THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADY

AN IMPORTANT DIAMOND BOW BROOCH, BY BULGARI, CIRCA 1960

The three-dimensional ribbon-bow set with brilliant and baguette-cut diamonds, mounted in 18K...

THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADY

AN IMPORTANT DIAMOND BOW BROOCH, BY BULGARI, CIRCA 1960

The three-dimensional ribbon-bow set with brilliant and baguette-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 20.00cts total, signed Bvlgari, French assay marks, length 4.9cm, width 5.3cm

Cf: See Amanda Triossi (2009) Bulgari: Between Eternity and History. From 1884 to 2009, 125 Years of Italian Jewels. Skira Editori, for a comparable brooch, page 304, no. 127. See exhibition of the same title, 22 May - 13 September, 2009 in Rome at Palazzo delle Esposizioni

By the mid-1950s, the house of Bulgari had long consolidated their reputation as a highly esteemed jewellery house, as well as having a clear vision for the direction of jewellery production. Brothers Constantino and Giorgio continued to run and expand the family-owned business, which they had taken over following the death of their father Sotiros in 1932. Giorgio took over the role of the creative director of the firm, grounded in his deep understanding of gemstones and production techniques which he had eagerly absorbed as a youth in Paris learning his trade. In contrast, Constantino was the quieter and more scholarly of the two, preferring to study and research the materials he was working with. Together, the two brothers harnessed the flood of activity and commissions they experienced in the Italian post-war boom of the mid-1950s. The decade saw a return to the display of magnificent stones seen in the 1930s, with diamonds undoubtedly reigning supreme. Yet, what remained was the production of softer and smoother lines which had developed in the 1940s and early 50s alongside the display of flashy diamonds to produce the perfect combination of magnificently crafted jewellery. Asymmetrical bows and knots became a hugely popular motif of this era, created in a host of varying cuts of diamonds.

As Bulgaris reputation grew, so did the confidence of the jewellery house. Constantino and Giorgio knew their supporters had become loyal to their brand, so they made the decision to carve their own path in terms of jewellery trends, moving away from the Parisian styles which dictated the industry heretofore. It was a risk which paid off, allowing Bulgari to cement the particular flair with which their jewellery would be recognised for decades to come. The 1950s also marked a period of spectacular growth for the Italian economy, ensuring Bulgaris innovations were receiving rapturous support. The post-war decade saw the re-emergence of Bulgaris characteristic use of colour, as the house began to explore a myriad of bold combinations using precious and semi-precious gemstones once more. This time, however, result of these vibrant colour combinations were widely celebrated by their audience not so much for the intrinsic value of the gemstones as for their striking chromatic effect.

Unlike the contemporary houses of the 1950s and 60, the jewellery of this period saw the house enclose important gemstones with soft, smoother outlines, often complimented by marquise-shaped diamonds all facing the same direction. Floral and bow-shaped brooches became hugely popular and Bulgari created a huge variety of different compositions and designs, from bouquets, to brooches depicting a knotted bow, like this lot. Designs such as these were even worn as hair ornaments, by the likes of Ingrid Bergman, Elizabeth Taylor and H.I.H. Princess Sorarya, who were all firm favourites of Bulgari. Indeed, film stars of the late 50s and 60s played a huge role in Bulgaris enormous success and jewellery of this period appeared in films such as Roman Holiday with Audrey Hepburn and La Dolce Vita.

 

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