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Lot Essay
This beautiful bracelet, designed by Vicente Gracia is his tribute to one of the greatest jewellery masters of all time, Rene Lalique.
Rene Lalique (1860-1945) was the undisputed genius of Art Nouveau jewellery and arguably the greatest artist-jeweller ever known. A leader of the Art Nouveau movement, and instigator of an entirely new approach to jewellery, he was a man of exceptional talent and astonishing versatility. Undoubtedly, he helped to overturn the traditions of 19th century French jewellery design and manufacture, creating an entirely new means of expression for the jewellers art.
By the 1890s Laliques gold work was becoming especially fluid and sculptural. Lalique was able to turn gold into a substance that seemed almost liquid, with constantly moving lines that suggested energy and growth. At this time, Lalique was adding more motifs from nature, concentrating on unusual aspects of plant structure. His gold work focused on the decay and rebirth of the natural world, often in conjunction with enamels, to convey the dynamic forces of organic life: curling leaves, rippling water, trailing branches, budding stems, gnarled and knotted roots of trees.
Gracias tribute to Lalique, takes its inspiration from a dog collar style necklace that Lalique produced in 1898 which depicts a wooded landscape in yellow gold, with touches of green enamel leaves and a background made of carved rippling opal to form a serene lake view.
However, Gracias interpretation of Laliques idea is unmistakably different and very recognisable as the work of
Vicente Gracia. A little more impressionistic in its artistic handling, there is something about Gracias innocent charm
and the generous proportions of the bracelet, that are the trade mark of this exceptional Spanish designer.
Rene Lalique (1860-1945) was the undisputed genius of Art Nouveau jewellery and arguably the greatest artist-jeweller ever known. A leader of the Art Nouveau movement, and instigator of an entirely new approach to jewellery, he was a man of exceptional talent and astonishing versatility. Undoubtedly, he helped to overturn the traditions of 19th century French jewellery design and manufacture, creating an entirely new means of expression for the jewellers art.
By the 1890s Laliques gold work was becoming especially fluid and sculptural. Lalique was able to turn gold into a substance that seemed almost liquid, with constantly moving lines that suggested energy and growth. At this time, Lalique was adding more motifs from nature, concentrating on unusual aspects of plant structure. His gold work focused on the decay and rebirth of the natural world, often in conjunction with enamels, to convey the dynamic forces of organic life: curling leaves, rippling water, trailing branches, budding stems, gnarled and knotted roots of trees.
Gracias tribute to Lalique, takes its inspiration from a dog collar style necklace that Lalique produced in 1898 which depicts a wooded landscape in yellow gold, with touches of green enamel leaves and a background made of carved rippling opal to form a serene lake view.
However, Gracias interpretation of Laliques idea is unmistakably different and very recognisable as the work of
Vicente Gracia. A little more impressionistic in its artistic handling, there is something about Gracias innocent charm
and the generous proportions of the bracelet, that are the trade mark of this exceptional Spanish designer.