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Xavier LE NORMAND (1978) - FRANCE - Sans Titre – unique piece - Blown glass – diam. 23 x H 10 cm - 2022. Gallery certificate will be given to the buyer. Xavier Le Normand initially trained as a jeweller at the Font Blanche workshops in Nîmes, before joining the CERFAV near Annecy, where he became a Compagnon Verrier Européen. He was awarded a grant from the City of Paris in 2004, followed by the Lino Tagliapietra grant from Pilchuck in the United States in 2008. In 2009, he taught at a university in Tokyo, Japan, where he became known as 'sensei'. That same year, he was awarded the Liliane Bettencourt Prize for the Intelligence of the Hand. He trained with the best glassblowers and cutters, including Monica Guggisberg and Philippe Baldwin. Xavier Le Normand has exhibited in Belgium, France and the Netherlands. In 2015, the artist exhibited at the Musée des Arts décoratifs in Paris ("Mutations" exhibition) and at the Palais de Tokyo ("L'usage des formes" exhibition). Xavier Le Normand is part of the collections of the Musée des Arts décoratifs in Paris. In 2016, he worked with Cartier and Fred joaillerie. He has risen to the forefront of the contemporary glass scene in France. He has developed a distinct artistic exploration, diverging from traditional glass craftsmanship. His creations are art pieces that draw reference, both in France and Japan. Xavier Le Normand's work is marked by virtuosity. He skillfully combines hot glass work with cold sculpture, and he doesn't hesitate to incorporate precious metals into his pieces. His works are often characterized by organic shapes, matte colors, and textures that evoke life itself. He also explores cold cutting, a less common aspect of glasswork, where form, material, and color harmoniously come together. 2009 - Liliane Bettencourt Prize for the Intelligence of the Hand® - Exceptional Talents Collection Exhibitions Musée des Arts Décoratifs, Paris Cirva Palais de Tokyo Echt Gallery Chivago Brafa Art Fair, Brussels Fiac, Paris Clara Scremini Gallery Pavillon des arts et du design (Paris) Collaboration with Cartier Collaboration with Dior

Starting price  4500 EUR

Xavier LE NORMAND (1978) - FRANCE - Sans Titre – unique piece - Blown glass – L 24 x w 24 x H 22 cm - 2022. Gallery certificate will be given to the buyer. Xavier Le Normand initially trained as a jeweller at the Font Blanche workshops in Nîmes, before joining the CERFAV near Annecy, where he became a Compagnon Verrier Européen. He was awarded a grant from the City of Paris in 2004, followed by the Lino Tagliapietra grant from Pilchuck in the United States in 2008. In 2009, he taught at a university in Tokyo, Japan, where he became known as 'sensei'. That same year, he was awarded the Liliane Bettencourt Prize for the Intelligence of the Hand. He trained with the best glassblowers and cutters, including Monica Guggisberg and Philippe Baldwin. Xavier Le Normand has exhibited in Belgium, France and the Netherlands. In 2015, the artist exhibited at the Musée des Arts décoratifs in Paris ("Mutations" exhibition) and at the Palais de Tokyo ("L'usage des formes" exhibition). Xavier Le Normand is part of the collections of the Musée des Arts décoratifs in Paris. In 2016, he worked with Cartier and Fred joaillerie. He has risen to the forefront of the contemporary glass scene in France. He has developed a distinct artistic exploration, diverging from traditional glass craftsmanship. His creations are art pieces that draw reference, both in France and Japan. Xavier Le Normand's work is marked by virtuosity. He skillfully combines hot glass work with cold sculpture, and he doesn't hesitate to incorporate precious metals into his pieces. His works are often characterized by organic shapes, matte colors, and textures that evoke life itself. He also explores cold cutting, a less common aspect of glasswork, where form, material, and color harmoniously come together. 2009 - Liliane Bettencourt Prize for the Intelligence of the Hand® - Exceptional Talents Collection Exhibitions Musée des Arts Décoratifs, Paris Cirva Palais de Tokyo Echt Gallery Chivago Brafa Art Fair, Brussels Fiac, Paris Clara Scremini Gallery Pavillon des arts et du design (Paris) Collaboration with Cartier Collaboration with Dior

