19th Anniversary

2019 Antiques & Fine Art 157 Joë Descomps (French, 1872–1948), Three Graces Pendant, ca. 1900. Gold, plique-à-jour enamel, diamond, pearl. Collection of Richard H. Driehaus. Photograph by John A. Faier, 2014, © The Richard H. Driehaus Museum. Known for its curvaceous, sinuous lines, Art Nouveau jewelry took inspiration from what was deemed by many as the highpoint of French decorative arts––eighteenth-century Rococo design. It also drew heavily on nature, including both flora and fauna motifs. Masters like René Lalique and his peers often used nontraditional materials such as horn and special enameling techniques to create objects of staggering beauty. For the Three Graces Pendant, Joë Descomps utilized plique- à-jour enamel, which literally means “letting in daylight.” A vitreous enameling technique considered extremely difficult to master, the enamel is applied and then the backing removed to allow light to shine through the translucent enamel. Alphonse Mucha (Czech, 1860–1939), Cigarette case, n.d. Silver, enamel. Collection of Richard H. Driehaus. Photograph by John A. Faier, 2014, © The Richard H. Driehaus Museum. The “woman as muse” motif, which embraced the opposing archetypes of gentle female and seductress, was a common theme in Art Nouveau jewelry. Male designers wrestled to reconcile their fascination and fear regarding the newly emergent modern woman in their art. Alphonse Mucha frequently depicted women in both roles in his graphic and jewelry designs. The Czech-born Mucha studied in France as a young man, where he found success as a commercial graphic artist after being discovered by the actress Sarah Bernhardt. In addition to his posters, he also designed jewelry and other decorative art objects before turning to painting later in his life. Mucha’s bold jewelry designs appealed to Bernhardt, who commissioned pieces for the stage and for personal use. — France —