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Lot 254
A 19th century gold and enamel necklace, by Alexis Falize
Closed20 April 2011
Price Realised
GBP 115,250
More Information
A 19th century gold and enamel necklace, by Alexis Falize
Each double-sided medallion of fine cloisonné enamel, to a gold border with bead detail and similarly enamelled suspensory loops, set at regular intervals on a woven gold flexible chain, each medallion diameter 3.0cm., necklace 42.8cm. long
Each medallion with maker's mark AF
Each double-sided medallion of fine cloisonné enamel, to a gold border with bead detail and similarly enamelled suspensory loops, set at regular intervals on a woven gold flexible chain, each medallion diameter 3.0cm., necklace 42.8cm. long
Each medallion with maker's mark AF
A 19th century gold and enamel necklace, by Alexis Falize
Each double-sided medallion of fine cloisonné enamel, to a gold border with bead detail and similarly enamelled suspensory loops, set at regular intervals on a woven gold flexible chain, each medallion diameter 3.0cm., necklace 42.8cm. long
Each medallion with maker's mark AF
Each double-sided medallion of fine cloisonné enamel, to a gold border with bead detail and similarly enamelled suspensory loops, set at regular intervals on a woven gold flexible chain, each medallion diameter 3.0cm., necklace 42.8cm. long
Each medallion with maker's mark AF
1) This style of Japanese fantasy characters is often seen.
2) Cf. Wartski, Falize, A Dynasty of Jewellers, A Loan Exhibition, p11, No38, for a similar plaque on a pair of earrings also by A Falize & A Tard.
3) Cf. K. Purcell, Falize, A Dynasty of Jewellers, p.202, for a plaque illustrating various designs of butterflies by Falize, but we have not been able to find any similar examples to these two.
4) Cf. K.Purcell, Falize, A Dynasty of Jewellers, p.199, for a locket by Falize and Tard that had been exhibited at the 1869 Exhibition of the 'Union Central des Arts Decoratifs,' with similar dragonfly motif on white narcissi.
5) Cf. Wartski, Falize, A Dynasty of Jewellers, A Loan Exhibition, p11, No38, for a similar medallion earring with falcon motif and gold filaments for cloud formations, with red and green foliate decoration.
6) Cf. K. Purcell, Falize, A Dynasty of Jewellers, pp. 55-57, for a pair of medallion earrings and a brooch, with crane subject and pink head detail.
7) Cf. K. Purcell, Falize, A Dynasty of Jewellers, p54, for a very similar medallion on the necklace in the Ashmolean Museum.
8) Cf. The Art of the Jeweller, A Catalogue of the Hull Grundy Gift to the British Museum, Jewellery in the Japanese Taste, p288, No1053, for a locket with similar subject but on a dark ground.
9) The Falize family firm lasted for three generations. Alexis (1811-1898) opened the first workshop in 1838 in the Gallery Valois of the Palais Royal in Paris and created designs for other Paris jewellers including Boucheron. Both his son Lucien (1839-1897) and later his grandson André (1872-1936) continued to work for the firm, under the name 'Pere et Fils' and later 'Falize Fréres.'
10) The so called 'new age of luxury' for jewellery appeared in the second half of the 19th century, a time that saw the popular influence of Japanese art on European styles. It has been noted that these ideas came to light in the form of print sources, wood blocks, and from the Manga of Hokusai, an illustrated encyclopedia of Japanese life. This generated huge interest in Japanese motifs, including animals such as cranes, butterflies and other organic subjects, lacquer techniques, and a bold colour palette. This style was reproduced in the work of French and English jewellery masters of the time.
11) The renowned enamellers Christofle and Antoine Tard revisited the forgotten techniques of Limoges painting and cloisonné enamelling used in Japan and China. They introduced this at the 1867 Paris World Exhibition.
12) These works and the 1867 World Exhibition in London were inspirational to the Falize firm who, in 1869, assisted by Tard and Christofle, exhibited such pieces at the Union Central des Arts Décoratifs, and then later in London at the Exhibition of 1871.
13) This style became an important contribution to jewellery design, combining fine gold work with the Japanese influence of graphics, pattern and subject, and the bold palette seen in Chinese enamelware.
