Retro Ruby and Sapphire Bow Bracelet
Regular price
$40,000
Created circa 1940, this bangle bracelet is composed of rubies, sapphires and 18K gray and yellow gold. The high-relief, hinged form is designed as a bow formed of yellow and matte gray gold ribbon tied in a bow, gypsy-set throughout with approximately 9.50 carats of rubies and approximately 10.05 carats of sapphires. An unusual form, this artful, high-relief bracelet intrigues and delights with its alternating color masses and sculptural presence.
Item #: BA-22342
Country: United States
Circa: 1930s-1940s
Dimensions: 6.375" interior circumference
Materials: 99 round-cut sapphires (approximate total weight 10.05 carats); 84 round-cut rubies (approximate total weight 9.51 carats); 18K White and Gray Gold
Gram Weight: 71.8
Signed: 18K
Item #: BA-22342
Country: United States
Circa: 1930s-1940s
Dimensions: 6.375" interior circumference
Materials: 99 round-cut sapphires (approximate total weight 10.05 carats); 84 round-cut rubies (approximate total weight 9.51 carats); 18K White and Gray Gold
Gram Weight: 71.8
Signed: 18K
This bracelet may be of American manufacture, but its design aesthetic and superb workmanship is of French inspiration. In the 1930s, Paul Flato charmed New York and Hollywood with his original jewels that combined glamor and whimsy. Flato, as an avant-garde designer, tried to recruit Suzanne Belperron to work for him - telling her in a letter that he far preferred to pay for her unique designs than be one of her many imitators. One of Flato's best hires, the Duke of Verdura, had trained with Coco Chanel, and this bracelet reflects the aesthetic of some of her early work in precious metals with gemstones buried flush to the surface. At the same time, in the 1930s, the safe haven of New York attracted many French jewelers - among them the Rubel family, indispensable manufacturing jewelers for Van Cleef & Arpels. Yet there were also many of these skilled French designers and artisans who remained anonymous, and this wonderful graphic and gemmy bracelet may be among their works.
This bracelet may be of American manufacture, but its design aesthetic and superb workmanship is of French inspiration. In the 1930s, Paul Flato charmed New York and Hollywood with his original jewels that combined glamor and whimsy. Flato, as an avant-garde designer, tried to recruit Suzanne Belperron to work for him - telling her in a letter that he far preferred to pay for her unique designs than be one of her many imitators. One of Flato's best hires, the Duke of Verdura, had trained with Coco Chanel, and this bracelet reflects the aesthetic of some of her early work in precious metals with gemstones buried flush to the surface. At the same time, in the 1930s, the safe haven of New York attracted many French jewelers - among them the Rubel family, indispensable manufacturing jewelers for Van Cleef & Arpels. Yet there were also many of these skilled French designers and artisans who remained anonymous, and this wonderful graphic and gemmy bracelet may be among their works.
