Lalique Dragonfly

The career of the famed jewelry designer, glassmaker and decorative artist René Lalique spanned decades and artistic styles. Best known today for his works in glass, Lalique first won recognition for his jewelry. He was described as the inventor of modern jewelry by the French artist and designer Émile Gallé, and his luxurious naturalistic designs helped define the Art Nouveau movement. Later as a glassmaker in the 1920s and ‘30s, Lalique designed vases, clocks, chandeliers and even car hood ornaments that were the essence of Art Deco chic. Even now, the name Lalique continues to be a byword for a graceful, gracious and distinctively French brand of sophistication.

Born in 1860 in the Marne region of France, Lalique began his career as a jewelry designer in the last decades of the 19th century. His work employed now-classic Art Nouveau themes and motifs: flowing, organic lines; forms based on animals, insects and flowers — all rendered in luxurious materials such as ivory, enamel, gold and semi-precious stones. By 1905, Lalique had begun creating works in glass, and his style began to shift to a cleaner, sharper, smoother, more modern approach suited to his new medium. His Paris shop’s proximity to perfumer François Coty’s led him to experiment with beautiful perfume bottles. He offered the first customized scent bottles, transforming the perfume industry. By the end of the First World War, the artist had fully embraced Art Deco modernity, devoting himself to new industrial techniques of glass production and designs that manifest the sweeping lines and the forms suggestive of speed and movement characteristic of the style. Lalique’s work looked both backward and forward in time: embracing ancient mythological themes even as it celebrated modern progress.

Late in his career, Lalique took on high profile luxury interior design projects in Paris, Tokyo and elsewhere. He designed decorative fixtures and lighting for the interior of the luxury liner Normandie in 1935, and decorated the salons of well-known fashion designer Madeleine Vionnet. Today, Lalique’s influence is as relevant as it was when he opened his first jewelry shop in 1890. In a modern or even a traditional décor, as you will see from the objects offered on these pages, the work of René Lalique provides the stamp of savoir-faire.

Art Nouveau — generally considered to have begun in the late 1800s and ended with the start of World War I — was a movement in the decorative arts that drew inspiration from natural forms, such as trees, flowers and, of course, the human figure. The three main themes present in Art Nouveau jewelry and watches were flora, fauna and women.

Art Nouveau, which reached its pinnacle in the year 1900, spawned from artists who rejected the historicism of their predecessors to create an entirely new visual vocabulary. As compared to Art Deco jewelry’s geometric patterns and sharp lines, the extravagant style of antique Art Nouveau jewelry is characterized by curvilinear forms and whiplash lines, vibrant materials and dramatic imagery.

The first art and design movement of the 20th century, Art Nouveau was also a reaction against the Industrial Revolution, and took its inspiration from the theories of the Symbolists, the art of the Pre-Raphaelites, the ideas of John Ruskin and his follower William Morris and, most importantly Japanese crafts. (The country was a fertile ground for inspiration after it was opened to the West in 1854.) The Art Nouveau style touched all manners of the arts, including the most exultant jewelry.

Nature was a favorite muse for artists going back to the 18th and 19th centuries, but in the hands of 20th-century artists, it was depicted in new ways. For example, a withering flower was considered just as beautiful as one in full bloom. Winged creatures, such as insects and birds, were also a popular subject. Dragonflies and butterflies were particular favorites because they morphed so dramatically in different life stages.

This was also a reference to women, whose role in society was evolving. It was not uncommon to see a piece of jewelry that would at once reference a woman as a winged creature (think René Lalique’s famous Dragonfly brooch, circa 1897–98, at the Gulbenkian Collection in Lisbon). However, just as women’s roles were ambiguous, so was their image, as the femmes nouvelle were simultaneously eroticized and romanticized.

In addition to Lalique, vital figures in Art Nouveau jewelry included Louis Comfort Tiffany in the United States, Vladimir Soloviev, who designed jewelry for Peter Carl Fabergé in Russia, Fuset Grau of Spain, Karl Rothmuller of Germany and Philippe Wolfers of Belgium.

