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Lot 630
A Victorian brass mounted nursery fireguard. Height 69 cm, width 77 cm, depth 29 cm. CONDITION REPORT: The guard is structurally sound. The brass rail is in good condition all round. The wire work is in generally good order with no damage and minimal rusting. Much of the black original finish is present. The bottom panel is generally all over rusty as is the metal upright that runs around the base of the piece.
Lot 633
A late 19th century tortoiseshell and metal mounted casket, with Cupid and dog terminal. Length 11.5 cm. CONDITION REPORT: The casket top is quite badly cracked and has been broken into three pieces. The metalwork to the top is all present but generally tarnished, discoloured and dusty. The tortoiseshell to the back and sides is in good order however the front panel has various stress fractures. The lock mechanism operates as it should, although it is a little tight. The cloth interior is faded and beginning to perish. The same comments apply to the silk to the underside.
Lot 750
An early 18th century oak glazed bookcase (circa 1730), with cupboard base raised on tall bracket feet and the upper section with early form bold glazing bars. Height 163 cm, width 100 cm, depth 49 cm. CONDITION REPORT: The cupboard is structurally sound. The cornice is loose and the right hand return moulding is detached. The cornice has been re-pinned into place with panel pins. The panel pin heads are visible. This could be much more effectively repaired. The upper doors are not warped. There is a lock but we have no key. The left hand door has two panes of glass missing. All other panes are in good order. The sides of the top and base have stress fractures to the oak but no serious splitting. The base doors are not warped and close as they should. There is a lock present but we have no key. Neither lock is currently locked. The bracket feet and frieze are in good condition all round. The piece is generally as you see it and has numerous surface scratches and marks as one would expect from something of this age. There are some very minor traces of old woodworm which appears to be long gone. The H hinges on the right hand side door are later replacements.
Lot 1129
A boxed, new with original packaging, Eon 1962 ladies Arizona Sleeping Beauty 925 silver wristwatch. Oval panel bracelet strap with floral and dragonfly pierced work and oval turquoise cabochons. T bar clasp, oval case with mother of pearl face, silver tone hour markers and hands. In working order. Complete with instruction booklet. Silver weight 32g.
Lot 17
Eduard Sack (German, 1857-1913)The Sheik's Daughter signed 'Eduard Sack' (lower left)oil on panel37.5 x 49.5cm (14 3/4 x 19 1/2in).Footnotes:ProvenanceWith Arthur Tooth & Sons, London.ExhibitedLondon, Royal Academy, Winter Exhibition, 1909, original exhibition label attached to the reverse.For further information on this lot please visit Bonhams.com
Lot 22
William J. Webbe (British, 1830-circa 1904)An Arab gleaner signed with monogram (lower left), inscribed with title and artist's name and address (on the reverse)oil on panel, painted oval27 x 19cm (10 5/8 x 7 1/2in).Footnotes:ProvenanceMr John Dobson, Leeds, purchased circa 1900.Thence by family descent.Private collection, UK.Anon. sale, Bonhams, London, 22 March 2016, lot 46.Private collection, UK (acquired at the above sale).For further information on this lot please visit Bonhams.com
Lot 34
Charles Wilda (Austrian, 1854-1907)The water carrier signed and dated 'CHARLES WILDA 1887' (lower right)oil on panel47.2 x 35.5cm (18 1/2 x 14in).Footnotes:ProvenanceAnon. sale, Drouot, Paris, 1 December 2017, lot 91.Private collection, France (acquired at the above sale).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 35