Starting price  8500 EUR

Mon 13 May

Georges LENFANT [Jacques]. Circa 1950. Three-tone gold 750 ‰ sautoir necklace with navy, textured and interlaced mesh. Secure pin clasp. Master hallmark of the workshop. Weight: 167 g; length: 83 cm. In a Van Cleef & Arpels case. Expert : Emeric BUFFETAUD Georges (1872-1945) and Jacques (1904-1996) LENFANT, a century of perfection based on the twelve works of Jean-Jacques Richard available on his unique blog: www.richardjeanjacques.com From Cartier, for having been his official chain-maker before 1900 (Georges), to Lacloche, from Van Cleef & Arpels to Boucheron, and from the British Museum to the MAD in Paris, as well as the finest jewelry collections of the 20th century around the world, these two extraordinary technicians, father and son, son and grandson of jewellers (one of whom was a case-maker, a very delicate speciality...), escaped no success. Both with the same devouring energy to do well and a lot, to invent every time they don't know, to buy prestigious workshops, including that of Gustave-Roger and Gérard Sandoz in 1928 and, after the Second World War, forgive the pun, the house of Verger Frères (founded in 1872), giving them access to its legendary supplier of watch movements Vacheron-Constantin or to complication specialists like Jaccard (retrograde system). They trained in all the specialties of jewelry-making, so as to be able to design, manufacture and offer everything from every angle and texture, making the thirty even more glorious than expected... With patents as far away as the USA for Tiffany & Co... The chain we're presenting is an example of this, with meticulous regularity of entanglement, a mass and suppleness that you feel immediately on contact, all in three colors and a raw texture that is the hallmark of the atelier.

Estim. 15 000 - 30 000 EUR

Tue 21 May

WEDDING TIARA (TAJ) Northern Morocco, late 18th or 19th century Composed of five articulated gold plates decorated with polychrome enamel and set with diamonds, emeralds and semi-precious stones, three plates adorned with cabochons, the center topped with a crescent and star motif, the tiara encircled by a net of natural pearls, two green silk ties attached to the tiara rings, the plates sewn onto a triangular cotton cap once adorned with gold thread, colored pompoms, the reverse lined with blue silk. Size: 21 x 32.5 cm Provenance : Former collection of a Moroccan Jewish family A Rare Moroccan Gold Enamelled Wedding Headdress (Taj), Northern Morocco, Late 18th or 19th century This important tiara ( taj in Arabic) is probably the work of Moroccan Jewish goldsmiths. Indeed, jewelry-making in Morocco seems to have been the preserve of the Jewish community alone, producing jewelry for both Jewish and Muslim customers ( Jewellery of a Jewish Woman in Morocco, Musée d'art et d'histoire du judaïsme, Paris, published online 6/05/2020). The use of gold and precious stones (diamonds, emeralds, rubies and pearls) suggests that it originated in the cities of northern Morocco, perhaps Fez, Tangier or Tetouan, in contrast to jewelry from the south of the country where silver and enamels predominate. This tiara was probably intended for a Jewish bride for her wedding, although this type of tiara was also worn by Muslim women. It was complemented by earrings, a necklace, a pendant and fibulae to form an ensemble that marked social rank within the community. An example of a taj attributed to Fez and dating from the 18th or 19th century is kept at the Musée d'art et d'histoire du Judaïsme in Paris (Inv. D.2006.02.001). Another, decorated with cabochons and enamels, dates from the late 18th century and is in the Islamic Arts Museum Malaysia, Kuala Lumpur (2012.10.6 and Sotheby's, London, April 25, 2012, no. 650). A more recent taj, dated circa 1900, was sold at Christie's, London, April 17, 2007, no. 347. See also Vivian B. Mann, Morocco, Jews and Art in a Muslim Land, 2000, no.52, p.152.

