Art Nouveau Jewelry and Decorative Arts: Collecting Antique Designs Inspired by Nature

Between 1890 and 1910, Art Nouveau became a major force in design. It brought flowing lines, bold curves, and nature-inspired forms into everything from jewelry to furniture. You’ll see patterns of vines, flowers, birds, and insects across nearly every piece. The movement took its cues from Japanese art and the British Arts and Crafts movement, both of which pushed against mass production and favored fine craftsmanship.

What made Art Nouveau stand out was how it treated materials. Designers weren’t just copying nature. They were twisting glass, carving wood, and shaping metal to mirror the soft and fragile forms you’d see in plants or animals. Each piece looked alive, even if it was made from something rigid like bronze or mahogany.

Many of the artists behind this style studied the natural world up close. Some even traveled to other countries just to see rare plants or animals firsthand. Their work shows that influence. You can feel it in the details. The wings of a dragonfly on a brooch, or the way a table leg curls like a flower stem.

According to Victoria Tudor, a design expert at Christie’s New York, this period was key for glass art. But woodwork and marquetry were just as important. Craftsmen used fruitwood, mahogany, and satinwood to make cabinets, side tables, and decorative panels. They would bend and shape these materials so they looked almost like they were moving, much like a petal swaying or a leaf twisting in the wind.

Art Nouveau wasn’t just about copying nature. It was about interpreting it. Designers like Louis Comfort Tiffany, Émile Gallé, and Daum knew how to work with each material on its own terms. Tiffany made glass shimmer like water. Gallé carved layers of wood into floral scenes. Daum blended glass and color to catch light in strange, beautiful ways. They were telling stories, not in words, but through shape and form.

This style became a foundation for many who came after. The way it combined natural forms with expert technique helped shape modern design. It’s one reason collectors still chase Art Nouveau pieces today. They’re not just old things. They’re works of art that feel alive. Every piece is a small tribute to the natural world and the artist’s ability to bring it into another form.

 

Daum Glass: From Tableware to Art Nouveau Masterpieces

In 1878, lawyer Jean Daum bought a struggling glassworks in Nancy, France. At first, the company made basic tableware using clear and lightly tinted glass. Things began to change in 1887 when Jean's son Antonin joined his brother Auguste in the business. Antonin started a creative division that changed the company’s focus toward Art Nouveau. Instead of simple glass, they began crafting intricate floral designs using colored and cameo glass.

That development opened the door for major artistic growth. In 1894, Daum hired painter Henri Bergé as their lead designer. His work pulled heavily from nature, with floral studies, landscapes, and organic shapes. His style matched the Art Nouveau movement perfectly, giving Daum a fresh identity and helping the brand stand out.

By the end of the 1890s, Daum expanded into lighting. In 1899, they started making decorative lamps. At the same time, they teamed up with Louis Majorelle, a well-known furniture designer and close family friend. This collaboration led to standout pieces that merged art glass with elegant metalwork. Along with Émile Gallé, they formed the core of the École de Nancy, a group that defined the Art Nouveau style in France.

Their work still pulls serious interest from collectors. In 2021, a rare table lamp designed by both Daum and Majorelle, called the "Nénuphar," sold for $200,000. That was ten times its starting estimate. Another Daum piece, a 1910 "Snail" vase made of cameo glass with applied decoration, brought in $47,500 at auction in 2016.

 

Émile Gallé: Botanical Art in Glass

Émile Gallé was born in Nancy, one of France’s major glassmaking centers. He later became a driving force behind the École de Nancy and one of the most recognized names in Art Nouveau design. Gallé’s work is known for its strong natural themes, deep colors, and inventive details. Many of his pieces show flowers, insects, and plant life, but what set him apart was how he made those forms part of the material, not just painted on the surface.

Gallé’s studio played with many advanced techniques. He used acid etching and layered glass to create complex textures and patterns. His team also added materials like gold leaf into the glass itself. These experiments helped his pieces stand out for both craftsmanship and beauty.

He didn’t just stop at glass. Gallé also worked in ceramics and furniture, but his most unique glass pieces were what he called verreries parlantes, or "speaking glassware." These works included engraved poetry or quotes, placed so that the piece had to be turned and handled to read them. It turned every object into a conversation between the artist and the viewer.

