taken on new dimensions as a work of nostalgia when it was once a marvel of modern technology and - if we may make a tasteful pun - a call to the future.

He reproduced Persistence of Memory’s melted pocket watches into a gold-and-diamond brooch, and the theme of melting objects comes through strongly in these Persistence of Sound earrings. His heavy use of gold and precious gems was financed by shipping magnate Eric Ertman, allowing Dal to utilize the materials that spoke to him most strongly regardless of cost. Charles Valliant of the New York goldsmithing firm Valliant and Devere took over the actual creation of the jewels that Dal designed.

Paola Stroppiana, Scultura Aurea, Gioielli d'Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 83

'PERSISTENCE OF SOUND' EARRINGS

were made for each other, it is a marriage of love). (Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 66)

Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, pp. 78-79

Dal thought often on the question of ‘si le bijou a été fait pour la peinture ou si la peinture a été faite pour le bijou,’ (if the jewelry was made for the painting or if the painting was made for the jewelry) and determined that ‘ils ont été faits l'un pour l'autre, c’est un mariage d'amour’ (they

above) Sotheby’s London, Fine Jewels, December 17, 2008, lot Acquired249 from above by current owner E NewHIBITEDYork,Museum of Modern Art, November 19, 1941 –January 11, 1942 Miami, Bass Museum of Art, From Picasso to Jeff Koons, The Artist as Jeweler, March 15 – July 21, 2011 142 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 143

Urbino, Palazzo Ducale, Scultura Aurea, Gioielli d'Artista per un nuovo Rinascimento, May 31 – September 8, 2019 Antwerp, DIVA, Wonderkamer II: Wouters & Hendrix, September 13, 2019 – February 16, 2020

Her work was so notable and desired by royal families around the globe that she caught the attention of Madame Grés (the remarkable couturier who turned ordinary fabric into sculptures), who commissioned Sotilis to make works for her Haute Couture shows in Paris.

LISA SOTILIS WEARING HER WATCH BROOCH, PHOTO © ANDY WARHOL FROM THE WARHOL RED BOOKS lisa

LISA SOTILIS (B. 1939) is a sculptress of such talent that by the time she was eighteen she had had her international debut at the Berlin Museum. It was there she met Alexander Iolas, who immediately claimed as her as one of his artists.

145

Iolas brought her to New York for her first show; on the night of her opening, the first person to walk into the gallery was Salvador Dal , who bought two massive gold artworks for his wife Gala, and would remain a loyal client for the rest of his life.

Sotilis, rarely seen apart from Rudolph Nuryev, was often flown to adorn Empress Farah Diba Pahlavi, ueen Marie José of Belgium, Princess Maria Beatrice of Savoy, and was worn by fellow creatives such as Margot Fonteyn, Claudia Cardinale, Zizi Jeanmarie, Annie Girardot, and Mitzi Newhouse, to name just a few. And of course, Andy Warhol – the Instagram of his day – constantly took photos of her with his Polaroid. sotilis

Sotilis is legendary not just for her sculpture, her furniture, and her position as the muse of Giorgio de Chirico (he would not let a work be cast before she had retouched his waxes), but also for her fantastical ‘micro sculptures’ - floral 23k gold creations which she hand-pounded and sculpted to achieve the repousée effect she was looking for.

A SIMILAR LISA SOTILIS GOLD WRISTWATCH BROOCH, 1970 IS IN THE COLLECTION OF THE PHILADELPHIA MUSEUM OF ART (1977-243-46)

PHOTO BY JORDAN DONER

147

10,000 - 15,000 USD private collection

LISA SOTILIS WEARING HER WATCH BROOCH, MAY 1972, PHOTO © ANDY WARHOL WARHOL RED BOOK F126)

EYE-SHAPED WRISTWATCH AND BROOCH

PropertyPROVENANCEfroma

SotilisNOTE had a solo show with the Alexander Iolas Gallery in 1965 and then attained an exclusive contract with Cartier New York in the 1970s for the design and execution of the bezel for their watches. A similar work is in the collection of the Philadelphia Museum of Art (1977-243-46), and both are likely the same style of art that she did for Cartier simply with different watch faces applied.

50 LISA SOTILIS

1970, labeled Sotilis on face of watch, signed Sotilis and stamped #46744 on reverse gold embossed and répoussé work in the shape of an eye with a winding watch mechanism, gold pin attached at a later date, with Alexander Iolas catalog Sotilis, Milan, 1967 4 1/4 by 2 in.; 10.8 by 5.1 cm.

LITERATURE Salvatore uasimodo, Sotilis, Milan, 1967 Cynthia Amnéus, Cameron Silver, and Adam MacPh rlain, Simply Brilliant: Artist-jewelers of the 1960s and 1970s, D. Giles, Lewes, UK, 2020, cat. 94 for similar beaten goldwork

Sotilis, who exhibited at the famed Iolas Gallery in Milan early in her career, was recognized and collected by other masters of art jewelry like the noted Surrealist Salvador Dal . Her jewelry, which resembles the fantastic trove recovered from Troy by archaeologist Heinrich Schliemann - if the Trojans subscribed to surrealism - is undoubtedly modern, incorporating timepieces and in some cases meant to be worn without modest clothing underneath. It is metamorphic design at its most subtle: necklaces of gold répoussée with mirage-like designs that shift between blinks and rings (see cat. 94 in Simply Brilliant) and watches with open mouths that might close at any moment.

MAN RAY (1890 - 1976) A pioneer in 20th-century avant-garde art and photography and a leading member of the Dadaism and Surrealism movements, Man Ray was intensely inspired by the female form. It was a natural move for Man Ray to collaborate with Italian jeweler GianCarlo Montebello, renowned for some of the most creative jewelry of the era. From 1970 until Man Ray’s death in 1976, the duo created eight jewelry designs, all in editions of twelve. Each piece echoes the artist’s surrealist portfolio including the piece Les Amoureux (The Lovers), which was inspired by an eponymous painting created in the 1930s.

149

Man Ray’s artistic output in the 1930s was profoundly influenced by his relationship with fellow artist Lee Miller. Though the relationship ended acrimoniously, Miller’s lips became a recurring image in Man Ray’s work and are the subject of his 1975 necklace, Les Amoureux, in addition to his famous 1931 canvas, A L’heure de l’Observatoire –les Amoureux. pulllipsticksomeonandyourselftogether’

HATTIE CARNEGIE IN A JACQUES FATH GOWN AGAINST MAN RAY’S PAINTING

—ELIZABETH TAYLOR

‘put

MAN RAY PHOTOGRAPHED THIS KISS BETWEEN LEE MILLER AND AN UNIDENTIFIED WOMAN CIRCA 1930, A SIMPLE AND YET EXTREMELY CONTROVERSIAL DEPICTION OF HUMAN PASSION. GELATIN SILVER PRINT © MAN RAY 2015 TRUST ADAGP, PARIS 2020 EXHIBITION POSTER BY MAN RAY – L’HEURE DE L’OBSERVATOIRE, LES AMOUREUX AT THE LOS ANGELES COUNTY MUSEUM OF ART, 1966, © MAN RAY 2015 TRUST ADAGP, PARIS 2020

lips: 7/8 by 3 1/2 in.; 2.3 by 9.3 cm.

PROPERTY OF A PRIVATE COLLECTOR

A similar necklace from the Daphne Farago Collection was donated to the Museum of Fine Art, Boston, on 2017 (MFA 2017.4918), edition 10/12.

Acquired from the above by the present owner

18k thin gold cord with detachable pendant with pin on reverse (to be worn as a brooch) on torque; executed by GEM Montebello; sold together with two books: Kelly H. L’Ecuyer, Jewelry by Artists, Museum of Fine Arts, Boston, 2010, and Richard Martin, Fashion and Surrealism, Rizzoli, New York, 1987

overall: 5 3/4 by 5 3/8 by 7/8 in.; 14.6 by 13.7 by 2.2 cm.

‘LES AMOUREUX’ NECKLACE BROOCH

TheNOTEartful simplicity of Man Ray’s gold Les Amoreaux Necklace Brooch puts it at the top of the list when it comes to his jewelry designs. Executed by his friend GianCarlo Montebello, Les Amoreaux immortalizes Ray’s lover Lee Miller and transposes a small but iconic piece of her spirit and vivacity onto the wearer. Never impractical or obtrusive, Ray’s jewels play with illusion, language, and form, and his passionate relationship with Miller generated sensual and sexually-charged art that flatters and entices.

RichardLITERATUREMartin, Fashion and Surrealism, Rizzoli, New York, 1987, pp. 84, 85 for similar example illustrated Kelly L'Ecuyer, Jewelry by Artists: In the Studio, 1940-2000, Museum of Fine Arts, Boston, 2010, pp. 171-183 Manon Lecaplain, Emmanuel Guigon, et al., Picasso y las joyas de artista, Museu Picasso, Barcelona, 2021, p. 132 for similar works

60,000 - 80,000 USD

MAN RAY

51

LouisaPROVENANCEGuinness Gallery, London

1975, signed on lower edge of lip Man Ray 75 les Amoureux, ezdition 8/12, marked inside lower lip MR9 and unreadable maker's marks

MAN RAY, LE BAISER (1930) FEATURING HIS LOVER, MODEL, AND MUSE - LEE MILLER - KISSING AN UNKNOWN WOMAN (SOMETIMES IDENTIFIED BY THE MYSTERIOUS NAME 'BELBOURNE') © MAN RAY 2015 TRUST ADAGP, PARIS 2020

Before gaining international recognition and acclaim, Claude designed earrings, necklaces and bracelets in bronze, silver, and gold, primarily for a narrow circle of friends and family, and for her lines with Artcurial, Lalanne also created editions in multiple metals, usually offering versions in gold, vermeil, silver, and bronze doré.

CLAUDE

PHILIPPELALANNEFRANÇOIS-XAVIERAND©JEAN-LALANNE

Claude collaborated not only with her husband, but also with many of the great avant-garde artists of this century and the last. Her jewelry is sensual and dream-like, reflecting the aesthetics of Surrealism and Art Nouveau. The mouth, in particular, was a recurring motif in her sculpture and jewelry, and she would use molds made from the mouths of her friends and clients. A Surrealist necklace composed of a single gold torque framing a golden mouth was first exhibited in an early personal exhibition in Paris in the '60s.

claude lalanne

The foremost expression of Claude Lalanne's personal style was decorative flora and fauna. Her inventive and often delicate pieces of jewelry became one of her most prized signature creations. She molded pieces from twisted flowers, leaves, and branches made of cooper and gilt bronze. Her unique style of decorative design resonated with the fashion world, and many famous fashion designers (Yves Saint Laurent and Christian Dior, to name but two) collected her works or commissioned her to create surreal, playful, and mesmerizing pieces that are much-sought-after today.

153

CLAUDE LALANNE (1924 - 2019) A French sculptor and designer married to fellow sculptor Fran ois- avier Lalanne. This French creative team, referred to as ‘Les Lalannes,’ first attracted public attention in the 1960s when Yves Saint Laurent and Pierre Bergé commissioned them to create their now-famous sheep cast in bronze. A poetic universe inspired by floral and faunal worlds was to be the wellspring of the Lalannes' oeuvre for over fifty years.

circa 1984, signed CL, Artcurial and numbered 164/250 with the publisher’s mark gilt bronze necklace with Artcurial certificate in original box, dated 18 December 1989, Paris choker diameter ranges: 4 1/4 to 4 3/4 in.; 10.8 to 12 cm. berries hang: 3 in.; 7.5 cm.

'GROSEILLES' (GOOSEBERRY) NECKLACE

The foremost expression of Claude Lalanne's personal style was decorative flora and fauna. Her inventive and often delicate pieces of jewelry like this ‘Groseilles’ (Gooseberry) Necklace became one of her most prized signature creations. She often molded pieces from twisted flowers, leaves, and branches made of copper and gilt bronze. Her unique style of decorative design resonated with the fashion world, and famous fashion design houses like Yves Saint Laurent and Christian Dior have collected her works or commissioned her to create the surreal, playful, and mesmerizing pieces that are much sought after today.

CLAUDE LALANNE

52

LouisaPROVENANCEGuinness Gallery, London

NOTE

DETAIL 154 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et La Montre-Oignon, Artcurial, Paris, 1996, 'Groseilles'

SAINT CLAUDEMODELVACCARELLO.WEAR2021SPRINGLAURENTSEASONREADY-TO-BYANTHONYWEARINGLALANNE’S 1984.NECKLACE,(GOOSEBERRY)'GROSEILLES'CIRCA PHOTO © COURTESY OF SAINT LAURENT

Acquired from the above in 2010 by the present owner

15,000 - 25,000 USD

1 1/8 by 1 1/8 in.; 2.9 by 2.9 cm.

LouisaPROVENANCEGuinness Gallery, London Acquired from the above by the present owner

6,000 - 8,000 USD

PROPERTY OF A PRIVATE COLLECTOR CLAUDE LALANNE

4,000 - 6,000 US

E Knokke-Heist,HIBITED Christian Fayt Art Gallery, Les Lalanne, August 11 – September 16, 1984, n. 27 for related example

NOTE In the 1970s, Artcurial commissioned Claude Lalanne to produce editions of jewelry, much of which was made in vermeil. These delightfully dangly ‘Groseilles’ (Gooseberry) Earrings represent Lalanne’s fascination with and respect for each individual leaf that a plant might produce as well as her skill in designing, casting, and making in gilt bronze.

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Papillon' for related examples.

157

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et La Montre-Oignon, Artcurial, Paris, 1996, 'Groseilles'

circa 1984, signed C. Lalanne, numbered 18/250 with maker's mark stamp Artcurial gilt bronze clip earrings with gooseberries dangling from a length:leaf 2.5 in.; 6.5 cm. leaves: 1 1/8 by 1 in.; 3 by 2.6 cm

53

LouisaPROVENANCEGuinness Gallery, London Acquired from the above by the present owner

2016, each monogrammed C.L., stamped LALANNE, ARTCURIAL on the reverse, edition 3/250 pair of silver butterfly earrings with articulated wings and clips on reverse

PAIR OF 'PETIT PAPILLON' EARRINGS

PHOTO COURTESY LOUISA GUINNESS GALLERY. MODEL WEARING CLAUDE LALANNE’S (GOOSEBERRY)'GROSEILLES'EARRINGS,CIRCA1984

CLAUDE LALANNE

54

‘GROSEILLES’ (GOOSEBERRY) EARRINGS

55

Claude and Fran ois- avier Lalanne, Les Lalanne, Christian Fayt Art Gallery, Knokke-Heist, 1984, n. 27 for similar cast

Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, p. 69 for earlier example in gilded silver Louisa Guinness, Art as Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 79 for early example

15,000 – 20,000 USD

Iolas-Galerie, omboulakis, Athens

1975, signed Zolotas, LALANNE, edition 3/25, stamped Z2, stamped 950 for silver sterling silver choker necklace with a pair of lips at center lip width: 2 3/4 in.; 7cm. circumference: 14.5 in.; 36.8cm. diameter: 4 5/8 in.; 11.74cm.

LITERATURE

CLAUDE LALANNE FOR OLOTAS SILVER NECKLACE

CLAUDE LALANNE

Acquired from above by present owner

158 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

MODEL ZARA BLACKS WEARING CLAUDE LALANNE FOR ZOLOTAS’ SILVER NECKLACE AND CLAUDE LALANNE FOR ZOLOTAS VERMEIL NECKLACE, 1975

PROVENANCE

ToNOTEcome into being, Claude Lalanne for Zolotas Silver Necklace required her gallerist Alexander Iolas to introduce her to Zolotas, the oldest and best of Greek jewelers of the time. Lalanne was already making jewelry at home but experimented on a small selection of pieces with Zolotas including her lip chokers, like this one, in precious metals. The mold for these lips is believed to come from fashion designer Yves Saint Laurent, who observed, ‘What touches me is how she brings together the same high standard of craftsmanship and poetry. Those beautiful sculptor‘s hands seem to push aside the mists of mystery to reach the shores of art.’

Iolas-Galerie, omboulakis, Athens Acquired from above by present owner

LITERATURE

Louisa Guinness, Art as Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 79 for earlier example

160 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 161

CLAUDE LALANNE FOR OLOTAS NECKLACE

15,000 – 20,000 USD

PROVENANCE

ClaudeNOTE Lalanne worked with Greek jeweler Zolotas to create a series of lip necklaces for which this is an artist's proof. Mouths and lips were a recurring motif in her sculpture and jewelry and she would use molds made from the mouths of her friends and clients to add apertures to jewels or sculptures like her famous Pomme Bouche. Her playful works are memorable, interesting, and the conversion of her iconic sculpture and statuary into wearable jewelry was an important step in her career.

ATTR. CLAUDE LALANNE

Claude and Fran ois- avier Lalanne, Les Lalanne, Christian Fayt Art Gallery, Knokke-Heist, n. 27 for similar cast Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, p. 69 for earlier example

YVES

1975, signed Zolotas, stamped with maker’s mark, numbered Z22, marked E.A. (artist's proof), stamped 950 gilded sterling silver choker necklace with a pair of lips at center, likely a prototype for the full edition circumference: 14 3/4 in.; 37 cm. diameter: 4 11/16 in.; 11.9 cm. lips: 2 3/8 by 3/4 in.; 6 by 1.9 cm.

MODEL ZARA BLACKS WEARING CLAUDE LALANNE’S ‘COLLIER NECKLACECANNABIS’CIRCA1970 2022

PHOTO BY JORDAN DONER

©

PRESIDENT JOHN F. KENNEDY, ONE OF ELEVEN U.S. PRESIDENTS, IS BELIEVED TO HAVE USED MARIJUANA FOR MEDICINAL PURPOSES TO ALLEVIATE BACK PAIN, CIRCA 1960S, © LIBRARY OF CONGRESS, PRINTS AND PHOTOGRAPHS DIVISION, NYWT&S COLLECTION

leaf lengths: 4 to 4 3/4 in.; 10 to 12 cm. fits up to 15 in. neck

10,000 - 15,000 USD

CLAUDE LALANNE

in 1970, Lalanne sculpted a beautiful piece of jewelry: a necklace made of a single leaf set in bronze. in a high fashion twist, the leaf chosen was cannabis…

LITERATURE

57

circa 1970, unsigned unique patinated and gilded bronze cannabis leaves articulated on metal loop at center; hangs upside-down on neck via three pairs of bronze-colored chain with clasp at back of neck

Lalanne’s ‘Collier Cannabis’ Necklace is at once a piece of delightful whimsy and serious controversy. Any way you wear it, you will be making a statement. Lalanne’s love for foliage and flora in any form led to her use of individual leaves and fronds in a variety of types of jewelry, but her patinated, electroplated copper and bronze pieces are each unique examples that draw the eye and ensure that one stands out from the crowd.

8 1/2 by 8 in.; 22 by 19.5 cm.

Christie's Online, Joaillerie Paris, December 14, 2021, lot Acquired149 from above by present owner

E Paris,HIBITEDMusée des Arts Décoratifs, Christian Dior, couturier du rêve, July 5, 2017 – January 7, 2018

PROVENANCE

Daniel Abadie, Lalanne(s): The Monograph, éd. Flammarion, Paris, 2008, p. 265 for another example Dorothée Lalanne, Claude and François-Xavier Lalanne: exposition de mars à avril 2013, JGM Galerie, Paris, 2013, p. 9

ClaudeNOTE

‘COLLIER CANNABIS’ NECKLACE

DETAIL

164 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

—NATHANIEL HAWTHORNE

CHRISTIAN DIOR SPRING 2017 HAUTE COUTURE SHOW IN PARIS INCLUDES MODEL WEARING CLAUDE LALANNE’S 'PAPILLON' (BUTTERFLY) TORQUE NECKLACE, © VOGUE, © GETTY IMAGES 167

‘happiness is a tte y c en pursued, is always just beyond your grasp, but which, if you will sit down quietly, may alight upon you’

Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, p. 338 for related example

PROVENANCE

CLAUDE LALANNE

168 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 169

60

'PAPILLON' (BUTTERFLY) TOR UE NECKLACE, GRAND MODELE

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Les Bracelets' Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, p. 338 for related example

CLAUDE LALANNE

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Les Bracelets' Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, p. 338 for related example

PROVENANCE

Acquired directly from the artist by the present owner

2,000 - 3,000 USD

'PAPILLON' (BUTTERFLY) BRACELET

CLAUDE LALANNE

2018, signed C. LALANNE, edition 6/50, with maker's mark ARTCURIAL gilt patinated bronze articulated bracelet wrist width: 2 1/8 in.; 5.1 cm.

Acquired directly from the artist by the present owner

2,000 - 3,000 USD

8,000 - 12,000 USD

'PAPILLON' (BUTTERFLY) BRACELET

58

2018, signed C. LALANNE, edition 11/250, with maker's mark ARTCURIAL gilt patinated bronze articulated bracelet wrist width: 2 1/8 in.; 5.3 cm. butterfly: 7/8 by 7/8 in.; 2.5 by 2.5 cm.

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1989, signed C. L., ARTCURIAL, edition 26/250 gilt bronze butterfly necklace circumference: 14.5 in.; 37 cm. butterfly: 6 1/8 by 4 7/8 in.; 15.5 by 12.5 cm.

butterfly: 7/8 by 7/8 in.; 2.5 by 2.5 cm.

PROVENANCE

Acquired directly from the artist by the present owner

E Paris,HIBITEDChristian Dior, Haute Couture, Spring 2017 for a similar LITERATUREwork

CHRISTIAN DIOR SPRING 2017 HAUTE COUTURE SHOW IN PARIS INCLUDES MODEL WEARING CLAUDE LALANNE’S LE COLLIER MIMOSA CIRCA 1990 , PHOTO © DOCUMENTJOURNAL.COM © MORGAN O'DONOVAN

PrivatePROVENANCEcollection, United States E Paris,HIBITEDChristian Dior, Haute Couture, Spring 2017 for a similar work NOTE For her first 2017 spring haute couture show for Christian Dior, designer Maria Grazia Chiuri asked Claude Lalanne to make the jewelry. On ethereal bodies clad in evening dresses of changing colors, the artist laid flowers, brambles, and butterflies. In the same vein as this Le Collier Mimosa necklace and others of her oeuvre, they are miniature sculptures that take inspiration from the Art Nouveau style and from all sources in nature. 170 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

61 CLAUDE LALANNE LE COLLIER MIMOSA circa 1990, edition 119/250, stamped C. LALANNE, manufacturer's mark ARTCURIAL, with maker's and gold giltmarksbronze choker in galvanized metal diameter: 4 3/4 to 5 in.; 12 to 12.6 cm. height: 7 by 4 7/8 in.; 18 by 12.5 cm. 10,000 - 20,000 USD

CLAUDE LALANNE

gilded silver 2 3/4 by 2 3/4 in.; 6.8 by 6.8 cm.

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Ginkgo'

INTERIOR

62

173

'ORCHID E' (ORCHID) HANDBAG

2,000 - 3,000 USD

CLAUDE LALANNE

PROVENANCE

LouisaPROVENANCEGuinness Gallery, London Acquired from the above by the present owner

63

8,000 - 12,000 USD

circa 1990, signed C.L. Lalanne, Artcurial, 925, edition 107/150, French hallmark

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Orchidée'

‘GINKGO’ BROOCH

ForNOTELalanne, everything has a function. With botanical inspiration derived from her personal gardens, she conceptualized these bronze works as gilded fossils to be worn and appreciated in perpetuity. In the 1970s she was commissioned by Artcurial to make editions of jewelery and evening bags. Much of it was made in vermeil and in larger editions and though the relationship ended acrimoniously, the work embodies her playful and feminine sensibility.

circa 1989, signed Lalanne, edition 56/250, signed on interior cl. lalanne and ARTCURIAL PARIS black leather and gilded bronze purse 7.9 by 7 by 2 in.; 20 by 18 by 5 cm.

PROPERTY OF A PRIVATE COLLECTOR

Directly from the artist via Editions Artcurial, Paris Pierre Berge Associés, Paris, June 21, 2011, lot 207 Acquired from the above by the owner in 2013

TheseNOTE gentle leaves and hanging seeds come from Claude Lalanne’s collaboration with Artcurial, a collection of editions based on individual leaves, flowers, and seeds to decorate the body. The Metropolitan Museum of Art owns a similar pair of 'Collerette' Earrings once in the collection of New York City fashion icon Nan Kempner (MMA 2006.420.184a, b).

Acquired directly from the artist via Editions Artcurial, Paris Louisa Guinness Gallery, London

SAINT LAURENT READY TO WEAR SPRING 2021, DESIGNER ANTHONY VACCARELLO, MODEL WEARING CLAUDE LALANNE’S 'COLLERETTE EARRINGS CIRCA 1980, AND ‘GINKGO’ BROOCH CIRCA 1990. PHOTO © COURTESY OF SAINT LAURENT

2016,EARRINGSeach

PROPERTY OF A PRIVATE COLLECTOR CLAUDE LALANNE

CLAUDE

Acquired from the above by the present owner in 2013

64

C. Lalanne, Artcurial, and edition 27/50 (on the reverse of each)

LouisaPROVENANCEGuinness Gallery, London

PROVENANCE

PAIR OF 'HORTENSIA' (HYDRANGEA) BOULE

Acquired from the above by the present owner

3,000 - 4,000 USD

circa'COLLERETTE'LALANNEEARRINGS1980,signed

pair of gilded bronze earrings in original Artcurial box 2 3/16 by 1 7/8 in.; 5.5 by 4.4 cm.

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Les Boucles d’Oreilles'

6,000 - 8,000 USD

stamped Lalanne pair of bronze doré earrings in the form of hydrangea petals with suspended spheres; clips on reverse 1 by 1 in.; 2.6 by 2.6 cm. sphere diameter: 3/8 in.; 1 cm.

175

65

18k gold, front-fastening necklace formed from articulated hydrangea petals arranged in a graduated manner circumference: 15 in.; 38.5 cm. width of links: 5/8 in.; 1.8 cm.

Acquired from the above by the present owner

©

NOTE

LOUISA CLAUDEGALLERY.GUINNESSMODELWEARINGLALANNE’S 'HORTENSIA' (HYDRANGEA) NECKLACE CIRCA 1990

Lalanne's 'Hortensia' necklace is iconic of her work for Artcurial in the 1970s, for which she created a series of collections that each focused on individual parts of a variety of florals including anemone, ginkgo, and hydrangea. The collection that this piece comes from is strikingly unique among the series, however, as Lalanne usually emphasizes asymmetry and the overlapping petals here form an unusually consistent and symmetrical whole that showcases the beauty of a singular petal in formation. PHOTO COURTESY

7,000 - 9,000 USD

LouisaPROVENANCEGuinness Gallery, London

PROPERTY OF A PRIVATE COLLECTOR CLAUDE LALANNE

66

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Hortensia'

'HORTENSIA' (HYDRANGEA) NECKLACE

circa 1990, signed C. LALANNE, ARTCURIAL, edition 60/250, 750

InNOTEworks like Collier Collerette, Lalanne's mastery of electroplating sits center stage. Through this method she transformed organic material into copper by running it through a bath of copper sulphate. Working intuitively, she then joined each piece together and heated them to obtain her signature pinkish hue, a method she utilized until her death in 2019.

This gently-ruffled collar with hanging seed-pods solidified in an immovable material is a perfect example of Lalanne's interest in nature and how it might be subverted to adorn the body.

Acquired from the above by the present owner

unique1974,

COLLIER COLLERETTE (COLLAR NECKLACE)

178 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 179 67

gilded bronze with electroplated galvanized copper, with certificate from artist flange width approximately: 1 in.; 3 cm. inner circumference: 12 3/16 in.; 31 cm. diameter: 4 in.; 10 cm.

