Palm Beach Show 2011

13 Retro jewelry can be divided into three distinct periods: Modernism, the outgrowth of Art Deco; wartime austerity; and post-war celebration. Each period vividly embodies and evokes its own historic and cultural moment. For many collectors, the definitive Retro look is a bold, sinuous piece in highly pol- ished yellow or rose gold, centered with a massive colored stone: aquamarine, amethyst, or citrine. If diamonds, rubies, or sapphires were part of the design then they were gener- ally small and relegated to a supporting role as highlight stones. The design and the drama came from the sculptural settings and the monumental gemstones. “By the late thir- ties, most of the skilled artisans in Europe were drafted into their nation’s armies, and the talent pool for fine jewelry makers was severely diminished,” explains Judith Price, the director of the National Jewelry Institute and author of Masterpieces of American Jewelry . She adds, “The craftspeople weren’t available to make intricate, complicated pieces, and the materials weren’t available. Platinum was being diverted to the war effort and many gems weren’t available due to the war. Jewelers had to improvise.” Price notes “The forties were about limited resources. They had to use color to create excitement: the big, bold stones, the highly polished gold. Jewelers were very clever.” The post-war years of the late forties and into the fifties saw a return to opulence and luxury. Once again, extrava- gance and femininity defined both fashion and jewelry, and joyous motifs of flowers, butterflies, and ballerinas in gold, diamonds, and precious gems became popular. Among the most recognizable styles of the late 1930s and early 1940s were the yellow gold bracelets of bold, geometric links or chain mesh, finished with a buckle-style clasp, inspired by Victorian garter belts. This “statement” jewelry was designed by houses like Cartier, Mauboussin, Verdura, Boivin, Boucheron, and Seaman Schepps. It was Pair of clip-brooches in 18-karat gold, citrine, sapphires and diamonds, circa late 1930s to early 1940s, by Marchak, Paris. Courtesy, Primavera Gallery. Feather brooch, citrine and yellow gold, 1940s, by JE Caldwell of Philadelphia. Courtesy, Pat Saling. PREVIOUS PAGE : Aquamarine and diamond parure comprising a necklace, bracelet, and clip brooch, the necklace designed as a pink and yellow gold foliate motif bordered by rows of oval-shaped aquamarines and by additional gold leaves; the bracelet and clip of similar design formed of yellow gold leaf motifs and oval-shaped aquamarines all enhanced with rows of brilliant-cut diamond. Circa 1935, by Boucheron. Courtesy, Hancocks. This magnificent suite was originally the property of Oscar winning actress Joan Crawford, who became an avid collector of fine jewelry. She wore this suite of necklace, bracelet, and brooch in the 1939 film “The Women,” and it is often described as Crawford’s favorite piece of jewelry. The suite was acquired by Andy Warhol from a sale of Joan Crawford’s possessions on January 18th 1978 in New York. It was then sold Sotheby’s New York, December 1988, lot 2098, in “The Andy Warhol Sale.”