ERTÉ
HIS JEWELRY

He was keenly aware of what artists of the past had done. Henry VIII, in Holbein's powerful standing portrait, wore an immense gold collar, set with balas rubies (red spinels) and pearls, that the painter had designed. Holbein had actually trained as a craftsman, but this jewel was made by a goldsmith. Many other Renaissance-era artist, notably Ghiberti, Donatello, and Botticelli, received their early training in goldsmith shops; Dürer was apprenticed to his goldsmith father for years before he made his reputation as a painter. Cellini was working goldsmith long before he achieved fame as a sculptor.

Erté was aware also of what his contemporaries were doing. Chalder, the sculptor of mobiles, reated "jewels" of beaten brass wire. Giacometti designed surrealist rings for gifts. Jacques Lipschitz had designed three jewels for a Museum of Modern Art exhibition. The gifted Picasso (who tried everything) designed several jewels, one a gold brooch with a grinning face (made for him by jeweler Francois Hugo). In the 1950's and '60's a phalanx of fine artists designed small collections of jewels for gifts, collectors, or museums.

In 1963 Braque, then 81, produced designs for more than 130 jewels which were made for him by Baron Henri-Michel Hager de Lowenfeld and exhibited in Paris. However, these jewels, unusual for their themes out of classical mythology, were not made to wear. Salvador Dali the adventurous Spanish surrealist, designed a series of extraordinary jewels which were crafted by Alemany, but these, as well, staggering inventions were never intended for wear. Francois Hugo had made jewels also to the designs of Jean Cocteau and Max Ernst. A ring designed by Yves Tanguy, cast in gold with its eye of lapis lazuli was wearable, but was, like the others, a unique piece.

Ironic thet it should be Erté, a descendant of Russian aristocrats, who conceived the idea for "wearable art jewelry" produced in quantity at relatively modest prices. He had designed "art-to-wear" costumes for women who could afford his prices. Now, from his lifetime archive of designs, he would produce "art-to-wear" jewelry for the public, for a legion of admirers he did not know and would probably never see. With characteristic energy he threw himself into the task. he reviewed literally thousands of drawings. Fortunately, he had usually demanded the return of his designs, so he posessed the originals from which he could savor the dynamics, the touch and feel, of even his earliest compositions.

It is worth noting that, on his death in April 1990, Erté left not only 328 executed designs for jewelry, many of which were issued in editions of hundreds (some were limited editions, others were not), but also another 179 designs that exist only as preliminary drawings. Most of these were made from his sketches and instructions to his model-makers; others are in the form of Erté's own first sketches, which were never carried further.

Considering how Erté had doubted that he could find jewelry craftsmen whom he could trust to carry out his visions, it is very fortunate that he had an association with Circle Fine Art Corporation, which had the determination and resources to bring his jewely ideas into reality. With the aid of Circle's skilled craftsmen, Erté rocketed into the world of jewels in 1979.

As could be expected, Erté's "art-to-wear" jewelry is distinguished by impeccable jewelcraft. The notations on his worksheets indicate that he maintained the same unremitting vigilance over the jewelry craftsmen that he did over the cutters and fitters of his fashion work and the costumers and the setbuilders in the theater. It is a testimony to this discipline that many of his jewels are available in several "states". That is, having reviewed a finished ring, necklace, or brooch, he was inspired to create equally attractive variations, sometimes introducing blue sapphires instead of green emeralds or red rubies instead of diamonds or silver in place of gold. In brief, he had adopted the practices of the great jewel houses and become as professional as the best of them. Along the way, without diminishiong his dedication to the beautification of women, he adapted several of his designs to make rings, tiepins, cufflinks, and other items for men.

For generations to come, designers will be turning back to Erté's work for inspiration. Meanwhile, his jewels will be enjoyed and worn proudly, as they should be, for an extraordinary artist created them. Indeed, Erté's contribution to the field of "art-to-wear" jewelry vividly expressing his admiration of "woman" may, with all due respect to his celebrated creations for fashion and the theater, prove to be his most lasting legacy.