Estim. 25 000 - 35 000 EUR

Tue 14 May

A COLLECTIBLE DIAMOND JARRETIÈRE BRACELET, BY GEORGES LENFANT, CIRCA 1960 Designed as a stylised belt of textured gold mesh linking, the buckle highlighted with brilliant-cut diamonds, mounted in 18K gold and platinum, partial maker's mark for Georges Lenfant, French assay marks, length 25.4cm (first hole 21.3cm, second hole 19.5cm) Georges Lenfant was born into the world of French jewellery design, and he quickly became a master of his trade. Growing up, he undertook several apprenticeships before studying jewellery in Paris and abroad. In 1900, Georges set up his own workshop at 47 rue des Petits-Champs, minutes away from his patrons at the Place Vendome and Rue de la Paix. He was well established by 1903 and was listed in a publication of the Revue de la Bijouterie, Joaillerie, Orfevrerie of that year. His creative designs and flawless execution put him in demand with the larger jewellery houses and, in a bid not to be forgotten behind infamous names such as Cartier, Mellerio dits Meller and Van Cleef & Arpels, Georges established a maker’s mark in 1909 and proceeded to stamp each piece before it lefts his workshop. In 1915, Georges was joined in the firm by his son Jacques who, at the age of just eleven, was eager to learn the art of jewellery. His keen interest would stand by him as, in time, Jacques would take over the business and create some of Georges Lenfant’s most memorable designs. Neither Georges nor Jacques shied away from collaboration and the Georges Lenfant company had been working with Sandoz for many years when, in 1927, Gustave-Roger Sandoz sold his business to Georges under the condition that his son, Gerard Sandoz, remained as artistic director. Between them, they created striking examples of Art Moderne jewellery, their work infused with bold lines, bright colours and contrasting shapes. Following the end of WWII, Lenfant took over Verger Freres. This heralded a new collaboration with Vacheron Constantin, who had been working with Verger Freres for some time. Constantin and Lenfant busied themselves with watch design and, together, they created pieces for Hermes. The 1960s and 70s saw Jacques at the helm of Georges Lenfant and his passion for goldsmithing led to beautiful textured pieces that celebrated the versatility of the metal. In the current lot, designed for Jean Ete, several techniques are utilised to depict the owl’s form, each method carefully chosen to suit a different part of the bird. Jacques’ captivation by the different shapes and textures that could be wrought with gold led to his signature chain pieces as he was fascinated by how the interlocking links could be arranged into a myriad of patterns. Over three thousand pieces were inspired by the chain motif and are now some of Georges Lenfant’s most notable creations. In 2003, Georges Lenfant was bought by Bouder and ceased to operate. However, pieces bearing the Lenfant mark continue to prove popular, their numerous collaborations meaning that there is a design to suit everyone.

Estim. 18 000 - 22 000 EUR

Sun 26 May

Joseph Etienne BLERZY (1735-1821) and Pierre-Adolphe HALL (1739-1793). Circular snuffbox in guilloché yellow gold and blue, green and white enamels enhanced with gold paillons and pastilles, decorated with festoons, palmettes and leafy garlands. The lid is adorned in the center with a miniature portrait of an infantry officer receiving the Order of Saint-Louis, set in a frame of fine pearls. Master goldsmith's hallmark: Joseph Etienne Blerzy, received master in 1768. Charge mark: Paris from 1783 to 1789, fermier général Henri Clavel. Discharge mark: vanneau head, Paris from 1783 to 1786. Engraved with the number 721 on the throat. The miniature signed Hall.f (for fecit) lower right. Diameter : 7 - Height. 2.5 cm - Gross weight: 130.3 g (missing enamel) A highly prized accessory for the aristocracy of the late 18th century, the snuffbox's primary function was to store tobacco, but also to be admired. It was a veritable social marker, attesting to the wealth and refinement of its owner. These precious artifacts were made by goldsmiths specialized in the creation of small objects, the most sought-after being Parisian craftsmen such as Adrien Vachette, Jean Ducrollay, Louis Roucel, Etienne Nitot and Joseph Etienne Blerzy. Blerzy, who set up shop on the Pont au Change under the sign "A la ville de Leipzig, le bijou d'or", was considered one of the finest goldsmiths of his time. This is evidenced by his inclusion in the Almanach Dauphin of 1776, listing the kingdom's finest craftsmen, artists and merchants. Our case bears his Master's hallmark twice. A technical masterpiece, it combines the excellence of goldsmiths, enamellers and jewelers with the addition of delicately set pearls. Both a snuffbox and a portrait box, the object's preciousness is also due to the delicacy of the miniature that adorns its lid. It bears the signature of Swedish painter Pierre Adolphe Hall, nicknamed by Diderot "the Van Dyck of miniatures". He moved to Paris to perfect his art under the protection of Alexandre Roslin, and was admitted to the Académie Royale in 1769, before being appointed painter to the Cabinet du roi et des enfants de France. These gold-plated works were often offered as diplomatic or military gifts, intended for the person depicted. This is probably the case of our box depicting an infantry officer knighted with the Order of Saint-Louis. Objects of virtue by de Blerzy are also to be found in public collections, including a snuffbox similar to ours in the Louvre, bearing the portrait of Joseph II Emperor of the Holy Roman Empire, in the Musée des Arts Décoratifs, the Musée Cognac-Jay, the Metropolitan Museum and the Victoria and Albert Museum.