8,000 - 12,000 USD

PROVENANCE

PROPERTY OF A PRIVATE COLLECTOR CLAUDE LALANNE

Acquired directly from the artist Louisa Guinness Gallery, London

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Collerette' for similar form in silver Paola Stroppiana, Scultura Aurea, Gioielli d'Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 115 Sculpture to Wear: An Introduction to Artist Jewellery, Louisa Guinness Gallery and Sotheby's, London, 2021, p. 29

180 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

PRIVATE COLLECTION CLAUDE LALANNE

PROVENANCE Acquired directly from the artist Louisa Guinness Gallery, London Acquired from the above by the present owner

MODEL PEYTON AYERS WEARING CLAUDE LALANNE’S 'ANÉMONE' BROOCH PENDANT, CIRCA 1980S

MadeleineLITERATUREChapsal, Claude Lalanne: Bijoux, Sacs-Bijoux et la Montre-Oignon, Artcurial, Paris, 1996, 'Le Broche' and 'Anémone' for related examples

circa 1980s, signed LALANNE unique galvanized copper with pin 3 1/8 by 3 1/8 by 1/2 in.; 7.8 by 7.8 by 1.1 cm.

'AN MONE' BROOCH PENDANT

6,000 - 8,000 USD

68

NOTE Lalanne’s flower pins were a badge of honour for those in her circle. The signature pink hue of this 'Anemone' brooch was created through a process of electroplating and gives the flower a unique appearance as one of her 'fossilized' creations.

69 PROPERTY OF A PRIVATE COLLECTOR CLAUDE LALANNE UNTITLED BELT 1990, unique, stamped LALANNE twice on the back galvanized copper and bronze belt with twisting vines, leaves, and hydrangea flowers inner circumference: 29 1/8 in.; 74 cm. height at front: 3 1/4 in.; 8.5 cm. 15,000 - 20,000 USD LouisaPROVENANCEGuinness Gallery, London Acquired from the above by the present owner LITERATURE Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, pp. 266-76 for related examples ThisNOTEstriking untitled belt gives truth to the concept of transforming one's art into wearable miniature; Lalanne created here a portable version of her many stunning pieces of furniture featuring intertwined and nearly wild florals and vines seen in Daniel Abadie, Lalanne(s): The Monograph, Flammarion, Paris, 2008, pp. 266-76. This belt twines around the wearer's waist in a poetic caress, granting the spirit of Lalanne's creativity and a fascinating sight for observers. YVES SAINT LAURENT: IMAGES OF DESIGN 1958-1988 IVY TENDRILS, ANEMONE, AND WISTERIA BLOSSOMS TWINING AROUND THE WAIST — CLAUDE LALANNE IS INSPIRED BY NATURE IN HER BIZARRELY POETIC JEWELRY. SHE MADE BOTH OF THESE GALVANIZED GOLD BELTS EXCLUSIVELY FOR SAINT LAURENT IN 1971 © PHOTO BY GUY BOURDIN MODEL WEARING CLAUDE UNTITLEDLALANNE’SBELT1990 183

Her departure to New York in 1938 following her marriage to the art historian Robert Goldwater marked the beginning of her career and her first exhibition followed swiftly in 1945. In the United States, she frequently mingled with the Surrealists and began using varied materials such as plaster, latex, fabric, and wood to create her 'Woman Houses' and 'Totems'. Bourgeois’s universe is particularly introspective and her works betray reflections on the unconscious, femininity, family, sexuality, and her relationship to the human body.

LOUISE BOURGEOIS WEARING THE ORIGINAL ‘BARRE DE MÉTAL’ (METAL BAR) NECKLACE, 194 8, IN NEW YORK IN 1948 AT LUNCH WITH HER FATHER LOUIS © LB STUDIO

‘THE VITRARIA GLASS + A MUSEUM, IN VENICE, HAD A FANTASTIC SHOW OF JEWELRY DESIGNED BY ARTISTS. THIS NECKLACE WAS CREATED BY LOUISE BOURGEOIS IN 1948. DOESN’T IT LOOK SO CURRENT? IT COULD BE SOMETHING FROM A CÉLINE COLLECTION.' GIOVANNA BATTAGLIA, 2015 LOUISE BOURGEOIS IN THE STUDIO OF HER FLAT, 142 EAST 18TH STREET, NEW YORK, CIRCA 1946 © THE EASTON FOUNDATION LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY

Helmut Lang's 2003 choker Barre de Métal (metal bar) was inspired by her 1948 design and allows us insight into the mind of the artist. The torque encloses the neck of the wearer as if to imprison or enslave her - and yet remains decorative.

LOUISE BOURGEOIS (1911 - 2010) Painful memories of childhood drove Louise Bourgeois to seek liberation through art. A mother who died too early and a father whom she considered tyrannical led her to try to exorcise her fears. At first Bourgeois concentrated on mathematics, which she studied at the Sorbonne, before attending the Ecole des Beaux Arts and the Ecole du Louvre.

185

louise bourgeois

‘BARRE DE M TAL’ (METAL BAR) NECKLACE

designed 1948, executed 2001, signed LB, edition 29/39 silver necklace in the form of shackle with a curved lower bar through which five holes have been drilled 6 5/8 by 7 1/8 in.; 17.2 by 18.5 cm.

Athens, Benaki Museum, May - September 2012

Emmanuel Guigon, Bijoux D'artistes: Une Collection, Silvana Editoriale, Milan, 2012, p. 56 for another example

LouiseNOTE

70

LOUISE BOURGEOIS

Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, exhibition catalogue, Museum of Arts and Design, New York, 2011, p. 126 for another example

Bourgeois’ ‘ Barre de Métal’ Necklace is shocking: at first glance, it summons a severe and solid image to mind, likely that of a shackle. And indeed, it was made to be so: the shackle of diamonds and precious metal, perhaps, that a husband might place around a wife’s throat. The original was designed by Bourgeois in 1948 and later fabricated in a limited edition of 39 by the artistic jeweler Chus Burés of Madrid between 1999 and 2003. Bourgeois’ ‘universe is particularly introspective betraying her reflections on the unconscious, femininity, the family, sexuality, and the relationship to the human body.’ (Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 124.) The piece has since inspired other creators, and an example edition was used by fashion designer Helmut Lang in his 2003 Spring/Summer collection in Paris.

PHOTO BY JORDAN DONER

E HIBITED

Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 39 for different version

30,000 - 40,000 USD

Seoul, South Korea, Hangaram Design Museum, December 2013 - February 2014

Miami Beach, Florida, Bass Museum of Art, March - July 2013

Paris, Helmut Lang, Spring/Summer Haute Couture, 2003

Toledo Museum of Art, Mar. 11 Art Minute: Louise Bourgeois, ‘Shackle Necklace’ for another example

186 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

Picasso to Jeff Koons: The Artist as Jeweler: New York, Museum of Art and Design, September 2011January 2012

FROM AN IMPORTANT EUROPEAN COLLECTION

LITERATURE

Christie’sPROVENANCENewYork, Barry Friedman: The Eclectic Eye, Evening Sale and Day Sale, March 25, 2014, lot 56 Acquired from the above by the present owner

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, pp. 24, 25 for another example

Chus Burés, Chus Burés: Portraits & Jewellery, Brizzolis, Madrid, 2016, pp. 78-9

Paris, Credit Municipal de Paris, Bijoux d'Artistes: Une Collection, October 2012 - January 2013

KIKI

189

Shonquis Moreno, 'Jewelry in a Virtual World,' American Craft Magazine, December/January 2009

Kiki Smith (b. 1954) is a West German-born American contemporary artist who is known for her thoughtprovoking sculptures and her non-traditional use of the female nude. Smith, one of the most influential sculptors of her generation, has experimented in many forms of art, including ceramics, tapestry and textiles, printmaking, film, and last but not least, jewelry. Smith believes that living with one’s art during the creative process is essential to existence, so she has crafted herself into an artwork to behold. Her skin is 'liberally tattooed with turquoise rings and stars,' writes art critic Michael Kimmelman. 'She wears strings of necklaces and bracelets stacked atop of one another. You can hear when she is coming because her jewelry jingles.' (Michael Kimmelman, ‘The Intuitionist,’ New York Times Magazine, November 5, 2006) Her art and her being are both invested in the recognition and appreciation of womanhood.

NOTE

set of three unique scatter brooches cast in silver in the form of comets with firey tails dimensions and weights: brooch 1: 2 1/8 by 5/8 in.; 5.5 by 1.7 cm; 13.9 g brooch 2: 2 3/8 by 5/8 in.; 6 by 1.6 cm; 18 g. brooch 3: 2 1/8 by 5/8 in.; 5.5 by 1.7 cm 16.9 g. 5,000 - 7,000 USD

LITERATURE

kiki smith

circaSHOOTINGSMITHSTARBROOCHES2000s,unmarked

FriedmanPROVENANCEBenda, New York Tajan, Paris, Mobilier & Bijoux d'Artistes, March 16, 2010, lot 134

71

Acquired from the above by the present owner

AnitaLITERATUREButtner, Internationale Ausstellung Schmuck - JewelleryBijoux, Hessisches Landesmuseum, Darmstadt, 1964, no. 6 for another example Jewelry by Contemporary Painters and Sculptors, Museum of Modern Art, New York, 1967, no. 4, 6 for another example Hermann Schadt, Goldsmiths' Art: 5000 Years of Jewelry and Hollowware, Arnoldsche, Stuttgart, 1996, p. 204 Martine Newby Haspeslagh, Jewelry by Contemporary Painters and Sculptors @50: 1967-2017, Didier, London, 2017, p. 23 Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 24 for similar example

PrivatePROVENANCEcollection, United States

Jean Arp (1886-1966) is an accomplished sculptor and poet and considered to be one of the founders of the Dada movement. The German-French artist began making jewelry only in his later years as an extension of his sculpture. He was fascinated with molding hard materials into shapes with gentle contours and fluid lines that evoked malleability and softness. While abstract in form like much of his larger work, his miniature sculptures nevertheless evoke living forms like plants and the human body, a biomorphic style that– translates fluidly into silverwork and jewelry. In an homage to the asymmetry of nature, each necklace he designed in this edition sports different stones, an unexpected surprise that makes each unique. His 1960s edition of this necklace, an edition of one hundred, had a charitable cause: the Ein Hod village art community in Israel, which his fellow Dadaist Marcel Janco was attempting to establish.

FIG: 1

10,000 - 12,000 USD

T TE DE BOUTEILLE ET MOUSTACHE

190 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 72

jean arp

JEAN ARP, CIRCA1960, © ARCHIVE/GETTYKEYSTONE/HULTONIMAGES

NOTE

JEAN (HANS) ARP

circa 1960, stamped on reverse DESIGN BY Arp, edition 19/100, PETER EIN-HOD, MADE IN ISRAEL, ST 925 sterling silver with broken bottle-head pendant set with polished semi-precious stoneeyes and with a flat moustacheshaped link to either side; each version of the edition consists of a different combination of semi-precious stones, joined by long rounded oval links with hook fastening, produced by Johanaan Peter Ein Hod, Israel pendant: 2 1/8 by 3 in.; 5.5 by 7.7 cm. chain: 19 1/4 in.; 49 cm.

NIKI DE SAINT PHALLE (1930 - 2002) She spent a lifetime battling and coming to terms with the trauma of her childhood brought by an abusive father and a patriarchal society that demanded she marry early and have children. Leaving her husband and entering the world of art allowed her to voice her fears, her hopes, and her dreams and to share them across the world in installations large and small. Saint Phalle was not afraid of controversy and published books and art to support victims of AIDS, some of whom were her dear friends and inspired her greatly. Her monumental statues of women in public parks and gardens, brightly colored and very nearly gaudy, paved the way for smaller pieces of jewelry. She enjoyed using imagery of snakes and hearts, symbols connected to femininity, expectations, and the subversion of both concepts. She worked with jeweler GianCarlo Montebello in the 1970s on small enameled brooches for elite buyers and with Noah’s Ark Art on perfumes to finance her larger projects.

PROVENANCEFromanimportant European collection

niki de saint phalle

NIKI DE SAINT PHALLE

'ARBRE DE COEUR' (HEART TREE) BROOCH/PENDANT

10,000 - 15,000 USD

73

LITERATURE

NOTE

In 1981, Niki de Saint Phalle wrote: 'L'arbre, la Nature: l'arbre n'est pas l pour embellir. L'arbre est le coeur du mythe, végétal ou animal, tronc ou serpent. Il est l'embl me de la grande nature, le fétiche de la sensibilité, la marque de l'univers.' (The tree, Nature: the tree is not there to embellish. The tree is the heart of the myth, vegetable or animal, trunk or serpent. It is the emblem of great nature, the fetish of sensitivity, the mark of the universe.) (Niki de Saint Phalle, Pontus Hultén, and Jean Yves Mock, Niki de Saint Phalle, Moderna museet, Stockholm, Sweden, 1981, p. 88). This poetic passage brings the 'Arbre de Cœur' brooch/pendant to life, concretizing the tree that is the heart of myth.

SPRING 2018 ©

ORIGINAL FITTED BLUE VELVET CASE AND DETAIL OF SIGNATURE ON REVERSE

Niki de Saint Phalle, Louisa Guinness Gallery, London, 2015, 'Couer, 1990'

1990, signed Niki de Saint Phalle, stamped 1990, edition 4/33, stamped 750, 267 VA, hallmarked DK 18k gold and multi-color enamel pendant brooch with eight articulated red enameled hearts and a pin on the reverse, with half loop for suspension; Diana K ppers with Niki de Saint Phalle, Giancarlo Montebello workshop; with original fitted blue velvet case 2 3/8 by 2 5/8 in.; 6 by 6.7 cm.

Niki de Saint Phalle, Pontus Hultén, and Jean Yves Mock, Niki de Saint Phalle, Moderna museet, Stockholm, Sweden, 1981, p. 88

FROM AN IMPORTANT EUROPEAN COLLECTION

A MODEL WALKS AT THE DIOR FASHION SHOW FOR DIOR, PHOTO BY ANTONIAOBARROS

193

Known for environmental sculptures, Vance transforms travel accessories through the creation of miniature sculpted landscapes with water scenes. The design and look of each case determines the scenery that will be created, activating a longing and desire for that which is most precious.

kathleen

sale ‘Art as Jewelry as Art’ 2022

expressly

KATHLEEN VANCE BUCOLIC LANDSCAPE © COURTESY OF FRONTGALLERYROOM

195 74 PROPERTY CREATED FOR INAUGURAL ART AS JEWELRY AS ART AUCTION KATHLEEN VANCE TRAVELING LANDSCAPE, RED REPTILE 2022, signed 1940s vintage red leather box purse, faux foliage, resin, paint, soil, dimmable LED light with button switch and cord with memory setting (energy-e cient and up to 50,000 hours of light) 11 by 10 by 9 in.; 27.9 by 25.4 by 22.8 cm. 2,000 - 3,000 USD

In considering adornment and the use of accessories to denote luxury travel, Vance has created a magical natural environment contained within a vintage purse. The lushness of the verdant foliage is accentuated by the rich red of the exterior. This piece is self-illuminated, attracting the gaze to the miniature hillside with a stream - a perfect platform upon which to imagine one’s most precious items displayed. vance

CreatedPROVENANCEbyartist for the Sotheby’s inaugural

NOTE Kathleen Vance (b. 1977) Traveling Landscape, Red Reptile is a bucolic landscape nestled inside of a vintage red leather reptile-skin box purse. The illuminated interior takes the form of a magical, miniature scene featuring a lush riverbed and stream, all completely self-contained.

MÉRET OPPENHEIM (1913–1985) ‘For Oppenheim, artist of the Fur-Lined Teacup,’ curator Richard Martin tells us, ‘it was not inappropriate to wear champagne-cork earrings,’ a motif that may have been inspired by Salvador Dal ’s own Aphrodisiac Dinner Jacket (1936) (Richard Martin, Fashion and Surrealism, Rizzoli, New York, 1987, p. 117). Oppenheim’s interest in jewelry, fashion, and Surrealism at large converged with Italian designer Elsa Schiaparelli after she moved to Paris as an eighteen-yearold and found herself in the circles of Man Ray, Max Ernst, and Alberto Giacometti. Schiaparelli knew she had found a gem and commissioned her for accessories based on work like Oppenheim’s conceptual, feminist Object (Le Déjeuner en fourrure).

MÉRET OPPENHEIM SHATTERED THE GLASS CEILING OF SURREALISM. PHOTO VEILED EROTICISM, MERET OPPENHEIM AT THE PRESS AT LOUIS MARCOUSSIS,1933 © MAN RAY, FONDAZIONE MARCONI, MILANO, © MAN RAY 2015 TRUST / ADAGP, PARIS 2020 shatteredoppenheim‘mérettheglassceilingofsurrealism’

197

Oppenheim, a Swiss artist and photographer born in Germany, holds an important role in the Surrealist movement as one of its rarely-lauded female members and also internationally as one of the few woman artists recognized for her artistic merit during her lifetime. Her works are held in the collections of institutions like the Museum of Modern Art in New York and the Museum of Fine Arts, Bern.

—ARIA DARCELLA AND BENJAMIN GALOPIN oppenheim

MÉRET OPPENHEIM, PORTRAIT WITH TATTOO, 1980, © COURTESY OF HATJE CANTZ méret

These gloves turn expectation on its head: the very sign of aging that many women detest, varicose veins, are put proudly on display here and prove the humanity of the Pieceswearer. from the same edition are on display at the Museum of Modern Art, New York (98.1998.1a-b) and the National Museum of Women in the Arts in Washington, DC.

Nicolaas Matsier, Private Passion: Artists' Jewelry of the 20th Century, Arnoldsche, Stuttgart, 2009, p. 122 for another example

PeterLITERATUREexampleWollen,

Addressing the Century: 100 Years of Art & Fashion, Hayward Gallery Publishing, London, 1998, no. 183 for another example

PARKETT ISSUE NO. 4 PACKAGING, 1985, KUNSTZEITSCHRIFT ART MAGAZINE 198 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

PrivatePROVENANCEcollection, Spain

New York, Museum of Modern Art, Collaborations with Parkett: 1984 to Now, April 3 – June 5, 2001 for another

199 75 PROPERTY OF A SPANISH COLLECTOR M RET OPPENHEIM

Mirjam Varadinis and Parkett Verlag, Parkett - 20 years of artists' collaborations, Kunsthaus rich, Switzerland, 2004, p. 65 for another example

'Meret Oppenheim: Gloves,' National Museum of Women in the Arts

Realizing an original design from 1936 the year of the creation of her famous Fur-lined Teacup the demurely savage chic of these gloves turns the hands of the wearer inside Oppenheim,out. who was so successful a Surrealist even as a student that she was commissioned to create gloves and jewel designs for the house of Schiaparelli (which notably collaborated with Salvador Dal on a variety of Surrealist objects). Oppenheim created these gloves in 1985 to be sold with a special issue of Parkett Magazine.

1985, hand-signed by artist, edition 112/150 goat suede with silk-screening and handstitching, included in Parkett issue approximately: 8 2/5 by 3 7/10 in.; 21.3 by 9.3 cm 4,000 - 6,000 USD

E HIBITED London, Hayward Gallery, Addressing the Century: 100 Years of Art & Fashion, October 8, 1998 – January 11, 1999 for another example

NOTE

AVANT-GARDE. Considered a hallmark of modernism, the avant-garde pushes the boundaries of the acceptable, challenges norms, and stands in opposition to high or mainstream culture. In music, theater, painting, and every other medium, the avant-garde has boldly driven the arts in new directions. Jewelry is no exception: Jean Cocteau, Pablo Picasso, Max Ernst, and other audacious innovators like them have created provocative pieces of wearable art that shatter traditional notions of jewelry by experimenting with new materials and techniques.

V jewelry avant-gardeas...

JORDAN DONER 201

PHOTO BY

PABLO PICASSO AND FRANÇOISE GILOT IN FRONT OF RESTAURANT NOUNOU AT THE BEACH OF GOLFE-JUAN, 1954. GILOT WEARS A MEDALLION PENDANT BY PICASSO PHOTO © EDWARD QUINN, © SUCCESSION PICASSO / 2020, PROLITTERIS, ZURICH 76 FROM AN IMPORTANT EUROPEAN COLLECTION AFTER PABLO PICASSO HOMME AUX PETITS BRAS (MAN WITH SMALL ARMS) conceived 1950, stamped Madoura Empreinte Originale de Picasso on reverse terracotta faience medallion, part of an edition of 250 approximately: 3 7/8 by 1 3/16 in.; 9.9 by 3 cm. 1,000 - 2,000 USD Christie’sPROVENANCESouth Kensington, Impressionist/Modern & Picasso Ceramics, February 6, 2015, lot 230 Acquired from the above by the present owner EmmanuelLITERATUREGuigon and Manon Lecaplain, Picasso I Les Joies D'artista = Picasso and Artist's Jewellery, Fundació Museu Picasso de Barcelona, Barcelona, 2021, p. 48 pablo

203

PABLO PICASSO (1881-1973) & ATELIER HUGO. Considered one of the greatest and most influential artists of the 20th century, Pablo Picasso was an eclectic artist who drew inspiration from many sources and used a wide array of techniques and materials in his works. Painter, sculptor, printmaker, ceramist, theaterical set designer – and also a creator of unique art jewelry. His interest in metalworking began in 1956 when he moved in with new muse Jacqueline Roque in Cannes. He searched for a way to transform the ceramic objects he had produced at the Madoura workshop in Vallauris into less fragile works without having to cast the designs, which he was loath to do. The solution was proposed by his friend, art critic Douglas Cooper, who encouraged Picasso to collaborate with the goldsmith François Hugo. The meeting between the two artist-craftsmen marked the beginning of a fraught collaboration that became more prolific than Picasso might have imagined but was a boon to Atelier Hugo.

Hugo forged ahead with new and unusual techniques to develop these works, and over their years of collaboration realized he needed to depend on sales to sustain his workshop, which led to a falling-out with the artist. However, the encouragement of Jacqueline Roque resurrected their relationship and Hugo gave Roque jewelry while Picasso gifted him with further drawings. Picasso later gave Hugo permission to manufacture editions of medallions in 1965, though many of them were produced from 1975 onwards. picasso

Picasso saw metal versions of his ceramics as an exploration of form and style rather than a commercial opportunity, and presented first clay versions, then molds, and lastly drawings to Hugo for replication.

PIERRE HUGO (B. 1947) Pierre Hugo - the son of Fran ois and Monique - registered his first mark in Marseilles in 1980. This featured a PH surrounding the spiraling figure of an abstracted dancer all inside of a horizontal diamond and was o cially used until 1992, though like Fran ois’, it has been put to use in more recent unauthorized editions. In 1995, Pierre registered a new mark for his business, EURL Les Cypres d’Or, of a diamond containing the letters LCO around a diagram of two cypress trees, above which are the letters STE. Interestingly, he appears to have used variations of his first mark, altered with the diamond shape vertical instead of horizontal and sometimes to include the letters STE around the dancing figure, for works at some point after 1988. It is these versions of his mark that appear on many of the medallions that we present.

FRANÇOIS GEORGES HUGO (1899— 1981) Within the Atelier Hugo, various goldsmith's maker's marks were used across particular years. Scholarship has shown that an original mark containing the words FRANÇOIS HUGO inside of a diamond was used before Fran ois o cially registered with the Bureau de Garantie in the fifties. Fran ois’ most commonly used mark, an F and H surrounding a Maltese cross within a horizontally-positioned diamond, was registered with the Bureau de Garantie de Marseilles in 1958 and was used in the workshop until 1983. However, there is evidence that it has been used since for further unauthorized editions – including ours, which most probably date after 1988 as they are not included in the Hugos’ Livre de Atelier. Under French law, Hugo's agreement with Picasso needed to be in the form of a signed contract, but their initial agreement was verbal and therefore we are not able to guarantee that these further editions were legally authorized.

PIERRE HUGO’S MARK ON J OUEURS DE FLÛTE ET CAVALIERS (1410) ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 88)

FRANÇOIS HUGO’S MARK ON TÊTE À CORNES (2249/1452) ORIGINALLY CONCEIVED BY MAX ERNST (LOT 97)

MONIQUE HUGO’S MARK ON POISSONS (1411), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 79)

With thanks to Dr. Clare Finn and reference to her PhD dissertation, ‘The decorative metalwork of Pablo Picasso: his collaboration with François Hugo,’ registered at London’s Royal College of Art in 2004, pages 759-760

STE all inside of a vertically-positioned diamond. Monique, François’ wife, was responsible for crafting multiple pieces that bear his mark (including the 1/20 Le Rond medallion dated 1973), showing that she was active in the workshop, and correspondence with the Hugo family has revealed that her personal mark was used from 1967 until 1998. It has never been published until today, and we offer four pieces that bear it: The Picasso-designed 23k gold medallions Visage de Faune, Poissons, and Visage aux Mains, as well as the Cocteaudesigned Deux Têtes medallion.

FRANÇOIS HUGO’S MARK, ON ROND (1678/1619) EDITION 1/20 DATED 1973 (LOT 78)

Fran ois' mark was o cially used from 1958-83 and Pierre's initial mark during 1980-1992, and each edition was entered into their Livre de Atelier. However, the book ends in 1988. As lots 77, 79-91, and 97-98 do not appear in the book, they are likely unauthorized editions that date after 1988 despite featuring these hallmarks.

PIERRE HUGO’S MARK ON VISAGE TOURMENTÉ (1408) ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 81)

MONIQUE MARIE HUGO (NÉE WILHELM) (1920— 2002) We present for the first time Monique Hugo’s mark, an MH around what appears to be a single cypress tree under the letters

ATELIER HUGO AND THEIR GOLDSMITH’S MAKER'S MARKS

atelier hugo

MONIQUE HUGO’S MARK ON VISAGE DE FAUNE (1409), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 77)

A SAMPLE RECORD-KEEPING PAGE FROM LIVRE DE RÉFÉRENCES DE FRANÇOIS HUGO REPRODUCED IN CLARE SIAUD AND PIERRE HUGO, BIJOUX D'ARTISTES = ARTISTS’ JEWELS: HOMMAGE À FRANÇOIS HUGO LES CYPRÈS, AIX-ENPROVENCE, 2001

204 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 205

PIERRE HUGO’S MARK, ON ROND (1678/1291) EDITION6/20 ORIGINALLY CONCEIVED BY PABLO PICASSO, BEING SOLD IN BUY NOW

executed after 1988 , signed Picasso on reverse, edition 6/20, Monique Hugogoldsmith's mark, Atelier Hugo number 1409 with French assay mark 23k yellow gold Pablo Picasso medallion pendant featuring the abstracted face of a faun with original fitted wood and velvet presentation case; based on an original Madoura diameter:ceramic 2 1/8 in.; 5.3 cm. 41.77 g.