One standout example is his “Lys” vase from the early 1900s. Designed to look like a blooming lily, it featured layers of overlaid and fire-polished glass. Applied flowers, carved stamen details, and a bronze base with a small snail gave it a sculptural, lifelike quality. It sold for $444,500 at auction in 2018.

 

René Lalique: Master of Art Nouveau Glass and Jewelry

René Lalique was the top name in Art Nouveau jewelry and decorative design. He first became famous for his detailed, artistic jewelry. But by the 1890s, he started to switch toward working with glass. In 1905, he opened a shop in Place Vendôme, a prime location in Paris. There, he showed off not just his jewelry, but also glass pieces made at his estate in Clairefontaine, near Rambouillet.

His work with glass took off quickly. Lalique didn’t just make vases or ornaments. He changed how the perfume industry worked by designing custom glass perfume bottles that looked like sculptures. By the 1920s, he stopped making jewelry completely and focused only on glass. That’s when he developed his signature look, using a mix of clear and frosted glass to create contrast and depth. The effect made his pieces feel both sharp and soft at the same time.

Over the years, Lalique designed a wide range of glass objects. Some of his most popular pieces include the Poissons vase and the Bacchantes vase. He produced many of these in different styles, colors, and finishes. His work didn’t stay frozen in time, either. He moved with the trends, embracing Art Deco and modernist design in later years.

One of his standout pieces, the Femme Ailée sculpture from the 1900 Exposition Universelle in Paris, showed how far he pushed both design and technique. Made from patinated bronze, it was a strong example of how Art Nouveau could blend elegance and boldness.

Lalique's legacy is still alive. The company he founded continues to create fine glass pieces today, keeping his vision and craft alive for new collectors and fans of the style.

In case you haven't read our article on René Lalique:

Lalique Glass Collecting Guide: René Lalique Art Glass, Vases, Statues, and Antiques

 

Louis Majorelle: Art Nouveau in Wood

Louis Majorelle is another major figure from the Art Nouveau era, known mainly for his woodworking. While he also worked with metal, his wood furniture made his name. He followed the French tradition of the ébéniste, or cabinetmaker, leading a large workshop that produced everything from everyday furniture to rare and elaborate commissions.

One of his most famous custom pieces was the Lit aux Nénuphars, or Water Lily Bed, a fine example of how he brought natural themes into furniture design. Majorelle used wood the way painters use color. He picked exotic woods from around the world to build rich patterns and gradients into his work. He also mastered floral marquetry, layering wood veneers to create designs that looked more like paintings than furniture decoration.

His workshop didn’t just stick to one level of production. They made more accessible designs for a wide market, while also producing high-end, unique works for wealthy clients. That mix helped spread the Art Nouveau style throughout France and beyond.

Majorelle later became vice president of the École de Nancy, a group of artists and designers that helped define the look of French Art Nouveau. He also opened several shops across France, making his work widely available.

One of his standout creations, the Guéridon Nénuphars table from around 1902, used Cuban mahogany, thuya burl, oak, and gilt bronze. It’s a perfect example of how he blended materials to bring natural forms to life in a solid, structured way.

 

Tiffany Studios: Collecting the Timeless Designs of Louis Comfort Tiffany

Louis Comfort Tiffany started out as a painter and interior designer. But it wasn’t long before he switched focus to stained glass. That move changed everything. From his factory in Queens, New York, Tiffany Studios created handcrafted glass lamps and decorative pieces for nearly four decades. Many of these works featured patented techniques, including his famous Favrile glass, which gave the surface a soft, glowing, iridescent finish.

Much of Tiffany’s creative energy came from his own estate, Laurelton Hall, in Oyster Bay. Built between 1902 and 1905, the home was more than a place to live. It was a full expression of his artistic vision. Everything on the grounds, from flowing fountains to blooming gardens and free-roaming peacocks, was carefully chosen to inspire. He even opened it up as a summer retreat for artists, who often took inspiration from the house and its surroundings. The estate was badly damaged by fire in 1957, but its influence still lives on, especially in Tiffany’s glasswork. You can see traces of Laurelton Hall in the lamp designs that feature wisteria, laburnum trees, and dragonflies.

Tiffany’s “Laburnum” table lamp, made around 1918 with leaded glass and a twisted vine base in patinated bronze, is one of the more striking examples. It sold for over $214,000 at a Christie’s online auction, showing how valuable these pieces still are to collectors.

