The Art Nouveau period, though short-lived (circa 1895 - 1910), was one of the most creative and prolific on record. Among its numerous contributors in various countries, the most acknowledged master and true visionary of this style was Rene Lalique.His highly original designs were often created using experimental techniques and materials. Lalique innovatively used exotic and fragile materials in jewelry design, such as glass, horn, and rock crystal. He preferred these humble materials over expensive gemstones, relying more on the metals and enamels to realize the fluid motifs found in nature - redefining the creation of jewelry as a genuine art form.This pendant is a particularly rare creation. It is not the typical naturalistic theme, such as dreamlike, feminine forms, or dragonflies and flowers, which dominated the Art Nouveau style. Instead, it has religious overtones, which is practically unheard of in the Art Nouveau period, adding to the uniqueness of the piece. Undoubtedly, this jewel was inspired by the Russian icons, since the Russian influence was prominent in Paris at this time, and the motif is the same. These icons had delicaely painted faces and hands, with golden robes. Lalique, however, has decorated this pendant in reverse, with delicate, surreal opalescent mold-blown glass robes with gold metal faces.This unusual subject stimulates the imagination, and in combination with its simple beauty, creates a provocative contrast which in its uniqueness would classify this pendant as a rare collectable.Property From the Estate of Margot Fonteyn, D.B.E.Dame Margot Fonteyn (1919-1991)Margaret Evelyn Hookham, best known as Dame Margot Fonteyn, dominated the world as Prima Ballerina for the Royal Ballet Co., originally Sadler?s Wells.She was born on May 18, 1919 in England at Reigate, Surrey. Fonteyn began dance classes at a local school until invited to study with George Goncharvo in Shanghai. Following her studies with Goncharvo, she moved to London to continue her studies with Princess Seraphine Astafieva, as well as the Sadler?s Wells School.She made her stage debut in the Vic-Wells production of the Nutcracker in 1934 when only 15. Under the name Margot Fontes she thrilled the audience as she danced the Mazurka in Fokine?s Les Sylphides.In 1935 she changed her surname to Fonteyn and her first major role was in Ashton?s Le Baiser de la Fee (1935). This was the beginning of her continuous success as one of the most admired ballerinas. She danced all the ballerina roles of the standard classics and many roles in Ashton?s ballets, becoming the representative ballerina of the Sadler?s Wells and later the Royal Ballet. As a result of her contribution to English ballet, she was officially recognized when she was appointed D.B.E. in 156. From 1959 she appeared with the Royal Ballet as a guest artist and also danced regularly with companies all over the world, being accorded Prima Ballerina Assoluta in 1979.Fonteyn is best remembered for creating many roles in Frederick Ashton?s ballets and for the legendary partnership with Rudolf Nureyev. In 1979 she retired from dancing.