MONIQUE HUGO’S MARK ON VISAGE DE FAUNE (1409), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 77)

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 124

FROM AN IMPORTANT EUROPEAN COLLECTION

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

206 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

77

VISAGE DE FAUNE (FACE OF A FAUN) 1409

20,000 – 30,000 USD

SkinnerPROVENANCEInc.Boston, Fine Jewelry, June 14, 2005, lot 320 Acquired from the above by the present owner

AFTER PABLO PICASSO

207

Clare Finn, ‘The Fascination of Silver, the Lure of Gold: Picasso’s Collaboration with François Hugo,’ in Emmanuel Guigon and Manon Lecaplain, Picasso I Les Joies D'artista Fundació Museu Picasso, Barcelona, 2021, p. 83

ClareLITERATURESiaudand Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 148, 153

208 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

After Picasso finished the four compotiers it is believed his muse Jacqueline Roque requested that Fran ois Hugo transform them into medallions (1967-1970) in the same motif as the compotiers, of which Picasso agreed Hugo could do a limited edition. Hugo gave Jacqueline an example of Rond in 1971, though there is no formal record of this. (Emmanuel Guigon and Manon Lecaplain, Picasso I Les Joies D'artista, Fundació Museu Picasso, Barcelona, 2021, pp. 73, 77-78)

Acquired from the above by the present owner

FROM AN IMPORTANT EUROPEAN COLLECTION

PROVENANCE

MODEL WEARING AFTER PABLO PICASSO'S R OND (ROUND) — 1678. BOSTON, INSTITUTE OF CONTEMPORARY ART, JEWELRY AS SCULPTURE AS JEWELRY, NOVEMBER 28 – DECEMBER 21, 1973 © INSTITUTE OF CONTEMPORARY ART

Clare Siaud and Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, pp. 188, 150, 192

30,000 – 40,000 USD

LITERATURE

AFTER PABLO PICASSO

ROND (ROUND) 1678

78

©

Jewelry as Sculpture as Jewelry, Institute of Contemporary Art, Boston, 1973, no. 102

PabloNOTE

Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 37

Clare Finn, 'The Fascination of Silver, the Lure of Gold: Picasso's Collaboration with Fran ois Hugo,' in Emmanuel Guigon and Manon Lecaplain, Picasso I Les Joies D'artista, Fundació Museu Picasso, Barcelona, 2021, pp. 73, 77, 78

Maison R C Commissaires-Priseurs Associes Paris, Bijoux, Montres de Collection, Maroquinerie de Luxe & Argenterie, December 21, 2018, lot 307

E HIBITED Boston, Institute of Contemporary Art, Jewelry as Sculpture as Jewelry, November 28 – December 21, 1973 for a similar edition

Picasso undertook a remarkable collaboration with goldsmith Fran ois Hugo at the end of 1956, designing large compotiers in silver. Rond is one of the pieces that developed out of this partnership - a face trapped within a circle.

conceived in 1958, executed 1973, signed Picasso on reverse, edition 1/20, Fran ois Hugo goldsmith's mark, Atelier Hugo numbers 1619, 1678, French assay mark 23k yellow gold Pablo Picasso medallion pendant; based on original drawing; this piece corresponds with data recorded in Fran ois Hugo's Livre de Atelier diameter: 2 in.; 5 cm.

FRANÇOIS HUGO’S MARK ON ROND(1678/1619) ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 78)

23.47 g.

Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 157

210 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 211 79

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 124

PIERRE HUGO’S MARK ON VISAGE TOURMENTÉ (1408), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 81)

executed after 1988 , signed Picasso on reverse, edition 1/2, Pierre Hugo goldsmith's mark, Atelier Hugo number 1439, French assay mark

Atelier Fran ois et Pierre Hugo, Aix-en-Provence

PROVENANCE

ClareLITERATURESiaudand

PABLO PICASSO

15,000-20,000 USD

SkinnerPROVENANCEInc.Boston, Fine Jewelry, December 13, 2005, lot 181 Acquired from the above by the present owner

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

80

VISAGE TOURMENT (TORMENTED FACE) 1408

executed after 1988 , signed Picasso on reverse, edition EA 1/2 (artist's proof), Pierre Hugo goldsmith's mark, Atelier Hugo number 1408, French assay marks

23k yellow gold Pablo Picasso medallion pendant from an edition of 20 and 2 artist proofs; with wooden box; based on an original Madoura ceramic diameter: 2 in. 5 cm. 31.66 g.

FROM AN IMPORTANT EUROPEAN COLLECTION

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

23k yellow gold Pablo Picasso medallion pendant featuring a centaur; with wooden box; based on an original Madoura diameter:ceramic 2 in.; 5.1 cm. 31.14 g.

Christie's Paris, Art Moderne, October 23, 2015, lot 152 Acquired from the above by the present owner

79)

PROVENANCE

Clare Finn, ‘The Fascination of Silver, the Lure of Gold: Picasso’s Collaboration with François Hugo,’ in Emmanuel Guigon and Manon Lecaplain, Picasso I Les Joies D'artista, Fundaci Museu Picasso, Barcelona, 2021, p. 98

15,000 – 20,000 USD

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

10,000-15,000 USD

ClareLITERATURESiaudand

AFTER PABLO PICASSO

Private collection, France (acquired from above 1970s) Acquired by descent from above Christie's Paris, Art Moderne, October 23, 2015, lot 151 Acquired from the above by the present owner

CENTAURE (CENTAUR) – 1439

PROVENANCE

ClareLITERATURESiaudand

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 124

conceived in 1957, executed after 1988 , signed Picasso on reverse and stamped EA 1/2 (artist's proof), Pierre Hugo goldsmith's mark, Atelier Hugo number 1398, French assay 23kmarkgold medallion pendant, edition of 20 and 2 artist proofs; in wooden box; based on an original Madoura ceramic diameter: 1 7/8 in.; 4.8 cm. 26.87 g.

executed after 1988 , stamped on front 19.5.56, signed Picasso on reverse, edition 6/20, Monique Hugo goldsmith's mark, Atelier Hugo number 1411, French assay 23kmarkyellow gold Pablo Picasso medallion pendant with wooden box; based on an original Madoura ceramic diameter: 2 in.; 5 cm. 35.33 g.

AFTER PABLO PICASSO

DORMEUR (SLEEPER) 1398

PIERRE HUGO’S MARK ON DORMEUR (1398), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 80)

PIERRE HUGO’S MARK ON CENTAURE (1439), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 82)

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

ORIGINALLY CONCEIVED

FROM AN IMPORTANT EUROPEAN COLLECTION

81

82

AFTER PABLO PICASSO

Christie's Paris, Art Moderne, October 23, 2015, lot 152 Acquired from the above by the present owner

AFTER PABLO PICASSO

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

ClareLITERATURESiaudand Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

POISSONS (FISH) 1411

8,000 – 12,000 USD

FROM AN IMPORTANT EUROPEAN COLLECTION

MONIQUE HUGO’S MARK ON POISSONS (1411), BY (LOT

FROM AN IMPORTANT EUROPEAN COLLECTION

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

VISAGE AU FEUILLES (FACE WITH LEAVES) 1403

PROVENANCE

FROM AN IMPORTANT EUROPEAN COLLECTION

Atelier Fran ois et Pierre Hugo, Aix-en-Provence Private collection, France (acquired from above at the end of the Acquired1970s)bydescent from above

Christie's South Kensington, Impressionist/Modern & Picasso Ceramics, February 6, 2015, lot 240 Acquired from the above by the present owner

10,000-15,000 USD

Atelier Fran ois et Pierre Hugo, Aix-en-Provence Private collection, France (acquired from above at the end of the Acquired1970s)bydescent from above

executed after 1988 , stamped Picasso on reverse, edition EA 2/2 (artist's proof),Pierre Hugo goldsmith's mark, Atelier Hugo number 1425, French assay mark

VISAGE AU CARTON ONDUL (FACE ON CORRUGATED CARDBOARD) 1438

executed after 1988 , stamped Picasso on reverse, EA 2/2 (artist's proof), Pierre Hugo goldsmith's mark, Atelier Hugo number 1438, French assay mark

PROVENANCE

FROM AN IMPORTANT EUROPEAN COLLECTION

10,000 – 15,000 USD

ClareLITERATURESiaudand

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153 Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

86

212 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 213 84

32.14 g.

23k yellow gold Pablo Picasso medallion pendant from an edition of 20 and 2 artist proofs; with wooden box; based on an original Madoura ceramic diameter: 2 in.; 5.1 cm. 31.94 g.

LITERATURE

23k yellow gold Pablo Picasso medallion pendant from an edition of 20 and 2 artist proofs; based on an Madoura original ceramic by Picasso diameter: 2 in.; 5 cm. 30.02 g.

AFTER PABLO PICASSO

executed after 1988 , stamped Picasso on reverse, EA 1/2, (artist's proof), Pierro Hugo goldsmith's mark, Pierre Hugo number 1427, French assay mark

ClareLITERATURESiaudand Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 152

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 120

PIERRE HUGO’S MARK ON HORLOGE À LA LANGUE (1427), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 84) PIERRE HUGO’S MARK ON VISAGE AUX FEUILLES (1403), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 85) PIERRE HUGO’S MARK ON VISAGE AU CARTON ONDULÉ (1438), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 86) PIERRE HUGO’S MARK ON VISAGE EN FORME D’LORLOGE (1425), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 83)

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 148, 153

PROVENANCE

Christie's Paris, Art Moderne, October 23, 2015, lot 148 Acquired from the above by the present owner

ClareLITERATURESiaudand

FROM AN IMPORTANT EUROPEAN COLLECTION

85

8,000 – 12,000 USD

HORLOGE LA LANGUE (TONGUE CLOCK) 1427

Clare Siaud and Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

Alain Ramié, Picasso: catalogue de l'oeuvre ceramique édité 1947-1971, Galerie Madoura, Madoura, 1988, p. 181, no. 432

10,000 – 15,000 USD

FROM AN IMPORTANT EUROPEAN COLLECTION

Maison R C Commissaires-Priseurs Associes, Paris, Bijoux, Montres et Argenterie, March 29, 2018, lot 177 Acquired from the above by the present owner

AFTER PABLO PICASSO

VISAGE EN FORME D’HORLOGE (CLOCK-SHAPED FACE) 1425

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

PROVENANCE

23k yellow gold Pablo Picasso medallion pendant from an edition of 20 and 2 artist proofs; with wooden box; based on an original Madoura ceramic diameter: 2 1/8 in.; 5.2 cm.

83

executed after 1988 , stamped Picasso on reverse, EA 1/2 (artist's proof), Pierre Hugo goldsmith's mark, Atelier Hugo number 1403, French assay mark, 23k yellow gold Pablo Picasso medallion pendant from an edition of 20 and 2 artist proofs; with wooden box; based on an original Madoura ceramic diameter: 1 7/8 in.; 4.7 cm. 28.5 g.

Christie's Paris, Art Moderne, October 23, 2015, lot 150 Acquired from the above by the present owner

executed after 1988 , stamped Picasso on reverse, edition 6/20, Monique Hugo goldsmith's mark, Atelier Hugo number 1407, French assay mark

PIERRE HUGO’S MARK ON (1413), ORIGINALLY BY PABLO PICASSO (LOT

90

Christie's South Kensington, Impressionist/Modern & Picasso Ceramics, February 6, 2015, lot 239 Acquired from the above by the present owner

AFTER PABLO PICASSO

Acquired from the above by the present owner

15,000 – 20,000 USD

ClareLITERATURESiaudand

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 124

FAUNE CAVALIER (FAUN RIDER) 1406

MONIQUE

conceived in 1956, executed after 1988 , signed on reverse Picasso, edition 2/20, Pierre Hugo goldsmith's mark, Atelier Hugo number 1413, French assay mark

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 125

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

23k yellow gold Pablo Picasso medallion pendant featuring a face with hands; with wooden box; based on an original Madoura ceramic diameter: 2 1/8 in.; 5.2 cm. 36.75 g.

88

ClareLITERATURE181Siaudand

PROVENANCE

executed after 1988 , stamped Picasso on reverse and stamped edition 2/20, Pierre Hugo goldsmith's mark, Atelier Hugo number 1410, French assay mark

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

ClareLITERATURESiaudand

PROVENANCE

HUGO’S MARK ON VISAGE AUX MAINS (1407), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 87)

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

PIERRE HUGO’S MARK ON JOUEUR DE FLÛTE ET CAVALIERS (1413), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT 88)

90)

23k yellow gold Pablo Picasso medallion pendant featuring a bull in profile; based on an original Madoura ceramic diameter: 2 in.; 5.1 cm. 34.45 g.

FROM AN IMPORTANT EUROPEAN COLLECTION

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 151, 153

JOUEUR DE FL TE ET CAVALIERS (FLUTE PLAYER AND RIDERS) 1410

FROM AN IMPORTANT EUROPEAN COLLECTION

15,000 – 20,000 USD

ClareLITERATURESiaudand

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

23k yellow gold Pablo Picasso medallion pendant; based on an original Madoura ceramic diameter: 2 in.; 5.1 cm. 33.78 g.

CONCEIVED

214 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 215

89)

87

AFTER PABLO PICASSO

executed after 1988 , stamped Picasso on reverse and stamped edition 2/20, Pierre Hugo goldsmith's mark, Atelier Hugo number 180/77 1409, , French assay mark 23k yellow gold Pablo Picasso medallion pendant with wooden box; based on an original Madoura ceramic diameter: 2 in.; 5.1 cm. 34.2 g.

PROVENANCE

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 153

10,000-15,000 USD

TAUREAU

Clare Finn, ‘The decorative metalwork of Pablo Picasso: his collaboration with Fran ois Hugo,’ PhD diss., Royal College of Art, 2004, p. 1156

Acquired from the above by the present owner

AFTER PABLO PICASSO

89

SkinnerPROVENANCEInc.Boston, Fine Jewelry, September 18, 2007, lot

AFTER PABLO PICASSO

FROM AN IMPORTANT EUROPEAN COLLECTION

Christie's South Kensington, Impressionist/Modern & Picasso Ceramics, February 6, 2015, lot 38

Christie's South Kensington, Impressionist/Modern & Picasso Ceramics, February 6, 2015, lot 238

15,000 – 20,000 USD

FROM AN IMPORTANT EUROPEAN COLLECTION

TAUREAU (BULL) 1413

PIERRE HUGO’S MARK ON FAUNE CAVALIER (1406), ORIGINALLY CONCEIVED BY PABLO PICASSO (LOT

VISAGE AU MAINS (FACE WITH HANDS) 1407

jean cocteau

THE 'HOMAGE TO COCTEAU HOMMAGE À COCTEAU' LOOK OF THE SURREALISMTHEMED JEAN PAUL GAULTIER COUTURE AUTUMN/WINTER 2003-2004 SHOW, TITLED 'MORPHING,' PAID TRIBUTE TO JEAN COCTEAU. PHOTO© COURTESY OF JEAN PAUL GAULTIER

JEAN COCTEAU AND HIS LOVER AND LIFELONG FRIEND, THE ACTOR JEAN MARAIS, 1939 © PHOTO BY CECIL BEATON

In 1960 Cocteau began working with the goldsmith Fran ois Hugo, who was also crafting jewelry for Picasso and Ernst. Together they created a collection of wearable art in gold based on Cocteau’s many drawings inspired by human figures, mythological characters, astrological symbols, and ancient civilizations. In 1961, Cocteau's jewelry was exhibited at the groundbreaking International Exhibition of Modern Jewellery, 1890 – 1961 organized by the Worshipful Company of Goldsmiths and the Victoria and Albert Museum. From 1957 until his death, Cocteau also experimented in ceramics thanks to the artists Marie Madeline Jolly and Philippe Madeline, and he called this new kind of wearable art ‘poem-objects’.

JEAN COCTEAU (1881-1973) One of the most prolific, diverse, and influential artists of the early twentieth century, he refused to specialize in one craft and instead spread his talents across text, drama, film, painting, and even art critique. Born in MaisonsLa tte, France, in 1889, he was inspired by the theater from an early age, an interest which crystallized when he met Sergey Diaghilev and the Ballets Russe. From set design to costume to jewelry, every kind of art and craft made sense, and like his friend Salvador Dal he collaborated in the 1930s with renowned Surrealist fashion designer Elsa Schiaparelli to create provocative, exciting jewelry that played with the human form and challenged classic notions of adornment.

217

PROVENANCE

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 82

Pierre Bergé Associés, Paris, June 7, 2010, lot 232

91

Acquired from the above by the present owner

In a complex and prolific partnership, artist Jean Cocteau collaborated with goldsmith François Hugo to create medallions like these. For Picasso, Hugo created versions from terracotta or plaster models, but for Cocteau he transcribed surreal flora, masks, and the shapes of men and animals into metal.

NOTE

ClareLITERATURESiaudand

AFTER JEAN COCTEAU

1,000 - 2,000 USD

Artcurial,PROVENANCEParis, Art Moderne Sculptures d'or et d'argent, December 11, 2002, lot 610

92

FROM AN IMPORTANT EUROPEAN COLLECTION

This Deux Têtes (Two Faces) coin features two abstracted, surreal faces in profile, leading the viewer to question whether they are talking, admiring each other, or even modeling for us. It is even possible to ask – are they representations of Cocteau and his lover douard Dermit, about to celebrate their love?

'FLORENTINE PROFIL' PENDANT

4,000 - 6,000 USD

HUGO’S MARK ON DEUX TÊTES (1494), ORIGINALLY CONCEIVED BY JEAN COCTEAU (LOT 91)

executed posthumously, signed Jean Cocteau on reverse and stamped edition 20/50, 2974, Monique Hugo goldsmith's mark, Atelier Hugo number 1494, French assay 23kmarkyellow gold pendant with wooden box

2 1/3 by 1 7/8 in.; 5.8 by 4.5 cm.

Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 82, for original plaster and gold versions

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JEAN COCTEAU

Acquired from the above by the present owner

MONIQUE

1958, signed Jean Cocteau on reverse white terracotta pendant with pink and gray inlays; after original design numbered 1493 for Atelier Hugo and no longer in production since 1959

ClareLITERATURESiaudand

DEU T TES (TWO FACES) 1494

2 5/8 by 2 3/4 in.; 7 by 6.6 cm. 51.84 g.

Thus, Georges Braque the painter also became a creator of ‘art to wear’ in collaboration with the lapidarist Baron Heger de Loewenfeld. They worked so closely together that Braque once referred to him as ‘the extension of my hands’ and asked him to translate two-dimensional drawings and gouaches based on a Greek mythological theme into three-dimensional shapes that could be worn as jewelry. The results were shown in the exhibition Bijoux de Braque at the Pavillon de Marsan in Paris, which opened in 1963, just five months before the artist's death.

In the 1960s, a revived interest in craft transformed the jeweler's art. Braque's practice of mixing sand into his paintings and his aversion to shiny gold led de Loewenfeld to invent a gritty, dull finish for Braque's pieces cast in gold that remains his trademark to this day and can be seen in his beautiful jeweled birds in flight.

221

A MODEL WEARING BRAQUE JEWELRY, 1962. A SIMILAR THITONOS, 1962 IS IN THIS SALE © KEYSTONEKEYSTONE-FRANCE/GAMMA-VIAGETTY

GEORGES BRAQUE (1882 - 1963) A prominent 20th-century French artist known – along with Picasso – as the inventor of Cubism. A painter, collagist, printmaker, and sculptor, he was an acute observer of landscapes and objects and a prolific artist in multiple disciplines. Famous for his still lifes and paper collages, he believed that ‘objects shattered into fragments’ was a way of getting ‘closest to the object’ and that ‘fragmentation helped to establish space and movement in space.’ This belief and his boundless curiosity led him to explore new forms of artistic expression.

georges braque

During his lifetime, Braque's jewelry was produced in limited editions based on renderings provided to de Loewenfeld. After his death, de Loewenfeld was given the right to produce an edition of 75.

94

FROM AN IMPORTANT EUROPEAN COLLECTION GEORGES BRAQUE

FROM BRAQUE

AN IMPORTANT EUROPEAN COLLECTION GEORGES

1964,

5,000 - 7,000 USD

FromPROVENANCEanimportant European collection

LITERATURE Bijoux de Braque, réalisés par Henri Michel Heger de Löwenfeld, Musée de Nice, 1969 Metamorphoses: The Braque Jewels, Geneva, Thursday, 21 November 1991, Christie's, Geneva, 1991, p. 35 for similar example

Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p.32 for similar example

DETAIL OF MARKS ON REVERSE DETAIL OF MARKS ON REVERSE 222 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 223

par G Braque © with maker’s mark and French assay mark for 18k gold 18k yellow gold brooch depicting the chargers of Helios carrying off the luckless one on a mad journey he cannot control 3 3/4 by 2 3/8 in.; 9.6 by 6 cm. 5,000 - 7,000 USD FromPROVENANCEanimportant European collection LITERATURE Bijoux de Braque, réalisés par Henri Michel Heger de Löwenfeld, Musée de Nice, 1969 EXHIBITED Nice, Galerie des Ponchettes, Bijoux de Braque, January –February 1969 NOTE

TheNOTETerée brooch by Georges Braque is lovingly textured and studded with tiny rubies and emeralds like feathers spread across the body. Tereus, the son of the god of war Ares in Greek mythology, has a violent story full of anger and retribution. In the end, he is changed by the gods into a bird. Perhaps Braque’s rubies are placed like drops of blood; perhaps he immortalized the king in bird form to prevent him from doing further damage. In the increasingly modern 1960s, Braque’s use of gold and simple, minimalist bird forms was truly avant-garde. His practice of mixing sand into his paintings and his aversion to shiny gold led his goldsmith de Loewenfeld to invent the gritty, dull finish that can be seen here which so beautifully contrasts with the gems.

PHAETON stamped and signed N°54, PHAETON, Heger de Lowenfeld, Mars 64 Autorisé

1964,TÉRÉEstamped

93

G. Braque, Heger de Lowenfeld, H.C., stamped N°56, Mars 64 Autorisé par G Braque ©, with maker’s mark French assay mark for 18k gold limited edition textured 18k gold bird clip brooch with rubies and emeralds 2 5/8 by 2 1/8 in.; 6.5 by 5.3 cm;

Artist Georges Braque was highly inspired by Greek mythology. This Phaeton brooch — one of his signature jeweled bird-forms — refers to the story of the chargers of Helios carrying the boy Phaëthon away on a mad journey he cannot control. Phaëthon, known sometimes as Jupiter, was the son of Helios the sun god and his tale is one of misplaced pride and arrogance. But there is none of that in this jewel, which in its subtle texturing is a simple and elegant example of the works of Braque.

PROVENANCE

96

FROM AN IMPORTANT EUROPEAN COLLECTION GEORGES BRA UE

B de B

18k white gold, pavé-set diamond bird ring with ruby collet eye from limited edition of 8; with original box motif: 1 1/4 by 1 in.; 3.2 cm by 2.5 cm current size: 3 3/4 (original size: 6 1/2)

5,000 - 7,000 USD

LITERATURE

NOTE

LITERATURE

Georges Braque: Les Metamorphoses, May 18, 1999, Etude Tajan, Paris, 1999, lot 80 p. 34, similar ring Georges Braque: ‘Les Métamorphoses,’ Millon Associés, Paris, 2006, p. 46

224 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

FROM AN IMPORTANT EUROPEAN COLLECTION

95

TITHONOS

Pierre Bergé Associates, Bijoux - Collection P.M., June 12, 2018, Paris, lot 345

5,000 - 7,000 USD

GEORGES BRAQUE’S THE BIRDS PAINTING WAS ONE OF THE REFERENCES OF THE ANDREW GN SPRING/ SUMMER 2014 SHOW, DUBBED THE PEGGY COLLECTIONGUGGENHEIM ’. PHOTO © GIOVANNI GIANNONI, 2014

Metamorphoses: The Braque Jewels, Geneva, November 21, 1991, Christie's, Geneva, 1991, p. 30 for version in gold Georges Braque: ‘Les Métamorphoses,’ Millon Associés, Paris, 2006, pp. 38-39 for version in gold

Georges Braque’s diamond-paved Zéphyr ring depicts a bird wheeling around in the sky, forever in flight, with one eye of ruby. In collaboration with the lapidarist Baron Heger de Loewenfeld, he translated drawings and gouaches based on Greek mythology into wearable art and jewelry. The Greek god Zephyrus is a gentle soul, a herald of spring and the lord of the west winds. Braque may have seen a happy message in his story of bleak winter being eventually tempered by the warmth and new growth of spring.

E

GEORGES BRA UE

Acquired from the above by the present owner

Artist Georges Braque’s sand-finish Tithonos brooch, part of his Bijoux de Braque collection with Baron Heger de Loewenfeld. Tithonus’ mythology is the story of a youth kidnapped by Eos, goddess of the dawn, for his beauty and love. She pleads for Zeus to grant him immortality but forgets to ask for his beauty to be maintained and he is turned into an old, shriveled man. The eternallyspread wings of this bird in flight may be a poetic call for unchanging immortality - but no bird can fly forever, and as Braque’s own aged hands became unable to bring his ideas to life, he was forced to land on the ground and depend on de Loewenfeld for these creations.

NOTE

1963,PHYRsigned

Paris,HIBITEDMusée des Arts Décoratifs, Les Bijoux de Braque, March – April 1963, under the name 'Eos IV' N mes, Musée de N mes, 1970 Nancy, Musée des Beaux Arts, 1973 Milan, Museo Fondazione Luciana Matalon, Georges Braque - Métamorphoses, October 7 – November 26, 2005

1962, signed Bijoux de Braque, Heger de Lowenfeld dove brooch in silver and green enamel with eyes set with rubies, Artcurial edition 1/75

1 1/2 by 2 3/4 in.; 3.9 by 6.9 cm.

FromPROVENANCEanimportant European collection

227 max ernst

German Surrealist artist Max Ernst was well-respected for his extraordinary abilities in painting, sculpting, and even jewelry and poetry. He experimented constantly with new techniques, a propensity that led to his collaboration with the jewelry craftsman Fran ois Hugo, a longtime friend ever since they met at a 1922 exhibition curated by André Breton at the Au Sans Pareil gallery in Paris, and his heavy involvement with the Dada movement. Hugo used his experience working with Pablo Picasso and refining the technique of répoussée to translate Ernst’s work into gold.

CERTAIN TYPES OF AFRICAN MASKS MAY ALSO HAVE HAD AN INFLUENCE, LIKE THIS SENUFO MASK, 1950S. THE MICHAEL C. ROCKEFELLER MEMORIAL COLLECTION, GIFT OF HENRI AND HÉLÈNE KAMER, 1963, METROPOLITAN MUSEUM OF ART, 1978.412.697

ERNST AT THE NYC MUSEUM OF MODERN ART IN 1961 WITH HIS BRONZE SCULPTURE THE KING PLAYING WITH THE QUEEN © ALAMY STOCK PHOTO

MODEL

MAX ERNST (1891 - 1976) Ernst, like other surrealist artists, longed for access to the human instincts buried beneath layers of European social mores. The textured surfaces of his goldwork mimic the technique Ernst often used in his painting and a combination of abstract images mixed with reality. His 'mask' designs were important to his oeuvre - three-dimensional jewels 'with noses protruding and hollows for eyes. They refer to faces but no face is identifiable; nor are they distinctly recognisable...Their size and volume of pure gold makes them arresting. The textured surfaces are a nod to the techniques Ernst often used in his painting - a combination of abstract images mixed with reality.' (Louisa Guinness, Art as Jewellery: From Calder to Kapoor, ACC Art Books, Suffolk, 2018, p. 156)

SFMoMA,LITERATURE

PROVENANCE

conceived 1959, this example cast after 1988 , signed Max Ernst and stamped with Atelier Hugo reference number 2249 / 1452, edition 2/2, exemplaire d'artiste (artist's proof); stamped with Fran ois Hugo goldsmith's mark twice and assay mark on reverse

7 1/2 by 5 1/4 in.; 19 by 13 cm. 182.28 g.

Diana Du Pont and Katherine C. Holland, San Francisco Museum of Modern Art: The Painting and Sculpture Collection, Hudson Hills Press, New York, 1985, p. 298

Diana K ppers, Künstlerschmuck = objets d'art, Hirmer, Munich, 2009, p. 75

23k gold pendant in wooden box labeled by hand: Or 23 carats. 923 millièmes, Poids 182gs. Exemplaire No. E.A. 2/2; Poinçon 1es titre du Bureau de la Garantie de Marseille Pièce No. 2249/1452 portant la signature de Max Ernst, et le Poinçon de Maître de François Hugo. Fait dans ses atelier d'Aix en Provence en 1979.

