Of Rabbits and Carats
December 2006
Bejeweled miniature rabbits in regulation blue blazers picked out in glittering sapphires and svelte enamel, cavorting foxes in evening dress clutching mint julep cups crafted from slivers of emeralds, and exquisitely delicate Art Deco sapphire bracelets—these quirky yet luxe objects are typical of make up the astonishingly creative output of jeweler Raymond C. Yard (1885–1964)."With Yard, the workmanship is phenomenal and the whimsy a pure delight," says Daphne
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"Rabbit Caddy," 1929, diamonds, rubies, platinum and enamel, $35,000. |
To the non-cognoscenti, Raymond C. Yard (1885-1964), the son of a New Jersey railway conductor, started small and blazed a path to artistry and success. At age 13, he began working as a door boy for noted Manhattan jeweler Marcus & Co. before moving on to stringing pearls and later to sales. Fast forward to 1922. No less a figure than financial titan John D. Rockefeller Jr. set up the talented jeweler in business on Fifth Avenue and sent his storied friends to him.
The cream of society, from the Vanderbilts, Woolworths and du Ponts to the Harrimans, descended on Yard's doorstep. "His clients were truly American royalty," says Natasha Kuzmanovic, a jewelry historian, who is penning a long overdue book on Yard for Vendome Press due out in 2007. Also, Yard soon added to his clientele by drawing in the stylish Hollywood set like Joan Crawford and Douglas Fairbanks Jr.
"Then, no one else was creating jewels like Raymond Yard," says gemologist Bob Gibson, who heads the Yard firm, which is tucked inside Madison Avenue's chic Carlyle Hotel. The jewel box-like boutique showcases vintage Yard jewels as well as contemporary renditions.
Just as Yard injected his brooches and bracelets with a dash of humor in the grim
years of the Depression, he also pioneered unconventional pairings of stones. For example, he dribbled sapphires over a necklace of moonstones set in platinum, imparting a subtle palette of blues to the piece.
Special commissions were a huge part of Yard's business. Gibson has retained all of the original records, complete with designs in watercolor and clients’ requests written in fine script. "Few other jewelers kept as complete records as Yard," says Kuzmanovic. In all, over 3,000 archival designs remain, executed in delicate watercolors.
Yard's acclaim has been boosted in recent years by exposure on the museum circuit. In August 2004, the New York–based National Jewelry Institute showcased Yard pieces in "Masterpieces of American Jewelry" at the American Folk Art Museum. "His pins of rabbits sparked a giggle for the design and pure admiration for the craftsmanship," says Judith Price, the institute’s founder.
Talk about affecting prices. When Yard's whimsical rabbits, one with ruby trousers and a tailcoat
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"Fantasy House," late 1920s/early 1930s, yellow diamonds, cabochon rubies, emeralds, sapphires, diamonds |
"That kind of demand is pushing up the estimates for Yard's creations," says Lingon. With jewelry auctions slated for December, many clients will be on the lookout for the perfect Yard holiday present. But auction-goers should not expect a bevy—or even a trickle—of Yard creations. Only one or two per sale, if that, turn up at Christie's, Lingon reports. "As his jewelry is frequently handed down in families, it rarely makes it into the salesroom," she says.
Those who miss a vintage piece may take comfort in the later Yard creations. "We've kept up with fashion, but we're never dictated by fickleness,” says Gibson. The Deco taste morphed in the ’50s into a predilection for brooches resembling sprays of flowers. By the ’60s, almost-Technicolor bouquets in a riot of rubies, yellow diamonds and emeralds were popular.
The Yard measure of invention continued to flourish. A piece made in 2000 represents a mallard duck in flight with a gleaming emerald head, body of yellow and white diamonds and wing feathers edged in sapphires. Examples from this year also include a diamond brooch that looks like a pert tied bow.
These days, the firm keeps its allegiance to the exacting standards laid down by the master. An assured sense of scale, flawless settings and exacting workmanship allied with the very best stones prevail in the contemporary versions. Present-day Yard jewelry relies less on the strict geometry than it did in Art Deco days, but, says Gibson, the pieces remain 99-percent platinum set.
That adherence to standards has paid off, as many of Gibson's clients are second- and third-generation fans. "That's just another continuing link in the engaging Yard history," says Gibson.
Brook S. Mason is Art & Antiques’ chief correspondent who specializes in the art market.