A RARE RUBY AND DIAMOND 'TOURBILLON' DRESS RING,...
A RARE RUBY AND DIAMOND 'TOURBILLON' DRESS RING, BY JEAN FOUQUET, CIRCA 1950
The gold threaded spatula design, set with two old brilliant-cut diamonds between a circular-cut ruby, mounted in 18K gold, signed Jean Fouquet, maker's mark 'PF' for Pierre Fertey, ring size H¾
Born in 1899, Jean Fouquet was the son of Georges and grandson of Alphonse Fouquet and, thus, part of a strong line of Parisian jewellers. He grew up with the trade and worked directly with the family firm for several years from 1925. Georges Fouquet was particularly taken with the modernist movement sweeping France and he wrote numerous pieces on his belief in contemporary jewellery design. He expressed that jewellery should not be seen solely as a financial investment, but rather as a work of art in its own right. Embracing his fathers guidance, Jean began creating expressive and bold pieces that proudly adorned the new, modern woman.
In 1925, Georges was honoured with the position of president of the jewellery group exhibiting at the Exposition des Arts Decoratifs et Industriels. He encouraged those participating to push the boundaries of their designs and this is now regarded as one of they key moments of the Art Deco movement. As a participating member, Jean excelled and was awarded a medal for his contribution.
Passionate about expanding French craftsmanship, Jean exhibited at the Salon des Artists Decorateurs from 1926-28. The Salon was set up in 1901 to satisfy the increasing interest in French applied arts.
Jeans pieces were minimalist in style, featuring strong geometric shapes and industrial motifs. He favoured black and white tones which were then contrasted with a primary colour. He was drawn to materials for their hue and texture, which would, in turn, become central to his designs. 'Jewels', he declared, 'must be composed of forms legible from a distance, the miniature is detestable'. In accordance with his avant-garde approach, he created bold cuffs, wide bangles, asymmetric pendants and striking cocktail rings, his modernistic designs holding their appeal to this day.
A key innovator of the Art Moderne style, he was passionate about the need for newness and became a founding member of the Union des Artistes Modernes, a group committed to the promotion of modern art and design. Their mission was to abandon the past traditions and adopt new ways of thinking.
Sadly, this promising and vibrant movement became blighted by the rise of the Nazi party and the subsequent onset of war. An activist through and through, Jean refused to work during the French occupation. He joined the Decoration group of the National Arts Front, an organisation acting under General de Gaulle to restore France to her greatness, and even wrote the editorial for its first bulletin.
Post-war, Jean once again attacked his work and threw himself into his innovative designs. In 1951, he partook in a group exhibition at the Bernheim-Jeune Gallery in Paris, an establishment famed for showcasing new ideals.
Jean passed away in 1961, leaving behind a legacy of audacious design. His daring concepts have not aged, with his pieces sitting proudly on any 21st century wearer. As Le Courbusier once said, To be modern is not a fashion, it is a state.
Born in 1899, Jean Fouquet was the son of Georges and grandson of Alphonse Fouquet and, thus, part of a strong line of Parisian jewellers. He grew up with the trade and worked directly with the family firm for several years from 1925. Georges Fouquet was particularly taken with the modernist movement sweeping France and he wrote numerous pieces on his belief in contemporary jewellery design. He expressed that jewellery should not be seen solely as a financial investment, but rather as a work of art in its own right. Embracing his father's guidance, Jean began creating expressive and bold pieces that proudly adorned the new, modern woman.
In 1925, Georges was honoured with the position of president of the jewellery group exhibiting at the Exposition des Arts Decoratifs et Industriels. He encouraged those participating to push the boundaries of their designs and this is now regarded as one of the key moments of the Art Deco movement. As a participating member, Jean excelled and was awarded a medal for his contribution.
Passionate about expanding French craftsmanship, Jean exhibited at the Salon des Artists Decorateurs from 1926-28. The Salon was set up in 1901 to satisfy the increasing interest in French applied arts.
Jean's pieces were minimalist in style, featuring strong geometric shapes and industrial motifs. He favoured black and white tones which were then contrasted with a primary colour. He was drawn to materials for their hue and texture, which would, in turn, become central to his designs. 'Jewels', he declared, 'must be composed of forms legible from a distance, the miniature is detestable'. In accordance with his avant-garde approach, he created bold cuffs, wide bangles, asymmetric pendants and striking cocktail rings, his modernistic designs holding their appeal to this day.
A key innovator of the Art Moderne style, he was passionate about the need for newness and became a founding member of the Union des Artistes Modernes, a group committed to the promotion of modern art and design. Their mission was to abandon the past traditions and adopt new ways of thinking.
Sadly, this promising and vibrant movement became blighted by the rise of the Nazi party and the subsequent onset of war. An activist through and through, Jean refused to work during the French occupation. He joined the 'Decoration' group of the National Arts Front, an organisation acting under General de Gaulle to restore France to her greatness, and even wrote the editorial for its first bulletin.
Post-war, Jean once again attacked his work and threw himself into his innovative designs, providing again for his private clients. The pieces were made by Charles and Pierre Fertey, the son and grandson of George's Fouquet's former workshop managed, Louis Fertey. In 1951, he partook in a group exhibition at the Bernheim-Jeune Gallery in Paris, an establishment famed for showcasing new ideals.
Jean passed away in 1961, leaving behind a legacy of audacious design. His daring concepts have not aged, with his pieces sitting proudly on any 21st century wearer. As Le Courbusier once said, 'To be modern is not a fashion, it is a state.'