Ulrich Krempel, Sprengel macht Ernst: die Sammlung Max Ernst : Verzeichnis der Bestände des Sprengel Museum Hannover, Sprengel Museum, Hanover, 2006, p. 249

20,000 - 30,000 USD

Madrid, Spain, Fundación Juan March, April 23 – June 27, 1999

Lisbon, Portugal, Museo do Chiado de Lisboa, January 28 – April 4, 1999

97

San Francisco, California, San Francisco Museum of Modern Art, National 1970 Drawing Exhibition, December 17, 1969 – January 25, 1970

Tête à cornes (horned head) gold pendant is one of the most recognizable objects of his work and part of his collaboration with renowned goldsmith Fran ois Hugo in the late 1950s. He loved ‘the rough, chiaroscuro material nature of gilded metal…the perfect balance between intent and technique, a coming full circle of different disciplines.’ (Paola Stroppiana, Scultura Aurea, Gioielli d'Artista per un nuovo Rinascimento, Gli Ori, Pistoia, 2019, p. 90.) This primitive mask design with prominent horns - an unusual use of a fine material like gold, cast solidly into a large form - is a recurring theme in his art, of Surreal abstraction mixed with reality.

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Copenhagen, Arken Museum for Moderne Kunst, June 13 – September 13, 1998

Clare Siaud and Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, front cover and pp. 98-9

MaxNOTEErnst’s

National 1970 Drawing Exhibition, San Francisco Museum of Art, California, 1970, p. 40

Ernst Schwitters and Sprengel Museum Hannover, Fervor Dadá: Colección Ernst Schwitters, Centro Galego de Arte Contempor nea, Santiago de Compostela, 1998, 104, 258

PROPERTY OF THE ERNST FAMILY MAX ERNST

TETE CORNES 1452

E HIBITED

Santiago de Compostela, Spain, Centro Galego de Arte Contempor nea, October 9, 1998 – January 8, 1999

Fervor Dadá colección Ernst Schwitters, at: Hanover, Germany, Sprengel Museum Hannover, March 8 –June 1, 1998

Ernst’s love of masks and carvings, among many of his collecting passions, were addressed in the first series of masks created with Hugo between 1959 and 1961 and then a second around 1970, both transposed into jewels by Pierre Hugo.

FRANÇOIS HUGO’S MARK ON TÊTE À CORNES’ (2249/1452), ORIGINALLY CONCEIVED BY MAX ERNST, IN WOODEN BOX (LOT 97)

Acquired by descent from the artist to the present owner

23k gold pendant in original wooden case, labeled by hand: Or 23 carats. 923 millièmes_ Poids 92.5g. Exemplaire No. E.A. 2/2; Poinçon 1es titre du Bureau de la Garantie de Marseille Pièce No. 2254/1450 portant la signature de Max Ernst, et le Poinçon de Maître de François Hugo. Fait dans ses atelier d'Aix en Provence en 1979. 4 1/4 by 4 3/8 in.; 10.7 by 11.2 cm. 91.32 g.

GrahamLITERATUREHughes, Modern Jewelry: An International Survey: 1890-1963, Studio Books, London, 1963, pp. 202-203 Clare Siaud and Pierre Hugo, Bijoux d'artistes, Artist's Jewels, Hommage à François Hugo, Les Cypr s, Aix-enProvence, 2001, p. 100 for another example

ThisNOTEarresting little pendant, named by Ernst Soleil (Sun), can be interpreted as loosely as the name suggests. Ernst, who created the techniques of frottage (rubbing) and grattage (scratching) for his Plastiline works to add abstract texture, designed this piece with deep ridges like the rays of the sun, though they could easily be interpreted as hair. His primitive-seeming goldwork aligns with the Abstract Expressionist movement that he helped to head, but also the avant-garde artworks being created by his peers that looked to differently-developed cultures for inspiration.

PHOTO BY JORDAN DONER

PROPERTY OF THE ERNST FAMILY

FRANÇOIS (2254/1460), CONCEIVED (LOT 98)

conceived 1959, this example cast after 1988 , signed, stamped with Atelier Hugo reference number 2254 / 1460, edition 2/2, exemplaire d'artiste (artist's proof); stamped with Fran ois Hugo goldsmith's mark and assay mark on reverse at bottom

PROVENANCE

230 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

98

MAX ERNST

Acquired by descent from the artist to the present owner

20,000 - 30,000 USD

BY MAX ERNST, IN WOODEN BOX

HUGO’S MARK ON SOLEIL

E HIBITED London, Victoria & Albert Museum, International Exhibition of Modern Jewellery 1890-1961, 1961

ORIGINALLY

SOLEIL (SUN) 1460

Ghislaine Wood, ed., Ulrich Lehmann, and Jennifer Mundy, Surreal Things: Surrealism and Design, V&A Publications, London, 2007, p. 333

DETAIL

alberto giacometti

Acquired from the above by the present owner

99

Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 54

Giacometti, like Ernst, appreciated archaic, primitive forms and consistently returned to them in his work. This unevenly rounded button cast can be interpreted from multiple viewpoints, and some consider the figure to be a hunter, furthering the primitive feel of the work.

MODEL IN DRESS BY CHANEL STANDING IN FRONT OF A BAS RELIEF BY GIACOMETTI AND DECOR BY JEAN-MICHEL FRANK © PHOTO BY MAN RAY; REPRODUCED IN HARPER'S BAZAAR (SEP 1, 1937)

E HIBITED

Untitled Medallion (Man with Raised Arms) comes from Giacometti’s series involving repeated motifs including people with raised arms, birds, and sphinxes that he designed as buttons for Elsa Schiaparelli. Schiap collaborated with artists and friends to infuse her fashion with artist’ work, and asked Giacometti in 1936 to design brooches and buttons.

ThisNOTE

Diane Venet, Bijoux d'Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 88-89 for gold version

LITERATURE

ALBERTO GIACOMETTI (1901 – 1966) Though born in Switzerland, Giacometti chose to live in the Montparnasse neighborhood of Paris from 1922 until his death in 1966. Montparnasse was home to many artists at this period, and the works he created in that environment make him one of the foremost artists of the 20th century.

Louisa Guinness Gallery, London

18,000 - 20,000 USD

Manon Lecaplain, Emmanuel Guigon, et al., Picasso y las joyas de artista, Museu Picasso, Barcelona, 2021, p. 144 for gold version

PrivatePROVENANCEcollection, Paris

UNTITLED MEDALLION (MAN WITH RAISED ARMS)

1935-39, unsigned gilt bronze brooch with brown patina, edition 3/5 with certificate of authenticity from the Comité Giacometti, June 2009; registered by the Fondation Alberto et Annette Giacometti in the online Alberto Giacometti Database (AGD) under the number 3563 approximately: 1 6/9 by 1 6/9 in.; 4.3 by 4.3 cm.

Perhaps best known for his elongated, solitary figures, Giacometti was also a painter who worked in a distinctly surrealist manner. The figures in his art often seem to be magical distortions of reality; apparitions conjured up on canvas, paper, or in three dimensions. The little jewelry he produced was for the Italian couturier Elsa Schiaparelli, who commissioned him around 1935 to make brooches, bracelets, and buttons representing mythological, feminine, and animal characters. As these pieces were never made in large numbers, they are rare and much sought-after today. All the jewels preserved in the archives of the Giacometti Foundation in Paris are dated from 1935 to 1939.

ALBERTO GIACOMETTI

Marilena Mosco, L'arte del Gioiello e il Gioiello d'artista dal '900 ad oggi, Giunti, Florence, 2001, p. 288 for gold version

London, Victoria & Albert Museum, Surreal Things: Surrealism and Design, March 29 – July 22, 2007

233

VI jewelrymaverickas...

MAVERICK. The term ‘maverick’ refers to an individual that acts independently of a tradition. Many mischievous and daring artists have ventured into new territory and adopted new approaches. Each is a maverick in his or her own way, and each is committed to having their work seen in new ways. Although there are many such pioneers, we have chosen several fiercely independent individuals who broke out of the mold in creating jewelry as art and demonstrated a maverick style of artistic expression.

LOTS 100 – 125 YOUNG TORUN BÜLOWHÜBE WEARING HER OWN DESIGN, DEW DROP 1959 235

- VIVIANNA TORUN

Torun was the most important designer at the Danish silver company Georg Jenson after Jenson himself in 1962. During her twenty-five years with the firm, she created many of the works for which the company is most famous. Her works are in MoMA, the Louvre, the Swedish National Museum in Stockholm, the Musée des Arts Décoratifs in Montréal, and many other renowned museums.

VIVIANNA TORUN BÜLOWHÜBE MEETS PABLO PICASSO, WHO IS ADMIRING HER JEWELLERY.

Torun’s aesthetic was far from mainstream. Though trained as a silversmith, in 1948 she began making what she called 'antistatus’ jewelry out of twisted copper wire with embedded crystals and stones. Her approach was radical: rather than precious stones, she preferred basic or rough materials such as rattan, wood, beach pebbles, granite, rock crystal, and moonstone, uniting them to create original and subversive designs. And it was a smashing success, as collecting these materials on the beach was how she met Pablo Picasso and earned a two-yearlong exhibition of her jewelry at his museum in Antibes. A lesserknown fact is that Picasso was so enamored with her style that he modeled his early jewelry designs on them without credit.

contoursmarrymust‘jewelrythe of a body’woman’s

237

vivianna torun

VIVIANNA TORUN BÜLOW-HÜBE (1927-2004) Often known simply as 'Torun,’ B low-H be was a pioneer in her field and one of Sweden’s most important master jewelers and silversmiths. She began making jewelry as a teenager, staging her first exhibition at the age of twenty and becoming the first female silversmith in Sweden with her own studio.

During this era, jewelry was generally considered to be a status symbol; the more precious materials, the better. Torun brought about a revolution when she began designing jewelry directly for the women who were enjoying a newfound freedom to consume on their own terms following World War II. Many of Torun’s creations could be modified and components changed or replaced to satisfy the wearer’s desire for versatility and variety.

UNIQUE WOOD NECKLACE

100 A

MODEL LUCIA WEARING VIVIANNA TORUN BÜLOW-

1948, carveduniquewood (possibly Jacaranda), brass, and leather nineelement necklace executed in her workshop in Stockholm in 1948, delivered with certificate signed by her daughter Marcia Ina Erika Coleman, February 28, 2019

PrivatePROVENANCEcollection, Belgium VIVIANNA TORUN

20,000 - 30,000 USD

InNOTE1948,

AnnLITERATUREWestin,Torun. Conversations with Vivianna Torun Bülow-Hübe, Bokförlaget Langenskiöld, Stockholm, 2021, pp. 14, 16, and 17 for similar Jacaranda-wood necklaces and a brooch

circumference: 19 1/2 in.; 49.5 cm.

VIVES

PHOTO BY JORDAN DONER

triangular pieces: 2 1/8 by 2 3/8 in.; 5.5 by 6 cm. teardrop pieces: 1 3/4 by 3/4 in.; 4.5 by 1.9 cm.

‘it jewellery!’wearingwhilethetobeshouldpossiblehangupwashingmy —

Torun began making what she called 'anti-status’ jewelry out of twisted copper wire with embedded crystals and stones. This Unique Wood Necklace demonstrates her radical approach: rather than precious stones, she preferred basic or rough materials such as rattan, wood, beach pebbles, granite, rock crystal, and moonstone, uniting them to create original and subversive designs. A similar wooden example is in the collection of the NationalMuseum Sweden (NMK 44/2012). PRIVATE VIVIANNACOLLECTIONTORUN BÜLOW-HÜBE

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—ROWAN MOORE, THE GUARDIAN

241 godfathersottsass:‘ettoretheofitaliancool’

He worked with the Italian designer Cleto Munari, a close friend who became a business partner. Together they created a tradition-defying line of limited-edition art jewelry beginning in the 1980s. Each work created was made in an edition of nine. The earlier ones, like those in this auction, are either unique or only two to three were made. Sottsass' works are in the Metropolitan Museum of Art, the Centre Pompidou, the Victoria and Albert Museum, and other museums around the world.

ETTORE SOTTSASS: THE FATHER OF ITALIAN COOL, CIRCA 1944 © ETTORE SOTTSASS AND BARBARA RADICE COURTESY ARCHIVIO ETTORE SOTTSASS

ettore sottsass

ETTORE SOTTSASS (1917-2007) This eclectic Italian architect and designer, founder of the Memphis group, used bold colors, patterns, and shapes to create whimsical and provocative works. Sottsass began making jewelry in the 1960s for his first wife, Fernando, which was exhibited in major Biennales through the 1970s. He ventured into goldsmithing in the 1980s, designing a collection for Memphis made by ACME Studio Milan.

101 A EUROPEAN PRIVATE COLLECTOR ETTORE SOTTSASS PAIR OF LONG PENDANT EARRINGS 2002, signed Sottsass a pair of yellow gold, enamel, and plexiglass earrings, edition 5/9 in collaboration with Cleto Munari as part of the La Seduzione collection approximately: 1.9 in.; 5 cm. 2,000 - 3,000 USD 21stPROVENANCECenturyJewels Gallery, London Acquired from the above by the present owner LITERATURE Ettore Sottsass più Cleto Munari: La seduzione, Arca, Lavis, 2002,pp. 79 and 193 for gold and plexi colored ebony earrings LEFT AND RIGHT: ETTORE SOTTSASS PAIR OF LONG PENDANT EARRINGS 2002, PIÙ CLETO MUNARI: LA SEDUZIONE , ARCA, LAVIS, 2002, © ETTORE SOTTSASS AND BARBARA RADICE COURTESY ARCHIVIO ETTORE SOTTSASS ETTORE SOTTSASS SKETCH FOR LONG PENDANT SIMILAR TO PAIR OF LONG PENDANT EARRINGS 243

Ettore Sottsass for Cleto Munari Ring is one of the first pieces of the artist's Cleto Munari jewelry collection in the 1980s. Typically, Munari would do editions of nine, but according to Alexandro Munari, two to three of this Double-Barreled Ring were made. This ring is archetypal of the Italian architect’s design aesthetic. Sottsass stood at some of the most crucial intersections of design history in his sixty-year career. He created jewelry just as dazzlingly eccentric as his eclectic furniture and interiors. His early jewelry, dating to the 1960s, was restrained and yet simultaneously powerful. In his 1980s works like the ring above, Sottsass’ jewelry took on a highly playful, provocative spirit and focused on symmetry and totemic form. His work is included in private collections and museums worldwide.

18k gold, onyx, and diamond ring designed by Ettore Sottsass and produced by Cleto Munari in two levels of tiered 18k gold; two square onyx blocks, each topped with a cylindrical form in gold crowned in platinum, each set with nine diamonds weighing approximately one and a half

1carats7/16 by 7/8 by 5/8 in.; 3.6 by 2.3 by 1.6 cm.

RING

circa 1984, signed Sottsass and possibly 52; 18k gold hallmark; ring shank stamped with owl with the number ‘75' on its breast

102

A EUROPEAN PRIVATE COLLECTOR

ETTORE SOTTSASS FOR CLETO DOUBLE-BARRELEDMUNARI

245

size: 7 1/4 (US)

Florence,EXHIBITEDPalazzo Medici Riccardi, The Architecture’s Treasure - Cleto Munari 1980-1990, 1990 AlessandroLITERATUREVezzosi, Il Tesoro Dell'architettura: Cleto Munari 1980/1990. Gioielli, Argenti, Vetri, Orologi, Edifir, Florence, 1990, p. 105

NOTE

21stPROVENANCECenturyJewels Gallery, London Acquired from the above by the present owner

20,000 - 30,000 USD

21st Century Jewels, London (acquired from the above)

ThisNOTEGold and Sapphire Ring by Italian architect Ettore Sottsass is among the first pieces developed for his Cleto Munari jewelry collection in the 1980s. According to Alessandro Munari at Cleto Munari Design Associati SRL, this work is a prototype and only one was created. It comes with an image of Sottsass’ original design drawing, which interestingly specifies the use of a ruby, meaning that at some point in the process there was a decision about the overall aesthetic of the design and that a sapphire baguette must have completed the final piece of art to a more satisfactory degree than the planned ruby. His application of white gold in specific alternating areas is clear in the sketch, matching Sottsass’ whimsical, diverting, and above all surprising approach to design. Nothing about this piece is predictable - including, apparently, the final stone in its setting.

MODEL ZARA BLACKS HOLDING ETTORE SOTTSASS FOR CETO MUNARI’S GOLD AND SAPPHIRE RING CIRCA 1980, © CLETO MUNARI

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103 A EUROPEAN PRIVATE COLLECTOR ETTORE SOTTSASS FOR CLETO GOLDMUNARIANDSAPPHIRE RING circa 1980, unique, signed Sottsass, stamped 750 18k yellow and white gold and sapphire ring with asymmetrical geometric and curvilinear designs size: 8 (US) 1 ¼ by 1 ¼ by 9/16 in.; 3.3 by 3 by .7 cm. 10,000 - 15,000 USD DETAIL

Acquired from above by the present owner

PrivateCletoPROVENANCEMunari,VicenzaItaliancollection (acquired from the above)

Vautrin was continuously experimenting with new techniques and materials to express her artistic vision. A turning point in her career was the development of Talosel, a material she later patented, which consists of fractured cellulose acetate embedded with tinted mirror fragments. She used it to create decorative objects and bold jewels that command attention. Her Talosel mirrors, allegorical boxes, and refined jewelry were all expressions of her wit and inventiveness as well as her unique ability to create a special bond between the jewel and the wearer. She often encrypted messages for the private pleasure of the wearer or owner of her creations. It is no surprise that in 1948, Vogue dubbed her the 'poetess of metal.’ Vautrin died in 1996, leaving a rich legacy of unique contributions to artists’ jewelry imbued with poetry and fantasy.

FIG 1: 249

LINE VAUTRIN (1913-1997) French designer Line Vautrin was a woman who charted her own path. Designer, inventor, entrepreneur, and educator, she created jewelry and decorative objects of rare beauty that transcend their functionality. At a young age, Vautrin learned the techniques of metalworking—casting, gilding, and chasing bronze—in her family’s foundry. Her intense curiosity and creativity led her to travel extensively, bringing her into contact with ancient cultures and their techniques of metalworking, which influenced her constantly-evolving art. She was fascinated by hieroglyphics and pictograms and included symbolic representations and rebuses in her work. The use of poems and wordplay on gilt-bronze boxes became one of her trademarks.

circa 1948, stamped LINE VAUTRIN on reverse gilded bronze box, top carved with faces, with original cork-lined interior

Paris,EXHIBITEDMusée des Arts Décoratifs, Secret de Bijoux: Line Vautrin, March 10 – May 30, 1999 for similar example

Hamburg, Museum für Kunst und Gewerbe, Line Vautrin: Poesie in Metall, April 16 – June 29, 2003

PrivatePROVENANCEcollector, France

Patrick Mauriès, Line Vautrin: Miroirs, Galerie Chastel Marechal, Paris, 2004, pp. 11-12

LineNOTEVautrin’s La Foule(the Crowd) box is another delightful creation in her repertoire. Her storybook figures, engraved and cast into boxes and jewelry, find a home all together on this small, cork-lined box. Though it can be taken literally - there is a single smiling face amongst a crowd of stoic frowns - it may also have alternate meanings known only to the owner, a concept that Vautrin encouraged with her bronzework.

8,000 - 10,000 USD

LA FOULE (THE CROWD)

The Art of Line Vautrin, Wayne Schwartz Gallery, New York, circa 2006, n.p. 'La Foule’

Laura Silverman, Line Vautrin: 100 Years of Magnitude, Maison Gerard, New York, 2013, p. 17, no. 43; p. 23, no. 56 for silvered version

251

1 1/5 by 5 3/4 by 3 1/8 in.; 3 by 14.75 by 8 cm.

Paris, Galerie L’Arc en Seine, Line Vautrin, December 6, 2002 – January 31, 2003

LINE VAUTRIN

New York, Maison Gerard, Line Vautrin: 100 Years of Magnitude, June 1 – 30, 2013

104

ChristianLITERATUREand Catherine Boutonnet and Rafael Ortiz, Line Vautrin, Galerie L’Arc en Seine, Paris, 2002, p. 42-3

New York, Maison Gerard, Line Vautrin: 100 Years of Magnitude, June 1 – 30, 2013 for similar example

LINE VAUTRIN

gilded bronze box with original cork-lined interior 4/10 by 2 3/10 by 1 3/4 in.; 1.08 by 5.72 by 4.52 cm.

PrivatePROVENANCEcollection, France

‘LineNOTESVautrin is one of those archetypically French personalities - others are Cocteau, Piaf and Christian Berard - whose talents are compounded of dreams, poetry, images from the past and a mischievous sense of fun.’

Paris,EXHIBITEDMusée des Arts Décoratifs, Secret de Bijoux: Line Vautrin, March 10 – May 30, 1999 for similar example

circa 1946-1948, stamped LINE VAUTRIN on bottom, c'est idiot phonetically stamped on front pill box in gilded bronze, with original cork-lined interior 1 1/5 by 1 5/8 by 1 1/5 in.; 3 by 4.13 by 3 cm.

252 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 253

Paris,EXHIBITEDMusée des Arts Décoratifs, Secret de Bijoux: Line Vautrin, March 10 – May 30, 1999 for similar example

'C'EST IDIOT' (THAT IS STUPID) REBUS PILLBOX

ChristianLITERATUREetCatherine Boutonnet and Rafaël Ortiz, Line Vautrin: Exposition du 6 Decembre 2002 au 31 Janvier 2003, L’Arc en Seine, Paris, 2002, p. 12-13 Anne Bokelberg, Line Vautrin: Poesie in Metall, Museum für Kunst und Gewerbe, Hamburg, 2003, p. 77, no. 6 Patrick Mauriès, Line Vautrin: Miroirs, Galerie Chastel Marechal, Paris, 2004, p. 79 for similar objects

Paris, L’Arc en Seine, Line Vautrin, December 6, 2002 –January 31, 2003

circa 1950, stamped LINE VAUTRIN, title in poem carved on front (see note)

New York, Maison Gerard, Line Vautrin: 100 Years of Magnitude, June 1 – 30, 2013 for similar example

4,000 - 6,000 USD

105 LINE 'L'ANÉMONEVAUTRINETL'ANCOLIE' (ANEMONE AND COLUMBINE) BOX

(Patrick Mauri s, Line Vautrin: Sculptor, Jeweller, Magician, Thames and Hudson, London, 1992)

ChristianLITERATUREand Catherine Boutonnet and Rafael Ortiz, Line Vautrin, Galerie L'Arc en Seine, Paris, 2002, p. 16

When Vogue called the artist a ‘poetess of metal’ in 1948, it was tongue-in-cheek – and yet absolutely correct. It is a bittersweet yet elegant little box that immortalizes a short, wistful poem.

Vautrin’s fantasy and humor permeate her neo-Romantic work. When read phonetically in French, the phrase results in sounding out ‘C’est Idiot.’ This box is also evidence of her delight and skill in bronze, a material that few jewelers bother to gain skill in shaping and often goes unnoticed beside other more precious metals. Perhaps le vrai idiot is the one who ignores it…

106

3,000 - 4,000 USD

PrivatePROVENANCEcollection, France

Hamburg, Museum für Kunst und Gewerbe, Line Vautrin: Poesie in Metall, April 16 – June 29, 2003

TheNOTEinscription on the cover of Line Vautrin’s L'anémone et L'ancolie Box is an excerpt from the wistful poem ‘Clotilde’ by Guillaume Apollinaire (1880-1918): L'anémone et l'ancolie / Anemone and columbine ont poussé dans le jardin / Opened in gardens où dort la mélancolie / Where gloom has lain entre l'amour et le dédain / Between love and disdain

Paris, L’Arc en Seine, Line Vautrin, December 6, 2002 –January 31, 2003

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Paris,EXHIBITEDL’Arc en Seine, Line Vautrin, December 6, 2002 –January 31, LineLITERATURE2003VautrinandPatrick

'SAINT NICOLAS' NECKLACE

107

PROPERTY OF A PRIVATE COLLECTOR

Mauriès, Line Vautrin, Bijoux et Objets, Thames and Hudson, London, 1992, p. 52 Line Vautrin and Patrick Mauriès, Line Vautrin: Sculptor, Jeweller, Magician, Thames and Hudson, London, 1992, p. Christian52 and Catherine Boutonnet and Rafael Ortiz, Line Vautrin, Galerie L'Arc en Seine, Paris, 2002, p. 38 Anne Bokelberg, Line Vautrin: Poesie in Metall, Museum für Kunst und Gewerbe, Hamburg, 2003, p. 145, no. 115

Christie'sPROVENANCEParis, Un Souhait a Traversé Paris - Collection Marie-Laure Bonnaud-Vautrin, Oeuvres Choisies de Line Vautrin, 19 May 2015, lot 360 Louisa Guinness Gallery, London Acquired from the above by the present owner

LineNOTEVautrin’s Saint Nicolas necklace, unlike her other figurative work, leaves no question as to who the figure represents: the choker is emblazoned with the letters S and N and the reverse of the pendant is clearly incised with the saint’s name. The Greek Saint Nicholas, who lived in the third and fourth century AD, was credited with many miracles and called the Wonderworker. The reverse of the pendant shows some of the children whom he is the patron saint of, though he was also trusted by sailors, brewers, and even repentant thieves in early Christianity. Perhaps the mystery that Vautrin imbued this piece with is who it is dedicated to when he helped so many? Vautrin’s love of tales and mythology comes through clearly in this piece.

circa 1945-1950, stamped LINE VAUTRIN on back of choker twice, monogrammed LV on pendant loop and back of choker clasp, reverse of pendant stamped SAINT NICOLAS gilt bronze pendant choker; choker band is carved with the repeating letters SSNN pendant: 1 3/4 by 1 3/4 by 1/3 in.; 4.5 by 4.5 by 0.9 cm. choker circumference: 15 7/8 in.; 39.8 cm. choker width: 1/2 in.; 1.2 cm. 8,000 - 10,000 USD

LINE VAUTRIN

PrivatePROVENANCEcollection, France

108

LINE VAUTRIN

NewEXHIBITEDYork,Maison

CLOSED 256 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 257

InNOTEclassic

Vautrin fashion, Classical mythology is on show in this Les Filles de Neptune (the daughters of Poseidon) bracelet. The central panel features their father Poseidon, lord of the oceans, while the others each feature his daughters: Scylla, Glaucus, the Nereids, Tethys, and the ferocious Gorgons. 'The entire spectrum of womanhood,’ Vautrin might be cheekily implying. The inscription in Greek at the end of the bracelet helpfully identifies each character - if you can read the language, that is!

'LES FILLES DE NEPTUNE’ (THE DAUGHTERS OF POSEIDON) BRACELET

Line Vautrin: Poesie in Metall, Museum für Kunst und Gewerbe, Hamburg, 2003, p. 145, no. 115; p. 61 et 147, n. 119, for an example in silver Laura Silverman, Line Vautrin: 100 Years of Magnitude, Maison Gerard, New York, 2013, p. 13, nos. 30-31 for version as a series of boxes

circa 1945, stamped LINE VAUTRIN on back of closure gilded bronze bracelet with five pictorial panels depicting mythological figures and one panel with Greek inscription identifying the divinities of the sea: Scylla, Glaucus, the Nereids, Tethys, Poseidon, and the Gorgons length: 7 5/8 by 1 7/8 in.; 19.5 by 4.9 cm.

Gerard, Line Vautrin: 100 Years of Magnitude, June 1 – 30, 2013 for the design cast as a series of AnneLITERATUREboxesBokelberg,

5,000 - 6,000 USD

‘APRÈS LA PLUIE LE BEAU TEMPS’ (THE GOOD WEATHER AFTER THE RAIN) BRACELET

111

‘After the rain, there will be good weather’ may be common sense, but sometimes it is precisely the reminder that you need in order to keep going.

2,000 - 3,000 USD

circa 1945, stamped twice L.V. on back of two links bracelet in gilded bronze with twelve articulated links length: 6 9/10 in.; 17.5 cm.

2,000 - 3,000 USD

Acquired from the above by the present owner

belt buckles featuring bunches of grapes 5 1/8 by 3 1/8 in.; 13 by 7.6 cm

Christie’sPROVENANCEOnline, Line Vautrin, December 8-15, 2015, lot 39 Louisa Guinness Gallery, London

pair of silvered bronze clip-on earrings approximately 1 5/8 in.; 4.3 cm.