Estim. 4 000 - 6 000 EUR

Tue 14 May

A RARE ART NOUVEAU ENAMEL AND DIAMOND 'PANSY' RING, BY CHARLES RIVAUD, CIRCA 1900 The cushion-shaped diamond weighing approximately 2.20cts, within a raised petal mount, applied with blue enamel, to shoulders, set with rose-cut diamonds and blue enamel, mounted in 18K gold, signed CR for Charles Rivaud, French import mark, with maker’s original case stamped 'CH. Rivaud, 23, rue de Seine, Paris', ring size M A very similar model is reproduced in the book Paris Salons 1895 - 1914 - Joaillerie - II: les designers de L à Z by Alastair Duncan, with the mention Paris Salon 1904”. Charles Magloire Rivaud, an imaginative artist and skilled artisan, continues to captivate the jewellery world with his enduring legacy. Born on April 5, 1859, in the village of Boismorand, Loiret, France, Charles was destined for greatness in the realm of jewellery, inheriting a rich tradition spanning three generations. His journey began in Paris, where he discovered his passion and embarked on a transformative path in jewellery making. Rivaud delved into electroplating, pioneering techniques that would reshape the industry. His marriage later in life marked a significant turning point, merging his love for craftsmanship with a deep commitment to his beloved city. Establishing his workshop on the Quai de l'Horloge, Charles envisioned a space where creativity thrived, welcoming fellow artists and enthusiasts alike. Renowned for collaborating with esteemed sculptors such as Oscar Roty, Jean Dampt, and Victor Prouvé, Rivaud gained prominence as a publisher of meticulously sculpted medal-adorned brooches, notably the celebrated Broche du Souvenir in 1898. His partnership with Victor Prouvé was prominently featured at the Salon de la Société Nationale des Beaux-Arts, showcasing Prouvé's medal brooches—Aurore, Crépuscule, Gaule, le Bonheur—published by Rivaud. Amidst Parisian society, Charles remained steadfast in his pursuit of artisanal excellence. Collaborating with renowned sculptors and painters, he elevated his creations to unparalleled heights, captivating patrons, and critics alike. Through each meticulously crafted piece, Charles Rivaud breathed life into a world where tradition intersected with innovation, and beauty transcended the constraints of time. Among his remarkable creations, stands the iconic 'Centenary bracelet', a testament to his reverence for history and artistic genius. Crafted to commemorate the 100th anniversary of the French Revolution, this masterpiece encapsulated the essence of a bygone era, immortalizing the ideals of liberty, equality, and fraternity. Adorned with intricate details and symbols of enlightenment, the Centenary bracelet remains a timeless symbol of Charles Rivaud's enduring legacy. His participation in the Universal Exhibition in Paris exhibited Rivaud's important contribution to Decorative Arts. From 1901 to 1913, his Salon contributions spanned a diverse array of jewellery, from iron rings in 1903 to a corsage plate depicting Rodin's Head of Saint John in 1912. Rivaud's mastery was symbolised by his unique mark— the letters CR accompanied by an electric battery—a testament to his ingenuity and legacy in the world of decorative arts. His legacy extended beyond craftsmanship; Rivaud was also the founder of the Société du Salon d'Automne and a member of the Société des Artistes Décorateurs. Charles Rivaud contributions were noted in several Salons between 1906 before his passing in 1923. His son, André-Charles, succeeded him in 1924, ensuring the continuation of Rivaud's esteemed legacy. Rivaud leaves behind a legacy of innovation and creativity that continues to inspire generations. His unwavering dedication to excellence and passion for the craft. Victorians cherished hidden meanings: this fascination reflected in jewellery craftsmanship. Flowers, rich in romantic symbolism, conveyed sentiments through the Language of Flowers. To Victorians, blooms embodied tender emotions like attachment and compassion. During the era, this floral vocabulary became a discreet form of communication, aligning with Victorian propriety. Amid the excess of floral symbols, the pansy held a special significance, symbolising think of me, derived from the French word pensée for thought. Literature including Shakespeare's Hamlet, abounds with references to pansies, hinting at their contemplative essence. In the floral language, pansies conveyed thoughts of the giver toward the recipient, often associated with platonic or unrequited love. The pansy's potent symbolism transcended into bespoke jewellery, adorned with exquisite enamel work, reinforcing its status as a cherished symbol of affection and contemplation.

Estim. 15 000 - 20 000 EUR
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