Charles Wilda (Austrian, 1854-1907)The Palace Guard signed, inscribed and dated 'CH.WILDA PARIS 1884' (lower right)oil on panel33 x 23.5cm (13 x 9 1/4in).Footnotes:ProvenancePrivate collection, USA.Anon. sale, Bonhams, London, 2 March 2016, lot 59.Private collection, UK (acquired at the above sale).Born in Vienna, Charles Wilda studied at the city's Academy of Fine Arts where he was tutored by the famed Orientalist artist Leopold Carl Müller. The Vienna Academy of the 1870s and 1880s produced a prodigious group of Orientalist painters: among Wilda's contemporaries were Jean Discart, Rudolf Ernst and Ludwig Deutsch. Like his contemporaries, Wilda was drawn to Paris, working there in the early 1880s. He also produced a group of works painted in Cairo in the 1890s. Wilda exhibited in Vienna between 1887 and his death in 1907.For further information on this lot please visit Bonhams.com
Lot 37
Henri Emilien Rousseau (French, 1875-1933)Arab horsemen a pair, both signed 'Henri Rousseau' (one lower left, the other lower right)oil on panel each 15 x 11.5cm (5 7/8 x 4 1/2in).(2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 48
Leopold Carl Müller (German, 1834-1892)Portrait of a lady wearing a pink headband signed 'Leopold Carl Müller' (lower right)oil on panel31.5 x 20.5cm (12 3/8 x 8 1/16in).Footnotes:ProvenanceAnon. sale, Dorotheum, Vienna, 21 April 2016, lot 1244.Private collection, UK (acquired at the above sale).For further information on this lot please visit Bonhams.com
Lot 53
José Benlliure y Gil (Spanish, 1855-1937)Café de Tunez signed 'J. Benlliure' (lower left), titled and signed 'Benlliure' (on the reverse)oil on panel34.5 x 53.3cm (13 1/2 x 21in).Footnotes:ProvenanceCollection Jean-Claude Gauteur, Switzerland, 1944.Anon. sale, Piguet, Geneva, 24 November-8 December 2021, lot 4576.Private collection, France (acquired at the above sale).For a similar composition please see Sotheby's, London, 22 October 2019, lot 23.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 59
Jules Pierre van Biesbroeck (Belgian, 1873-1965)Mother and child; Sisters two works, both signed 'JBiesbroeck' (lower left), both with artist's exhibition labels (on the reverse)oil on panelone 85.5 x 34.5cm (33 11/16 x 13 9/16in); the other 86 x 28.5cm (33 7/8 x 11 1/4in). (2)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 10
Flemish school of the 16th century."Virgin of the Milk".Oil on panel.It has a grid in allusion to San Lorenzo de El Escorial.Measurements: 49 x 38.5 cm; 67 x 55.5 cm (frame).In this panel the painter offers us a tender and intimate image of the Virgin and Child, within the iconography of the Virgin of the Milk, which has a long tradition in the history of art. Although this theme began to disappear in the Baroque period, it is fully in keeping with the interest of the artists of the time in depicting Jesus in his most human aspect, as well as the Virgin. Here even all allusion to the future sacrifice, which often appears with the presence of fruit or red flowers, disappears. The piece is notable for the modesty of its representation: the Virgin's breast is not visible, but is covered by the pink cloak.
Lot 16
Novo-Hispanic school; first half of the 18th century."Saint Bruno".Oil on panel. Stencilled.It presents faults.Measurements: 60 x 44,5 cm.Bruno of Cologne (c. 1030-1101) was a German monk, founder of the contemplative religious order of the Carthusians. During his youth he was a canon in Cologne, and studied secular and theological letters. He later went to Rheims in France to study theology and became a professor in 1057. There he became director of teaching, and among his students was Eudes of Chatillon, the future Pope Urban II. He then opted for the life of a hermit, under the guidance of Robert of Molesmes. Bishop Hugh of Grenoble gave him the mountainous area of the Charterhouse, where he built an oratory surrounded by cells, which would give rise to the Carthusian order in 1084. Recalled to Rome some time later, he helped in the reform of Urban II. However, he preferred the contemplative life, so he returned to solitude, resigning the archbishopric of Reggio. He then retired to the Carthusian monastery of La Torre in Calabria, where he lived in solitude with a few laymen and clerics, where he died and was buried. Bruno of Cologne was not canonised, although the Carthusians were allowed to worship him, as they shunned all public manifestations. However, in 1514 they obtained permission from Pope Leo X to celebrate the feast of their founder, and Clement X extended it to the whole Church in 1674. The saint is