Since the 1990s, the Archives of the Petit Palais in Paris have collected an unusual collection: thousands of jewelry designs, many of which were rarely and never shown in France.
The collection with more than 5,500 sketches and gouaches, a painting method with opaque colors, encompasses creations of French designers like René Lalique for jewelry houses such as Cartier and Boucheron.
“I am never asked about these drawings, and I notice that it is because nobody knows that they are here,” said Clara Roca, the co-curator of the exhibition.
This should soon change with “Jewelry Designs: Secrets of the Creation”, an exhibition that is planned from Tuesday to July 20 and shows about 350 items, including about 235 drawings from the middle of the 19th to the middle of the 20th century. (Tickets are 12 euros or about 13 US dollars for adults; the museum recommends reserving a time window.)
“We can basically recognize every step of a jewelry designer process, and we will say that with this exhibition“ said Ms. Roca, who specializes in graphics and photography after the 1800s in the museum.
In the first two sections of the exhibition, the inspiration of the designers with studies from nature or objects in museums and the drawing process are examined. Working by designers like Charles Jacqueau, a master of the early 20th century, who was often inspired by Islamic art, is to be included. Mr. Jacqueau spent most of his career at Cartier, but some of his designs are “so bizarre,” said Ms. Roca: “You can only see that it would not work for Cartier at all.”
The third section of the display underlines the importance of drawings for the craftsmen – modelers, gravage, jewelers, polisher and others – who carried out the designs. “Most of the time there is nothing for everyone in the workshop from which they can work, except for the drawing,” said Ms. Roca.
For example, the Sycamore supporter, a piece of Nouveau style with diamonds, peridots and a baroque bead between 1905 and 1910 by Georges Fouquet, is to be displayed next to its drawing.
The fourth and final section is to assess the drawings as works of art and to reflect the artistic skills of the designers. For example, some draw on both sides of translucent paper, causing the drawings to give color and depth.
There is “this incredible liveliness and creates the illusion of pink gold or white gold or other colors thanks to the materiality of the paper itself,” said Ms. Roca.
Others would use tricks to sparkle the designs. Although the convention of the jewelry industry is to draw a jewel as if the light source is in the upper left corner of the paper, a drawing of a emerald necklace from Raymond Subes shows a second, orange light source from the lower right corner. “There is the drawing of another level, such a life,” said Ms. Roca. “It's just so warm and so present.”
Many of the designs in the exhibition have never actually been produced, she said, and some of those who may have destroyed, have lost or reset their jewels. In some cases, she said, the drawing could “be the last testimony of this wonderful creation”.