A French bas-relief glass pâte-de-verre plaque by Henri Cros, depicting a mythical dragon or sea creature in hues of pink, against a crystal-like ground. This is an experimental plaque by the originator of the revival of the ancient pâte-de-verre process.
A French Art Nouveau 18 karat gold pendant with pink sapphire, diamonds and pearl by Lucien Gautrait. The pendant has a pear-cut pink sapphire with an approximate total weight of .80 carat, 2 old European-cut diamonds with an approximate total weight of .10 carat, and a baroque pearl drop. The pendant shows an emergent woman with flowing hair and outstretched arms in a euphoric opium-induced state. Art Nouveau 18 karat chain not original to the piece. Pictured in Masterpieces of French Jewelry, by Judith Price, Running Press, 2006, page 48. Pictured in Henri Vever French Jewelry of the Nineteenth Century, Thames Hudson, 2001, page 1110.
A French ''Lucanes, cerf-volant'' pâte de verre by Amalric Walter and Henri Bergé. This piece features two scarabs atop a raised mound at the center of the dish. The glass of the surrounding dish graduates from opaque fiery ochre to translucent gold. A similar dish is pictured in : Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 24, plate 26.
A French Art Nouveau glass pâte-de-verre tray designed by Henri Bergé and executed by Amalric Walter, featuring yellow, orange and green striations. The tray is adorned with an ocean scene featuring a blue/green crab atop seaweed. A similar tray is pictured in "Almaric Walter (1870-1959)" by Keith Cummings, Kingswinford (UK): Broadfield House Glass Museum, 2006, page 73 plate 113.
A French Art Nouveau enameled bronze Femme Fleur by Henri Godet (1863-1937). The sculpture depicts the patinated bronze head and neck of a young woman growing out of an enameled red and yellow lily flower. It rests on a red marble base, with the flower perched on a green enameled leaf decorated with a gilt bronze flower. Literature: Alastair Duncan, Art Nouveau Sculpture, New York, Rizzoli International, 1978, p. 47, for another example from the collection of Victor Arwas. Dynamic Beauty Sculpture of Art Nouveau Paris, Macklowe Gallery, New York, 2011 exhibition catalogue, pps. 133-34 for similar examples from this rare series, and p. 135 for an identical example on another base from a later date.
A French "Crab" pâte de verre vide-poche by Amalric Walter and Henri Bergé. The reddish-brown crab, with spots of deep yellow and deep green on its back, sits atop a bed of kelp on an elongated green and yellow dish. A similar vide-poche is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 25, cat. no .30.
A French "Langouste" pâte de verre paperweight by Amalric Walter and Henri Bergé. The brown crayfish with red spots straddles a green and yellow curved base. A similar paperweight is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 49, cat. no 77c.
A French Art Deco platinum, diamond and emerald sautoir necklace with pendant, by Henri Picq. The chain composed of stepped, arched bombé links joined by twisted bars, highlighted by calibré-cut emeralds, suspending a shaped pendant of conforming design, with millegrain accents. The necklace centers on an emerald-cut diamond with an approximate total weight of 2.50 carats, and baguette, old European-cut and single-cut diamonds with an approximate total weight of 40.00 carats, H/I color, VS. The pendant has 2 emerald-cut emeralds and 44 calibré-cut emeralds with an approximate total weight of 7.70 carats. The pendant is detachable from the twisted design and barrel-shaped links of the necklace. Henri Picq established his jewel workshop in the Marais in 1888, and his superb, exacting work soon caught the attention of the great Parisian jewelers. From 1900 until the late 1920s, Picq manufactured for Cartier, as well as for legendary firms such as La Cloche Frères and Ostertag. According to the jewelry historian Hans Nadelhoffer, the last writer to have unfettered access to the Cartier Archives, Picq was instrumental in developing the platinum for which Cartier became famous, a particular alloy "said to be the best in Paris" which created a "white, shimmering surface" and whose constituents were kept secret from the rest of the trade. Cartier entrusted Picq to work with unu
sual materials and to execute exceptional designs, resulting in some of the firm''s most complex and acclaimed creations. The Picq workshop manufactured the celebrated blackened steel kokoschnik tiara of 1913, modeled on a royal . Cartier also commissioned them to create the enduringly beloved "tutti frutti" jewels of carved colored gems, inspired by the firm''s collaboration with expatriate members of the Indian aristocracy who were among their most devoted patrons. They were manufacturers of the opulent long sautoirs with multiple transformations, such as this example, so popular in the late 1920s. This unsigned period jewel bears Picq''s distinctive French maker''s mark, and represents work of the same exacting standards so prized by their famous clients.Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
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