particularly popular in Calabria, and the cult that is paid to him reflects to some extent the dual active and contemplative aspects of his life. As for his iconography, Saint Bruno usually wears a star on his chest, alluding to Bishop Hugo's vision of a star that announced the saint's arrival in Grenoble. Another of his iconographic symbols is the olive branch, a symbol of holiness and prosperity, and he is also often accompanied by a skull on a book. A mitre and a crozier at his feet are signs of the ecclesiastical power he renounced (the archbishopric of Reggio). The hourglass, a symbol of the fleetingness of life, can also be associated with his representation.It is worth noting that during Spanish colonial rule, a mainly religious style of painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
Lot 63
Flemish school, ca. 1600."Virgin and Child.Oil on oak panel.Framed ca. 1850.It presents faults and restorations.Measurements: 35 x 27 cm; 44 x 35 cm (frame).In this canvas the author represents a scene very repeated in the History of Art, especially since the Renaissance: the Virgin with the Child Jesus in her arms and surrounded by angels. On this occasion, the cherubs offer him baskets of fruit and bunches of grapes, food that has been associated with the Eucharist and with his role as Redeemer. This theme was widely treated during this period and later in the Baroque period, as it emphasised the human aspect of Christ, the innocence and happiness of his childhood, in dramatic contrast to his sacrificial destiny. Thus, the Saviour is depicted as a tender child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose soft, delicate face shows a soberness.
Lot 20
PANNEAU DE SCHISTE REPRÉSENTANT DEUX BODHISATTVASANCIENNE RÉGION DU GANDHARA, III/IVE SIÈCLE27.5 cm (10 7/8 in.) highFootnotes:A SCHIST PANEL OF TWO BODHISATTVAS ANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩二菩薩石碑 Provenance:With Claude de Marteau, Brussels, by 1970sThe two bodhisattvas sit with feet resting on lotus pads that rise from a rippling body of water. Probably representing the most prominent bodhisattvas in Gandharan Buddhism, Maitreya and Avalokiteshvara, they likely formed part of a retinue flanking Buddha. The identification of the figures is supported by the common mudra for Maitreya, with his hands joined in the teaching gesture, and Avalokitesvara, with his right hand raised in the gesture of reassurance (abhaya mudra) while his left holds the base of a lotus stem. Compare with the posture of a figure from Taxila (Marshall, Taxila, 1951, no. 320). The remains of a similarly seated bodhisattva flank a niched central figure at Jaulian Monastery, Taxila (Ingholt, Gandharan Art in Pakistan, 1957, no. 543). Also see a related stucco bodhisattva seated in meditation (ibid., no. 542), and a similarly seated Buddha in the British Museum (Zwalf, Gandharan Sculpture, 1990, p. 310, no. 587; Luczanits, Gandhara, 2008, p. 57, no. 79).For further information on this lot please visit Bonhams.com
Lot 21
PANNEAU AVEC RELIEF DE PORTEURS DE GUIRLANDES EN SCHISTEANCIENNE RÉGION DU GANDHARA, CIRCA IIIE SIÈCLE15.3 x 55 cm (6 x 21 5/8 in.) high Footnotes:A SCHIST RELIEF PANEL WITH GARLAND BEARERSANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY 犍陀羅 約三世紀 片岩托花環圖石碑Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1990, p. 221, fig. 653.Flore de Marchant, Analyse des oeuvres narratives du Gandhâra de la collection De Marteau, Louvain-La-Neuve, 1999, fig. 59.Provenance:With Claude de Marteau, Brussels, by 1970sThis whimsical decorative panel depicts Bacchanalian revellers supporting a hefty garland carved with multiple textures. The garland is laden with pomegranates and large vine leaves that spill on the ground between the figures. Bacchus himself is quite possibly represented just off-center holding a large wine cup and carrying a sack over his shoulder. Compare other examples in the British Museum (1880.883) and the Ashmolean Museum, Oxford (Jongeward, Buddhist Art of Gandhara, Oxford, 2019, p. 81, no. 52). Also see panels sold at Christie's, New York, 25 March 2004, lot 6, and Sotheby's, New York, 17 March 2015, lot 1064.For further information on this lot please visit Bonhams.com
