As a long time admirer of JAR, I was eagerly anticipating the exhibition at the Metropolitan Museum of Art. I simply could not wait to see how the museum would display his jewels. After all, when will I have the chance to see such a large retrospective of JAR’s work again? Probably never seeing as he’s pushing 70 and doesn’t seem too concerned about his diet (‘Lunch with the FT: Joel Arthur Rosenthal’).
Sketch of Joel Arthur Rosenthal, or JAR
Photo courtesy of FT
However, as I exited the 400-piece exhibition through the specially made ‘Jewels by JAR’ gift shop, I couldn’t help hold back my feeling of being sorely underwhelmed. Sure the lighting did not do the jewels justice, but there was something much more critical that was missing from the show: an overarching purpose for this historic retrospective on the living designer. The sheer lack of information on either Rosenthal or his jewels was baffling…
Photo credit: Katharina FAERBER
I had been hoping that the Met would provide answers to some questions I had long wondered about, mainly JAR’s sources of inspiration. A tour guide explained how JAR’s works were not influenced by other jewelers, how Rosenthal was a maverick trailblazer in the jewelry world. This statement stuck in my mind, because it seemed so utterly improbable. Every artist is influenced by the period in which he lives, by his peers and artistic predecessors to some extent.
How could he not be influenced by anyone? Prior to founding his own workshop, Rosenthal spent a year working at Bulgari under Gianni Bulgari. Certainly some of the designer’s aesthetic must have rubbed off on the young Rosenthal.
A young Joel Arthur Rosenthal in front of his Paris shop
There is no question of JAR’s brilliance in jewelry design; his jewels are breathtaking and creative, but not all are one hundred percent conceptually original. Although no other jeweler would ever accuse Rosenthal of artistic plagiarism, some of his designs are loose adaptations of earlier works, oftentimes incorporating figurative elements of his predecessors.
JAR Camellia brooch from 2010 with delicate pavé-set petals.
Photo credit: Jozsef TARI/JAR Paris
In addition to gorgeously colored, seldom-used, and often unconventionally shaped, gemstones, JAR is best known for his nature-inspired jewelry, particularly of flowers and butterflies, and jewels that are studies of spirals, spheres and science. Another hallmark of JAR’s jewelry is the use of many different metals, both precious and non-precious, the most prominent being that of blackened gold – which Rosenthal believes draws the attention to the exquisite stones rather than the glowing gold setting.
JAR Iris bracelet in gold, silver, fire opals and caramel diamonds created in 1996.
Photo credit: Katharina FAERBER
However, nature is one of the most common inspirations for jewelry. Moreover, the use of dark metal is certainly not unique to JAR. From the Georgian period until the late eighteenth century, jewels were set in silver-topped gold; and as the silver tarnished over time, the settings were often dark rather than silvery white – much like JAR’s blackened gold settings today.
The Vanderbilt Rose: A Diamond Brooch by Theodore Fester, Paris, circa 1855
Note how closely the floral motif and pavé setting of various sized diamonds resemble some of JAR’s flower jewels
Photo courtesy of Siegelson
The point of this survey is that JAR clearly drew inspiration from earlier jewelers, as well as his contemporaries. As is the case for the vast majority of artists, JAR’s style evolved in the context of the works that came before him. He was not stranded on a remote island to develop his technique bereft of outside influence. Although his setting style and the dimensionality of his designs display a rare genius, the underlying form of his works was oftentimes directly inspired by other jewelers. To claim otherwise is to commit a hubris that refuses just tribute to many of the finest jewelers of times past.
Rather than ramble on, I’ll let some pictures do the talking.
JAR Post-Bulgari
One of JAR’s earliest pieces, a wide diamond band ring in white gold made in 1978, echoes Bulgari’s design aesthetic from that period.
JAR Ring, 1978 – Diamonds, gold.
Photo courtesy of Marion Fasel via Instagram
Bulgari Double Band Ring of Ruby and Sapphire circa 1970
Photo courtesy of Glorious Antique Jewelry via 1stdibs
The distinction is minimal, mainly the arrangement of the stones and how that affects the band, but the overall ring design with the “Tubogas”-like band and twin diamonds are very similar to rings made by Bulgari during this time, quite possibly designed by Rosenthal.