110

Acquired from the above by the present owner

EARRINGS

PROPERTY OF A PRIVATE COLLECTOR

LINE VAUTRIN

2,000 - 3,000 USD

NOTE The phrase worked into the final link of this statement bracelet reads: APRÈS LA PLUIE / LE BEAUTEMPS. In her typical fashion, Line Vautrin has gifted the wearer with a verse that can be viewed either literally or symbolically.

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DETAIL 259

ChristianLITERATUREBoutonnet, Catherine Boutonnet, and Rafael Ortiz, Line Vautrin, L'Arc en Seine, Paris, 2002, p. 30 Anne Bokelberg, Line Vautrin: Poesie in Metall, Museum für Kunst und Gewerbe, Hamburg, 2003, p. 145, n. 115

Acquired from the above by the present owner

LINE 'CARROUSEL’VAUTRIN(CAROUSEL)

Hamburg, Museum für Kunst und Gewerbe, Line Vautrin: Poesie in Metall, April 16 – June 29, 2003

circa 1945

LINE 'GRAPPESVAUTRINDERAISIN’ (BUNCHES OF GRAPES) BELT gildedcircaBUCKLE1940bronze

ArtcurialPROVENANCEParis, Intérieurs du 20ème siècle, October 20, 2021, lot 11

AnneLITERATUREBokelberg, Line Vautrin: Poesie in Metall, Museum für Kunst und Gewerbe, Hamburg, 2003, p. 145, n. 115.

Paris,EXHIBITEDL’Arc en Seine, Line Vautrin, December 6, 2002 –January 31, 2003

109

Christie’sPROVENANCEParis, 'A Wish Across Paris,’ the Collection of Len Walteron by Marie-Lorre Belleau-Watrand, May 19, 2015, lot Louisa473 Guinness Gallery, London

112

PRIVATE COLLECTION, BELGIUM

AcquiredPrivatePROVENANCEcollectionfromthe above by the present owner

The Art of Line Vautrin, Wayne Schwartz Gallery, New York, circa 2006, n.p. 'Poisson Jumeaux'

THIS ICONIC POISSON JUMEAUX NECKLACE CIRCA 1950-55 FROM THE WORK OF LINE VAUTRIN WAS SEEN ON VICTORIA BECKHAM © 2015 COURTESY OF VICTORIA BECKHAM MODEL WEARING LINE VAUTRIN’S POISSON JUMEAUX NECKLACE CIRCA 1950-55 © PHOTO COURTESY OF PRIVATE COLLECTION, BELGIUM 260 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

LITERATURE

LINE gildedcirca(TWIN'POISSONVAUTRINJUMEAUX'PISCES)NECKLACE1950-55bronzenecklacewitha

'Line Vautrin flourishes in a style reflecting her universe marked by themes such as poetry, mythology... Her creations are bathed in a certain lyricism accentuated by a notion of gentle magic. Unique jewelry, produced in small quantities, the creations of Line Vautrin only testify to the talent and skill of this great artist of the 20th century. She counted among her clients Francoise Sagan, Ingrid Bergman, and Yves Saint Laurent and today has a large following including this necklace seen worn by Victoria Beckham.' — Line Vautrin and Patrick Mauriès, Line Vautrin, Bijoux et Objets, Thames and Hudson, London, 1992, pp. 70-71

large bronze pendant depicting two conjoined fish, strung on multiple approximatechainslength: 15.7 in.; 40 cm.

5,000 - 7,000 USD

NOTE

FRENCH JEWELER AND METALWORKER LINE VAUTRIN TEACHING INLAY OF THE MIRROR IN THE ‘TALOSEL’ AFTER HEATING WITH FLAME. © LADY ONE © LINE VAUTRIN

InNOTEthe 1950s, artist Line Vautin developed a material that she coined and patented ‘Talosel’. It comprises layers of cellulose acetate that she carved, gouged, molded, and encrusted with colored mirrored glass. This new material enabled her to expand her repertoire to include larger objects, like the mirrors for which she is best known today. The objects that she created with it, like this Talosel Necklace, are unlike any others — original, exuberantly modern designs that carry the aura of ancient, time-worn relics.

262 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 113 LINE VAUTRIN TALOSEL NECKLACE circa 1955 shining aubergine gilt reflecting 'pearls’ made of patented Talosel (cellulose acetate) on wire with inlaid colored mirror approximately:fragments 52 in.; 132 cm. 3,000 - 4,000 USD

PrivatePROVENANCEcollection, Belgium

circa 1955

PrivatePROVENANCEcollection, United States

OneNOTEof Line Vautrin’s iconic specialties was a material that she created herself and patented: Talosel. This Purple Talosel & Mirrors Cocktail Necklace, made out of layers of cellulose acetate manipulated by hand, has a unique texture of accretions and scarification that interact with its deep purple color and refractive ability to create an intense, stunning piece of wearable art.

114

6,000 - 8,000 USD

DETAIL 264 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

It is no wonder that Vautrin termed her creation 'sorcerer's glass,' mining inspiration from historical and literary alchemical processes including fire, recomposition, and liquification. Her pieces in Talosel are unique and not reproducible, and their signature variations of resin are easy to spot.

ruff-style necklace in patented black Talosel (cellulose acetate), mirror inlays, metal and shards of purple mirrors approximate neck length: 17 3 4 in.; 45 cm.

PURPLE TALOSEL & MIRRORS COCKTAIL NECKLACE

LINE VAUTRIN

AlongNOTE with her daughter Marie-Laure, Line Vautrin developed the Association for the Development of the Manual Arts, where she taught metalworking and jewelrymaking and specialized in her patented Talosel.

PrivatePROVENANCEcollection, France

circa three-tier1955golden-hued earrings in a patented Talosel (cellulose acetate) setting; the last piece shaped like a approximately:teardrop 2 in.; 5.2 cm.

Private collection, United States (acquired from above in LineNOTE2021)Vautrin

created and patented a process that she named Talosel. This Double-Tiered Necklace, made out of layers of cellulose acetate manipulated by hand, has a unique texture of accretions and scarification that interact with its transparent color and refractive ability to create an unusual wearable work.

LINE VAUTRIN

116

Artcurial Paris, Intérieurs du 20ème siècle, October 20, 2021, lot 11

600 - 800 USD Adjug’art,PROVENANCEBrest, Arts du XXème, design, mobilier industriel, November 25, 2021, lot 260 Acquired from the above by the present owner

115

266 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

LINE double-tieredcircaDOUBLE-TIEREDVAUTRINNECKLACE1955gold-huednecklace of staggered metal and shards of golden mirrors in a patented Talosel (cellulose acetate) approximatesettingneck circumference: 17.5 in.; 44 cm. 4,000 - 5,000 USD

PAIR OF EARRINGS

jean boggio windpalazzostepsdown‘runningtheofanoldtuscanandthroughthenarrowpathsthataroundthegoldensandstonewalls...’

269

JEAN BOGGIO (B.1963) The French-Italian artist Jean Boggio, born in Algeria, is as multifaceted and inspirational as the delightful jewelry that he creates. Fortunate enough to have his work appreciated by brands such as Baccarat, Havilland, and Daum, he crafted in crystal, porcelain, glass, and gold to incredible results. Boggio then added luxury housewares – lacquered boxes and furniture, silverware, and delicate vases – that he collaborated on with the celebrated cloisonné firm Emaux de Longwy.

Boggio’s monumental and intriguing rings are a call to the past and to a whimsical future all in one, combining elements of Gothic architecture and church reliquaries with fantastic animals and nature. He creates tiny towers, winding staircases, and miniature kingdoms all supported by one slim band. Emerald, citrine, ruby, and onyx are combined and laid into rings of gold, silver, and other metals to create a fantastical eighteenth-century village on your finger.

— JULIET DE LA ROCHEFOUCAULD IN PARIS

20,000 - 30,000 USD

117 PROPERTY CREATED FOR INAUGURAL ART AS JEWELRY AS ART AUCTION

JEAN BOGGIO

L'ÎLE MAGIQUE...CYTHÈRE (THE MAGIC ISLAND CYTHERA) RING

TheNOTEunique L'île magique...Cythère (Magic Island Cythera)

CreatedPROVENANCEbyartist

expressly for the Sotheby’s inaugural sale 'Art as Jewelry as Art,' 2022

Ring shown being made here is a piece of art, history, and places the wearer can only imagine, all fitted to a hand and specially created for Sotheby’s inaugural 'Art as Jewelry as Art' auction Boggio hand-sculpted the design in his studio using the lost-wax method with inspiration from the Borromean islands that resulted in this fantastical miniature bridge and castle.

2022, unique, signed Jeanboggio 18k yellow gold, silver, and titanium ring set with precious and semi-precious stones that opens with a hinge on one side to reveal a secret compartment inset with an ancientlooking Roman-style floor approximately: 1 5/8 by 2 1/3 by 2 1/3 in; 4 by 6 by 6 cm. ring size: 8 3/4 (US); 58,60 (EU)

THE MAKING OF L'ÎLE MAGIQUE... CYTHÈRE (MAGIC ISLAND CYTHERA) RING FROM INITIAL SKETCH TO HAND-SCULPTED WAX TO SILVERAND ANDBOGGIOGOLDSMITHING.ISADDINGPRECIOUSSEMI-PRECIOUSSTONES TO HIS CREATION, WHICH WILL BE READY BY 24 SEPTEMBER 2022 © COURTESY OF JEAN BOGGIO 271

jewelry minimalismas...

273

VII

PHOTO BY JORDAN DONER

LOTS 118 – 125

MINIMALISM was one of the most influential art movements in New York in the 1960s. It emerged among a number of young artists moving away from abstract expressionism who began favoring a sleeker, geometric aesthetic. Influenced by movements such as the German Bauhaus, Russian Constructivism, and Dutch De Stijl, they aimed to attain the pure object in terms of functionality or aesthetics – or better yet, both - and to create art that referred only to itself, allowing the viewer an immediate visual response. Personal gestural elements, decorations, and embellishments were stripped away. The minimalist artist creates a work of art-to-wear by ensuring that the different elements, colors, and textures are organized in the most beneficial way; that the size; the length; the texture is all correct; it all needs to be exact, along with perfection in execution.

118

10,000 - 15,000 USD

LizWorksPROVENANCEincollaboration with the artist

Acquired directly from the above by the present owner

Oculist Witness by Hiroshi Sugimoto is part of LIZWORKS’ 'Seeing The World Through Artists’ Eyes’ project. Each artist was asked to design sunglasses that reflected their perspective on the world in combination with their unique style. Oculist Witness was designed in collaboration with Hiroshi Sugimoto and Lizworks and produced by Selima Optique.

NOTE

2014, signed Sugi on frame, edition 9/25 pair of sterling silver eyeglasses with seven pairs of interchangeable tinted lenses; housed in a lacquer box with platinum foil glasses: 5 3/8 by 6 1/4 by 1 7/8 in.; 13.5 by 15.7 by 4.7 cm. lens diameters: 1.5 in; 3.9 cm. box: 13 by 12 by 2 1/4 in.; 32.9 by 30.5 by 5.7 cm.

DianeLITERATUREVenet,Bijoux d’artistes de Picasso à Jeff Koons, Flammarion, Paris, pp. 186-187

HIROSHI SUGIMOTO IN COLLABORATION WITH LIZWORKS AND SELIMA OPTIQUE

HIROSHI SUGIMOTO (B. 1948) A successful photographer since the 1970s, Sugimoto explores dimensions of memory and time, and the transience of life — what he speaks of as 'time exposed' — in which he uses photography as a key method of preserving and modeling time. Investigating new techniques and materials is essential to Sugimoto's oeuvre. He is influenced by the writings and works of noted Dadaist Marcel Duchamp and those of the Surrealist movements. Works by Hiroshi Sugimoto are in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art in Washington D.C., Tate Britain, and many other prominent museums around the world.

HIROSHI SUGIMOTO & LIZWORKS OCULIST WITNESS

OCULIST WITNESS EYEGLASSES WITH SEVEN PAIRS OF INTERCHANGEABLE TINTED LENSES; HOUSED IN A LACQUER BOX WITH PLATINUM FOIL

hiroshi sugimoto

275

LUCIO FONTANA (1899-1968) Fontana’s irreverent approach to materials worked in tandem with the efforts of other artists like Burri and Vendova as part of Italy’s post-war evolution to establish Italian art as thoroughly Modern. His ideals - seeing the physical in new ways through revolutionary uses of light and the piercing of holes - came to fruition not only in his massive canvases and sculptures but also in jewelry.

Fontana produced thought-provoking wearable art that followed the primary principles of the Spatialism movement that he founded in 1947. His deep understanding of sculpture led him to apply the concept of monochromatic surfaces, visible in his paintings, to his jewelry, perforating pieces with his signature holes and punctures. As the works were produced in limited numbers, there are few in existence today.

277

In post-war Italy, artists began to experiment with wearable works of art and to execute micro-sculptures. Fontana embraced this movement and collaborated with GianCarlo Montebello (GEM Milan) who edited several limited editions of his jewelry.

lucio fontana

Lucio Fontana 67 on underside, edition 3/150, stamped with GEM Montebello & Fontana hallmarks sterling silver cuff bracelet with white lacquered oval with pierced holes positioned atop the wrist, from edition of 150 (unfinished; only 7 realized) in original GEM red velvet case 6 by 2 5/8 by 2 3/4 in.; 15.3 by 6.2 by 7 cm. wrist circumference: 7 in.; 18 cm.

Fontana‘s collaboration with GianCarlo Montebello (GEM) for this piece involved the use of industrial lacquers to cover his thick silver bracelet with a single color of enamel - in this case white - referencing the Manifesto Blanco he wrote in 1947 which laid the groundwork for his ‘spatial concepts’ (concetti spaziali), a term he used throughout his career that was extremely important for his work. Here, spatial art is taken to a new level both figuratively and literally as this bracelet links the activity of Fontana's canvases to personal adornment. It allows the wearer to actually become part of the art, transporting and transposing the spatial concept of the work into their life and Fonata’s vision of the future.

LucioNOTE

ELLISSE CON FORI ‘CONCETTO SPAZIALE’ (LF/3) (ELLIPSE WITH HOLES 'SPATIAL CONCEPT')

CON

NewEXHIBITEDYork,Galleria

Iolas, Fontana, 1967, original wooden NewversionYork, Guggenheim Museum, The Italian Metamorphosis, 1943-1968, 1994 for pink version

‘CONCETTO

‘SPATIAL CONCEPT’ BRACELET WITH ORIGINAL GEM MONTEBELLO RED FELT CASE DETAILS OF REVERSE

PrivatePROVENANCEcollection, Germany

MODEL LUCY VIVES WEARING LUCIO FONTANA’S ‘ELLISSE FORI SPAZIALE’ (LF/3), PHOTO BY JORDAN DONER

Fontana was constantly slashing, puncturing, and learning how to manipulate space in new ways. His Ellisse con fori concetto spaziale bracelet is a result of testing the limits of a monochromatic flat oval by puncturing it and allowing light to penetrate from behind.

Acquired from the above by the present owner

New York, Museum of Art and Design, Picasso to Koons: The Artist as Jeweler, September 20, 2011 – Jan 8, 2012 for pink version

80,000 - 100,000 USD

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Paris, Musée des Arts Décoratifs, e Calder à Koons, Bijoux d'Artistes, la Collection Idéale de Diane Venet, March 7 – September 9, 2018

Diane Venet, Bijoux d Artistes, de Calder à Koons, la collection idéale de Diane Venet, Flammarion, Paris, 2018, p. 84 for pink version

PROPERTY OF A PRIVATE COLLECTOR LUCIO FONTANA

GermanoLITERATURECelant, The Italian Metamorphosis, 1943-1968, Guggenheim Museum, New York, 1994, no. 292, p. 270 for pink LuisaversionSomaini and Claudio Cerritelli, Gioielli D'artista in Italia: 1945-1995, Electa, Milan, 1995,p. 17 Diana Küppers, K nstlerschmuck o jets d art, irmer, Munich, 2009, p. 86 for version in red Diane Venet, From Picasso to Jeff Koons: The Artist as Jeweler, Skira, Milan, 2011, p. 204 for pink version

Louisa Guinness Gallery, London

1967,BRACELETsigned

281

7,000 – 9,000 USD

Louisa Guinness, Art as Jeweller : From Calder to Ka oor, ACC Art Books, Suffolk, 2018, p. 198

120

LouisaPROVENANCEGuinness Gallery, London

NOTE

ANISH KAPOOR (B. 1954) began exploring the medium of jewelry with his first work, Large Water Ring, in 2003. Kapoor, famous for his monumental public art sculptures like Cloud Gate in Chicago (fondly called ‘the Bean’) and for his controversial exclusive license with Vantablack S-VIS, the ‘blackest black’ paint, found a new realm to explore in wearable art.

©

anish kapoor

2012, signed A Ka oor, stamped 750, hallmarked, edition 24/75, stamped LG

The scale is the most challenging aspect for Kapoor when it comes to considering jewelry. Despite knowing precisely the effects he wants to achieve - mind-bending concave and convex reflective voids - achieving it comes with more di culty.

'I have made jewelry for many years. It is a way of making small objects that are like sculpture on the body." (Louisa Guinness, Art as Jeweller : From Calder to Ka oor, ACC Art Books, Suffolk, 2018, p. 197)

ANISH KAPOOR

DISC RING

18k rose gold ring with concave surface,in the original box; made in collaboration with Louisa Guinness diameter: 1 1/8 in.; 3 cm. size: 7 1/4 (US)

RungweLITERATUREKingdon, Sculptor’s Jewelry, Gallery Pangolin, London, 2014, pp. 88-89

An expert at thinking in three dimensions and about the possibilities of polished metals, Kapoor goes through painstaking processes involving several prototypes to produce the desired effect at small scales. He is particularly concerned about the concave internal form: if the viewer does not appear upside down when looking into the void of a ring or pendant, he considers the jewel to have failed in its design.

The significance of this Disc Ring in terms of Anish Kapoor’s larger body of work lies in his belief that space can only be rendered through physical material rather than through absence.

Since his earliest works in jewelry almost two decades ago, Kapoor has continued to build on the foundations of his earliest experiments. Like his sculpture, his goldwork rings, pendants, and earrings toy with our perception of space, tricking the eye with art in highly polished 22 carat gold, white gold, and coloured lacquer.

Sotheby’s New York, Sculpture to Wear, summer 2021 Acquired from the above by the present owner

ANISH KAPOOR IN FRONT OF HIS SCULPTURE SKY MIRROR AT HOUGHTON HALL IN THE UNITED KINGDOM. PHOTO BY JOE GIDDENS/PA IMAGES

283 © LOUISA GUINNESS, ANISH KAPOOR’S WATER PENDANT, FORM I, 2009 121 FROM AN IMPORTANT EUROPEAN COLLECTION ANISH KAPOOR FORM 1 / WATER PENDANT 2009, signed A Ka oor, edition 2/10, stamped DSGH, London hallmark for 2009, in original box 22k yellow gold round pendant with choker pendant diameter: 1 5/8 in.; 4 cm. choker diameter: 5 1/8 to 5 1/4 in.; 13.1 to 13/4 cm. 15,000 - 20,000 USD LouisaPROVENANCEGuinness Gallery, London Acquired from the above by the present owner DianaLITERATUREKüppers, K nstlerschmuck o jets d’art, Hirmer, Munich, 2009, p. 98 for similar example Louisa Guinness, Art as Jeweller : From Calder to Ka oor, ACC Art Books, Suffolk, 2018, p. 198 IfNOTEatraditional jeweler was making a 22k gold Form 1 necklace, they would see the need to add a stone. Kapoor’s careful mathematical design, however, allows the wearer to have a relationship with the work of art as well as use the object as adornment. His monochromatic, deceptively simple works that challenge ideas of rationality and perception through the interplay of curvilinear forms, reflective surfaces, and size are exemplified in this small piece that is more than it appears. 282 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

2012

carmen herrera

CARMEN HERRERA (1915 – 2022) A Havana-born artist trained as an architect, Carmen Herrera was a painter, sculptor, and initially an abstract expressionist artist who evolved towards a minimalist style that combined hard edges with intense colors, which she began developing during a five-year stay in Paris during the late 1940s. Influenced by movements such as the Bauhaus and Suprematism, Herrera was fascinated by new paints and materials and experimented establishing the visual language that she would explore with great nuance for most of her life. She received recognition only very late in life – largely because she was both female and Latin American – and sold her first canvas in 2004 at the age of 89.

CHUS BURÉS IN COLLABORATION WITH CARMEN HERRERA, NEW YORK, WITH 'HORIZONTAL’ BROOCH/PENDANT

At 96 years old, Herrera applied her signature abstract-geometric style to jewelry creation and produced a small number of unique pieces. She made this matte silver pendant, which echoes the formal simplicity of her painting, in collaboration with the wellknown goldsmith and jewelry designer Chus Burés.

285

AcquiredPROVENANCEdirectly from the artist in collaboration with Chus MarlboroughBurés Monaco Gallery, Monaco

Acquired from the above by the present owner

6,000 - 8,000 USD

122

'HORIZONTAL’ BROOCH/PENDANT

Monaco,EXHIBITEDMarlborough Monaco, Chus Burés: Un Dialogue entre l’Art et le Design, March 20 – May 7, 2014

' Our first working session turned around a geometric drawing that she had just finished; a square in a rhomboid position [called] 'Horizontal' with a kind of cut in the center, that inspired metal and color. I did a test and Carmen loved it and from there everything went flowing smoothly,' Burés wrote in 2020.BY

287

JORDAN DONER

2012, signed Carmen Herrera, edition 1/6, numbered AP 1/2

PRIVATE COLLECTION, SPAIN CARMEN HERRERA

DomitilleLITERATUREd’Orgeval, Chus Burés: Un Dialogue entre l’Art et le Design, Marlborough Monaco, Monaco, 2014, p. 34

CarmenNOTE Herrera produced this matte silver Horizontal pendant in 2012, a piece which echoes the formal simplicity that was typical of her style at this time. It was made in collaboration with the well-known Spanish goldsmith and jewelry designer Chus Burés, who said that his relationship with the artist was one 'forged under the sign of freedom and creativity’.

silver satin-finished pendant in a diamond shape; designed in collaboration with Chus Burés 3 9/16 by 3 9/16 in.; 9 by 9 cm

DETAIL

6,000 - 8,000 USD

Sotheby's New York, Sculpture to Wear, summer 2021 Acquired from the above by the present owner

LouisaPROVENANCEGuinness Gallery, London

REVERSE

‘HERE’ BOOKMARK

edward ruscha

2008, die-cut HERE, signed Ed Ruscha, edition 10/100, stamped 750, DSGH hallmark, British hallmark for 2008 18k white gold rectangular bookmark with triangular die-cut slit to fit over a book page 6 1/2 by 1 3/4 in.; 16.5 by 4.5 cm.

288 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 123

EDWARD RUSCHA

EdNOTERuscha (b. 1937) has consistently combined the cityscape of Los Angeles with vernacular language to communicate a particular urban experience. His work encompasses painting, drawing, photography, and artist's books, and his particular love of text shines through. His parents fostered his nascent interest in cartooning as a boy and in 1956 he moved to LA, studying at Chouinard (now CalArts) through 1960. He claims Jasper Johns and Marcel Duchamp as inspirations, and Ruscha himself has been highly influential in the American Pop Art movement. His work is collected by celebrities like Leonardo DiCaprio and Jay-Z and museums like the Museum of Contemporary Art in Los Angeles, SFMoMA, and the Whitney in New York. Ed Ruscha’s love for typography and graphic arts comes clearly in his white gold HereBookmark, designed wittily to be placed between pages that say ‘Artists who make ‘pieces’ and ‘Artists who do books.’ Ruscha does both proudly, and his oeuvre is certainly worthy of that label.

LITERATURE

Sculpture to Wear: An Introduction to Artist Jewellery, Louisa Guinness Gallery and Sotheby's, London, 2021, p. 45

MODELS IN THE ©GIAMPAOLOGEMEENTEMUSEUMCOLLECTIONMONDRIANATDENHAAG,1966©PHOTOBYERICKOCHBABETTORING,UNIQUE,1981,VICTORIA&ALBERT

290 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

SCUOLA DI PADOVA (PADUA SCHOOL). Known for seeking new trends in art jewelry and particularly for experimental goldsmithing, the Padua School emanated out of the Istituto Pietro Selvatico in Padua. The distinctive features of its jewelry are the use of gold, reminiscent of the goldsmiths of antiquity, coupled with a modern, abstract technique that became individualized within the group. The Selvatico-based Padua School began in the 1950s and continues to operate to the present day. Works by master goldsmiths Mario Pinton (credited as the founder of the movement), Francesco Pavan, Graziano Visintin, Marco Rigovacca, and Giampaolo Babetto illustrate the distinctive and typically ‘Paduan’ look in art jewelry. Their breakthrough on the international jewelry scene in the late 1960s was spearheaded by Giampaolo Babetto, under whose leadership the geometric and Minimalist tendencies of the group were most pronounced.

padua school

FROM THE ESTATE OF JOY CORINE HENDERIKS

giampaolo babetto

124

PAIR OF EARRINGS

AcquiredPROVENANCEfrom the estate of Joy Corine Henderiks Piasa, Paris, Hommage à Joy Henderiks et à son engagement auprès des Restos du Coeur, October 2, 2018, lot Acquired251 from the above by the present owner

GIAMPAOLO BABETTO

Helsinki,EXHIBITEDDesignmuseo, Giampaolo Babetto Jewellery, November 6, 1997 – January 10, 1998 (different colorway)

CindiLITERATUREStrauss, Ornament As Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection, the Museum of Fine Arts, Houston, Arnoldsche, Stuttgart, 1983, p. 67, 339 Livia Tenuta, Gioiello & Jewellery, Silvana editoriale, Milan, 2018, p. 159 for a similar ring

1992, signed Babetto, edition 3/7 pair of 18k earrings with red and black pigment, designed with intersecting geometric shapes 1 3/8 by 1 3/8 by 3/4 in.; 3.5 by 3.5 by 1.9 cm.

Drutt Collection, September 30, 2007 – January 27, 2008 (different colorway)

GiampaoloNOTE

SIMILAR WORK BY BABETTO, RING 2001. 18 KARAT WHITE GOLD, NIELLO, PIGMENT.

293

6,000 - 8,000 USD

Babetto gained international recognition for his geometric and creations that meld intricacy and simplicity. His palette often includes rich antique pigments — deep reds, blacks, blues, and greens – like those found in Italian Old Master paintings, making this Pair of Earrings striking, especially with their reversed colors that make them appear like completely separate colorways.

Washington DC, Smithsonian American Art Museum, March 14 – July 6, 2008 (different colorway) Charlotte, North Carolina, Mint Museum of Craft and Design, August 16, 2008 – January 4, 2009 (different Tacoma,colorway)Washington, Tacoma Art Museum, June 27 –September 13, 2009 (different colorway)

GIAMPAOLO BABETTO (B. 1947) Babetto, an Italian goldsmith, is one of the most respected contemporary artists working in his field today. His practice is one of conferring inner strength to his jewels but also of waging a war, taming gold to his will and stretching it to its physical limits. Babetto explains that 'this makes [the jewels] reverberate, giving them a soul of their own.' A prolific jewelry master and inspirational teacher at the Padua School, Babetto has gained international recognition for his geometric and anti-geometric creations which are both intricate and yet elegantly simple. His palette often includes rich antique pigments — deep reds, blacks, blues, and greens – like those found in Italian Old Master paintings.