Lot 23
PANNEAU EN RELIEF REPRÉSENTANT BOUDDHA ENTRANT À RAJAGRIHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, CIRCA IIE SIÈCLE19.8 x 20.5 cm (7 3/4 x 8 1/8 in.)Footnotes:A SCHIST RELIEF PANEL OF BUDDHA ENTERING RAJAGRIHA ANCIENT REGION OF GANDHARA, CIRCA 2ND CENTURY 犍陀羅 約二世紀 片岩佛陀入王舍城圖石碑 Published: Mario Bussagli, L'Arte del Gandhara, Torino, 1984, p. 142, nos. 2 & 3. Isao Kurita, Gandhara Art, Vol. I, Tokyo, 1990, p. 267, no. 558. Flore de Marchant, Analyse des œuvres narratives du Gandhâra de la collection de Marteau, Vol. I, Louvain-La-Neuve, 1999, no. 1, fig. 13. Provenance:With Claude de Marteau, Brussels, by 1970sOnce adorning a Gandharan shrine or stupa, and created to educate the faithful about the Buddha's life, this panel tells the story of the Enlightened One's celebrated arrival at the local capital of Rajagriha. In the backdrop just before the Buddha, a crenelated rampart represents the city walls. An early disciple, possibly Ananda, sporting a monk's shaved head and robe, joins him on the far right, preceded by Buddhism's primary protector deity, Vajrapani—a Zeus-like bearded man holding a thunderbolt (vajra) with a deliberate frontal gaze. Motioning toward the left, one of two courtiers guides the Buddha to meet Rajagriha's king while embellishing the path with fistfuls of petals from an oversized basin. Another panel representing this scene in a private Japanese collection is published in Kurita, Gandharan Art, Vol. I, 2003, p. 96, no. 181. Discussing a third in the Lahore Museum, Ingholt recounts the episode: 'After having proven his miraculous powers at Uruvilva, the Buddha turns to the near-by capital of the Magadha province, Rajagriha. It was the king of this land, Bimbisara, who according to legend, had visited the Buddha shortly after the Renunciation, expressing his wish to become a disciple when Siddhartha had obtained the Enlightenment. On the arrival of the Buddha in Rajagriha the king immediately called on the illustrious visitor and invited him to dinner the next day. The Buddha accepted.' (Ingholt, Gandharan Art in Pakistan, 1957, p. 73, no. 90). Aesthetically, the fluid movement exhibited throughout the present panel, the portrayal of the Buddha's ushnisha with a high profile, and each figure's alert eyes and thoroughly pleated garments redolent of Indo-Parthian sculpture, are all characteristics of friezes stemming from Swat Valley, depicted similarly by another in the Metropolitan Museum of Art (1998.491).For further information on this lot please visit Bonhams.com
Lot 41
STATUE DE LAMA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4801 22 cm (8 5/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF A LAMA CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅鎏金喇嘛像Provenance: With Claude de Marteau, Brussels, by 1970s The charismatic face, with a prominent chin, broad smile causing creases on his full cheeks, and high cheek bones, has the mark of a true portrait commemorating an unidentified monastic leader. His identity may well be known in time, given that he appears to be the subject of another gilded bronze, also of great quality, preserved in the Náprstek Museum, Prague, and inscribed 'Kham-po (Abbot) Bsod-nams-Rinch'an la' (Jisl, Tibetan Art, 1957, no. 72). An exemplary level of care has been taken by the artist to convey the variety of patterned hems and fabrics comprising the monk's vest and outer robe. Over the proper right shoulder, the vest is revealed to have a central panel of meandering lotus stems connecting large blossoms viewed from above. Maintaining the perspective, a linear chain of lotus stems and flowers runs across his back, left shoulder, and chest, along the beaded hem of his outer robe. By contrast, the revealed hem of the monastic vest depicts a flatter, continuous leafy vine against a stippled ground. Further embellishments to the outer patchwork robe are worked with chevrons and floral medallions. These patterns imitate luxurious and highly coveted brocaded silk textiles received from the early Ming imperial court. In fact, the vest's central panel seems almost directly inspired by a Ming-dynasty yellow-and-red brocade, a panel