Another early JAR ring from 1978 is practically identical to its Bulgari counterpart:
Sapphire and Pink Sapphire Ring, JAR, Paris, 1978
Photo courtesy of Sotheby’s
Bulgari Twin Stone ring, circa 1970s
Photo courtesy of 1stdibs
Early Boucheron Influences
It has been posited that a particular sapphire and diamond Boivin ring auctioned in the 1960s (a photo of which I unfortunately do not have) was the catalyst that propelled Rosenthal’s career and overall design aesthetic. Another speculation is that Rosenthal found his initial inspiration from a Boucheron chatelaine watch circa 1890-95- the watch pendant is designed as a colorful pansy. Rosenthal is “known to have handled” this Boucheron watch, asserts renowned jewelry historian and author Marion Fasel.
A bud-shaped brooch with leaves, and a watch in the shape of a pansy hanging from it; both of silver-gilt set with sapphires, demantoid, spessartine, and hessonite garnets, amethysts and diamonds (c. 1890-95).
Unfortunately, the photo is not very clear, but you can see the slight color variations of the stones that give the flower a more realistic, three-dimensional effect. The meticulous arrangement of colored pavé stones to create color fields is a well known facet of Rosenthal’s design repertoire, one which could potentially have been inspired by this Boucheron pansy pendant watch. The similarities between this late 19th century jewel and Rosenthal’s pansy rings below are striking.
Clockwise from top left: Pansy Ring, 2009 – Green garnets, diamonds, silver and gold; Pansy Ring, 2009 – Rubies, pink sapphires, diamonds, black spinels, green garnets, silver and gold; Pansy Ring, 2011 – Garnets, sapphires, diamonds, spinels, silver, gold and platinum; Pansy Ring, 2010 – Emeralds, demantoid garnets, spinels, diamonds, silver and gold; Pansy Bracelet, 2012 – Diamonds, sapphires, garnets, tourmalines, topaz chrysoberyls, spinels, citirines, silver, platinum and gold
Photo credit: Jozsef TARI/JAR Paris
Natural Realism of Art Nouveau & Paulding Farnham
With respect to JAR’s flora and fauna jewels, the short-lived but highly creative Art Nouveau period comes to mind. Whereas the Art Nouveau jewelers favored intricate design using plique-a-jour enamel over superfluous pricey stones, Rosenthal’s similarly realistic renditions of flowers, not in their perfect presumed state but instead appearing to be caught in the middle of a draft of wind or pre-blossom, are swathed in pavé stones. Comparisons can be made between JAR and the leading Art Nouveau jewelers such as Lalique, Vever, and, most notably, Tiffany & Co.’s Paulding Farnham.
An enameled brooch in the form of a spray of lilac flowers with gold leaves by Paulding Farnham.
More of Paulding Farnham’s lilac brooches
JAR White Lilac brooch 2001 Diamonds, garnets, aluminum, silver and gold Private Collection And Lilac brooch 2002 Violet, sapphires, garnets, aluminum, silver and gold Private Collection
Photo credit: Jozsef TARI/JAR Paris
During his years at Tiffany & Co. in the late 18th to early 19th centuries, Paulding Farnham’s attention to detail and realism captured in his works are astounding. Known best for his orchids, Farnham’s lilac brooch is yet another superb study of flowers in precious materials. All too similar is JAR’s pair of lilac brooches awash with pavé diamonds and purple sapphires.
An iris brooch made by Tiffany designer Paulding Farnham for his wife, sculptor Sally James Farnham, around 1900. The flower has a pink-red rhodolite and diamond blossom, and a green demantoid garnet stem
Detail of the Tiffany Iris Brooch by Paulding Farnham circa 1900, currently held by the Walters Art Museum
A Ruby Flower Brooch, by JAR Designed as a Camellia flowerhead, entirely pavé-set with rubies weighing a total of approximately 173.09 carats, mounted in silver and gold, 2003, 8.0 cm, with French assay mark for gold, in pink leather JAR case Signed JAR Paris
Photo credit: Christie’s
While the type of flower in the above images is different, the similarities of the variously sized and shaped pavé stones used for the petals of Farnham’s lilies and JAR’s camellia is unmistakeable, as well as the settings themselves. Another characteristic championed by JAR, the use of less common and unfamiliar stones, is also one frequently employed by Farnham in his works. Case in point are the stones used in the two iris brooches above: the first iris brooch is made with rhodolites for the petals and demantoid garnets for the stem while the second utilizes cornflower blue Yogo sapphires found exclusively in Montana.