Art Nouveau jewelers used every “canvas” imaginable, looking beyond brooches and necklaces to belt buckles, fans, tiaras, dog collars (a type of choker necklace), pocket watches, corsages and hair combs. Multicolored gems and enamel could complete this vision better than diamonds. Jewelers also favored pearls, particularly baroque pearls, for their large size and irregular shape. However, opal was the most popular stone — its iridescence harmonized perfectly with the enamel, and it could be carved into any shape. Art Nouveau jewelry was primarily set in yellow gold.

Find a range of antique Art Nouveau jewelry today on 1stDibs.

Gold is the feel-good metal, the serotonin of jewelry. Wear vintage and antique gold necklaces, watches, gold bracelets or gold rings and you feel happy, you feel dressed, you feel, well, yourself. 

Gold, especially yellow gold, with its rich patina and ancient pedigree going back thousands of years, is the steady standby, the well-mannered metal of choice. Any discussion of this lustrous metal comes down to a basic truth: Gold is elementary, my dear. Gold jewelry that couples the mystique of the metal with superb design and craftsmanship achieves the status of an enduring classic. Many luxury houses have given us some of our most treasured and lasting examples of gold jewelry over the years.

Since its founding, in 1837, Tiffany Co. has built its reputation on its company jewelry as well as its coterie of boutique designers, which has included Jean Schlumberger, Donald Claflin, Angela Cummings and Elsa Peretti. There are numerous gold Tiffany classics worth citing. Some are accented with gemstones, but all stand out for their design and the workmanship displayed.

For the woman who prefers a minimalist look, the Tiffany Co. twist bangle (thin, slightly ovoid) is stylishly simple. For Cummings devotees, signature pieces feature hard stone inlay, such as her pairs of gold ear clips inlaid with black jade (a play on the classic Chanel black and tan), or bangles whose design recalls ocean waves, with undulating lines of lapis lazuli and mother-of-pearl. And just about any design by the great Jean Schlumberger is by definition a classic.

Even had he eschewed stones and diamonds, Southern-born David Webb would be hailed for the vast arsenal of heavy gold jewelry he designed. Gold, usually hammered or textured in some manner, defines great David Webb jewelry. The self-taught jeweler made very au courant pieces while drawing inspiration from ancient and out-of-the-way sources — East meets West in the commanding gold necklaces made by Webb in the early 1970s. The same could be said for his endlessly varied gold cuffs.

In Europe, many houses have given us gold jewelry that sets the highest standard for excellence, pieces that were highly sought after when they were made and continue to be so. 

Numerous designs from Cartier are homages to gold. There are the classic Trinity rings, necklaces and bracelets — trifectas of yellow, white and rose gold. As a testament to the power of love, consider the endurance of the Cartier Love bracelet.

Aldo Cipullo, Cartier’s top in-house designer from the late 1960s into the early ’70s, made history in 1969 with the Love bracelet. Cipullo frequently said that the Love bracelet was born of a sleepless night contemplating a love affair gone wrong and his realization that “the only remnants he possessed of the romance were memories.” He distilled the urge to keep a loved one close into a slim 18-karat gold bangle. 

BVLGARI and its coin jewelry, gemme nummarie, hit the jackpot when the line launched in the 1960s. The line has been perennially popular. BVLGARI coin jewelry features ancient Greek and Roman coins embedded in striking gold mounts, usually hung on thick link necklaces of varying lengths. In the 1970s, BVLGARI introduced the Tubogas line, most often made in yellow gold. The Tubogas watches are classics, and then there is the Serpenti, the house's outstanding snake-themed watches and bracelets.

A collection called Monete that incorporated the gold coins is one of several iconic BVLGARI lines that debuted in the 1970s and ’80s, catering to a new generation of empowered women. Just as designers like Halston and Yves Saint Laurent were popularizing fuss-free ready-to-wear fashion for women on the go, BVLGARI offered jewels to be lived in. 

