gold, aquamarine, diamond and enamel 

Sigrid Barten, René Lalique, Schmuck und Objets d’Art, 1890-1910, Munchen, 1977, p. 343, no. 730 (for the sketch of the necklace)
Vivienne Becker, The Jewellery of René Lalique, London, 1987, pp. 58-59 (for a related example)
Kenneth Snowman, The Master Jewelers, London, 1990, p. 133 (for another example of the dragonfly and aquamarine motif by René Lalique)
René Lalique, Bijoux d'exception 1890-1912, exh. cat., Musée du Luxembourg, Paris, 2007, p. 247 (for a related example in the collection of the Musée des Beaux-Arts, Quimper, France) and pp. 252-253 (for related drawings)
"Le Monde Aquatique de Lalique," Connaissance des Arts, Hors-Série no. 625, Paris, 2014, p. 8 (for a related drawing and example) 

The aquamarine and enamel display highly saturated and deeply nuanced coloration, highlighting the delicacy of the design. The pendant height is approximately 2- 7/8 inches, the width is approximately 2- ½ inches. The pear-shaped aquamarine measuring approximately 17.56 x 11.65 x 6.81 mm, the cushion shaped aquamarine measuring approximately 14.11 x 11.01 x 8.64 mm. The pendant with 14 rose-cut diamonds, 12 old European and single-cut diamonds. The reverse of pendant presents with light areas of tarnish and faint abrasions consistent with age of the piece. The LALIQUE signature is along the top edge of the top left wing (face-up position). The chain links present with several areas of losses to enamel throughout. The left-hand dragonfly's body exhibits some minor enamel losses as well. The chain necklace is unsigned. An extraordinary necklace iconic of Lalique's Art Nouveau universe and displaying the artist's technical mastery.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

René Lalique was a master of jewelry-making in the style that became known as “L’Art Nouveau.”  Born in 1860, the son of a Parisian merchant, Lalique studied design in school and at the age of sixteen became an apprentice to the jeweler Louis Aucoc.  He subsequently spent two years studying design in England at Sydenham College and once back in Paris worked as a freelance designer for various jewelry manufacturers including Vever and Boucheron.  Lalique became an independent jeweler in 1885 taking over the workshop of Jules Destapes on Place Gaillon and continued to produce traditional designs set mainly with diamonds. 

Lalique’s first independent public exhibition came in 1894 at the Salon de la Société des Artistes Français and it was at this time that Lalique’s jewels began to demonstrate the sculptural, sinuous elements of the Art Nouveau style.  His experimental techniques and designs combined precious and non-precious materials such as carved ivory, horn, glass and enamel with diamonds, opals and pearls.  Lalique’s jewels embodied nature seen through the eyes of a Symbolist with his portrayals of exotic hothouse blooms, withered stems and thistles, bats, serpents, dragonflies and metamorphic images of women. 

Lalique’s designs for the fin-de-siècle tragedian Sarah Bernhardt furthered his public appeal and brought him commissions from around the world.  His greatest success came with the Paris Exposition Universelle in 1900, which prompted many lesser quality imitations of his style and caused Lalique by 1912 to shift his focus to glassmaking. 

The pendant necklace of dragonflies offered here was produced at the height of Lalique’s artistic expression, circa 1903-1904.  The combination of the watery-blue aquamarines surrounded by dragonflies is a theme that harkens back to nature, the greatest source of inspiration for Lalique.  Marked with his signature, this jewel would be a prize for any collector or museum.