Gold and Plique-à-Jour Enamel Morning Glory Pendant Brooch by Marcus & Co., New York, circa 1900
Morning Glory Bracelets, 2013
L: Sapphires, diamonds, garnets, platinum, silver, gold. Private collection.
R: Diamonds, sapphires, garnets, platinum, silver, gold. Jamie Alexander Tisch
Photo courtesy of Cheryl Kremkow on Instagram
Here, the three dimensional morning glory blossoms of Marcus & Co.’s brooch and JAR’s bracelets are brilliantly articulated in plique-a-jour enamel and pavé settings, respectively.
Drawing Inspiration from Egypt & India
A number of JAR’s jewels remind me of early 20th century works by Cartier. The first and most obvious example is a pair of ‘Falcon’ ear clips by JAR made in 1981, each designed as a turquoise-colored faience Egyptian falcon with coral headdress and collar and cabochon emerald detail. Cartier’s unique use of Egyptian faience in jewels during the Art Deco period is well known and documented; the aesthetic of these JAR ear clips seems to have clearly been inspired by Cartier’s Egyptian Revival works.
A Pair of ‘Falcon’ Ear Clips, by JAR, 1981
Photo courtesy of Christie’s
Two of Cartier’s faience jewels – the top is a brooch incorporating an antique faience hawk’s head, 1925; the bottom is a jeweled faience of the goddess ‘Sekhmet’
India was another exotic source of inspiration for Cartier and JAR. Many of Cartier’s most iconic jewels during the Art Deco era were inspired by Indian Mughal jewelry. Carved gemstones, vibrantly colored enamels and unconventionally-cut diamonds were among the precious materials that comprised Indian jewelry during the 19th and 20th centuries, all of which were re-interpreted in Cartier’s designs. JAR’s necklace below is a stylized, modern reproduction of the famous Patiala Necklace by Cartier, made for the Maharaja Bhupinder Singh of Patiala.
The Patiala Necklace was a necklace created by the House of Cartier in 1928. It was made for and named after Bhupinder Singh of Patiala, the then ruling Maharaja of the state of Patiala. It contained 2,930 diamonds, including as its centrepiece, the world’s seventh largest diamond, the “De Beers”, that had a 428 carat pre-cut weigh, and weighed 234.65 carats in its final setting. The piece also contained seven other diamonds ranging from 18 to 73 carats, and a number of Burmese rubies.
Photo courtesy of Cartier
JAR Five-Row Diamond Necklace with Pendant Ring, 1999; diamonds, platinum; private collection. Photo credit- Anthony DeMarco
Derived from the ‘turah’, an Indian turban tassel of several strings of pearls fitted to a curved enamel bar, the Cartier tassel was by far the most popular pendant motif of the Art Deco period. While the tassel is hardly exclusive to Cartier, a few of JAR’s works with tassels appear to have been influenced by Cartier’s tassel or the jeweled tassels of India.
JAR Pendant Earrings, 2012 – Oriental pearls, diamonds and gold
An Elegant Art Deco Pearl and Diamond Tassel Pendant, by Cartier, circa 1918
Photo courtesy of Christie’s
The following JAR jewels are clearly inspired by Indian jewelry aesthetics; they include a number of stylized Mughal motifs.
