A French Art Nouveau clock in gilt bronze by Maurice Dufrène with dancing figures modeled by Félix Voulot for the Parisian atelier La Maison Moderne. A similar model of this clock is part of the permanent collection of the Museum fur Kunst und Gewerbe, Hamburg. Signed, "F. Voulot 1900". Pictured in The Paris Salons: 1895-1914, Volume V: Objects d''Art & Metalware, by Alastair Duncan, pages 38 and 227. Also pictured in L''Ofevrerie et Le Bronze, L''Art Decoratif, by Charles Torquet, page 207.
An Art Nouveau 18 karat gold and plique à jour brooch with diamond, amethysts and pearl by Louis Zorra. The brooch has an old mine-cut diamond with an approximate total weight of .65 carat, 21 round bezel-set amethysts with an approximate total weight of 1.10 carats, and a hanging, enamel-capped pearl. Similar pictured in "Imperishable Beauty Art Nouveau Jewelry", by Yvonne J. Markowitz and Elyse Zorn Karlin, "MFA Publications Museum of Fine Arts", Boston, 2008, pages 8 and 68. "Zorra was possibly born in Italy, working in Paris during the Art Nouveau period)...he moved to Paris from Asti, Italy, and exhibited at the Salon des artistes français, receiving an honorable mention in 1902." Markowitz and Karlin in Imperishable Beauty, pg. 151.
A French Art Deco platinum bracelet with diamonds by Okrant et Davidonniez. The flexible open work bracelet has 512 European-cut diamonds with an approximate total weight of 38.00 carats, 2 larger diamonds with an approximate total weight of 2.00 carats, and 2 smaller flanking diamonds with an approximate total weight of 1.00 carat, VS clarity, G/H/I color grade. With original box. The Okrant et Davidonniez workshop was located in Paris at 64 rue Lafayette. They produced jewelry for all the Place Vendôme fine jewelry houses, such as Van Cleef & Arpels, Cartier, Mauboussin, and Boucheron. The firm closed in 1939. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018. Similar bracelets are pictured in Art Deco Jewelry, by Sylvie Raulet, Rizzoli, 1984, page 84, 154.
An Art Deco platinum and gold brooch with diamonds, ruby, emerald and lapis lazuli by Kohn. The brooch has 38 round-cut diamonds with an approximate total weight of 1.20 carats, with ruby and emerald accents. The base of the jardiniere is formed of a single piece of lapis lazuli banded with red and black enamel. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
An American Art Deco platinum brooch with diamonds by E. M. Gattle & Co.. The brooch has 168 old European-cut diamonds with an approximate total weight of 4.50 carats, and 5 square-cut diamonds with an approximate total weight of .75 carat. The total approximate diamond weight of the brooch is 5.25 carats, H/I color, VS clarity. The brooch centers on a dimensional jardinière flanked by pierced foliate elements with a milgrain set diamond border. E.M. Gattle Co. was founded by Emanuel Gattle in the latter part of the 19th century. Originally, E.M. Gattle & Co. was located on Broadway in the theatre district. In 1907, the company moved to the corner of 38th Street and Fifth Avenue and, later, to 55th Street and Fifth Avenue, next to the St. Regis Hotel. One of their notable customers was Enrico Caruso, who shopped Gattle stores for jewelry. However, he was not only a shopper of Gattle, he also allowed his name and photograph to be used in Gattle advertising. Gattle became successful until the time they closed their doors. The firm closed in 1940, a year before the outbreak of World War II. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
Petite coupe sur talon in enamel and 18 karat gold by André Fernand Thesmar (1843–1912). In original box. André Fernand Thesmar (1843-1912) was a French enameler. He is credited with bringing the style of soft-paste porcelain back into style, alongside sections with gold foil backings, in the 20th century. He also used the method of plique-à-jour, including works that were often inspired by Japanese and Chinese enameling. He showed his work at the 1900 Paris Exposition Universelle.The floral motifs that adorn this petite coupe sur talon by André Thesmar appear to float due to the expert use of plique-à-jour, a type of enamel that has no backing so that light can shine through it like leaded glass. Thesmar''s ability to create such an exceptional piece in gold and enamel shows a combination of artistry and technical genius that is very rare to come by. A similar coup sur talon is in the collection of the Metropolitan Museum of Art, New York.
A Favrile flower form vase by Louis Comfort Tiffany featuring a pulled feather design in tones and hues of pink, yellow and white. Favrile glass vases in the shapes of stylized flowers were among the earliest creations of the Tiffany Glass and Decorating Company, forerunner of Tiffany Studios. Initial examples of this technique date from approximately 1894, although later pieces show greater refinement. Flower forms have great variety in stem length and rim shape. A similar vase is pictured in: The Tiffany Collection of the Chrysler Museum at Norfolk, by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 34, cat. no. 31.
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.
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