of which is held in the Palace Museum, Beijing (Zong [ed.], The Complete Collection of Treasures of the Palace Museum: Textiles and Embroideries of the Ming and Qing Dynasties, 2005, p. 116, no. 133). The close affinity with early Ming textiles and the sheer refinement of this gilded portrait locate it in the 15th century, considered a renaissance period in Tibetan art history. Further still, the particular method of engraving to pattern the garments, the distinctive broad and raised lotus petals around the base, the base's tall foot, and the gilded baseplate on the underside, align with the work of an identified Tibetan master, Sonam Gyaltsen, who is known by inscription to have created superlative gilt bronzes for at least one monastery in Central Tibet, circa 1430 (see the Jamchen Avalokiteshvara by Sonam Gyaltsen sold at Bonhams, New York, 19 March 2018, lot 3033). The eccentricity shown in revealing a couple of toes from the lama's left foot peering out from underneath the outer robe is yet another indicator betraying the hand of a bold artist who delights in including unique features beyond the prescribed format of such portraiture.This lot is subject to the following lot symbols: •• Zero rated for tax, no tax will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 107
Queen: An Original News Of The World Promotional Mirror / Clock Cabinet,1977,hinged wooden cabinet with mirror front panel and battery operated clock, 34 1/2in x 13 1/2in x 2 3/4in (86cm x 34cm x 7cm)Footnotes:Made to promote the new album and given to prominent DJ's and music personalities in the industry at the time, as well as record shops.For further information on this lot please visit Bonhams.com
Lot 170
A seed pearl suite, mid 19th century and later, composed of a necklace of graduating scrolling sections, to panel clasp, a brooch and ear clips of conforming design, (the ear clips later adapted from ear pendants), contained within fitted case, (repairs to twin row back sections of necklace), necklace length 42.5cm. £1,200-£1,500
Lot 247
An Art Deco diamond pendant, the pierced rectangular panel converted from a brooch, millegrain set throughout with graduated brilliant-cut diamonds, mounted in white precious metal, unmarked, to later plain polished bale, total diamond weight approximately 3.5 carats, length 4.8mm. £800-£1,200
Lot 284
An oval icon/locket pendant on chain, by Mario Buccellati, circa 1925, the outer border of pierced foliate ‘modellato’ decoration, with pearl and rose-cut diamond highlights and gold ribbon detail to the cardinal points, centred with a glazed compartment enclosing a silver and silver-gilt panel engraved with scene of the Holy Family with St Joseph, against a textured ground, the panel gold edged, the reverse with similar pierced work border and central hinged glazed compartment, the interior trimmed with fine two colour scalloped border, and signed to the inner rim: ‘M. BUCCELLATI - MILANO - ROMA’’ suspended from a two row seed pearl and textured gold bead chain, contained within fitted brown leather case by Mario Buccellati, Milano Roma Firenze, length excluding suspensory loop 59mm, chain length 65cm. £5,000-£7,000 --- Mario Buccellati was the founder of one of Italy’s greatest jewellery houses. Born in 1891 into a family of goldsmiths, Mario Buccellati was apprenticed to the jewellers Beltrami & Bernati in Milan. After the First World War, in 1919, the former ‘apprentice’ took over the firm, renaming the company with the family name, the jewellery store located at Largo Santa Margherita, near La Scala Theatre and Milan cathedral. Inspired by the arts of the Italian Renaissance, Buccellati were unusual in that all the processes for producing a jewel were performed in one workshop, from the original design to the finished piece. Mario introduced various methods of texture-engraving, often using mixed metals of silver and gold, or platinum and gold. The different engraving techniques are called rigato (parallel lines cut on to the surface of metal to obtain a sheen effect), telato (texture, obtained by fine cross-hatched lines imitating the texture of linen), segrinato (engraving in every direction with overlapping