JAR Mughal Ring, 2008 – Rubies, pearls, diamonds, silver and gold
Photo credit: Jozsef TARI/JAR Paris
JAR Mughal Flower Bracelet, 1987 – Rubies, sapphires, amethysts, garnets, titanium, silver and gold
Photo credit: Jozsef TARI/JAR Paris
JAR Mughal Brooch, 2002 – Emerald, rubies, diamonds, agate, rock crystal, silver and gold
Photo credit: Jozsef TARI/JAR Paris
Fibula Brooch, 2013
Emeralds, rubies, diamonds, Oriental pearls, silver, gold. Private collection
Emerald Ring, 2013
Emerald, Oriental pearls, diamonds, gold. Private collection
A Magnificent Set of Seven Diamond and Gem-Set Moghul Flower Brooches, by JAR, made in 1987
Photo courtesy of Christie’s
Pair of sapphire, ruby, and diamond Moghul tulip ear clips by JAR, 1987
Photo courtesy of Sotheby’s
Avant Garde Originals: Belperron & Boivin
René Boivin and Suzanne Belperron are the jewelers who I find most similar to JAR. In the introduction to the ’Jewels by JAR’ book, Adrian Sassoon, the writer, reveals a young Rosenthal heard about the sale of the Boivin atelier while in New York in 1976, and he was convinced that there were opportunities to work there. Though that is the book’s only mention of Rosenthal’s interest in Boivin, one can deduce that Rosenthal respected and must have been influenced by Boivin’s talented designers and their jeweled works. For example, look at the design similarities of the aforementioned JAR morning glory bracelets and the following Boivin “Bindweed” brooches:
A PAIR OF FABULOUS AND UNIQUE ART DECO DIAMOND AND SAPPHIRE ‘CONVULVUS FLOWER’ BROOCHES, BY RENÉ BOIVIN
Photo courtesy of Christie’s
Morning Glory Bracelets, 2013
Top: Diamonds, sapphires, garnets, platinum, silver, gold. Jamie Alexander Tisch
Bottom: Sapphires, diamonds, garnets, platinum, silver, gold. Private collection.
Photo courtesy of Harper’s Bazaar
Photo credit: Jozsef TARI/JAR Paris
One may be a brooch and the other a bracelet, but the pairing of diamonds and sapphires, as well as the composition of the flowers are incredibly similar.
Or, consider the similarities between these two flower brooches by JAR and Boivin:
Carrot Flower Brooch, 2009
Diamonds, rubies, silver, gold. Mrs. Carol Yu
Photo courtesy of Sweet Sabelle
A DIAMOND AND RUBY FLOWER BROOCH, BY RENE BOIVIN
Mounted en tremblant, designed as an circular-cut diamond Queen Anne’s Lace flower blossom, set with a circular-cut ruby pistil, with circular-cut emerald and sculpted gold leaves and a baguette-cut diamond stem, mounted in platinum and 18k gold, 1938, with French assay marks
Signed René Boivin, G & Co. for Gattle & Co.
Photo courtesy of Christie’s
Even though the brooches depict different types of flowers, the diamond blossoms of Boivin’s Queen Anne’s Lace flower share a number of similarities to JAR’s Carrot flower.
Boivin was well known for his beautiful, realistic flowers, which include brooches made in the form of camellias, violets and orchids. Although JAR’s masterful settings breathe an exquisite life into his pavé flowers with three dimensions of sculptural reality, Boivin’s floral jewels may have served as an excellent starting point for Rosenthal.
A DIAMOND CAMELIA BROOCH, BY BOIVIN
Photo courtesy of Christie’s
Camellia bracelet of clear and pink diamonds by JAR, 1994
A DEMANTOID GARNET AND GOLD ‘BRANCHE DE HOUBLON’ BROOCH, BY RENÉ BOIVIN
Designed as a branch of hops, the leaf set with demantoid garnets, suspending four articulated gold flowers, 1953, 6.5 cm, with French assay mark for gold
By René Boivin
Photo courtesy of Christie’s
AN IMPORTANT DIAMOND, EMERALD, PLATINUM AND WHITE GOLD CLIP BY RENE BOIVIN GARDENIA. CIRCA 1937.
Photo courtesy of Artcurial
JAR Gardenia ring made of diamonds, silver and gold.