Houston, Texas, Museum of Fine Arts, Houston, Ornament as Art: Avant-Garde Jewelry from the Helen Williams

PHOTO BY JORDAN DONER

AcquiredPROVENANCEdirectly from the artist by the present owner

JORDAN DONER

marco rigovacca

1986, signed Rigovacca 18k gold ear cuff in the shape of a cone with a cut in the middle to accomodate the ear 4 7/8 in.; 12.4 cm. 6,000 - 8,000 USD

MonicaLITERATUREMcLaughlin, state Jewelr : A Cuff, a ear, and a Window Locket, Medium, February 7, 2012

297

EXHIBITEDPadua,Italy, Palazzo della Ragione, Gioielli d’Autore –Padova e la Scuola dell’oro, April 4 – August 3, 2008 Rovereto, Transarte, Marco Rigovacca – Sculture a’ porter, March 19 – April 19, 2009 Melbourne, Australia, RMIT Gallery, Gioielli d’Autore –Padova e la Scuola dell’oro, June 17 – August 14, 2011

125 MARCO RIGOVACCA JAVELIN EAR CUFF

MODEL PHOTO BY

MarcoNOTE Rigovacca (b. 1947) A notable member of the Padua School, Marco Rigovacca belongs to a group of Italian goldsmiths and jewelers who in the mid-20th century championed the use of gold when it was unfashionable. They considered it essential to the creation of fine jewelry as sculpture. The Padua School's unconventional approach has earned these goldsmiths and jewelers significant international attention over the last few decades. The 18k gold Ja elin ar Cuff shown here is an example of Rigovacca's mastery as a goldsmith and his inventive style, which reflects the aesthetic of the Padua School.

VIII jewelry modernismas...

MODERNISM . Societal and social change often represents a rejection of the previous paradigm. In Modernism, sleeker designs were made in order to distance new creations from the heavy jewelry of the 1940s. It became a post-war movement, developing into a clean aesthetic with bold and geometric shapes and jewelry made in limited editions or unique pieces. There was an overall atmosphere of experimentation and a divergence from tradition. Across Britain, Europe, and America, artists used materials such as gold, silver and gems in novel asymmetrical ways, and gave prominence to underappreciated mediums like wood, plastic, and enamel.

LOTS 126 – 152 299

inmodernismpost-warbritain TWIGGY, 1966, ‘SUNDAE BEST,’ A FASHION FEATURE FOR WOMAN’S MIRROR, 27 AUGUST 1966. TWIGGY WEARING AN OUTFIT BY MARY QUANT FOR GINGER GROUP, PHOTOGRAPH © TERENCE DONOVAN ARCHIVE 300 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

POST-WAR MODERNISM IN BRITAIN. America's modernists adopted a faster pace than those across the Atlantic, who were hampered by the damage done to infrastructure during World War II. British production was affected not only by delayed recovery and materials access but also by a tax on luxury goods, so it took until the 1960s for a group of designers to emerge as Modernists on their own terms. Curators at the Victoria & Albert Museum and the Worshipful Company of Goldsmiths recognized the need to elevate the stakes of jewelry and in 1961 set up The International Exhibition of Modern Jewellery, 1890-1961 which infused a newfound vibrancy into the field.

MODEL

PHOTO BY JORDAN DONER

andrew grima

Seeing an opportunity, the Victoria and Albert Museum organized The International Exhibition of Modern Jewellery, 1890-1961 with the aid of Graham Hughes, art director at the Worshipful Company of Goldsmiths. It was a show with a lofty goal: to create an independent jewelry-making industry in Britain. The resulting exhibit took place at the Goldsmiths’ Hall in 1961 and included 901 jewels from 33 countries. The few British jewelers that existed were included and paved the way for the up-and-comers like Andrew Grima to make their mark. And make a mark he did, growing to lead the ‘swinging sixties’ scene in London and putting the city at the center of modern jewelry design.

ANDREW GRIMA (1921-2007) Italian-born and Britishbred designer Andrew Grima became an engineer at sixteen. In 1939, he was enlisted into the army and spent most of the war running a repair workshop in Burma, but he returned to England afterwards and began working in his father-in-law’s small jewelry business. These were the years of high purchase tax and a dwindling export market, and it took until the 1960s for the British purchase tax to drop from 91% to 25%. At the same time, the standardization of gold pricing opened the way for the British jewelry market to develop after the war had put it on pause.

302 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

Grima, A.G. Ltd with British hallmark for 1977 172ct bright yellow mixed-cut citrine pendant necklace on 18k engraved yellow gold mount enhanced by a small round white diamond, suspended on an original neckwire; the pendant can alternatively be worn on a long chain pendant: 3 3/4 by 1 3/4 in.; 9.5 by 4.5 cm.; fits a 14 in. neck

PROPERTY OF A PRIVATE COLLECTOR

304 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 DETAIL 126

MODERNIST CITRINE AND QUARTZ PENDANT

1977,NECKLACEsigned

TheNOTEexampletiny

10,000 - 15,000 USD

AcquiredPROVENANCEdirectly from the artist in London by the present

Andrew Grima: The Father of Modern Jewelry, ACC Art Books, New York, 2020, p. 216 for similar

ANDREW GRIMA

FRANCESCA GRIMA WEARS GRIMA NECKLACE. TEXTURED YELLOW GOLD WIRE, DIAMOND AND A 131CT CABOCHON GREEN TOURMALINE 2007, PHOTO © ANDREW MACPHERSON © GRIMA ARCHIVES

WilliamLITERATUREownerGrant,

diamond set at the citrine’s lower right sits like a tiny imperfection in its light and yet has a quality all its own, adding to the artistry of Grima’s design. 'He insisted that at least one [diamond] be included in every design as a foil to the warm yellow of the gold or an antidote to the richness of a coloured stone.' (Peter Hinks, Twentieth Century British Jewellery: 1900-1980, Faber and Faber, London, 1983, p. 142)

127

PROPERTY OF A PRIVATE COLLECTOR

CITRINE AND DIAMOND PENDANT/BROOCH

William Grant, Andrew Grima: The Father of Modern Jewelry, ACC Art Books, New York, 2020, pp. 208, 211

18k yellow and white gold pendant/brooch set with large citrine and diamonds

PerfectlyNOTE

representative of Grima’s oeuvre in the early 1970s, this unique Citrine and Diamond Pendant Brooch is a study in the combination of careful, symmetrical precision and a wild, natural messiness. At once geometric and curvilinear, its points of textured yellow-gold wire (a signature of independent London jewelers around this time) radiate out like a sunburst to showcase the magnificent citrine at its center. Working with his craftsmen at HJCo, Grima utilized gold and citrine frequently during this period. A matching 1971 ring can be seen in in William Grant, Andrew Grima: The Father of Modern Jewelry, ACC Art Books, New York, 2020, p. 208 and a similar piece featuring the gold-wire details set with an opal, also 1971, can be found on p. 211 of the same. 'Grima wanted to make big jewels that were daring, fantastic, even flamboyant but without being clumsy or brash,' scholar Peter Hinks wrote in his seminal study of twentieth-century jewelry (p. 140). This brooch is bold and striking and yet tempered by the careful detail of its surround.

10,000 - 15,000 USD

LouisaPROVENANCEGuinness Gallery, London

1970, signed GRIMA, stamped SC and HJCo, London hallmark for 1970

PeterLITERATUREHinks,Twentieth Century British Jewellery: 19001980, Faber and Faber, London, 1983, pp. 140, 142

‘POMPIDOU’ BROOCH SET WITH BRILLIANT-CUT DIAMONDS AND A CENTRAL CITRINE THROUGH WHICH THE ROYAL CYPHER IS VISIBLE, PRESENTED TO FRENCH PRESIDENT GEORGES POMPIDOU’S WIFE, CLAUDE JACQUELINE POMPIDOU, BY HM THE QUEEN AT THE ELYSÉE PALACE, 1972.

ANDREW GRIMA

2 7/8 by 1 3/4 by 7/8 in.; 7.2 by 4.5 by 2.3 cm.

Acquired from the above by the present owner

309

DETAILS

- REGGIE NADELSON, 2013

Acquired from the above by the present owner

8,000 - 12,000 USD

AcquiredPROVENANCEdirectly from the artist in London

1970, signed GRIMA, stamped HJCo, 750, and British hallmark for 1970

PROPERTY OF A PRIVATE COLLECTOR

WilliamLITERATUREGrant, Andrew Grima: The Father of Modern Jewelry, ACC Art Books, New York, 2020, p. 207 for similar example

jewelry!ofbondjamesisgrimathe

OPAL, GOLD, AND DIAMOND BROOCH

white opal, 18k gold, diamond, and platinum brooch formed of lozenge-shaped elements; two overlapped in 18k textured wood grain-finished yellow gold upon which an 8.6-carat white opal bezel-set in yellow gold is layered on top, below accented with an elliptical slice of approximately half a carat of round white pavé diamonds set in platinum; white opal is tinged orange, lavender, and green 2 by 1 1/8 in.; 5 by 2.8 cm.

128

ANDREW GRIMA

CIRCA 1970.

DIOPTASE AND GOLD PENDANT WITH ‘STEPPING STONE’ EARRINGS

circa 1970, pendant signed A. Grima, stamped AA 259, 36; earrings each signed A. Grima; one earring stamped AA 545, 36 and the other stamped AA 544, 36; with Omega marks, 750 on each 18k yellow gold pendant/brooch featuring a central roughcut and polished dioptase crystal mounted to a yellow gold framework in the shape of textured and polished ‘stepping stones,’ along with a pair of similar ‘stepping stone’ gold earrings with posts and omega backs pendant: 1 3/4 by 2 in.; 5 by 4.5 cm. earrings: 1 by 1 in.; 2.6 by 2.6 cm.

AcquiredPROVENANCEdirectly from the artist in London Acquired from the above by the present owner

WilliamLITERATUREGrant, Andrew Grima, The Father of Modern Jewellery, Accart Books, New York, 2020, pp. 156, 160, 188 for similar examples

ANDREW GRIMA FOR OMEGA

THE

MARC JACOBS ATTENDS LOUIS VUITTON MENSWEAR PARIS FASHION SHOW WITH PHARRELL WILLIAMS AND KANYE WEST, HIS GRIMA DIOPTASE PENDANT, PHOTO

8,000 - 12,000 USD

ThisNOTEDioptase and Gold Pendant with ‘Stepping Stone’ Earrings set is a rare piece of jewelry designed by Andrew Grima for Omega. His fondness for dioptase with these 'stepping stone' settings comes through clearly in catalogues of his work and the asymmetry complements the rough purity of the dioptase.

311

PROPERTY OF A PRIVATE COLLECTOR

JUNE 2008. MARC WEARS

PAIR OF RUBY AND DIAMOND EARRINGS

PROPERTY OF A PRIVATE COLLECTOR ANDREW GRIMA

GRIMA WAS A PROLIFIC DESIGNER AND BECAME A FAVORITE OF THE BRITISH ROYAL FAMILY. HERE HM QUEEN ELIZABETH II WEARS HER GRIMA YELLOW GOLD, DIAMOND AND CARVED RUBY BROOCHTO THE EPSOM DERBY FESTIVAL AT EPSOM DERBY RACECOURSE SAMIR HUSSEIN/WIRELMAGE

©

130

312 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

1970s, signed GRIMA, stamped twice with British hallmarks for gold and the year 1970 gold earrings with cabochon rubies at center and a fourdiamond accent inset in white gold to the side; the gold settings are sand-textured matte and stepped at several levels with a rippling shape to the edges; omega clip-on 3/5backsby 7/10 in.; 2 by 2.2 cm 8,000 - 12,000 USD

VIA GETTY IMAGES DETAILS

WilliamLITERATUREGrant, Andrew Grima, The Father of Modern Jewellery, pp. 130, 133 for similar technique

AcquiredPROVENANCEdirectly from the artist in London Acquired from the above by the present owner

8,000 - 12,000 USD

LouisaPROVENANCEGuinness Gallery, London

315

Acquired from the above by the present owner

VERSATILE OPAL, DIAMOND, & PLATINUM RING/ circaBROOCH/PENDANT1970s,signed

WilliamLITERATUREGrant, Andrew Grima, The Father of Modern Jewellery, Accart Books, New York, 2020, p. 24 for a similar

GRIMA, stamped PLAT for platinum opal cabochon set in convertible platinum ring/brooch/ pendant with ring of diamonds set into a starburst shape around rim size: 5 1/2 to 6 (US)

ANDREW GRIMA

WilliamLITERATUREGrant, Andrew Grima: The Father of Modern Jewellery, ACC Art Books, New York, 2020, pp. 151, 218 for similar examples

ThisNOTEVersatile Opal, Diamond, and Platinum Ring by Andrew Grima has flexibility to suit the wearer worked into its very design. Created with a brooch back that can be strung and converted to a pendant, it also comes with a finger band to which a thin pipe is a xed. The pin backing, once opened, can be slid into the pipe atop the ring band and then closed, creating a secure statement ring that for all the world appears to have been made that way. Just another example of Grima’s brilliance - and the sensible, artful construction that he brought to his works. A similar example can be seen in William Grant, Andrew Grima: The Father of Modern Jewellery, ACC Art Books, New York, 2020, p. 218, which also features an opal cabochon set into a sunburst of white gold and diamonds, but it is permanently a ring rather than the versatile piece that we offer here.

process for this Gold Leaf Brooch / Pendant is complex in order to replicate the precise detail of the natural leaf. The first of these textured leaf brooches was created by Grima in 1947, and the concept was so successful that he occasionally created inspired examples over the next several decades.

DETAILS EARLY EXAMPLES OF LEAVES AND BARK CAST IN GOLD © GRIMA ARCHIVES 314 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

GOLD LEAF BROOCH PENDANT

circa 1979, signed GRIMA with English hallmarks 18k yellow gold brooch / pendant in the shape of a textured leaf, accentuated by a small, round brilliant-cut diamond resembling a dewdrop approximately 2 1/8 by 1 1/8 by 3/9 in.; 5.5 by 3 by 0.8 cm.

132

TheNOTEexamplecasting

PROPERTY OF A PRIVATE COLLECTOR ANDREW GRIMA

PrivatePROVENANCEcollection, United States

setting: 1 1/8 by 1 1/2 by 1/4 in.; 2.8 by 3.8 by .6 cm.

8,000 - 12,000 USD

131

circa 1987s, signed GRIMA, stamped 750; no hallmark as it was made and purchased in Switzerland ring in 18k gold with even striations on outer surface, set with a cabochon point-cut deep purple tanzanite and accented on one edge of setting with a band of seven diamonds set in white gold that gradually increase in size from one edge to the other; with an issue of Vogue, November 1965

AcquiredPROVENANCEdirectly from the artist's store in London by the present CynthiaLITERATUREownerAmnéus,

William161

WhileNOTE jeweler Andrew Grima was famous for his asymmetrical designs often cast from nature, he created many highly modern pieces that showcased a single large gem. This piece, with its fine incised gold reaching up to house a mixed-cut tanzanite, is both sleek and impressive - and yet with its diamond accents manages to circulate the viewer’s attention rather than staying put. It is similar to an amethyst ring dated 1978 also by Grima (See Cynthia Amnéus, ed., Simply Brilliant: Artist-Jewelers of the 1960s and 1970s, Cincinnati Art Museum, 2020, p. 161) and yet subverts that design with a careful precision of symmetry on its body that stands in stark difference to the works he created using uneven gold wires. The asymmetrical diamond accent can be seen on his other rings, including a line-engraved gold example set with green tourmaline dating to 1970 and designed by Grima for artist Barbara Hepworth (See William Grant, Andrew Grima: The Father of Modern Jewellery, ACC Art Books, New York, 2020, p. 296). There is a seriousness to it as well as the new flavor of modernity for which he was renowned.

316 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

TANZANITE AND DIAMOND RING

DETAILS 133

JEAN SIMPSON PHOTOGRAPHED BY DAVID BAILEY FOR THE COVER OF VOGUE, MODELLING A LARGE AQUAMARINE GRIMA RING, NOVEMBER 1965 (DAVID BAILEY/VOGUE © THE CONDÉ NAST PUBLICATION LTD.) © GRIMA ARCHIVES

ANDREW GRIMA

1 1/8 by 1 1/4 by 1 3/8 in.; 2.86 by 3.18 by 3.5 cm. size: 6 3/4 (US)

ed., Simply Brilliant: Artist-Jewelers of the 1960s and 1970s, Cincinnati Art Museum, Ohio, 2020, p.

Grant, Andrew Grima: The Father of Modern Jewellery, ACC Art Books, New York, 2020, p. 296

12,000 - 15,000 USD

8,000 - 12,000 USD

CARVED DIAMOND AND AGATE CHOKER

318 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 319 134

TomNOTEScott (1921–2007) discovered three-dimensional design in precious metals when he began studying silversmithing and jewelry at the Hornsby College of Art under Gerda Flockinger. Scott shared workshops with and was therefore inspired by various craftspeople during the early part of his career before he went on to become of one of Grima’s key goldsmiths. He remained independent while working with the artist, and when Grima sold his business in 1986 to move to Switzerland, Scott continued to make pieces for him in Britain. For export hallmarking requirements, Scott applied his own TS hallmark on pieces and put the Grima stamp alongside. This Carved Diamond and Agate Choker is clearly a Scott for Grima piece, unique enough for the artist to put his own delicate flair on Grima's fondness for natural, rough, and imperfect stones.

DETAIL

1987, unique, signed GRIMA, TES (Tom Scott), 750, British hallmark for 1987 on back of pendant; GRIMA 750 on back of whitechokergold, diamond, and agate choker with a natural hollow pendant:center115/16 by 3 in.; 4.9 by 7.5 cm. choker circumference: 14 7/16 in.; 36.7 cm

TOM SCOTT FOR ANDREW GRIMA

OakPROVENANCEGem,Florida, 2019

Private collection, United States

ALAN GARD

The House of Kutchinsky will always be remembered for leading the market alongside contemporary designers such as Andrew Grima and John Donald in the fifties and sixties; in reward, all were included in Graham Hughes’s groundbreaking exhibition Modern Jewelry in 1961.

combinedgoldworkmodernwithaninnatewhimsy

GrahamLITERATUREHughes, International Exhibition of Modern Jewellery 1890-1961, The Worshipful Company of Goldsmiths, London, 1961, p. 149 for similar technique

4,000 - 6,000 USD

HOUSE OF KUTCHINSKY

135

circa 1972, signed on the backs KUTCHINSKY.750 TK-RAI 18k gold pair of earrings with hinged omega backs; in the shape of a gold wreath with a cornucopia of blueshaded gems and white diamonds spilling out; each has 10 oval cabochon cuts of natural blue turquoise (6.5ct.),12 cabochon natural-blue sapphires carved with free-form organic motifs (12.86ct.), accented by 10 round brilliant-cut diamonds (0.20ct.) mounted in platinum bezels 1 1/5 by 5/8 in.; 3.2 by 1.8 cm.

KUTCHINSKY CLUSTER EARRINGS

ArtcurialPROVENANCEJuly20, Monte Carlo, 2021, lot 533 Acquired from the above by the present owner

(B. 1935) was a member of the innovative British independent jewelers of the late 1960s and 1970s and got his start working under master Andrew Grima. Gard exhibited at Goldsmiths Hall and Design Centre London as well as institutions in America and has created pieces for endeavors as diverse as the films Nicholas and Alexandra (1971) and Modestie Blaise (1966). (Beatriz ChadourSampson and Sonya Newell-Smith, Tadema Gallery London: Jewellery from the 1860s to 1960s, Arnoldsche, Stuttgart, 2020, p. 460)

TheNOTESHouse of Kutchinsky, founded by Hirsch Kutchinsky in 1893, solidified their reputation for high-quality products with commissions for the German court and set up shop in London's East End. Hirsch's son Morris and grandson Joseph both worked with him, though only the latter was truly suited for the business of craftsmanship. Some of the house's best work was made during the 1940s and '50s when they became known for the British fashion of modern goldwork and combined it with an innate whimsy. They moved to West London in the sixties and found further success with the brand's iconic playful designs as Joseph’s sons Roger and Paul took over the helm, creating exceptionally well-made, high-quality jewelry.

136

chunkyandfunky 321

4,000 - 6,000 USD

Acquired from the above by the present owner

WinBids Auctions, Aventura, Florida, Special Selection of Fine Jewelry, January 13, 2022

PAIR OF DIAMOND AND GOLD EARRINGS WITH DETACHABLE DROPS

320 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

PrivatePROVENANCEcollection, United States Treasure Fine Jewelry, Miami, Florida

1968, signed AMG, stamped with London hallmarks for 1968, 750 stamped on loops pair of rough diamond and 18k textured and polished gold earrings with detachable hook-and-loop drops and post backs; tops have five diamonds and drops each have four 2 3/16 by 1 in.; 5.5 by 2.5 cm.

AlanNOTEGard

323

1967, marks on verso stamped JD, British mark for 1967 18k gold earrings with seven emeralds and five diamonds on each; clip-on backs 1 1/4 by 3/4 in.; 3.3 by 3 cm.

john

JOHN DONALD (B. 1928) John Donald, a British jeweler, designer, and goldsmith, is regarded as one of the most innovative artists of the 20th century. For over half a century he has been recognized as a pioneering and radical designer and craftsman with his work capturing the late 20th-century ideals of glamour and modernity. Part of a select group that revolutionized jewelry design in the 1960s and ‘70s, Donald went on to establish a successful business in London and Geneva and developed an international reputation. He is respected by art critics and his designs attracted the patronage of HRH the late Princess Margaret, Countess of Snowden. His work is seen in the collections of the V&A Museum, the Schmuckmuseum in Pforzheim, the Royal Museum in Edinburgh, and the Worshipful Company of Goldsmiths. His pieces are owned by various Royal Families as well as heads of industry and those fascinated by design.

137 JOHN DONALD

EMERALD AND DIAMOND EARCLIPS

Acquired from the above by the present owner

JOHN DONALD IN HIS MEWS WORKSHOP WORKING ON AN IRON PYRITE BROOCH, 1962 © COURTESY OF JOHN DONALD © RUSSELL CASSLETON ELIOT

BonhamsPROVENANCELondon, Knightsbridge Jewels sale 27467, February 9, 2022, lot 169

4,000 - 6,000 USD

JohnNOTEDonald’s set of Emerald and Diamond Earclips display the interaction between modern British jewelry - which prioritized textured gold as a classic material - and the Space Race of the 1960s that so deeply affected fashion and culture. These ear clips are shaped like shooting stars but rendered in unexpected precious materials and colors. The radiating emeralds and trailing diamonds and gold lend a pop of excitement to the wearer’s ears - and bring a little piece of history from one of Britain’s foremost mid-century jewelers. donald

DETAIL

THE 1964 LONDON PREMIERE

he was apprenticed under Alexander Calder before he established himself as a sculptor in his own right. Eventually, he found his specialty in melting and transmuting precious metals in ways that resulted in unique shapes and textures that became the trademark of his era. As he came into his own and created artistic jewels inspired by nature and abstract modernism, he was said to be guided by the desire to create portable, miniature sculptures that women could add to their wardrobes as statement pieces.

COURTESY OF BLOOMSBURY: ROGER MOORE POSES FOR ANNOUNCEMENT OF HIS ROLE AS BOND IN LIVE AND LET DIE, 1972. © KEYSTONE/ZUMA PRES, INC./ALAMYcharles

325 CHARLES DE TEMPLE STUDIES THE LOVELY FEATURES OF GREEK ACTRESS RICA DIALLINA WHO WOULD BE HIS MODEL FOR A LIFE SIZE GOLD HEAD ENTITLED 'PRINCESS MEDINA.' © PHOTO BY RETRO IMAGES ARCHIVE

LEFT: BOND GIRL HONOR BLACKMAN WEARS CHARLES DE TEMPLE GOLD ON HAND AT OF GOLDFINGER PHOTOde temple

RIGHT: JAMES BOND

HER LEFT

CHARLES DE TEMPLE (1929 - 2019) Charles de Temple, a pioneer of the Modernist movement, was known for his sculptural, abstract gold jewelry. De Temple led an adventurous life; born out of wedlock in either Mexico or the United States in 1929, he claimed to have been raised in the Ringling Bros. circus and made his way to England to become a smashing success. He reached the top of London society in the swinging sixties and became an instant

Earlycelebrity.on,

CHARLES DE TEMPLE

MODEL REBECCA GUERRA WEARING CHARLES DE TEMPLE’S BY JORDAN

CHARLES DE TEMPLE

A PAIR OF TRICOLOR CONVERTIBLE PENDANT

DOUBLE-SIDED LONG PENDANT NECKLACE

PrivatePROVENANCEcollection, United States

1958, unique, signed C de T, 750; British hallmark for 1958 18k gold, diamond and ruby abstract water droplets on a double-sided pendant supporting a fringe with tricolor gold granulation of abstract design; the front is different from the back and can be worn two different ways and the chain consists of gold beads interspersed with small diamonds and suspends a pendant decorated with round diamonds, rubies, and a pear-shaped diamond 3.5 by 3/4 in.; 8.5 by 2.4 cm. chain: 16 in.; 40 cm.

DONER 327

PrivatePROVENANCEcollection, United States 139

4,000 - 6,000 USD

1958,EARRINGSunique, signed C de T, 750; British hallmark for 1958 18k gold, diamond, and ruby pendant earrings with post backs; surmounts of sunburst design center round diamonds and suspend detachable abstract pendants further detailed with yellow and white gold and scattered rubies accented with circular diamonds

15,000 - 20,000 USD

‘I’veNOTEalways

aimed to scale down a work of art, to make it portable…why not miniature sculptures?’ de Temple asked in 1964. This Double-sided Pendant Necklace is proof of his love for art and the ever-changing; its two sides are strikingly different despite keeping to the same color combination and materials. Its shape is curiously similar to the ancient nautiloid orthoceras, and the tiny kinetic baubles at the ends of the pendant might shift with the wearer’s movement just as their tentacles did in water.

138

2 1/2 3/8 in.; 6 by .9 cm.

hanging section: 4 1/4 by 2 in.; 11 by 5 cm.

Cartier,NOTE

FAUSTO MARIA FRANCHI

circaCARTIER1970s,stamped

one of the world's most well-known jewelry houses, took an entrepreneurial turn in the 1970s by expanding its traditional lines and brought in young artists such as César, Lisa Sotilis, and Aldo Cipullo to create modern designs. In this case the artist is unknown, but this Brutalist work has become an iconic accessory commonly known as the 'Jackie O' belt. It was popularized by Jacqueline Kennedy Onassis when she was seen wearing it in Capri with white jeans, t-shirts and flats, making it timeless and classic. A similar version was owned by the actress Elizabeth Taylor.

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Maria Franchi (b. 1939), born during the reign of Mussolini, is an Italian jeweler entranced by the inherent aspects of precious metals that lend to the creation of wearable sculpture. He schooled at the Arts Museum of Roma and won the National Competition of Goldsmiths in 1964. He began working seriously in the realm of sculpture in the 1970s and has seriously promoted goldsmithing in Italy since the 1990s as president of the Goldsmiths of the CNA di Roma.

PrivatePROVENANCEcollection, United States

10,000 - 15,000 USD

PrivatePROVENANCEcollection, United States

141

6,000 - 8,000 USD

VINTAGECARTIERSTERLING

'TheNOTEworks of Fausto Maria Franchi seem to spring from the relationship between the sphere of nature and that of culture...It is the phenomena of nature that seem to be alluded to by the recurrent stylistic elements such as the curved, enveloping lines, the jagged profiles, and the clearly organic forms that characterize Franchi's works, in which we also find a series of reflections on the primary elements.' — Mariastella Margozzi, L'orma del cerchio: Fausto Maria Franchi orafo artista, Gangemi, Rome, 2015, p.

Fausto16

circa 1970, unique, stamped F. M. FRANCHI on reverse of clasp and with Italian gold hallmarks 18k gold sculptural Brutalist bracelet accented with round faceted emeralds, one on each link five freestanding 1 1/4 by 1 1/14 in.; 3.3 by 3.3 cm. squares connected by two links each; when closed, entire bracelet has six squares circumfrance: 1 1/4 by 8 1/8 in.; 3.3 by 26 cm.