14) Dating this necklace is difficult as there are conflicting views regarding when Falize first began production in this particular style. A similar necklace is exhibited in the Ashmolean Museum in Oxford which has with it a statement that it was purchased at the 1867 Exhibition in London; this has since been confirmed.
15) Literature
We would like to say a special thank you to Katherine Purcell for her invaluable assistance with our research.
K.Purcell, Falize, A Dynasty of Jewellers, Thames & Hudson Ltd, London, 1999
The Art of the Jeweller, A Catalogue of the Hull Grundy Gift to the British Museum, edited by Hugh Tait, 1984
Wartski, Falize, A Dynasty of Jewellers, A Loan Exhibition, 1999
2) Cf. Wartski, Falize, A Dynasty of Jewellers, A Loan Exhibition, p11, No38, for a similar plaque on a pair of earrings also by A Falize & A Tard.
3) Cf. K. Purcell, Falize, A Dynasty of Jewellers, p.202, for a plaque illustrating various designs of butterflies by Falize, but we have not been able to find any similar examples to these two.
4) Cf. K.Purcell, Falize, A Dynasty of Jewellers, p.199, for a locket by Falize and Tard that had been exhibited at the 1869 Exhibition of the 'Union Central des Arts Decoratifs,' with similar dragonfly motif on white narcissi.
5) Cf. Wartski, Falize, A Dynasty of Jewellers, A Loan Exhibition, p11, No38, for a similar medallion earring with falcon motif and gold filaments for cloud formations, with red and green foliate decoration.
6) Cf. K. Purcell, Falize, A Dynasty of Jewellers, pp. 55-57, for a pair of medallion earrings and a brooch, with crane subject and pink head detail.
7) Cf. K. Purcell, Falize, A Dynasty of Jewellers, p54, for a very similar medallion on the necklace in the Ashmolean Museum.
8) Cf. The Art of the Jeweller, A Catalogue of the Hull Grundy Gift to the British Museum, Jewellery in the Japanese Taste, p288, No1053, for a locket with similar subject but on a dark ground.
9) The Falize family firm lasted for three generations. Alexis (1811-1898) opened the first workshop in 1838 in the Gallery Valois of the Palais Royal in Paris and created designs for other Paris jewellers including Boucheron. Both his son Lucien (1839-1897) and later his grandson André (1872-1936) continued to work for the firm, under the name 'Pere et Fils' and later 'Falize Fréres.'
10) The so called 'new age of luxury' for jewellery appeared in the second half of the 19th century, a time that saw the popular influence of Japanese art on European styles. It has been noted that these ideas came to light in the form of print sources, wood blocks, and from the Manga of Hokusai, an illustrated encyclopedia of Japanese life. This generated huge interest in Japanese motifs, including animals such as cranes, butterflies and other organic subjects, lacquer techniques, and a bold colour palette. This style was reproduced in the work of French and English jewellery masters of the time.
11) The renowned enamellers Christofle and Antoine Tard revisited the forgotten techniques of Limoges painting and cloisonné enamelling used in Japan and China. They introduced this at the 1867 Paris World Exhibition.
12) These works and the 1867 World Exhibition in London were inspirational to the Falize firm who, in 1869, assisted by Tard and Christofle, exhibited such pieces at the Union Central des Arts Décoratifs, and then later in London at the Exhibition of 1871.
13) This style became an important contribution to jewellery design, combining fine gold work with the Japanese influence of graphics, pattern and subject, and the bold palette seen in Chinese enamelware.
14) Dating this necklace is difficult as there are conflicting views regarding when Falize first began production in this particular style. A similar necklace is exhibited in the Ashmolean Museum in Oxford which has with it a statement that it was purchased at the 1867 Exhibition in London; this has since been confirmed.
15) Literature
We would like to say a special thank you to Katherine Purcell for her invaluable assistance with our research.
K.Purcell, Falize, A Dynasty of Jewellers, Thames & Hudson Ltd, London, 1999
The Art of the Jeweller, A Catalogue of the Hull Grundy Gift to the British Museum, edited by Hugh Tait, 1984
Wartski, Falize, A Dynasty of Jewellers, A Loan Exhibition, 1999