Photo credit: Jozsef Tari/JAR, Paris
Another common technique used by JAR is the setting of precious gems like diamonds in semi-precious stones like rock crystal or chalcedony. Suzanne Belperron specialized in this technique, as did Boivin. It’s hard to believe that Rosenthal did not draw inspiration from their early genius.
Amethyst and emerald ring by JAR and Garnet and colored diamond ring by JAR
Photo courtesy of Christie’s
CHALCEDONY AND EMERALD RING, CIRCA 1935
The angular shank composed of polished chalcedony, inset with two pear-shaped emeralds, size 471/2, attributed to Suzanne Belperron.
Photo courtesy of Sotheby’s
CHALCEDONY, KUNZITE AND DIAMOND RING, JAR, 1983
Photo courtesy of Sotheby’s
Belperron Tourbillon Ring
Photo courtesy of Verdura
There is also this undeniable similarity between a pair of earrings made by Belperron and JAR’s later fan earrings.
Suzanne Belperron for Rene Boivin Gold “Pleated ” Earclips
A rare of pair of gold earclips designed by Madame Belperron for Rene Boivin accompanied by a letter from expert Francoise Cailles that the earclips were made in 1932 by Boivin and the model was styled “Manchette Plissee”- Pleated Kerchief
Photo courtesy of Pat Saling via 1stdibs
A Pair of Rose Aluminum Fan Earrings designed as oversized rose aluminum fans, signed JAR, Paris. With signed suede case.
Photo courtesy of RAF via 1stdibs
Red bead necklaces seem to have been shared by both JAR and Boivin as well, however the materials are quite different as are the vivid colors.
A Coral Torsade with Gold and Emerald Clasp,by Rene Boivin
Photo courtesy of FD Gallery
Ruby Bead Necklace, JAR
Photo courtesy of Christie’s
I was so surprised by the intriguing similarities between the tassels in following two necklaces by Boivin and JAR that I had to include them in this survey, despite their differences in figurative design.
A RETRO DIAMOND AND GOLD ‘PASSEMENTERIE’ NECKLACE, BY RENE BOIVIN
Photo courtesy of Christie’s
A SAPPHIRE, ORIENTAL PEARL AND DIAMOND NECKLACE, BY JAR
Photo courtesy of Christie’s
Though the following comparison is arguably different, the idea of using pearls to insinuate curly hair is congruous.
JAR Sheep brooch
GOLD AND SEED PEARL CLIP, RENÉ BOIVIN, CIRCA 1910
Designed as an ancient Chinese theatrical mask, the hair composed of lines of seed pearls
Photo courtesy of Sotheby’s
A CULTURED PEARL, BLACK ENAMEL AND YELLOW GOLD, RAM CLIP, BY RENE BOIVIN ACCOMPANIED BY A CERTIFICATE OF FRANCOISE CAILLES
Photo courtesy of Artcurial
The number of jewels by JAR that I find strikingly similar to works by Belperron and Boivin are overwhelming- consider the design of the wide clasps in darkened metal and the use of multiple strands of large pearls in these two pieces by Boivin and JAR, respectively.
A Natural Pearl and Diamond Collar Necklace, by Rene Boivin, circa 1910
Photo courtesy of FD Gallery
18 Karat Gold, Blackened Silver, Diamond and Cultured Pearl Bracelet, JAR, Paris
Photo courtesy of Sotheby’s
The following pair of earclips- again by Boivin and JAR- also share intriguing similarities.
Boivin, A Pair of Art Deco ‘Groseillier’ Cultured Pearl Ear Clips, circa 1937.
Photo courtesy of FD Gallery
A Pair of Natural Pearl and Diamond Ear Clips, by JAR
Photo courtesy of FD Gallery
Like Boivin, JAR also uses ebony frequently in his jewels. The overall aesthetic of each of the following ring designs by both jewelers is difficult to distinguish.
A WOOD AND DIAMOND RING, BY RENÉ BOIVIN
The rectangular-cut diamond set in a wide ebony mount, size 4¼, with French assay mark for gold
With maker’s mark for René Boivin
Photo courtesy of Christie’s
JAR: A Wood and Diamond Ring, designed as an ebony hoop inlaid with two rose-cut pear-shaped diamonds, each win a gold wire setting, the inside of the hoop in gold, size 6, with French assay mark for gold, signed JAR Paris.