‘BASALDELLA' BRACELET

GILT BELT NECKLACE

Franchi joined the class of artists speaking the new language of non-figurative abstraction in the 1950s: Arte Programmata, Roman Pop, and Arte Povera. He experimented with fellow artists and learned from others in the field, becoming friends with Mario Masenza, and found his focus in gold, silver, and enamelwork.

140

BY

Cartier, STERLING

sterling silver-gilt textured with gold plated medallions, 31 1/2 by 1 5/8 in.; 80 by 4.2 cm.

GILBERT ALBERT (1930-2019). Born in Switzerland, Albert began as a watch designer under Patek Philippe in Geneva and established his own jewelry house in the 1960s. He was one of the most celebrated artist-jewelers of his era. At the International Exhibition of Modern Jewellery in 1961, he showed the most works by a single artist.

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ABALONE BROOCH/PENDANT

circa 1970s, signed Gilbert Albert, stamped 750 with a British hallmark

PrivatePROVENANCEcollection, United States

Referred to as a 'sculptor' of art jewelry, he was renowned for his originality in combining materials such as dinosaur bones, lava rock, and scarabs with precious stones and other precious materials. He worked a great deal with 18k gold and his chic creations epitomized the avant-garde style of the '60s and '70s. He even created ‘ready-made’ jewelry in the spirit of Marcel Duchamp, another multifaceted artist whom Albert admired for his ingenuity and audacity.

BACK

DETAIL

gilbert albert

Albert’sNOTE Abalone brooch/pendant is a proclamation of his allabiding love for the sea and his tendency to use its natural products like shells, fossils, and ammonites in his jewelry. He encases his pieces in textured gold and pearls, crowning each bit of Mother Nature’s beauty and in turn creating a brilliant accessory for the wearer.

4,000 - 6,000 USD

18k yellow gold, pearl, and abalone shell pendant with hidden pressure clasp in one of the links pendant: 3 1/2 by 2 1/4 in.; 9 by 5.7 cm. chain: approximately 30 in.; 76 cm.

GILBERT ALBERT

143

GILBERT ALBERT

PrivatePROVENANCEcollection, United States

BOW BROOCH / PENDANT

PrivatePROVENANCEcollection, United States

PEARL AND GOLD EARRINGS

GrahamLITERATUREHughes, Modern Jewelry: An International Survey: 1890-1963, Studio Books, London, 1963, pp. 142-3 for similar JohannworkWillsberger, Gilbert Albert, Jacques & Pierre Chaumet, Alexandre Grassy, Andrew Grima, René Kern, Harry Winston, Mosaik-Verlag, Munich, 1970s, pp. 12-15 & 18-19, 21-22, 25-26, 28-29 for similar work

circa 1970, one earring signed GA, 2620; other earring signed Gilbert Albert; stamped for 18k gold pair of 18k gold and pearl earrings with omega post backs, pearls encased in a Brutalist style 2 1/2 by 1 in.; 6.2 by 2.54 cm.

144

332 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

6,000 - 8,000 USD

4,000 - 6,000 USD

1970s, signed Gilbert Albert, stamped 750 18k gold brooch with pin back in the form of a bow with trailing ribbons; assorted pearls and cluster of three diamonds at center of bow; semi-articulated with moving joint at top of ribbon and at two other points along each falling ribbon so that it becomes kinetic when worn 4 1/2 by 1 7/8 by 7/8 in.; 11.43 by 4.76 by 2.22 cm.

GILBERT ALBERT

GrahamLITERATUREHughes, Modern Jewelry: An International Survey: 1890-1963, Studio Books, London, 1963, pp. 142-3 for similar work

DETAIL

PrivatePROVENANCEcollection, United States GrahamLITERATUREHughes, Modern Jewelry: An International Survey: 1890-1963, Studio Books, London, 1963, pp. 142-3 for similar JohannworkWillsberger, Gilbert Albert, Jacques & Pierre Chaumet, Alexandre Grassy, Andrew Grima, René Kern, Harry Winston, Mosaik-Verlag, Munich, 1970s, pp. 12-15 & 18-19, 21-22, 25-26, 28-29 for similar work 145 GILBERT ALBERT 1970s,BRACELETsigned Gilbert Albert, stamped 750 18k gold highly-textured bracelet with assorted pearls and a cluster of three diamonds at center front; opening at side; with original Gilbert Albert box and mount wrist circumference approx: 7 in.; 17.8 cm. overall: 1 3/4 by 3 by 2 3/4 in.; 4.44 by 7.62 by 7 cm. case: 4 1/4 by 4 1/4 by 3 in.; 10.8 by 10.8 by 7.62 cm. 10,000 - 12,000 USD

©

MODEL BROOKE DEIGHTON WEARING GILBERT ALBERT’S BRACELET, 1970S 2022 PHOTO BY JORDAN DONER

JeanNOTELurçat, (1892-1966) Lurçat was born in Vosges, France, and became a noted tapestry, graphics, and ceramics designer. His tapestries and designs were filled with mythological creatures – including his famous mermaids – and foliage. In 1959 his first experiments in jewelry were collaborations with Francois Hugo. By 1960 the company, Patek Philippe approached him to collaborate on designs with their chief jeweler, and fellow artist Gilbert Albert.

8,000

JEAN LURÇAT

circa 1960s, signed, stamped PPCo., 1 textured yellow and white gold figure executed by Gilbert Albert for Maison Patek Philippe with brooch and pendant fittings on reverse, 3 13/16 by 3 1/8 in.; 9.6 by 8 cm. - 10,000 USD

ALEXIS THE TAPESTRIES OF JEAN LURÇAT. PHOTO JULIE TRANNOY

18k

'LA SIRÈNE' BROOCH FOR MAISON PATEK PHILIPPE

GrahamLITERATUREHughes, Modern Jewelry: An International Survey: 1890-1963, Studio Books, London, 1963, p. 146

The pieces they executed together for the firm Patek Philippe were featured in Graham Hughes’ 1961 The International Exhibition of Modern Jewellery, 1890 –1961 under the direction of The Worshipful Company of Goldsmiths and the Victoria and Albert Museum, which firmly wrote his name in the annals of modern European jewelry designers.

©

PrivatePROVENANCEcollection, United States Paris,EXHIBITEDMusée des Arts Décoratifs, Jean Lurçat, 1964

MABILLE FALL 2020 HAUTE COUTURE, INSPIRED BY

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circa 1960-66, stamped PPC, 24, 750 18k yellow and red gold lacework rooster-shaped brooch with original lacquer Patek Philippe presentation box diameter: 2 5/16 by 3 in.; 5.9 by 7.9 cm.

JEAN LURÇAT

'LE COCKEREL' BROOCH

L'École des Arts Joailliers, Paris (acquired as a gift from the above, Acquired2003)from the above by the present owner

SylvieLITERATURERaulet, Jewelry of the 1940s and 1950s, Rizzoli, New York, 1988, p. 227

AcquiredPROVENANCEbybequest from artist to his wife Simone Andrée Marie-Louise Lurçat, 1966

'ValiantNOTE and watchful, the cockerel is traditionally seen as the king of the farmyard and the herald of a new day, and was associated with the sun and the sun god Apollo in antiquity. From the Romanesque period onwards, it was placed on church towers to greet the dawn and call worshipers to morning prayers. Owing to its Latin name, gallus, it also became the emblem of the land of Gaul, and later of the king of France and subsequently France itself, a roll it still holds today. This is the proud and noble bird that Jean Lurçat's simmering design alludes to.' – Patrick Mauriès and Évelyne Possémé, Fauna: The Art of Jewelry, Thames & Hudson, London, 2017, pp. 92-3.

8,000 - 10,000 USD

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Patrick Mauriès and Évelyne Possémé, Fauna: The Art of Jewelry, Thames & Hudson, London, 2017, pp. 92-3

DETAILS AGNETA MODELINGFISCHERAREBOUX BLACK SATIN HAT WITH FEATHER PLUMES, HER HAND UNDER HER CHIN. HAIR BY EMILE, © VOGUE JULY 1934, PHOTO © HORST P. HORST

4,000 - 6,000 USD

His best works are those using rougher cuts of precious stones with abstracted settings - sometimes no setting at all - that subvert the traditional expectations of regular grids and geometric, perfect layouts. He loved natural stones, assembled in unusual casings of 18k gold. He was both a painter and a sculptor, inspired by shells, branches, meteorites, and unusual minerals.

jean

Paris,EXHIBITEDL'École, School of Jewelry Arts, Jean Vendome, Artist Jeweler, May 19 – August 28, 2021 for matching 1968 necklace

ArtPROVENANCEResearchParis, Paris, Joailliers - Designers, February 10, 2022, lot 81

circa 1985, LO hallmark

OneNOTEof Jean Vendome’s inimitable specialties was the pairing of ammonites and precious metals. He came back to these fossilized creatures again and again during his long career, creating earrings, necklaces, and rings that showcased the long-lost spirit and delicacy of their remains. Similar pieces, in which the artist subsumed ammonite slices in smooth gold and compared them with unbroken discs, can be seen in Marlène Crégut-Ledué, Jean Vendome: les voyages précieux d’un créateur, Faton, Paris 2008, p. 217.

JEAN VENDOME (1930 – 2017) Jean Vendome created his first jewelry line at the age of twenty and continued to create avant-garde designs fusing art and sculpture until his death in 2017. He generally created unique pieces and his revolutionary work was underappreciated for most of his lifetime and began to be lauded recently when the L'École School of Jewelry Arts held a stand-out exhibition in Paris: Jean Vendome, Artist Jeweler in 2021.

‘C’est toute la magie de la création que se donne en spectacle’ (It is all the magic of creation that is put on show), he said about his work. (Marlène Crégut-Ledué, Jean Vendome: les voyages précieux d’un créateur, Faton, Paris, 2008, p. 18.)

MarlèneLITERATURECrégut-Ledué, Jean Vendome: les voyages précieux d’un créateur, Faton, Paris 2008, p. 217 Marie Vallanet-Delhom and Nicolas Bos, Jean Vendome Artiste Joaillier, Connaissance des arts, Paris, 2020, p. 59 for matching necklace

circumference of band: 6 1/3 in.; 16 cm. ammonites and discs: 2 3/4 by 2 in.; 7 cm. by 5 cm.

18k articulated gold bracelet with thin band atop which two ammonites are mounted in slices and accompanied by four flat gold discs of varying sizes

JEAN VENDOME

GOLD AND AMMONITE BRACELET

341

‘Jean Vendome: Artiste Joaillier,’ Connaissance Des Arts Revue (October 2020), p. 59 for matching necklace vendome

148

JEAN 2006,‘ARCHIPELAGO’VENDOMENECKLACEunique,maker’smarkstamped

25,000 – 30,000 USD

‘If there’s one stone theby'purpurinvarietyquartz,greatmineralogy.postcardsofamethystit’severyonethatknows,amethyst...isonethepicture-ofinthefamilyofthepurpledescribedasradiance’plinytheelderin natural history is called amethyst’

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on neck near closure necklace consisting of amethyst slices of varying shapes embedded in an 18k gold setting and joined by gold links featuring seven bars, each with five baguette-cut diamonds set in white gold

inner circumference approximately: 14 3/8 in.; 36.5 cm. largest amethyst: 1 5/8 by 2 in.; 4.6 by 4.7 cm.

Christie’sPROVENANCEOnline, Jewels and Handbags Online: The London Edit, June 23, 2021, lot 00403

Acquired from the above by the present owner

MarlèneLITERATURECrégut-Ledué, Jean Vendome: les voyages précieux d’un créateur, Faton, Paris 2008, p. 245 Sandrine Merle, 'Jean Vendome, a pioneer of contemporary jewelry,' the french jewelry post, 31 August 2017

JeanNOTEVendome, the pioneer of modern French jewelry, combined his passion for Surrealism, mineralogy, and graphic design. His avant-garde and Modernist vision evolved over time; the unique ‘Archipelago’ Necklace offered here demonstrates his passion for the contrast between straight and jagged, smooth and rough, and showcases the stunning beauty of the natural stone. The cuts are thin enough that light escapes from the reverse and the slim gold edging makes the pieces appear as though they are floating – and then Vendome reminds us that they are anchored with invisibly-set bars of diamonds stringing one stone to the next.

ParisEXHIBITEDandLyon, Musée d’Histoire Naturelle, Vendôme, un demi-siècle de bijoux contemporains, 1998 – 1999 Paris, L’Ecole, School of Jewelry Arts, Jean Vendome, Artist Jeweler, May 19 – August 28, 2021

diamond bars approximately 1/2 by 3/16 in.; 1.5 by .5 cm.

—ISABELLE DELAHAYE

149

150 JEAN VENDOME

A SET OF ÉCHO -STYLE DIAMOND, RUTILATED QUARTZ, AND 18K AND EARRINGS

35,000 - 45,000 USD PrivatePROVENANCEcollection, Europe Paris,EXHIBITEDL’Ecole, School of Jewelry Arts, Jean Vendome, Artist Jeweler, May 19 – August 28, 2021, see for similar ring dated MarlèneLITERATURE2002Crégut-Ledué, Jean Vendome: les voyages précieux d’un créateur, Faton, Paris 2008, pp. 108, 111 DETAILS OF SET OF ÉCHO -STYLE DIAMOND, RUTILATED QUARTZ, AND 18K GOLD NECKLACE AND EARRINGS

NOTE Jean Vendome, known for his masterful and refined use of stones, uses rutilated quartz to brilliant effect in this parure. First seen in his 1970 Vitrail series, the starburst effects of the rutile ingrained within the clear quartz mimics the gold of the settings and takes it to new heights. Vendome places the shards of stone at odds to one another and in an asymmetrical fashion that unexpectedly creates a pleasing whole, a tenet central to his oeuvre. His addition of a spray of small diamonds works as an accent atop the cluster of shards. This set is similar to his 1970 brooch design Écho, part of the Vitrail collection in which he desired to play with light and transparency and highlight the inclusions in the unique gems that he chose (Marlène Crégut-Ledué, Jean Vendome: les voyages précieux d’un créateur, Faton, Paris 2008, pp. 108, 111).

GOLD NECKLACE

circa 1980, hallmark of master (LO) on each earring necklace and earrings of rutilated quartz shards set asymmetrically in gold with sprays of baguette-cut diamonds arranged atop (39 total) and one additional square diamond set at center; three quartz shards are set as the pendant to the necklace and each earring is set with two shards as well as three bars of diamonds (five diamonds in a set of one, two, and two on each); omegastyle posts at back earrings: 1 by 1 1/4 in.; 2.5 by 3.1 cm. pendant: 2 7/8 by 2 in.; 7 by 5.3 cm. inner circumference: 16 1/16 in.; 40.8 cm. diameter: 4 1/2 to 5 1/8 in; 11.4 to 13 cm.

MODEL

a pair of asymmetrical gold earrings, each in two halves of an egg-shaped form that have been twisted around on their axis; surface with a pebbled texture; post backs for pierced ears

hallmark of master LO), French eagle-head hallmark

152

151

4,000 - 6,000 USD

PHOTO BY

ThierryNOTE Vendome (b. 1964) Thierry has always aimed to differentiate his artistic designs from his famous father Jean Vendome’s, and in the simplicity of his Galets earrings he certainly succeeds. Vendome is inspired by the wild shaping of nature and aims not to conquer it but to work alongside, honoring the rough shaping that the ocean brings to pebbles and solidifying their forms forever in more precious materials. (Claude Mazloum, L'art de la joaillerie contemporaine: les meilleures créations du monde, Gremese international, Paris, 1993, p. 170) He captures the ephemerality of nature and creates a permanent vision of beauty for those who wear his jewelry.

JORDAN DONER

‘GALETS’ (PEBBLES) EARRINGS

347

JEAN VENDOME

1 1/3 by 1 1/8 in.; 3.4 by 3 cm.

PAIR OF OPAL EARRINGS

Aguttes,PROVENANCENeuilly-sur-Seine, Bijoux, December 16, 2021, lot

THIERRY VENDOME

Acquired from the above by the present owner

18k yellow gold earrings with spiral forms sitting above half-circles featuring opals

Acquired136 from the above by the present owner

ArtPROVENANCEResearchParis, Paris, Joailliers - Designers, February 10, 2022, lot 138

ClaudeLITERATUREMazloum, L'art de la joaillerie contemporaine: les meilleures créations du monde, Gremese international, Paris, 1993, p. 170

2,000 - 3,000 USD

1 3/8 by 3/4 in.; 3.3 by 2 cm.

2009, stamped 750, maker's mark, two other indistinguishable hallmarks

artists who make jewelry jewelryvisionariesas...

MICHELE

IX

LOTS 153 – 164

VISIONARIES look beyond current trends and imagine what the future will be while defining and creating it. Visionaries devise original ways of using diverse materials to create powerful works that are inspired and highly personal. They explore novel ways for individuals to communicate their vision of the world to those around them and express their individuality through adornment and associated objects. Above all, these visionaries are infusing the craft of jewelry making with a passion and creativity that recognizes no boundaries. They see over the horizon and they forecast the future.

MICHELE OKA DONER (B.1945) Michele Oka Doner is an internationally acclaimed artist whose prolific career spans almost five decades. Her work is represented in numerous private collections and museums, including the Louvre, the Metropolitan Museum of Art, and the Victoria and Albert Museum. She has also created more than three dozen permanent public art installations Okainternationally.Doner’swork

Her jewels fit brilliantly in her oeuvre; she has created personal talismans that protect the wearer and provides them portable poetry that allows one to aspire to have a touch of the eloquence, beauty, and sensuality that Oka Doner herself instills in her art, her beliefs, and her life.

breaks boundaries, encompassing nearly every medium and category of art possible. Her consistency as an artist comes from something else: the belief that the world has a soul. She is certain of this because of the incredible human capacity for imagination and creation. Oka Doner values aesthetics of all kinds and therefore has naturally tackled jewelry creation as part of her

RIGHT: MICHELE OKA DONER. PHOTO © BRUCE WEBER; COURTESY OF DONER STUDIO LEFT: TALISMAN IS AN OBJECT, TYPICALLY AN INSCRIBED RING OR STONE, THAT IS THOUGHT TO HAVE MAGIC POWERS AND TO BRING GOOD LUCK 350 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

artists to think outside the box, but Oka Doner needs no forcing. Her heightened, methodical way of expressing the meanings of rituals, time, and dignity in jewelry-making are clear from her drawings and proceedings.

a

Jewelrycareer.forces

michele oka doner sculptor, a sorceress, a philosopher,abusinesswoman

NewEXHIBITEDYork,Stellweg Seguy Gallery, Soul Catchers, 1985, for similar necklaces New York, Marlborough Gallery, Michele Oka Doner: Bronze, Clay, Porcelain, and Works on Paper, November 2008, for similar necklaces Los Angeles, JF Chen, SoulCatchers, December 2009, for similar

MICHELE OKA DONER

bronze and diamond necklaces formed with individual links of wire, one strung with nine bronze pendants studded with diamonds in various configurations and the other strung with sixteen, in original ‘radiant motif’ necklaceboxe a: 16 1/2 in.; 41.9 cm. necklace b: 16 1/4 in.; 41.3 cm. 40,000 - 60,000 USD

MICHELE OKA DONER'S TALISMAN NECKLACES: SKETCH TO FINISHED WORK IN ORIGINAL PRESENTATION BOX © COURTESY OF MIICHELE OKA DONER © PHOTO JORDAN DONER 352 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

MicheleLITERATUREnecklacesOkaDoner,

DirectlyPROVENANCEfromthe artist

TheseNOTE ‘Talisman’ Necklaces reflect Oka Doner’s interest in primitivism, abstraction, and natural forms. For inspiration she drew upon thousands of years of superstition, religion, and mythologies concerned with the apotropaic nature of soul catchers - protective pendants that meld form and function, securing the wearer’s safety while adorning their body. While the wearer may form their own opinions about what the pendants represent, the small heads and shells are taken to another dimension with the addition of diamonds, of which the artist consistently updates her original design and adds more - a dimension inhabited by Oka Doner’s unique view of the world as a sculptor, sorceress, philosopher, and businesswoman. Symbols of natural imperfection and remnants of times past create a vision of adornment that melds form and function.

SET OF TWO ‘TALISMAN’

two1987,NECKLACESsignedpatinated

Soulcatchers 2008-9, JF Chen, Los Angeles, 2009, for similar necklaces

153

Self-taught as an artist and sculptor before delving into design, he uses classic materials to create meticulously-crafted pieces that inspire laughter and enchantment and are meticulously crafted. A star on the international art furniture design scene, he exhibits and sells his work globally. Le Gall's work is a space between art and design, filled with animals, flowers, and his own world of fantasy. Le Gall has been learning along the way. 'I am just creating because of my desire to create,' he says of his contemporary art.

HUBERT LE GALL (B. 1961) His work is a bold combination of the sophisticated and the playful. Inspired by the likes of Salvador Dalí, Jean Cocteau, and Max Ernst, Le Gall introduces humor and beauty into everyday life.

hubert le gall

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FRONT

His main vision is that all of his artistic furniture is about sculpture and he believes that art should be functional and must tell a story. Le Gall isn’t certain about his future projects, but as a storyteller, he is sure to constantly create handmade art that utterly surpasses all expectations of the contemporary artist.

154

HUBERT LE GALL STUDIO WITH ALASKAN FISHERMAN NECKLACE, STRATA

HUBERT LE GALL ALASKAN FISHERMAN NECKLACE

IN HIS

DirectlyPROVENANCEfromthe artist

GalleryEXHIBITEDPierre Alain Challier Paris (obsidian obtained by LITERATURECub-Art)

Bérénice Geoffroy-Schneiter, Hubert Le Gall: A Greek Fantasy, In fine, Paris 2021, p. 3

When viewed alone, the simple twists of wire might seem to be abstract shapes, but Le Gall brings them together as a whole and creates an imaginative scene through which the viewer can visualize ice, fish, structure, and activity; watching the artist’s fingers nimbly darting through the gaps, twisting and turning and leaving traces of his hand at work.

MODEL

at one end of the dome is another obsidian bead connected to a flat bar acting as the ‘ice’, and through a hole in the bar under the figure is attached a thinner piece of wire with six more infinity loops attached to it acting as ‘fish’ swimming underneath; the wire is kinetic and there are three ‘fish’ on one side and two on the other, all ‘swimming’ in the same direction;

LeNOTEGall has spoken of ‘inhabiting places with dreams,’ and indeed this Alaskan Fisherman seems like a dreamlike representation of the harsh and cold reality of life on the ice. (Bérénice Geoffroy-Schneiter, Hubert Le Gall: A Greek Fantasy, In fine, Paris, 2021, p. 3) Le Gall’s playful nature, easily seen in his furniture and sculpture, is transferred perfectly to this long asymmetrical pendant necklace and renders one of the starkest corners of the earth a comforting and whimsical accessory.

unique2018 silvered bronze necklace with obsidian beads and black cord; pendant made of a wire twisted to form a dome and enclose the figure of a person; the head is formed of a sphere surrounded by a circle and a strip of flat metal joined at the edges; the figure holds a smooth obsidian bead in one hand, from which a small infinity or eight-loop dangles like a caught fish on a hook, and on the leg closest to the hook there is another obsidian bead threaded around the knee area;

5,000 - 7,000 USD

at the other end of the dome wire is a hook onto which a long chain of links is attached and swings freely except where it is threaded through another hole at the end of the ‘ice’ bar; at the end of the chain is another longer bar that ends in an obsidian bead and there are two further beads strung onto the bars of the chain, and the dome has a twist in the metal at its center and top that acts as a loop for the black cord to be strung through 13 3/4 by 2 3/4 by 1/2 in.; 34.9 by 7 by 1.3 cm.

Le Gall’s signature striated obsidian collection culminates with this Jewelry Stand with Mirror, allowing the viewer’s playful interaction with the unique form of the object. Le Gall has set the obsidian disk on its end to hold the mirror and will be best appreciated against a light background so that the natural imperfections in the material can be seen and allowed to mimic the stained black wood of the spike tips that hold the viewer’s jewelry. The interplay of matte wood and smooth obsidian speaks to how Le Gall 'belongs to that category of artists who love the feel of the materials they choose, who use their hands to fiddle around and experiment with them' (Musée Mandet, Hubert Le GallDesign en liberté, Gourcuff Gradenico, Paris, 2014, p. 10).

LeNOTEGall’s

HUBERT LE GALL’S OBSIDIAN SWALLOW (BIRD) PENDANT AND JEWELRY STAND WITH MIRRO R, 2018, ALONG WITH L ALASKAN FISHERMAN NECKLACE, 2018

©

155

Hubert Le Gall - Design en liberté, Gourcuff Gradenico, Paris, 2014, p. 10 Hubert Le Gall and Pamela Mullin, Hubert Le Gall, Flammarion, Paris, 2018, p. 45

MODEL BROOKE DEIGHTON WEARING HUBERT LE GALL’S ALASKAN FISHERMAN NECKLACE 2018, AND HOLDING OBSIDIAN SWALLOW PENDANT AND JEWELRY STAND WITH MIRRO R, 2018. 2022 PHOTO BY JORDAN DONER

Alain Challier Paris (obsidian obtained by MuséeLITERATURECub-Art)Mandet,

B) 2018, inscribed with monogram HG, edition 4/8 wood (maple, natural and stained), obsidian, and mirror glass, maple base with protruding spikes in the same material; top half stained matte black; 6 spikes, 4 black, 1 with additional spike, every black spike is penetrating a perfectly spherical obsidian element at its tip; the central spike (supporting all the rest) terminates in a striated obsidian disk with inset circular mirror height: 16 1/4 in.; 41.3 cm. base diameter: 7 in.; 17.8 cm. widest point: 8 3/4 in.; 22.22 cm. obsidian disc diameter: 6 7/8 in.; 17. 46 cm. mirror diameter 3 7/8 in.; 7.6 cm.

GalleryEXHIBITEDPierre

Obsidian is a naturally-formed black volcanic glass and tends to fracture in sharp edges.

6,000 - 8,000 USD

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A) 2018, signed and inscribed Le Gall, edition 1/8 silvered bronze and obsidian (black lava) in the shape of a bird, made for an exhibition at Galerie Pierre-Alain Challier, Paris, 2018 (edition Pacea); CUB-ART for obsidian 4 3/4 by 3 1/2 by 3/8 in.; 12 by 8.9 by .9 cm.

HUBERT LE GALL

DirectlyPROVENANCEfromthe artist, current owner

SET OF A OBSIDIAN SWALLOW PENDANT AND JEWELRY STAND WITH MIRROR

Swallow Pendant is matched to the Jewelry Stand with Mirror. While simpler in form, this large pendant has taken his striated obsidian to new heights with the addition of a swallow in flight. Its wings are spread and two tail-feathers trail behind the body, allowing the eye to travel. An offset punched circle forms the eye and the head terminates in an open beak and is silhouetted by a halo in the form of a silver circle. Atop the flat body surface is an identically-shaped piece of Le Gall’s signature striated obsidian (a natural volcanic glass), which matches the similarly-haloed Mirror perfectly.

De Givenchy is globally recognized for his sculptural designs that highlight the individuality of each gemstone while inventively pairing them with unexpected materials including rubber, steel, wood, and ceramic. Inspired by the work of storied French and American jewelry houses, de Givenchy’s identifiable designs reflect his appreciation for quality craftsmanship and the deep cultural history of high jewelry. He also acknowledges the importance of creating works of art that can be worn casually, with an understanding of how his clients dress and live today. ‘I look for the magical, the right proportions, and I don’t find perfection attractive. In personalities, I’m not attracted to flawless, either. I look for charm,’ says Givenchy. ‘Jewelry is an object that projects who you are. It takes artistry, intellect, and logic to make it.’ jewelry will be worn

Raised in Beauvais, a small town north of Paris, de Givenchy was drawn to the energetic diversity of New York City. After noteworthy tenures at the most prestigious auction houses and jewelry companies, he established TAFFIN in 1996 as a New York salon to work with private clients on special commissions.

