While Lalique’s early turn-of-the-century incorporation of glass in jewelry was somewhat timid, he eventually created designs made entirely from the material. In so doing, he raised the public conception of glass from a utilitarian commodity to a luxury material. His witty colored glass rings, which were informal fashion accessories rather than real jewels for evening wear—suggest cabochon gems such as sapphires, crystals, or moonstones and indeed would have been looked upon as nearly as desirable. Each was cast in a pressure mold and hand engraved with flower and plant motifs.
Inscription: Signed (exterior, engraved): R. LALIQUE
the designer, Paris (until 1934; sold to MMA)
New York. The Metropolitan Museum of Art. "Masterpieces of French Art Deco," August 4, 2009–January 23, 2011, no catalogue.
John Goldsmith Phillips. "New Accessions of Contemporary French and Swedish Decorative Arts." Bulletin of the Metropolitan Museum of Art 30 (January 1935), p. 5.
Félix Marcilhac. René Lalique, 1860–1945: Maître-verrier. Analyse de l'oeuvre et catalogue raisonné. Rev. ed (1st ed., 1989). Paris, 2004, pp. 526–27.
Jared Goss. French Art Deco. New York, 2014, pp. 122–23, 257, no. 31a, ill. ( color, overall and detail).