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A RARE RUBY AND DIAMOND 'TOURBILLON' DRESS RING, BY JEAN FOUQUET, CIRCA 1950
The gold threaded spatula design, set with two old brilliant-cut diamonds between a circular-cut ruby, mounted in 18K gold, signed Jean Fouquet, maker's mark 'PF' for Pierre Fertey, ring size H¾
Born in 1899, Jean Fouquet was the son of Georges and grandson of Alphonse Fouquet and, thus, part of a strong line of Parisian jewellers. He grew up with the trade and worked directly with the family firm for several years from 1925. Georges Fouquet was particularly taken with the modernist movement sweeping France and he wrote numerous pieces on his belief in contemporary jewellery design. He expressed that jewellery should not be seen solely as a financial investment, but rather as a work of art in its own right. Embracing his fathers guidance, Jean began creating expressive and bold pieces that proudly adorned the new, modern woman.
In 1925, Georges was honoured with the position of president of the jewellery group exhibiting at the Exposition des Arts Decoratifs et Industriels. He encouraged those participating to push the boundaries of their designs and this is now regarded as one of they key moments of the Art Deco movement. As a participating member, Jean excelled and was awarded a medal for his contribution.
Passionate about expanding French craftsmanship, Jean exhibited at the Salon des Artists Decorateurs from 1926-28. The Salon was set up in 1901 to satisfy the increasing interest in French applied arts.
Jeans pieces were minimalist in style, featuring strong geometric shapes and industrial motifs. He favoured black and white tones which were then contrasted with a primary colour. He was drawn to materials for their hue and texture, which would, in turn, become central to his designs. 'Jewels', he declared, 'must be composed of forms legible from a distance, the miniature is detestable'. In accordance with his avant-garde approach, he created bold cuffs, wide bangles, asymmetric pendants and striking cocktail rings, his modernistic designs holding their appeal to this day.
A key innovator of the Art Moderne style, he was passionate about the need for newness and became a founding member of the Union des Artistes Modernes, a group committed to the promotion of modern art and design. Their mission was to abandon the past traditions and adopt new ways of thinking.
Sadly, this promising and vibrant movement became blighted by the rise of the Nazi party and the subsequent onset of war. An activist through and through, Jean refused to work during the French occupation. He joined the Decoration group of the National Arts Front, an organisation acting under General de Gaulle to restore France to her greatness, and even wrote the editorial for its first bulletin.
Post-war, Jean once again attacked his work and threw himself into his innovative designs. In 1951, he partook in a group exhibition at the Bernheim-Jeune Gallery in Paris, an establishment famed for showcasing new ideals.
Jean passed away in 1961, leaving behind a legacy of audacious design. His daring concepts have not aged, with his pieces sitting proudly on any 21st century wearer. As Le Courbusier once said, To be modern is not a fashion, it is a state.
Born in 1899, Jean Fouquet was the son of Georges and grandson of Alphonse Fouquet and, thus, part of a strong line of Parisian jewellers. He grew up with the trade and worked directly with the family firm for several years from 1925. Georges Fouquet was particularly taken with the modernist movement sweeping France and he wrote numerous pieces on his belief in contemporary jewellery design. He expressed that jewellery should not be seen solely as a financial investment, but rather as a work of art in its own right. Embracing his father's guidance, Jean began creating expressive and bold pieces that proudly adorned the new, modern woman.
In 1925, Georges was honoured with the position of president of the jewellery group exhibiting at the Exposition des Arts Decoratifs et Industriels. He encouraged those participating to push the boundaries of their designs and this is now regarded as one of the key moments of the Art Deco movement. As a participating member, Jean excelled and was awarded a medal for his contribution.
Passionate about expanding French craftsmanship, Jean exhibited at the Salon des Artists Decorateurs from 1926-28. The Salon was set up in 1901 to satisfy the increasing interest in French applied arts.
Jean's pieces were minimalist in style, featuring strong geometric shapes and industrial motifs. He favoured black and white tones which were then contrasted with a primary colour. He was drawn to materials for their hue and texture, which would, in turn, become central to his designs. 'Jewels', he declared, 'must be composed of forms legible from a distance, the miniature is detestable'. In accordance with his avant-garde approach, he created bold cuffs, wide bangles, asymmetric pendants and striking cocktail rings, his modernistic designs holding their appeal to this day.
A key innovator of the Art Moderne style, he was passionate about the need for newness and became a founding member of the Union des Artistes Modernes, a group committed to the promotion of modern art and design. Their mission was to abandon the past traditions and adopt new ways of thinking.
Sadly, this promising and vibrant movement became blighted by the rise of the Nazi party and the subsequent onset of war. An activist through and through, Jean refused to work during the French occupation. He joined the 'Decoration' group of the National Arts Front, an organisation acting under General de Gaulle to restore France to her greatness, and even wrote the editorial for its first bulletin.
Post-war, Jean once again attacked his work and threw himself into his innovative designs, providing again for his private clients. The pieces were made by Charles and Pierre Fertey, the son and grandson of George's Fouquet's former workshop managed, Louis Fertey. In 1951, he partook in a group exhibition at the Bernheim-Jeune Gallery in Paris, an establishment famed for showcasing new ideals.
Jean passed away in 1961, leaving behind a legacy of audacious design. His daring concepts have not aged, with his pieces sitting proudly on any 21st century wearer. As Le Courbusier once said, 'To be modern is not a fashion, it is a state.'
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