‘his

and natureunknowablesometimespartbecomeoftheofthewomenwhoownit–likeanemerald’

james de givenchy GIVENCHY

—TOBIAS MEYER

JAMES DE

TAFFIN BY JAMES DE GIVENCHY. (B. 1963) New Yorkbased high-jewelry house TAFFIN has become recognized globally over the past twenty-six years for its contemporary designs and dedicated following. In 1996, founder James de Givenchy established TAFFIN’s private Manhattan salon, working with carefully selected stones and a multitude of setting materials to create one-of-a-kind pieces.

ThisNOTEstunning antique Carved Columbian Emerald ring is a unique piece by designer James de Givenchy, manufactured by Ta n in the house’s New York headquarters. De Givenchy has been called ‘a torchbearer of color in contemporary design’ and this piece represents a pinnacle of this element to his work: an imaginative combination of three separate tones of verdant green that come together to create a marvelous whole. (Melanie Grant, Coveted: Art and Innovation in High Jewelry, Phaidon Press, London, 2020, p. 28) In another designer’s oeuvre, the carved antique Colombian emerald might be used in a more classic manner. De Givenchy harnesses design in his 'trademark experiments with lacquer and ceramic.' (Stellene Volandes, Jeweler: Masters, Mavericks, and Visionaries of Modern Design, Rizzoli, New York, 2016, p. 91) The smooth ceramic and gold juxtaposed with the hard-edged setting, incised emerald, and seed pearls work in tandem to create an exciting whole larger than the mere sum of its parts.

DirectlyPROVENANCEfromthe artist, current owner

70,000 - 80,000 USD

DETAILS

CARVED COLUMBIAN EMERALD, NATURAL PEARL, CERAMIC AND GOLD RING

JAMES DE GIVENCHY

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Jeweler: Masters, Mavericks, and Visionaries of Modern Design, Rizzoli, New York, 2016, p. 91 Livia Tenuta, Gioiello & Jewellery, Silvana editoriale, Milan, 2018, pp. 137, 141, 153

2015, marked Ta n TF James de Givenchy for Ta n ring with a 21.04-carat antique carved heart-shaped Columbian emerald, surrounded by ten natural seed pearls, set in 18k rose gold and green and chartreuse ceramic size: 6 1/4 (US); 53 (French)

StelleneLITERATUREVolandes,

Melanie Grant, Coveted: Art and Innovation in High Jewelry, Phaidon Press, London, 2020, pp. 28, 31, 51

TITO PEDRINI (B. 1962) Looking at light and stones are for Tito a love for life itself. ‘My passion for gemstones began when I was a child. My mother is an Egyptologist and she brought me to Cairo to major museums; I remember being fascinated not by the objects themselves, but by the stones in the objects. I realized that like a beautiful painting, stones need a frame, and stones need to be framed to be worn.

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'In Italy we say 'aggrappandosi alla vita', which in English translates to 'holding on to life.' After two brushes with cancer, I remember waking up in the morning [...] and looking at light. Life is a sort of love, not for a specific person, but for life itself. Working with ... stones, these are my light and my love. Sustainability is actually very important for me too.' – Tito Pedrini

tito pedrini

158

TitoNOTEPedrini’s Aquamarine Necklace is a masterful piece that is marked by clean lines and bold shapes of aquamarine. This is the necklace belonging to the James Bond girl of the future: more than adornment, with a concentration on the purity of aquamarine, the extraordinary size and methods of cutting, and gold links that give the viewer a tantalizing feeling of danger...

BLUE TOPAZ AND DIAMOND EARRINGS

TITO PEDRINI

‘this is for thebondjamesgirlofthefuture’

— TITO PEDRINI

DirectlyPROVENANCEfromthe artist, current owner

157

30,000 - 40,000 USD

TITO circaAQUAMARINEPEDRININECKLACE2008,signed

TITOPEDRINI, 18K, 750

8,000 - 10,000 USD

DirectlyPROVENANCEfromthe artist, current owner

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2012, stamped TITOPEDRINI 925 blue topaz and diamond Artigli earrings, each with four topaz drops, of which the first, second, and final pieces each feature a feather covered in diamonds

18k gold necklace featuring geometrically-cut slabs of aquamarine totalling approximately 800 carats

à-jour’of‘queenplique-

DREW BARRYMORE ON THE DREW SHOW CAMINO PHOTO:

BARRYMORE

WEARING A LUZ

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Camino’s work has been showcased in museums and private collections worldwide, including the collections of the Musée des Arts Decoratifs in Paris and the Museum of Art and Design in New York, and the Victoria and Albert Museum in London. She is planning to publish her first book in 2023 with Rizzoli.

Camino looks where no one else looks to find beauty in everyday life. Freely taking inspiration from the most ordinary of objects, from pencils to shoestring potatoes, she transforms them into stunning, aspirational works of art for the lucky collector. She is known as the René Lalique of our time for her work with delicate flowers, butterflies, and stars in intricate earrings, brooches, and diadems. Her unconventionality and obscure materials have expanded the ‘gemological vocabulary’.

LUZ CAMINO (B. 1944) Spanish artist Luz Camino started her career in fashion and took up goldsmithing at the encouragement of her late husband. She has won numerous awards for her innovative jewelry. She uses her skill in the 18thcentury technique of plique-à-jour enamel, which allows light to shine through the materials used.

luz camino

— ROB REPORT, JULY 2022

2020, unique, signed Luz Camino, 18k hallmark 18k gold necklace, with agate, ruby, diamonds, and enamel, set on braided leather cord 18k gold: 5.6 g., patinated silver: 11 g., agate: 91 rubies:ct. 0.25 ct., diamonds: 1.55 ct. pendant: 2 1/8 by 2 9/16 in.; 6.6 by 5.4 cm. neck: 8 1/2 in.; 21.6 cm.

DETAIL

BoughtPROVENANCEbypresent owner from the artist

LuzNOTECamino’s Crazy Agate Necklace is an emblematic mix of her inspired use of unusual materials with her knowledge and the use of ancient techniques that make her truly an artist that just happens to work with jewelry today. The small, veined leaves protruding from the agate are evidence of her mastery of plique-à-jour enameling and her inspiration from the natural world. She has developed her own ‘personal language’, she says, and of her extraordinarily diverse subjects and stones, even when the challenge is enormous, ‘in the end you realize that, indeed, anything is possible.’ (Stellene Volandes, Jeweler: Masters, Mavericks, and Visionaries of Modern Design, New York 2016, pp. 193, 5)

CRAZY AGATE NECKLACE

CRAZY

10,000 - 12,000 USD

STILLEFT:LIFE WEARINGMODELRIGHT:FERNANDOPHOTORAMAJO.LUCIAVIVESLUZCAMINO’S AGATE NECKLACE, AND EARRINGS, PHOTO BY JORDAN DONER

370 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

159

LUZ CAMINO

160 LUZ CAMINO CRAZY AGATE EARRINGS 2020, unique, signed Luz Camino, omega backs stamped I.V., 18k hallmark pair of earrings with agate, ruby, diamonds, and enamel set in gold using the plique-à-jour technique 18k gold: 5.6 g, patinated silver: 11 g, agate: 91 ct., rubies: 0.25 ct., diamonds: 1.55 ct., enamel and cord 2 1/2 by 1 1/2 in.; 6.4 by 3.8 cm. 6,000 - 8,000 USD BoughtPROVENANCEbypresent owner from the artistDETAIL STILLEFT:LIFE CAMINO’SMODELRIGHT:FERNANDOPHOTORAMAJO.WEARINGLUZC RAZY AGATE EARRINGS, 2020. PHOTO ANNE ALCOCER © COURTESY OF LUZ CAMINO 372 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

SUZANNE SYZ (B. CIRCA 1950) Syz’s works, famed for their extravagance and irreverence, live in collections such as the Musée des Arts Décoratifs in Paris and in the safes of the lucky few. As a serious collector of contemporary art, Syz has always spent her time with artists who inspire her, including Jean-Michel Basquiat, Jeff Koons, Francesco Clemente, and Julian Schnabel. Spending so much time with art and with artists in their studios allowed her to develop the in-depth understanding of color that is intrinsic to her work. Syz has always created her own jewelry, marching to her own beat since childhood, and over the years friends begged her to design jewels for them. In 2002 she took those requests seriously and launched Suzanne Syz Art Jewels. As she created her brand it became both personal and synonymous with her personality — rulebreaking, inspiring, and whimsical. Her works put ‘fun’ and ‘play’ into jewelry. Each piece is unique and begins with a focus on color and the stone at hand. Syz blends materials and tones surrounding the stone with a deft, practiced hand. The materials speak to her and generate distinctive and individual jewels that are on everyone’s wishlist.

suzanne syz

allchampagnesuzannechic...with‘funkyit’stheway’ — THE NEW YORK TIMES DECEMBER 2020 SUZANNE SYZ. PHOTO © COURTESY OF SUZANNE SYZ ART JEWELS 374 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

376 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

161

JEWELED CHESTERFIELD RING

18k pink gold and aluminium ring set with a 44.78 carat cabochon rubellite and sixteen .56 carat light brown

1/4 by 1 1/2 in.; 4.1 by 3.2 by 3.9 cm. size: 7 (US) gold weight 18.5 g. aluminum weight 13.23 g. total weight 40.80 g.

DirectlyPROVENANCEfromthe artist, current owner

MODEL LUCIA VIVES WEARING SUZANNE SYZ’S JEWELED CHESTERFIELD RING 2020 2022 PHOTO BY JORDAN DONER

PROPERTY OF THE ARTIST

SuzanneNOTE

DETAILS

20,000 - 30,000 USD

Syz’ jewelry is synonymous with her personality: rule-breaking, inspiring, and whimsical to the last. This Jeweled Chesterfield in , featuring a huge smooth cabochon inset into an exciting pattern of green scales shapes studded with diamonds, putting ‘fun’ and ‘play’ to work. Syz took inspiration from carefully studying the rubellite and determined that it would mesh perfectly with rose gold and colored aluminum, but her primary inspiration for the chesterfield scheme was the sumptuous furniture design and intricate marquetry of Jean-Michel Frank.

2020, unique, stamped S

©

1diamonds5/8by1

SUZANNE SYZ

162 YURY REVICH

Revich says that Shostakovich Eye Jewelry is ‘inspired by the edginess, expressivity, discomfort and surreal beauty of music by Shostakovich.’ As he has worn it on the red carpet at Cannes to great acclaim, it is apparent that all of these inspirations come through clearly for both the wearer and

6,000 - 8,000 USD

Yuryviewers.Revich

(b. 1991) is already an accomplished artist, violinist, and composer who consistently breaks new artistic barriers. He made his debut at Carnegie Hall in 2009 at the age of eighteen and has received immense recognition from organizations like the International Classical Music Awards and the ECHO Award (the European analogue of the Grammys). He has a deep appreciation for craftsmanship and played on a 1709 Stradivarius and currently plays on Guarneri from the year 1736. His efforts extend to the philanthropic sphere as well; he is a UNICEF Austria Ambassador and hosts an acclaimed concert series for the organization. But it does not end there: he also directs his creative passion into three-dimensional art, designing what he calls ‘eye jewelry’ - pairs of intriguingly geometric precious-metal glasses that act to draw all eyes to the wearer’s face. His vivacious personality comes through clearly in his art, and we imagine that his creative talents will only continue to expand. revich

THE EXPRESSIVITY: 'SHOSTAKOVICH' EYE JEWELRY 2015, gold-plateduniquesilver, pinewood, garnet, and white gold geometric jewelry in the shape of unusual glasses

yury

MODEL YURY REVICH WEARING HIS JEWELRY'SHOSTAKOVICH'EXPRESSIVITY:THEEYE , 2015 © PHOTO COURTESY OF YURY REVICHDETAILS 378 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

TheNOTEShostakovich Eye Jewelry, a clear reference to a composer Revich considers to be one of the greats, is a geometric, disorderly take on Infinite ound a e e Jewelry, more balanced and generous in its application of straight wires. This young visionary artist is not merely a world-class violinist and composer; in the tradition of many others in this catalog, he is also a designer of eye jewelry. Both this piece and another, Infinite ound a e, were exhibited alongside pieces by Kapoor, Bourgeois, and Dalí in 2021 for Bijoux Artistes de Picasso À Koons in Monaco.

DirectlyPROVENANCEfromthe artist, current owner

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KATIA LUNA BENAÏ CELEBRATES THE UNIQUENESS OF CULTURE PORTRAYED THROUGH THE BEAUTY AND STRENGTH OF THE AMAZIGH WOMEN. PHOTO © LUNA BENAÏ

KATIA LUNA BENAÏ (B. 1988) Sculptor and visionary Katia Luna Benaï and her team of artisans, specialists, and artists bring the contemporary to the treasures of the past, delicately intertwining timeless concepts, ideals, and designs with a modern fine art twist.

luna benaï

Benaï comes from the 4000-year-old heritage of the Amazigh women of North Africa. The Amazigh remains today one of the few societies where women have held a leading role in social structures for centuries. From ancient Egyptian history to Greek mythology, the Amazigh have left their mark on this world. Despite countless invasions and attempts to dissolve their culture, they have survived through peaceful, noble resistance. The Amazigh women are a living embodiment of what it means to raise female leaders without prejudices or societal biases.

Benaï's multidimensional background, ethos, and teachings compel her to always aim higher and has led her to pursue an MSc in Psychology & Neuroscience and mental health in the community at Kings College London. Her projects aim to collaborate with organizations that either preserve history, or support the arts (e.g., Ministries of Culture), or tackle community issues.

PROPERTY CREATED FOR INAUGURAL ART AS JEWELRY AS ART AUCTION

CreatedPROVENANCEbyartist expressly for the Sotheby’s inaugural sale ‘Art as Jewelry as Art ’ 2022

11 8/10 by 11 8/10 by 11 8/10 in.; 30 by 30 by 30 cm.

The finish consists of a carved rhombicuboctahedron, one of the many infinity shapes of Archimedean geometry. The imprints are traditional Amazigh symbols which Benaï incorporates into her contemporary design. The detachable jewel consists of solid silver, handpainted details inspired by the lapis lazuli, turquoise, and carnelian traditionally used by the Amazigh people.

'ATLAS' JEWELRY BOX

163

5,000 USD - 7,000 USD

2022, unique, signed on the bottom hand-made wooden jewelry box carved in a rhombicuboctahedron shape with glass casing on top; upper component opens and the box is additionally embellished with a detachable solid silver attachment; the internal base contains Alcantara® fabric (all components handmade and finished in Italy)

A portion of the proceeds of lot 163 will benefit the Hannan School, a UK-based charity whose mission is to help end the cycle of poverty of the Amazighpeople by providing access to early education.

AccordingNOTE to Luna Benaï, the 'Atlas' Box symbolizes holding the sky whilst encompassing all the jewels and knowledge of Gaia (earth) beneath.

KATIA LUNA BENAÏ

An avid crypto investor, in 2021 she entered the blockchain world with a line of fine 18k gold jewelry tied to NFTs. Since then, the company has expanded via partnerships with THEORY, Kwiat Diamonds, Decentraland, Moda Operandi, and Fred Segal; successful NFT projects with artists Ashley Longshore and Jonathan Seliger; and editorial features in ELLE and Architectural Digest.

metagoldenLEFT: FRANCINE BALLARD IS JUMPING INTO THE CRYPTO ART SPACE WITH METAGOLDEN. PHOTO BY DIVYA PANDE RIGHT: MODEL CIVAN AGUIRRE WEARING METAGOLDEN’S BLOCKCHAIN NECKLACE AND RINGS CREATIVE DIRECTION MICHELLE AVIÑA. PHOTO BY IVAN AGUIRRE. © COPYRIGHT COURTESY OF METAGOLDEN fine fashionjewelry, & art with nft assets’bankablewearable,edition...limitedutility... — METAGOLDEN

METAGOLDEN. EST. 2021. Entrepreneur Francine Ballard is the Houston-based founder of Metagolden, a modern brand for a modern consumer who values physical and digital status equally. It is a web3 emporium showcasing the finest phygital (physical and digital assets sold together) collectibles by way of collaborations between luxury labels, artists, and digital influencers/creators.

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Ballard worked in fashion publishing for many years at Time Inc. (InStyle), Condé Nast (Lucky magazine) and most recently as style editor at PaperCity magazine, covering fashion and jewelry brands Hermès, Gucci, Fendi, Dolce & Gabbana, and Cartier before transitioning to the technology space.

Her next collection, HW3 (House of Web3), will be a community-owned, operated, and financed fashion house with the best and brightest from both worlds (Web3 and IRL) rooted in forward-thinking operatives of ideation, collaboration, and innovation. As one of the first female-led blockchain brands and a founding member of BFF (along with Gwyneth Paltrow, Kate Hudson, Paris Hilton, and founders Brit Morin and Jaime Schmidt), Ballard has become a web3 thought leader and expert, paving the way for women and female-led projects in the space.

ThisNOTEpiece lends credence to a new channel for creation and authentication: one embodied by the spirit of innovation. NFTs (non-fungible tokens) and the transformative power of blockchain technology speak directly to a nouveau assemblage of collectors who are enterprising, cryptonative, enigmatic, and self-sovereign. This faction is adventurous, globally-connected and spurred on by a burgeoning cultural revolution.

Metagolden creates, conceptualizes, and curates ‘phygital’ (simultaneously physical and digital) art, jewelry, and fashion for consumers-turned-investors by way of collaborations between luxury labels and emerging artists and brands.

‘

164

CreatedPROVENANCEbyartist expressly for the Sotheby’s inaugural sale

Art as Jewelry as Art ’ 2022

END OF SALETHREE DIFFERENT VIEWS 386 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

1.80-ct emerald physical ring and digital twin NFT designed by Francine Ballard, founder of Metagolden (transferred at time of sale) size: 9 (US)

PROPERTY CREATED FOR INAUGURAL ART AS JEWELRY AS ART AUCTION

18k2022,ETHEREUMMETAGOLDENEXPEDITIONsignedyellowgold,naturalgreen

7,000 - 10,000 USD

Existing space programs are contemplating intercontinental rocket launches that would transport the traveler directly from New York to Shanghai in just over thirty minutes. There are numerous routes envisioned for point-to-point global space travel to cities that currently entail legs of over sixteen hours via traditional aircraft. These routes and ports are represented here, mapped in the design of the ring and recreated with computer-aided, digitally-constructed architecture. With a nod to the geodesic dome patented by Buckminster Fuller in 1954 and subsequently adopted in design by fine jeweler David Webb, this ring is both a physical prognostication of what is to come and a tribute to illustrious futurists' blueprint for transit.

AMBASSADORSexhibition

Sotheby’s Chief Executive O cer Charles F. Stewart, for the opportunity Mari-Claudia Jiménez, for planting the seed and encouraging me to pursue this gateway sale Patti Wong and Cassandra Hatton, who believed in me

his has been a lifelong dream and labor of love to merge my love of design and artist jewelry with a little fashion sprinkled in. I would like to thank everyone who has contributed to the creation of this lookbook and who will be helping me with the upcoming exhibition and sale.

T

Michelle Finamore, for working with me, proofing text, and providing endless wisdom Allessandro Boruso, for being a true believer Aliyya Stude, for having the creativity to come up with a plan Robert Lee Morris, for all he shares Madame Michelle Roux, for her invaluable wisdom regarding César

Josette Sayers, my cultural projects advisor; my mother Judy, who taught me this field; and my daughter Tatiana, who always reviews my writing Paul West and Dave Cox at Geoff eal Grou , for printing this beautiful book

WITH SpecialGRATITUDEthanksto

Joanna Fisher, for guidance Sarah Hoover, for her beautiful writing (and Tom, for marrying her)

This would not have come to fruition without: Sandra Burch, my Creative Director and so much more Jordan Doner, for breaking the mold with his phenomenal photography and constantly encouraging me forward Kenna Libes, who with enthusiasm and professionalism reworked much of the writing, properly cited our research for future reference, and streamlined our workflow to get this book to completion

389

SENIOR LEADERSHIP

Oliva Ballve, for being my scout on the ground Giulia Costantini, for proofing, wisdom, and so much more Robert Couturier, for being Robert Couturier Martina D’Amato, for her enthusiasm, research assistance, and all-around help Édéenne and Emmauel Guillaud, for their time and patience

Lisa Perry, for her eternal support Kara Ross, for her enormous enthusiasm and help David Salle, for his lessons Lee Mindel and Jose Marty, for being my rock stars Bella Newman, for her introductions and generosity Richard Mishaan, my brother from another mister Katherin Plath, for her friendship, creativity, and more Prince Talal of Jordan, for editing and friendship Jonathan Marder, for being my truest believer Stuart Manger, for support ideas and kindness Isabelle Morris, for her enthusiasm and for being ready for what comes next Wellington Hollier, for comfort

Further aid and support provided by: Clare Finn, for generously sharing her work on Picasso and for her time to answer our many questions Nicolas Hugo from Atelier Hugo, for always being available Chus Burés, for information on Carmen Herrera and for his friendship Corice Arman, for her friendship and introductions Ileana Bourboulis, for her generosity, information, and for connecting me with her mother Sophia Vari

CRUCIAL ADVISORS AND ENABLERS

Phoebe Lui and Harriett Louth, for their invaluable assistance Simon Stock, for sharing his knowledge of the Pomodoro brothers, Max Ernst and always being available to advise Carolina Von Humboldt, for offering to take the next step and design the

ART AS JEWELRY AS ART

Everyone behind the scenes, artists, jewelers, and collectors alike for believing in this opportunity and whose help has been and continues to be invaluable

acknowledgements

390 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 jewelry modernistsamericanas... UPCOMING ART AS JEWELRY AS ART SALES ART AS JEWELRY AS ART 2023. ACCEPTING CONSIGNMENTS NOW. CONTACT TIFFAN DUBIN, ART AS JEWELRY SPECIALIST & HEAD OF SALE +1 212 894 1689; +1 917 375 0671; TIFFANY.DUBIN@SOTHEBYS.COM MODEL WITH LUNA BENAÏ WORK OF ART © PHOTO COURTESY OF LUNA BENAÏ

392 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214 jewelry as...haute couture UPCOMING ART AS JEWELRY AS ART SALES ART AS JEWELRY AS ART 2024. ACCEPTING CONSIGNMENTS NOW. CONTACT TIFFAN DUBIN, ART AS JEWELRY SPECIALIST & HEAD OF SALE +1 212 894 1689; +1 917 375 0671; TIFFANY.DUBIN@SOTHEBYS.COM CREATIVE DIRECTOR VIRGIL ABLOH’S LOUIS VUITTON, MENSWEAR FALL 2021. HIS SIXTH COLLECTION, NAMED ‘EBONICS’, A CALL TO RADICAL THINKING THROUGH THE LENS OF MENSWEAR. © IMAGE COURTESY OF LOUIS VUITTON

MODEL FAHAD MALLOH WEARING ARMAN’S ACCUMULATION WATCH MOVEMENT, CIRCA 1970s AND PASCAL MORABITO’S (ATTRIBUTED TO ARMAN) ACCUMULATION, PHOTO BY JORDAN DONER

premium,

Sale Number Sale Title Sale Date Account Number (if known) Title First Name Last Name Company Name AddressCity State/Province Country Postal Code Daytime Phone Number Mobile Phone Number Email TelephoneAddressnumber during the auction (Telephone Bids Only) 1) 2) ABSENTEE/ADVANCE BIDDING FORM

tax) Please indicate how you would like to receive your invoices: q Email q Post/Mail We will send you a shipping quotation unless you choose one of the options below. Please provide your shipping address if different from above. AddressCity State/Province Country Postal Code q I will collect in person q My Agent/Shipper will collect on my behalf (please provide name if known) q Save these preferences for future purchases agree to be bound by Sotheby’s “Conditions of Sale”, “Terms of Guarantee” and the information on the reverse of this form in the Guide for Absentee/Advance and Telephone Bidders, which is published in the catalogue for the sale. PrintSignatureName Date

NUMBER LOT DESCRIPTION

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Bids

DOLLAR AMOUNT OR 3 FOR TELEPHONE BID (excluding

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. should be submitted at least 24 hours before the auction. The telephone bid service is offered for lots with a minimum low estimate of 5,000. Sothebys.com to register for online bidding.

Visit

LOT

see important notice and information regarding absentee/advance and telephone bidding on the reverse of this form. Forms should be completed in ink and submitted to Sotheby’s Bid Department: 1334 York Avenue, New York NY 10021 T +1 212 606 7414 bids.newyork@sothebys.com

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NEW PleaseCLIENTSnotethat we may contact you to request a bank reference. In addition Sotheby’s requires a copy of government issued photo ID in order to generate a new account. If you have opened a new account with Sotheby’s since 1 December 2002, and have not already done so, you will be asked to present appropriate documentation confirming your identity before your lots or sale proceeds can be released to you.

Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. Absentee/Advance bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by email to the Bids Department at Successfulbids.newyork@sothebys.com.bidderswillreceivean invoice detailing their purchases and giving instructions for payment and clearance of goods. Unsuccessful bidders will be advised.

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The buyer’s premium is 25% of the hammer price up to and including 1,000,000, 20 of amounts in excess of 1,000,000 up to and including 4,500,000, and 13.9 of any amount above 4,500,000. The overhead premium is 1% of the hammer price.

Please clearly specify the telephone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered.

Please record accurately the lot numbers, descriptions and the top hammer price you are willing to pay for each lot.

DATA Sotheby’sPROTECTIONwilluseinformation provided by its clients or which Sotheby’s otherwise obtains relating to its clients for the provision of auction and other art-related services, real estate and insurance services, client administration, marketing and otherwise to manage and operate its business, or as required by Somelaw.gathering of information about Sotheby’s clients will take place using technical means to identify their preferences and provide a higher quality of service to them, and Sotheby’s may gather information about its clients through video images or through the use of monitoring devices used to record telephone Sotheby’sconversations.willgenerally seek client’s express consent before gathering any sensitive data, unless otherwise permitted by law. Clients agree that Sotheby’s may use any sensitive information that they supply to Sotheby’s.

IMPORTANT

The form should be used for one sale only – please indicate the sale number, title and date on the form.

Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wherever possible bids should be submitted at least twenty-four hours before the auction.

FOR TELEPHONE BIDS

Please note that the execution of written and telephone bids is offered as an additional service for no extra charge, and at the bidder’s risk. It is undertaken subject to Sotheby’s other commitments at the time of the auction. Sotheby’s therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise. All bids will be executed and are accepted subject to the “Conditions of Sale” and “Terms of Guarantee” printed in the catalogue for the sale. Please note that a buyer’s premium and an overhead premium in the amounts stated below, and in paragraph 3 of the “Conditions of Sale” in the back of the sale catalogue, both will be added to the hammer price as part of the total purchase price, plus any applicable sales tax.

We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the maximum bid amount you indicate. “Buy” or unlimited bids will not be accepted.

This service is free and confidential.

Bids must be placed in the same order as in the catalogue.

FOR ABSENTEE/ADVANCE BIDS

It is against Sotheby’s general policy to accept single or multiple related payments in the form of cash or cash equivalents in excess of 10,000. It is Sotheby’s policy to request any new clients or purchasers preferring to make a cash payment to provide: proof of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card or driver’s license) and confirmation of permanent address.

MODEL BROOKE DEIGHTON WEARING JEAN VENDOME’S OPAL EARRINGS, AND ETTORE SOTTSASS FOR CLETO MUNARI’S GOLD AND SAPPHIRE RING, CIRCA 1980.

396 COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11214

ABSENTEE/ADVANCE BIDDING FORM

Alternative bids can be placed by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful.

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