Beyond lamps, Tiffany Studios made a wide range of decorative objects. There were stained glass windows, enamel vases, ceramic tiles, and bronze pieces like candlesticks, picture frames, and card boxes. Even small items like magnifying glasses were treated with the same level of detail. These objects offer the same charm and craftsmanship as his larger works, just in smaller, more personal forms.

Tiffany also produced several desk set designs. One of the most popular was the “Grapevine” pattern, created around 1900 and made well into the 1920s. These sets were done in etched metal and glass and came in different sizes and combinations. Buyers could choose exactly what they needed, and many of those pieces are still found in collections today.

To read more about Tiffany and their lamps and windows arts:

Tiffany Lamps and Stained Glass Windows: Collecting Guide and History of Louis Comfort Tiffany

 

The Global Reach of Art Nouveau: A Style Without Borders

Art Nouveau didn’t stay confined to one region or follow a single look. It took root across Europe and beyond, growing into different branches depending on local tastes, materials, and ideas. Each variation kept the core traits of the style (organic lines, rich detail, and nature-based themes) but expressed them in unique ways. That’s one reason it continues to fascinate collectors and design lovers alike.

In Italy, Carlo Bugatti took Art Nouveau in a bold direction. His furniture didn’t just serve a function. It looked like architecture. He combined curved shapes with strong vertical lines and used rare materials like parchment, copper, and exotic woods. His designs stood out like sculptures. Each piece carried a deep sense of structure, and you can see the influence of architecture in his work, even when it was something as simple as a chair or desk.

Meanwhile, in Austria, the Vienna Secession brought its own voice to the movement. Artists like Gustav Klimt, Koloman Moser, and architect Otto Wagner helped define this version of Art Nouveau, which leaned more geometric and symbolic. Klimt’s paintings, full of gold, pattern, and sensuous figures, became icons of the period. Wagner took the philosophy into city planning and architecture, designing buildings that balanced utility with elaborate decoration. The Secession group believed that all art forms, from painting to furniture, should be treated as equal parts of a unified whole.

Walk through Vienna, and you’ll see how seriously they took that idea. The buildings aren’t just structures. They’re complete works of art, with mosaics, custom-designed railings, stained glass, and carved stone details all working together. The same can be said for Barcelona, where Antoni Gaudí brought his own surreal version of Art Nouveau to life. Gaudí’s buildings twist and ripple like living things. He used colorful tiles, undulating facades, and odd shapes inspired by bones, seashells, and plants. His vision turned the city into an open-air museum of fantasy architecture.

Then there’s Paris, where Hector Guimard left his mark in a quieter but equally lasting way. He designed many of the city’s original Métro station entrances, turning a simple urban feature into an expression of organic design. With their curved iron frames and floral patterns, Guimard’s structures helped make Art Nouveau part of daily life. His work showed that the style could be functional without losing its spirit.

These different interpretations all share one thing: ambition. Art Nouveau was a mindset. Designers didn’t limit themselves to one material or purpose. They worked across mediums, often blending architecture with furniture, and art with utility. That overlap made sense, as Victoria Tudor of Christie’s explains. In her view, understanding how to build a room, or a building, made it easier to design furniture that belonged in it. The two forms constantly informed each other.

 

Art Nouveau Jewelry: A Short-Lived Revolution in Design

Art Nouveau jewelry didn’t last long, but its impact was massive. The style only held strong for about 15 years, from the late 1890s until the start of World War I. And the peak of creativity? That window was even smaller, mostly between 1898 and 1906. During that time, designers pushed every boundary. They tried new forms, unusual materials, and bold ideas. It was art disguised as ornament.

Paris gallerist Michel Perinet was one of the first to recognize the value of this work. He pointed out how rare true Art Nouveau jewelry is. After 1906, even the best names, like René Lalique, leaned more toward decoration than innovation. Around 1908 to 1910, the tide turned. Styles became cleaner. Platinum and engraved crystal gained popularity. The wild shapes and natural themes started to fade.

But while it lasted, Art Nouveau went all in. It didn’t just influence jewelry. It touched painting, architecture, music, and writing. It blurred the line between fine art and design. Sigrid Barten, who wrote a major book on Lalique, called it a total art. She said Art Nouveau treated decorative arts as equal to the so-called major arts. Sometimes even more important.