Photo courtesy of FD Gallery
A really neat pair of coral bracelets by JAR take the coronet design to extremes when compared to two pairs of coronet bracelets once owned by the Duchess of Windsor.
An Important Pair of Blue Chalcedony, Sapphire and Diamond Bangle Bracelets, by Suzanne Belperron, circa 1935 – formerly in the collection of the Duchess of Windsor
Photo courtesy of Christies
A Retro Pair of Emerald and Gold Cuff Bracelets, circa 1940 – formerly in the collection of the Duchess of Windsor
Photo courtesy of Christie’s
JAR Coral Bracelets, 2011 – coral and gold
JAR ‘Hearts’ Verdura
JAR also clearly drew inspiration for some of his works from Fulco di Verdura. For instance, Rosenthal’s sea shell brooches and earrings are strikingly reminiscent of Verdura’s early seashell brooches.
JAR Shell Brooches in the “Jewels by JAR” exhibition at the Met
Photo courtesy of The Shop Hound on Instagram
A few of Verdura’s Shell Brooches and Compacts
Gold and scallop shell brooch with citrines and diamonds by Verdura
While the first photo shares only three of JAR’s shell-inspired, gem-set brooches, the JAR II book includes a few more pieces that are actual shells set with diamonds and other precious stones. Again, JAR’s take on the shell is different than Verdura’s, but the design concept and similarity is undeniable.
JAR also drew inspiration from Verdura when he created his Night & Day Earrings in honor of Cole Porter, the musician and close friend of Verdura.
JAR’s “To Cole Porter, Night & Day” Earrings
Top- Moon and Stars Pendant Earrings, 2011; sapphires, diamonds, silver, gold; private collection.
Bottom- Pendant Earrings, 2011; sapphires, diamonds, silver, gold; private collection.
Photo credit- Anthony DeMarco
Also following in the footsteps of Verdura (as well as Paul Flato, for that matter), JAR loved to use heart motifs in his works. The following two examples employ similarly colored stones and pavé techniques.
JAR Heart Bangle Bracelet, 1997
Rubies, silver, gold. Private collection
Ruby, sapphire, yellow diamond and enamel heart brooch by Paul Flato, New York, circa 1938, probably designed by Verdura for Flato.
Photo courtesy of Siegelson
JAR’s ‘Bursting Heart’ brooch may have been inspired by the ‘Puffy Heart’ ring attributed to Paul Flato.
JAR Bursting Heart Brooch, 1995
Diamonds, rubies, silver, gold. Private collection
14K Gold, Diamond and Ruby ‘Puffy Heart’ Ring, attributed to Paul Flato, circa 1940
Photo courtesy of Sotheby’s
A series of more heart jewels from JAR and Verdura…
A Ruby and Diamond Heart Ring, by JAR
Photo courtesy of FD Gallery
Verdura ‘Wrapped’ Ruby & Diamond Heart Brooch
Photo courtesy of Verdura
A Pair of Amethyst, Emerald and Ruby Ear Clips, by JAR
Photo courtesy of FD Gallery
Verdura Bowknot Heart Necklace Pendants
Photo courtesy of Verdura
A Pair of Amethyst, Chalcedony and Diamond Earrings, by JAR, 1985
Photo courtesy of Christie’s
One last comparison, JAR channeled the camera-shy Harry Winston when posing with his favorite gems.
JAR’s hand full of jewels from the ‘Jewels by JAR’ book made for the Met exhibition
Photo credit: Jozsef TARI/JAR Paris
In this photo, Harry Winston holds some of his famous gems in the palm of his hand. The 125.35 carat emerald cut “Jonker” diamond is center. Just under the Jonker is the 94.80 carat pear shaped Star of the East diamond. The 45.52 carat blue Hope diamond rests between his index and middle finger. The 337.10 carat Sapphire of Catherine the Great is next to his thumb, and the 70.21 carat Idol’s Eye diamond is just above the Jonker. A matched pair of pear shaped diamonds and a larger ruby are also shown.