Since Van Cleef Arpels opened its Place Vendôme doors in 1906, collection after collection of jewelry classics have enchanted the public. As predominantly expressed in a honeycomb of gold, there is the Ludo watch and accessories, circa the 1920s, and the golden Zip necklace, 1951, whose ingenious transformation of the traditional zipper was originally proposed by the Duchess of Windsor. Van Cleef's Alhambra, with its Moroccan motif, was introduced in 1968 and from the start its popularity pivoted on royalty and celebrity status. It remains one of VCA’s most popular and collected styles.

Mention must be made of Buccellati, whose name is synonymous with gold so finely spun that it suggests tapestry. The house’s many gold bracelets, typically embellished with a few or many diamonds, signified taste and distinction and are always in favor on the secondary market. Other important mid-20th-century houses known for their gold-themed jewelry include Hermès and Ilias Lalaounis.

Find a stunning collection of vintage and antique gold jewelry on 1stDibs.

Perhaps the one gemstone that best embodies the glimmering blue of the ocean is aquamarine, not just in name but also in color. Aqua marina (Latin for water and sea), March’s birthstone, is often crystal clear and blue. Often affordable in price, vintage and antique aquamarine jewelry belongs in everyone’s jewelry box.

Aquamarine is a precious gemstone from the mineral beryl family. Its cousin is the emerald. Like other beryl varieties, aquamarines are rated 7.5 to 8 on the Mohs Hardness Scale. This means that they are soft enough for jewelers to cut to their client’s specs but also durable enough for daily wear.

On land or sea, aquamarines feature prominently in many folk tales, including one about mermaids gifting aquamarine to sailors to protect them during sea voyages. Worn around sailors’ necks as an amulet, it kept them from getting seasick and, most importantly, from shipwrecks. Considered a symbol of courage by some, aquamarine amulets were also favored by Egyptian and Hebrew warriors during battle.

Aquamarine has also made appearances on some of the grandest of great dames. The Brazilian government gifted Eleanor Roosevelt with a 1,847-carat aquamarine in 1935 and Queen Elizabeth II received a sizable aquamarine upon her 1953 coronation; this stone is now the focal point of her aquamarine tiara. And renowned Tiffany Co. designer Jean Schlumberger made a diamond Bow setting for a 148.5-carat aquamarine, which was originally exhibited at the 1893 World’s Columbian Exhibition, now in the collection of the Field Museum of Natural History in Chicago.

On 1stDibs, find a range of vintage and antique aquamarine jewelry that includes unique aquamarine rings, necklaces and other accessories.

Whether you’re layering multiple jewelry pieces or opting for a single strand, vintage pendant necklaces are versatile accessories that can elevate your casual wear as easily as they can add a creative flourish to your formal attire.

The earliest jewelry was less about accessorizing than it was about wearers arming themselves with amulets. In Ancient Egypt, some amulets featured a loop so that they could be strung around one’s neck. While rubies have long been one of the few gemstones that can give diamonds a run for their money, members of some ancient civilizations valued the stones from the get-go, donning ruby pendants as well as other stones with the belief that these adornments would bring protection, healing powers or strength. Today, we still wear our charm bracelets and charm pendants around our necks for good luck.

Later, pendant necklaces, like most fine jewelry, were worn strictly by royalty or the upper class and conferred wealth and prestige. This changed over time, thankfully, as wearing jewelry became more widespread, a democratized means of personal expression.

During the 18th and 19th centuries, pendant necklaces evolved from their status as spiritual amulets, but the jewels still carried deep personal significance. Victorian pendants, in particular, were part of the “mourning jewelry” tradition. Wearers would embed their pendants with locks of hair from a deceased loved one as a way of grieving in the wake of a loss. In the case of cameo jewelry, some pendants were even decorated with miniature hand-carved portraits in a detailed raised relief. Today, portraiture is still a characteristic of many of the hand-carved pendant necklaces offered by Italian jewelry house Scala Gioielli.

Luxury fine jewelry brands such as Cartier, BVLGARI and David Yurman offer their own unique interpretations of the cherished accessory, embellishing platinum or gold pendant necklaces with diamonds, sapphires and other stones.

On 1stDibs, find an extraordinary range of vintage pendant necklaces and other necklaces today.