Evelyne Possémé, who heads the jewelry department at the Musée des Arts Décoratifs in Paris, agrees. To her, the jewelry of that era stands out the most. Artists like Lalique, Henri Vever, and Georges Fouquet helped shape what made Art Nouveau special. They didn’t just follow trends. They created something completely new.

Lalique especially brought all the arts together. His jewelry had the structure of sculpture and the depth of painting. He used enamel like a painter used pigment. He added ivory, glass, semi-precious stones, and other nontraditional materials. His work didn’t just decorate. It told stories, captured moods, and played with light.

Possémé credits Art Nouveau as the true start of modern design. For most of the 19th century, artists were stuck. They clung to old styles and didn’t know how to move forward. They respected the past too much to break away from it. But with Art Nouveau, something cracked open. It gave them permission to experiment. Female forms came back into decoration, mimicking Renaissance art. Enamel work returned as a serious craft. Nature became a major theme again, thanks to artists like Bernard Palissy and Benvenuto Cellini, whose techniques inspired a new generation.

In a short time, Art Nouveau changed the course of jewelry history. It brought emotion, imagination, and risk into a world that had gone quiet. And that’s why collectors still chase it today. Not just for its beauty, but for what it stood for.

 

What Influenced the Design of Art Nouveau Jewelry

Art Nouveau jewelry was shaped by more than just nature. Literature and music played a big role too. Books that explored beauty, sorrow, and emotion matched the spirit of the era. Poets wrote about decay and desire, and that tone showed up in how jewelers approached their work. Music, especially dramatic operas, influenced the way these pieces flowed. You can see it in how the lines move and how each design feels like it’s part of a larger story.

The women who wore these pieces weren’t everyday customers. These designs were meant for the stage, for high-society salons, for women who were already known for standing out. They were worn by actresses, courtesans, and socialites, not by the general public. Most people at the time found Art Nouveau jewelry too strange or too bold to wear.

In the beginning, many designers didn’t even use their own names. They worked behind the scenes for top Parisian houses. Later, they created custom pieces for well-known performers, especially for stage use. At that time, the movement itself was limited to a small, elite group of artists, writers, and intellectuals. It wasn’t a style that reached everyone.

But even though these designs looked fragile, they were meant to be worn. They weren’t stiff or heavy. The artists paid close attention to comfort. Every curve and surface was made with the wearer in mind. Even the backs of the pieces were carefully finished so they felt smooth against the skin. For stage jewelry, lightweight materials like aluminum were used so the pieces could be worn for long periods.

Despite their delicate appearance, the construction was solid. Some designs used less metal to keep them light and wearable, but they still held up well. These weren’t throwaway items. They were built to last, even if they looked soft and ethereal.

Symbolism played a big part in how these pieces were designed. The plants used weren’t random. Ivy stood for loyalty and long life. It’s a plant that clings and stays green through all seasons. Thistles are sharp but beautiful; when included in a piece, they might be a quiet warning to keep your distance. The same goes for roses, brambles, and hawthorns. Not every piece had a hidden meaning, but many did. These designs weren’t just decorative. They were meant to suggest emotion, character, and even mood.

One pendant, shaped like a raspberry branch, shows what made this work so special. The branch is crafted in full three dimensions, not just as a flat shape. The enamel is layered in rich, natural colors. It looks more like a tiny sculpture than a piece of jewelry. That level of detail and care is what sets Art Nouveau apart.

 

Themes in Lalique's Art Nouveau Jewelry Designs

René Lalique didn’t just follow trends. He built his designs around ideas that moved him. Once something caught his eye (a flower, a bird, a wasp, or even a peacock) he kept coming back to it, trying out different ways to shape it. One theme that shows up often in his work is the kiss. He explored it in many forms, especially in one of his most well-known pieces, a brooch called The Kiss. It eventually went to the Musée des Arts Décoratifs in Paris in 1960.

When Lalique was still young, he spent some time in London to study art. While he was there, he fell in love. Before he returned to Paris, he created a piece for the woman he loved: a brooch called Le Baiser. On one side, it shows the carved portrait of a man. On the back, there's a matching image of a woman. Their lips meet in a quiet kiss. That mix of romance and craftsmanship became a signature in much of his later work.

Top Art Nouveau Designers Collectors Still Want Today

Art Nouveau spread across Europe fast, and for about two decades, it influenced nearly every artist working at the time. But some names still stand out, even next to Lalique.

