“Seeking Beauty is more worthy than displaying Luxury.” – René Lalique
This statement underlined the ethos of the decorative Art Nouveau movement- a spirited design era where the artistic beauty of an item, was valued above the intrinsic value- expensive gemstones were replaced with materials such as ivory, horn, glass and enamel- that enhanced the gorgeous detail of an imaginary theme – designs that found inspiration in the female form, nature and insects.
Antique Collectors remain drawn to Classical craftsmanship, be it in the true Masters of Period Art, or Period Jewellery Pieces. These pieces embody timeless elegance, a rich history and a unique design skill and sensibility.
More often, in period jewellery and revival period pieces, themes and stories will mirror in Art, Fashion and Architecture.
As true Romantics, we at 1077Atelier sojourn almost weekly into the detailed Art Nouveau design period- this month the theme of Nymphs seemed to repeat for attention!
These beautiful little Nymphs (young girls), Naiads (so called after immature dragonflies) or sometimes called Hydriads- (ethereal and mythological young female spirits, presiding over water- specifically streams, fountains and lakes), have captivated us with their radiant innocence. Their intrigue mirrored in period jewellery and art as a popular genre during this Art Nouveau period.
In a beautiful analogy to the freshness of water, they are beneficent, beautiful and light-hearted of nature…Their captivating essence compels especially male suitors, to approach for a closer look….
Their ethereal allure was masterfully crafted and imprinted in the use of their theme and the freshness of the colour palettes- in art it was the opalescent nature of their skin tone, the fresh greens in foliage and muted soft blues in sky and ocean…the hints of amber and browns…
In the Art Nouveau Jewellery period pieces, bejewelled treasures of Master Jewellers such as French luminary Rene Jules Lalique – it was the bright greens of Peridot and sky blue Aquamarines, the opalescent pearls, his masterful enamelling (Plique A Jour) and glass work, that remain the most striking pieces of this period, and echo the palette of August gemstones.
*Plique A Jour is a refined technique of enamelling, used in the decorative arts, where enamels are held in place without a backing (such as with cloisonne), but rather in an open framework made by soldering wires or very delicate metal strips to each other.
Renè Jules Lalique (1860- 1945), was a French jeweller, glass designer and medallist whose remarkable creations significantly influenced the Art Nouveau movement. His mastery lay both in glass art and jewellery design, setting him apart from his contemporaries.
Born on April 06, 1860, in Ay, France, Lalique’s artistic journey began at an early age. Regular trips into the countryside with his family where the influencing factors in his appreciation and study of naturalistic themes in his work.
At aged 12, Lalique attended the Collège Turgot, where he honed his drawing and sketching skills. This was followed by a study term at the Ecole des Arts Decoratifs in Paris and a further two years at the Crystal Palace School of art in London.
His apprenticeship under leading Parisian jeweller, Louis Aucoc , further refined his craft, emphasising graphic design and his love for the naturalistic approach to art. By 1881 , Lalique worked as a freelance designer for renowned firms like Cartier & Boucheron.
By 1890, he opened his very own jewellery store in Paris’s Opèra district, where he created some of his most famous designs.
Antique Collectors remain drawn to Classical craftsmanship, be it in the true Masters of Period Art, or Period Jewellery Pieces. These pieces embody timeless elegance, a rich history and a unique design skill and sensibility.
More often, in period jewellery and revival period pieces, themes and stories will mirror in Art, Fashion and Architecture.
Motifs were centred around the natural world and the Japanese artistic flourishes in art. Insects, flowers and Nymphs adorned his creations, quintessential Art Nouveau motifs in sinuous lines and brilliant materials.
His unconventional use of material such as glass, horn, tortoiseshell, semi- precious stones, enamel and ivory, drew immediate attention in jewellery circles. His ingenious manner of decorating mundane and functional pieces and elevating them to a treasured status remains almost singularly true to him.
Rène Lallique’s legacy endures in these decorative designs, many pieces finding their way into private collections and museums, such as the Lalique Museum in Hakone, Tokyo, that houses over 1,500 of his works, including more than 200 covetable jewellery pieces. His glasswork design, forever captured in vases, bowls, chandeliers etc, became iconic, and remain priceless collectables today. His granddaughter, Marie Claude-Lalique, also followed in his footsteps as a glassmaker.
In 2021, Sotheby’s sold the lifelong collection of Claude Henri Sorbac- an unbelievable 39 pieces became available at a single auction and took the world by storm!
This tragic myth in Oil transports us to a moment of enchantment and peril. The scene draws from Greek and Roman legend, specifically the Myth of Hylas, a youth who meets a tragic fate.
Hylas, son of King Theiodamas, joined Hercules on the quest for the Golden Fleece aboard the ship Argo. During their journey, Hylas was sent to find fresh water on an island. He stumbled upon a pond inhabited by several alluring Naiads—or female water Nymphs. Their luminous alabaster skin and auburn hair captivated him. As he reached out to them, they lured him into the water, and he vanished forever.
Waterhouse’s masterpiece captures this pivotal moment. Hylas, clad in classical garb, bends beside the pond, water jar in hand. Seven nymphs emerge from the water, their ethereal beauty juxtaposed against the lush green foliage. They entice Hylas—one holds his wrist, another plucks at his tunic, and a third offers pearls. His fate is sealed; he will not return.
The lack of reference to Hercules emphasizes the sinister nature of the Nymphs. Waterhouse’s skillful use of light and shadow heightens the drama, drawing our gaze to the Nymphs’ faces as they gaze upon Hylas.
I have purposefully snipped only the Nymphs from this masterpiece- as their ethereal beauty and cool green tones evoke such a parallel with the Luminary Jewellery Designer of the Art Nouveau Period- Renè Jules Lalique.
May you continuously seek the joy in Jewellery- and in researching your favourite pieces, find parallels in other disciplines that enforce your choice of item- more often than not, our jewellery items await their true owner- the passionate, eclectic individual who cannot help but fall helplessly in love with true craftmanship….
Blessings…
