An Exceptional Gold and Enamelled Articulated Bracelet by Lucien Falize
A gold and enamelled bracelet by Bapst et Falize set with four painted enamelled panels by Paul Grandhomme representing
the same female figure depicted from the Spring to the Winter of her life, the gold reverse of each panel engraved with the
names of the seasons in Latin, the first relating to Spring matching the female figure depicted at her youngest.
Attributes for each season accompany the engraved names, as do subliminal references to love. Spring is represented by the
wings of Venus flanking an urn brimful of roses (for carnal love) surmounted by the butterflies of Psyche (for spiritual love); Summer
by an urn bearing ears of wheat tied by a true lover’s knot, traversed by a scythe, supported by the dolphins of Venus, representing
the pleasure and pain of love; Autumn by twin cornucopia framing the Bapst et Falize logo, consisting of a diamond ring suspending a
pearl (the pearl for love and the diamond forever), surmounted by the initials B and F; and Winter by bare branches flanking a guttering
flame
in an urn, with a bearded male representation of the season at the base.
The chased openwork gold mounts linking each enamelled panel are equally allegorical in their ornamentation, representing the
four elements, the first featuring Hera with her crown of stars and the thunderbolts of her husband Zeus, surmounted by dragons emitting fire,
the second a winged Psyche flanked by two figures of Eros blowing air, with falcons’ heads at the base, the third Poseidon flanked by
mermaids with dolphins’ heads at his feet, and the fourth Pan flanked by goats’ heads, holding twin cornucopia, with two heads of cattle
at the base.
The bracelet was made in Paris during the years of Lucien Falize and Germain Bapst’s partnership, from 1880 to 1892. It was
reproduced as an engraving in The Jewelers’ Circular and Horological Review, January 3rd 1894, Vol. XXVII, no. 23, and described as
a bracelet in the Renaissance style: ‘It shows several elaborate motifs in chased gold introducing figures and masks in half relief. On the clasp
there is a fine portrait in enamel of an aristocratic beauty of the sixteenth century’. The first part of the article, published on December
20th
1893, refers to the ‘interesting collection which was prepared by L. Falize with a view to send them with other articles to the World’s
Columbian Exposition’.
It appears that Lucien Falize was undecided about his participation in the Fair and in the end did not take part, however he had ‘prepared an
important display of bracelets, at once remarkable for the variety of patterns and for the thorough finish of the work’ (op.cit., 1894)
Illustrated in 'Le Goût personnel des femmes dans l'invention des bijoux'’ by Lucien Falize, La Revue des Arts Décoratifs,
April 1896, p111-119 (p.115, showing the panel featuring Autumn).
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For additional information regarding the above piece please contact Wartski