Georges Fouquet is one of them. He took over his father’s jewelry business in 1895 and didn’t waste time pushing it forward. In 1900, he hired Alphonse Mucha, a then-unknown Czech painter, to redesign his shop. That move kicked off a long collaboration between the two. One of their best-known pieces was a ring and bangle set made for the actress Sarah Bernhardt. It sold at Christie’s in 1987 and still holds the record for the most expensive Art Nouveau jewelry ever auctioned. If sold today, it would bring in over a million dollars.

Henri Vever is another important name. His family business, the House of Vever, had been around since 1821. By the late 1800s, they were already producing Renaissance-style jewelry, but Henri helped change the focus. He showed his work at the 1900 Salon in Paris, and one piece, an enamel and pearl pendant shaped like maple seeds, remains a classic from that time. He also wrote La Bijouterie Française au XIXe Siècle, a key source for anyone studying 19th-century French jewelry.

Lucien Gaillard had a very different style. He was deeply influenced by Japanese design. His workshop in Paris even hired artists from Japan, which was rare back then. His work blended fine metalwork with that Japanese look and feel, giving it a unique edge that made his pieces stand out.

There were others, too. Eugène Feuillâtre headed Lalique’s enamel workshop in the 1890s and had a strong hand in shaping the look of that era’s jewelry. Léopold Gautrait was another skilled craftsman who worked with several major designers of the time, including Vever. Both artists made pieces that still draw attention from collectors.

Why Art Nouveau Went Out of Style

After World War I, tastes changed fast. People started to embrace modern styles. Clean lines replaced curves. Geometry replaced natural forms. This change affected everything like clothing, buildings, furniture, and especially jewelry. Women’s suits started showing up, and they called for simpler, more structured accessories. The soft, flowing shapes of Art Nouveau suddenly felt out of place. Its time had passed, and the style faded almost overnight.

 

What Sparked the Art Nouveau Revival?

The return of Art Nouveau wasn’t sudden, but one moment pushed it into the spotlight again. In 1964, French art historian Maurice Rheims published a book titled L’Objet 1900. That single volume marked the official turning point. Before it, Art Nouveau had been mostly forgotten. After World War I, the world moved on quickly. People wanted new ideas, modern lines, clean forms. The dreamy, flowing shapes of Art Nouveau felt old-fashioned. For decades, collectors and museums ignored it.

But Rheims’ book changed that. L’Objet 1900 brought real attention to the craftsmanship and beauty of the Art Nouveau period. Rheims didn’t just highlight a few objects. He showed how the entire movement deserved respect. He treated it not as a style from the past, but as a serious part of design history. His research was detailed, and the book gave readers a full picture of how rich and original the period truly was. He covered the artists, the themes, the materials, and most importantly, the emotional force behind the work.

Collectors had never fully stopped caring. Some antique dealers, museums, and private buyers had continued to hunt down Lalique brooches, Tiffany lamps, and Gallé vases. But their interest had always been scattered. There was no focused movement, no unified demand. What Rheims did was give that interest a foundation. He gave it shape and clarity. His book told collectors: this is worth your time. This is art worth preserving and studying.

From that moment on, more people started looking again. Galleries began to feature Art Nouveau in exhibitions. Auction houses saw rising prices. Collectors began to see value, not just in big names like Lalique or Tiffany, but in lesser-known designers whose work had been overlooked. Museum curators started digging into storage to recover pieces that had sat unseen for years. Interest grew not just in France, but across Europe and the United States.

The timing also helped. By the 1960s, modernism had already peaked. People were starting to push back against hard, cold minimalism. They wanted emotion again. They wanted art that felt alive. The curves, colors, and natural motifs of Art Nouveau offered exactly that. It had soul. It had story. It offered beauty with meaning, and that appealed to a new generation.

In short, the Art Nouveau revival began because one book reminded the world of something it had almost lost. L’Objet 1900 didn’t just document history. It reawakened it. What had once been dismissed as decorative excess was now seen as skilled, expressive, and deeply valuable. And thanks to that renewed interest, Art Nouveau re-entered the conversation, not as a trend, but as a lasting part of design history.

