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Lot 48 |THE PROPERTY OF THE LATE PAUL BRANDT
BOUTONS DE MANCHETTES ART DÉCO ÉMAIL, PAUL BRANDT
Closed8 July 2020
Price Realised
EUR 2,500
More Information
BOUTONS DE MANCHETTES ART DÉCO ÉMAIL, PAUL BRANDT
Émail vert, blanc et noir, or 18K (750), poinçon français, circa 1930, poids brut : 9.66 g, poinçon de maître Paul Brandt
ART DECO ENAMEL CUFFLINKS, PAUL BRANDT
Green, white and black enamel, 18K gold (750), French mark, circa 1930, gross weight: 9.66 g, Paul Brandt maker's mark
Émail vert, blanc et noir, or 18K (750), poinçon français, circa 1930, poids brut : 9.66 g, poinçon de maître Paul Brandt
ART DECO ENAMEL CUFFLINKS, PAUL BRANDT
Green, white and black enamel, 18K gold (750), French mark, circa 1930, gross weight: 9.66 g, Paul Brandt maker's mark
BOUTONS DE MANCHETTES ART DÉCO ÉMAIL, PAUL BRANDT
Émail vert, blanc et noir, or 18K (750), poinçon français, circa 1930, poids brut : 9.66 g, poinçon de maître Paul Brandt
ART DECO ENAMEL CUFFLINKS, PAUL BRANDT
Green, white and black enamel, 18K gold (750), French mark, circa 1930, gross weight: 9.66 g, Paul Brandt maker's mark
Émail vert, blanc et noir, or 18K (750), poinçon français, circa 1930, poids brut : 9.66 g, poinçon de maître Paul Brandt
ART DECO ENAMEL CUFFLINKS, PAUL BRANDT
Green, white and black enamel, 18K gold (750), French mark, circa 1930, gross weight: 9.66 g, Paul Brandt maker's mark
Cette collection provient directement de la famille de Paul-Emile Brandt, il s’agit de ses pièces personnelles conservées par sa famille. Paul-Emile Brandt est né à La Chaux-de-Fonds, en Suisse, en 1883. Très jeune, il s'installe à Paris, où il étudie avec Chaplain et Allard. Dans la première décennie du XXe siècle, il crée sa propre entreprise, créant des bijoux dans le style Art Nouveau, qu'il expose dans les expositions annuelles de la Société des artistes français de 1906 à 1911. Après la première guerre mondiale, il se tourne vers la création de bijoux de style Art Déco, caractérisés par une palette monochrome avec de l'or blanc et des diamants compensés par de l'onyx ou de l'émail noir. Pour ses étuis à cigarettes, décorés en laque, il adopte le cercle comme motif dominant. Après la Seconde Guerre mondiale, il a cessé de fabriquer des bijoux pour créer une entreprise de fabrication de fer-blanc. Il meurt à Paris en 1952.
"Comme beaucoup de ses contemporains passés par les Beaux Arts, mon père avait une formation éclectique qu’il a pu mettre au service des Arts Décoratifs. Il n’était ni artisan ni fabricant. Médaille, bijou, arts appliqués, architecture d’intérieure, meuble, etc. il a abordé beaucoup de domaines. Designer, il a avant tout, créé. D’autres ont pu fabriquer.
Sa conception du bijou l’a souvent opposé à ses contemporains. C’était, avant tout, pour lui un objet d’exception fait pour magnifier la Femme et non les machines. "
Norbert Brandt, fils de Paul-Emile Brandt
This collection comes directly from the Paul-Emile Brandt's family, these are his personal pieces kept by his family. Paul-Emile Brandt was born in La Chaux-de-Fonds Switzerland in 1883. At a young age he moved to Paris, where he studied with Chaplain and Allard. In the first decade of the twentieth century, he went into his own business, creating jewellery in the Art Nouveau style, which he exhibited in the annual expositions of La Societe des Artistes Français from 1906 to 1911. After World War I, he turned to creating jewellery in the Art Deco style, characterised by a monochromatic palette with white gold and diamonds offset with onyx or black enamel. For his cigarette cases, decorated in lacquer, he adopted the circle as the dominant motif. After World War II, he ceased making jewellery to establish a tinware manufactory enterprise. He died in Paris in 1952.
"Like many of his contemporaries who passed through the Beaux Arts, my father had an eclectic education that he was able to use in the Decorative Arts. He was neither a craftsman not a manufacturer. Medal, jewelry, applied arts, interior design, furniture, etc. he approached many fields. Designer, he above all, created. Others may have manufactured.
His conception of jewelry often set him against his contemporaries. It was, above all, for him an exceptional object made to magnify the Woman and not the machines. "
Norbert Brandt, son of Paul-Emile Brandt
"Comme beaucoup de ses contemporains passés par les Beaux Arts, mon père avait une formation éclectique qu’il a pu mettre au service des Arts Décoratifs. Il n’était ni artisan ni fabricant. Médaille, bijou, arts appliqués, architecture d’intérieure, meuble, etc. il a abordé beaucoup de domaines. Designer, il a avant tout, créé. D’autres ont pu fabriquer.
Sa conception du bijou l’a souvent opposé à ses contemporains. C’était, avant tout, pour lui un objet d’exception fait pour magnifier la Femme et non les machines. "
Norbert Brandt, fils de Paul-Emile Brandt
This collection comes directly from the Paul-Emile Brandt's family, these are his personal pieces kept by his family. Paul-Emile Brandt was born in La Chaux-de-Fonds Switzerland in 1883. At a young age he moved to Paris, where he studied with Chaplain and Allard. In the first decade of the twentieth century, he went into his own business, creating jewellery in the Art Nouveau style, which he exhibited in the annual expositions of La Societe des Artistes Français from 1906 to 1911. After World War I, he turned to creating jewellery in the Art Deco style, characterised by a monochromatic palette with white gold and diamonds offset with onyx or black enamel. For his cigarette cases, decorated in lacquer, he adopted the circle as the dominant motif. After World War II, he ceased making jewellery to establish a tinware manufactory enterprise. He died in Paris in 1952.
"Like many of his contemporaries who passed through the Beaux Arts, my father had an eclectic education that he was able to use in the Decorative Arts. He was neither a craftsman not a manufacturer. Medal, jewelry, applied arts, interior design, furniture, etc. he approached many fields. Designer, he above all, created. Others may have manufactured.
His conception of jewelry often set him against his contemporaries. It was, above all, for him an exceptional object made to magnify the Woman and not the machines. "
Norbert Brandt, son of Paul-Emile Brandt