textures), ornato (decoration based on natural forms such as animals, leaves and flowers), and modellato (the most delicate engraving technique reproducing several designs chiselled in three dimensions, mainly used for decorative borders). When the process is complete, the finish will often resemble a fine fabric - linen, lace or silk. Mario’s work was widely acclaimed at the 1920 Exposition in Madrid where his entire collection was sold. His prestigious clientele included the Royal families of Italy, Spain and the United Kingdom, popes, cardinals and intellectuals, as well as musicians, writers and famous artists. The renowned Italian poet, Gabriele D’Annunzio, friend and client of Mario, described him as the ‘Prince of Goldsmiths’. Mario opened two boutiques, one in Rome in 1925 and one in Florence four years later. In 1951, Mario and his son Luca opened their first store in New York, with another following, on 5th Avenue, in 1954. In 1965, after the death of Mario, the management of the firm was conducted by four of his five sons. In 1971, the new separate brand Gianmaria Buccellati was launched by Gianmaria, who would go on to open stores around the world, including the Place Vendome in Paris. Gianmaria also established the Italian Gemological Institute, IGI, in 1973, remaining it’s president for the next quarter century. In 2011, the two firms of Mario Buccellati and Gianmaria Buccellati merged to form the single firm of Buccellati.
Lot 285
A diamond panel brooch by Buccellati, circa 1950, the rectangular plaque brooch centred with a brilliant-cut diamond within pierced lattice surround and set throughout with smaller old-cuts and rose-cut diamonds, within millegrain edged foliate undulating border, signed ‘BUCCELLATI’, principal diamond weight approximately 2 carats, remaining total diamond weight approximately 6.5 carats, dimensions 66 x 43mm. £7,000-£9,000 --- For a similar brooch to the lot offered here for sale, see the ‘Iphigenia’ Brooch from the Buccellati Private Collection, diamonds and white gold, designed by Mario Buccellati in the 1950s (www.buccellati.com).
Lot 305
A garnet serpent necklace, circa 1860, the gold graduated snake-link chain terminating in a serpent head clasp with applied foliate detail and set with an oval garnet cabochon head and garnet eyes, suspending heart-shaped drop of conforming design, compartment verso lacking glazed panel, length 38cm. £1,500-£2,000
Lot 66
A silver gilt ring, circa 1500, the hoop of D-shaped cross section, the two longitudinal slightly concave facets divided by a raised flat ridge, one facet incised with a heart between veined leaves, the other with two hearts with four petalled flower between, the shoulders of raised flat panel form, one side depicting a heart with three tears with a crown below, the opposing panel with a four petalled flower above a crown, diameter of shank 23mm. £400-£600 --- This ring was discovered in a garden in Sprowston, Norfolk, in 1962 and is recorded on the Portable Antiquities Scheme database Ref: NMS-3BA008. The use of hearts with tears suggests a betrothal ring rather than a sacred heart.
Lot 85
A sodalite and diamond roundel pendant on chain by Lalaounis, the round polished sodalite panel with applied scroll motif accented with five brilliant-cut diamonds, to a raised polished border and scrolled diamond-set bale, suspended from a belcher-link chain, pendant with maker’s mark, numbered ‘A21’ and stamped ‘750, Greece’, chain stamped ‘K18’ and ‘A12’, pendant length 43mm. £700-£1,000 --- Ilias Lalaounis, was born in Athens in 1920 into a family of goldsmiths. Although he read law and economics at university he had a passion for the art and artefacts of ancient Greece, and started to study ancient goldsmithing techniques. He joined the family firm in 1940 and began producing collections inspired by ancient and classical jewels. In 1969 he set up his eponymous company and continued to produce iconic collections that echo and reinterpret the ancient jewellery and artefacts that inspired him. He was the first goldsmith to be honoured by the Institute de France, Academie des Beaux Arts et des Lettres.
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