 

Rare Art Nouveau Jewelry Examples and Their Auction Records

Art Nouveau jewelry is known for its organic shapes, detailed enamel work, and natural motifs. Each piece is a blend of fine craftsmanship and original design, often showcasing materials like opal, pearl, diamond, and hand-painted enamel. At high-profile auctions, collectors have paid large sums for these one-of-a-kind works. Below are some standout Art Nouveau jewelry pieces that sold at Christie’s in Geneva, all from the Beyond Boundaries: Magnificent Jewels from a European Collection sale held on November 13, 2017. These sales show both the historical value and continued demand for Art Nouveau jewelry.

René Lalique: Enamel, Diamond and Pearl Pendant Necklace (1899 to 1901)

This rare pendant necklace by René Lalique brought in CHF 972,500 at auction. It stands out as one of the most valuable Art Nouveau pieces ever sold. Lalique used enamel to create soft color transitions and added diamonds for a shimmer that mimics dew or moonlight. Pearls were placed to enhance the natural curves and flow of the design. The shape likely mimics a flower or insect, two common themes in Lalique’s work. His ability to mix fine gemstones with artistic enamel set a new standard for jewelry design at the turn of the century. This necklace is a prime example of that skill.

Georges Fouquet: Opal, Enamel and Pearl Pendant Necklace (circa 1900)

Selling for CHF 300,000, this pendant by Georges Fouquet captures the dreamlike quality that defines Art Nouveau. The play of color in the opal contrasts with the smooth enamel, while pearls give it a soft finish. Fouquet’s style leaned into symmetry and bold structure, and this necklace shows that off well. The design likely draws from nature, with sweeping curves and delicate detailing that give it a lifelike movement. It’s not just a piece of jewelry. It’s wearable sculpture.

Georges Fouquet: Opal, Diamond and Enamel ‘Cedars’ Pendant Necklace (1901)

This piece fetched CHF 480,500. The name "Cedars" points to the design’s theme. Fouquet likely shaped this necklace to look like cedar trees, complete with flowing lines and earthy tones. The combination of opal and enamel adds depth and color variation, while diamonds catch the light. The balance between these materials makes it feel alive. This is a strong example of how Art Nouveau artists worked nature into fine design without sacrificing elegance or clarity.

Henri Vever: Enamel, Diamond and Pearl Pendant Necklace (circa 1905)

Vever’s pendant necklace sold for CHF 75,000. Though lower in price, it still shows the high level of artistry that defined the era. Vever’s work often included soft enamel tones and fluid outlines that resembled flower petals or wings. Here, pearls and diamonds are placed to highlight movement and glow. The metal was likely shaped in gentle curves, reinforcing the style’s focus on natural grace. This piece is subtle but masterfully done.

Henri Vever: Enamel and Pearl Pendant/Brooch (circa 1900)

This dual-use piece, which can be worn as either a brooch or a pendant, sold for CHF 100,000. It shows off Vever’s skill at combining function with beauty. The enamel work probably included muted greens or blues, blending well with the soft luster of the pearls. The design likely follows the outline of a flower, wing, or leaf, adding to its organic feel. The dual-purpose design also reflects the practicality found in many Art Nouveau accessories.

René Lalique: Opal and Enamel Brooch (circa 1900)

This brooch went for CHF 212,500 and shows Lalique’s love for bold, expressive shapes. He likely used opal for its changing colors and enamel to paint fine details like feathers or flower petals. The brooch likely features a motif such as a dragonfly, butterfly, or abstract bloom. Lalique was known for turning small pieces into complete visual stories, and this brooch is a good example of that.

René Lalique: Enamel, Chrysoprase and Pearl Brooch (circa 1898 to 1899)

Selling for CHF 324,500, this brooch mixes enamel and chrysoprase, a semi-precious green stone, with pearl accents. Chrysoprase gives the piece a fresh, leafy color, and Lalique probably used it to suggest growth or movement. The enamel work would have added texture and detail, while the pearl softens the look. This brooch feels like a slice of nature captured in metal and stone.

René Lalique: Galalith, Enamel and Pearl Pendant Necklace (circa 1899 to 1901)

This necklace, which sold for CHF 106,250, includes galalith, a vintage plastic-like material made from milk protein. Though not a precious material, it was used creatively here. Lalique likely chose it for its soft surface and ability to hold color well. He combined it with enamel and pearls to create a unique, elegant effect. This piece shows how Art Nouveau designers pushed boundaries by using new and unexpected materials.

René Lalique: Diamond, Enamel and Glass ‘Hawthorn’ Brooch (1899 to 1901)

Fetching CHF 287,500, the "Hawthorn" brooch is a detailed work of art. It likely shows hawthorn branches or blossoms, shaped with enamel and glass, and finished with diamonds for sparkle. The theme ties directly into Art Nouveau’s obsession with plants and seasonal change. This brooch is a strong reminder of how artists like Lalique brought real-world elements into highly stylized, wearable forms.

Rare Art Nouveau Rings and Pendants: High-Value Sales and Unique Details

Art Nouveau jewelry isn’t just beautiful. It tells a story through design, materials, and technique. The use of enamel, glass, crystal, and gemstones turned each piece into a wearable work of art. Below are some more examples from the Beyond Boundaries: Magnificent Jewels from a European Collection sale, held on November 13, 2017, at Christie’s Geneva. These sales highlight the lasting demand for rare Art Nouveau rings and pendants by the period’s most respected designers.

René Lalique: Enamel and Glass ‘Raspberry’ Pendant (1902)

This pendant sold for CHF 348,500. It shows René Lalique’s ability to turn a simple fruit into a fine piece of jewelry. The design likely mimics the shape of a raspberry, crafted in colored glass with translucent enamel for a soft, lifelike texture. The berries may have been formed in layers, with delicate leaf shapes around them. The design is playful but deeply technical. This pendant captures Lalique’s gift for drawing beauty out of small details in nature.

René Lalique: Rock Crystal, Diamond and Enamel ‘The Kiss’ Pendant Necklace (circa 1905)

This piece sold for CHF 237,500. The pendant is named The Kiss, which hints at a romantic or emotional theme. Lalique often used human figures in his jewelry, especially when the subject had symbolic meaning. Here, rock crystal forms the base. The surface may have been carved or etched, showing two figures in an embrace. Enamel gives color and softness, while diamonds add contrast and shine. This is more than a necklace. It’s a miniature sculpture that tells a visual story.

René Lalique: Sapphire and Enamel Ring

Selling for CHF 162,500, this ring mixes deep blue sapphire with hand-applied enamel. The design is likely floral or abstract, using curves that wrap around the finger. The enamel probably brings in cool tones to match the gem. The band may feature openwork, a common element in Lalique’s rings. Every line is shaped to flow, making the ring feel like it’s growing around the stone rather than holding it. It’s both elegant and alive.

Eugène Feuillâtre: Doublet Opal, Enamel and Diamond Ring (circa 1900)

This ring sold for CHF 27,500. It features a doublet opal, which layers two stones to enhance the opal’s color. Feuillâtre was a master of enamel work, and he likely framed the opal in a design filled with color and depth. The enamel may have imitated the tones in the opal, while diamonds were added for sparkle. The result is a rich, detailed ring that still feels light and wearable.

Léopold Gautrait: Enamel, Diamond and Emerald Ring (circa 1900)

Selling for CHF 32,500, this ring by Gautrait combines classic gemstone sparkle with fine enamel details. The emerald gives a bright pop of green, while diamonds draw the eye. The enamel likely surrounds the stones with curves or floral lines, enhancing their natural look. Gautrait’s strength was balance. He knew how to let enamel soften the sharpness of hard stones and metal, creating harmony in even the smallest ring.

Lucien Gaillard: Enamel and Emerald Ring (circa 1900)

This ring sold for CHF 62,500. Gaillard often designed with Japanese influences and used enamel to create clean lines and simple elegance. The emerald likely sits at the center of a smooth, curved setting, with enamel forming soft petals or leaves around it. This piece reflects the Art Nouveau idea of nature reimagined in precious form. Gaillard’s touch can be seen in the ring’s quiet beauty and strong shape.

Lucien Gaillard: Enamel, Pearl and Emerald Ring (circa 1900)

Selling for CHF 37,500, this ring adds a pearl to the mix, creating contrast with the green emerald and smooth enamel. The pearl’s softness plays against the hardness of the emerald, while the enamel unifies the design with curves and color. The layout is likely inspired by nature, with a setting that mimics a blooming plant or budding vine. Like many Art Nouveau pieces, it blurs the line between fine art and fine jewelry.

 

Each of these jewelry pieces offers a glimpse into the spirit of Art Nouveau: a deep respect for nature, a love of fine craftsmanship, and a willingness to experiment with shape and material. Their continued appeal at auctions shows that collectors still see value in that mix of beauty and skill.