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Marcus & Company Art Nouveau Peridot, Diamond, Gold and Enamel Ring

An American Art Nouveau gold, peridot, diamond and enamel ring by Marcus & Co. The unique Renaissance Revival motif features green enameled 18-karat gold, two round-cut peridots totaling approximately 1.60 carats, and 30 round-cut diamonds that weigh approximately 1.20 carats. The Renaissance Revival design influence is carried onto the ring shank, culminating in a diamond set into the ring shank bottom. This striking ring demonstrates the color sensitivity of the famed American firm, Marcus & Co. It is also a rare and interesting Art Nouveau example of a Toi et Moi ring, or a ring in which two stones or two types of stones dynamically cross over each other symbolically representing a romantic union. The Toi et Moi rings were popularized by no less than Napoleon Bonaparte when he scandalously proposed to his soon to be Empress, Josephine. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts s ... ensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother William was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.

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Marcus & Company Art Nouveau Peridot,  Diamond, Gold and Enamel Ring

Marcus & Co. Early-20th Century Diamond, Natural Pearl, Platinum and Gold Ring

An American Early 20th Century platinum and 18 karat gold ring with diamonds and natural pearl by Marcus & Co. The ring has 3 old mine-cut diamonds with an approximate weight of 1.25, 1.35 and 1.05 carats, L/M color, SI clarity respectively, and 10 old European-cut diamonds with an approximate total weight of .10 carat. The center of this ring is a natural pearl measuring 7.91 x 7.86 mm. Gemological Institute of America Certificate stating natural saltwater pearl #2155277139. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother Wil ... liam was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. Plique-a-jour enamel was an art in which Marcus & Co. excelled, creating jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.

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Marcus & Co. Early-20th Century Diamond, Natural Pearl, Platinum and Gold Ring

Tiffany & Co. Art Deco ''No Heat'' Ruby, Diamond and Platinum Ring

An Art Deco platinum ring with rubies and diamonds by Tiffany & Co. The ring centers on an emerald-cut ruby with an approximate weight of 1.10 carats, and 6 old European-cut diamonds with an approximate total weight of .70 carat. The ring is designed in a highly graphic Art Deco motif. AGL report no. CS 72168, origin: Burma (Myanmar) origin, no indications of heat.

Tiffany & Co. Art Deco ''No Heat'' Ruby, Diamond and Platinum Ring

Carvin French for Tiffany & Co. Estate Diamond Gold and Wood Bombé Ring

An American Estate 18 karat gold and wood ring with diamonds by Carvin French for Tiffany & Co. The bombé modernist ring has 9 diamonds with an approximate total weight of .25 carat set into an oval, and a swirl detail of inlayed gold. The ring has a gold interior lining ring.

Carvin French for Tiffany & Co. Estate Diamond Gold and Wood Bombé Ring

Marcus & Company Art Nouveau Blue Sapphire, Old European Diamond, Gold and Enamel Ring

An American Art Nouveau 18 karat gold, enamel, sapphire and diamond ring by Marcus & Co. The ring has a cushion-cut blue sapphire with an approximate weight of 8.65 carats, and 27 old European-cut diamonds with an approximate total weight of .32 carat. The blue sapphire is most likely of Ceylon origin with no heat treatment evident. The center stone is held in place with gold tendrils that flow throughout the ring in extravagant Art Nouveau motifs. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother William was a gem and pearl conn ... oisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. Plique-a-jour enamel was an art in which Marcus & Co. excelled, creating jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.

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Marcus & Company Art Nouveau Blue Sapphire, Old European Diamond, Gold and Enamel Ring

Tiffany Studios New York Favrile Glass and Bronze "Harp" Floor Lamp

A Tiffany Studios New York "Harp" floor lamp with patinated bronze base and green blown-glass "Damascene" shade. This "Damascene" floor lamp is of a lead composition with a transparent green, "dychroide" glass and iridized glass combed decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at the Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic ... oxides were then painted obliquely around the form. The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The lamp shade is surmounted by a cast bronze aperture ring with three ball screws, liliform heat cap, terminating in a ball-shaped finial. The ventilation holes in the heat cap are subtly concealed by the five petals of the flower. The heat cap holds a light bulb and pull chain that terminates in an acorn pendant. The heat cap is supported on both sides by a harp with two component parts, a double ogee shoulder, and a single ogee base. The two parts of the harp are held together with a pin that allow the user to change the position of the light if they so wish. This mechanism is fitted with rosette motif side knobs that beautifully complement the liliform socket holder. The base of the harp splays into petals, connecting to the globular molding of a five-foot stem which swells, tapers, reswells, straightens, then reswells at the base. The stem is supported by five dartform feet. The cast bronze stem, harp, and base all have acid etched finishes giving them a red-speckled green patina. A similar base and shade are pictured separately in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827; base: p. 210, plate 821.

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Tiffany Studios New York Favrile Glass and Bronze 'Harp' Floor Lamp

Tiffany & Co. Platinum, Black Opal and Diamond Ring

An American modern platinum ring with black opal and diamonds by Tiffany & Co. The ring is set with a cabochon black opal with an approximate total weight of 5.00 carats, flanked by shield-shaped diamonds with an approximate total weight of 1.40 carats. The diamonds have a VS clarity and F/G color. Tiffany & Co., founded in 1837, has been one of the foremost jewelers of the 19th and 20th centuries, consistently acclaimed for its offerings of important diamonds and gemstones. When precious black opal was first discovered in the remote desert region of Lightning Ridge, Australia, in 1907, New York jewelers, ever appreciative of extraordinary stones, bought the entire first year''s production. In fine specimens like this, the glowing red-orange play of color, set off by cool blue and green tones, gleams in broad flashes across the full surface of this enigmatic, changeable gem. Mounted in this classic Tiffany three-stone form, the scintillation of the unusually shaped diamonds provides a pleasing contrast to the intense and rich hues of the opal.

Tiffany & Co. Platinum, Black Opal and Diamond Ring

"Favrile" Tiffany Lamp

A Tiffany Studios New York "Damascene" Favrile glass and patinated bronze table lamp. This "Damascene" table lamp is of a lead composition with a transparent green, "dichroic" glass and iridized glass combed decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "dichroic" glass was carefully trailed twenty-nine times around the form. This particular variety of "dichroic" glass, an innovation by Arthur J. Nash, production manager at the Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "dichroic" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic oxides were then painted oblique ... ly around the form. The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "dichroic" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "dichroic" threads transmit the most light, creating a vivid amber starburst pattern when lit. The lamp shade is surmounted by a cast bronze aperture ring with three ball screws, liliform heat cap, terminating in a ball-shaped finial. The ventilation holes in the heat cap are subtly concealed by the five petals of the flower. The heat cap holds a light bulb and pull chain that terminates in an acorn pendant. The heat cap is supported on both sides by a harp with two component parts, a double ogee shoulder, and a single ogee base. The two parts of the harp are held together with a pin that allow the user to change the position of the light if they so wish. This mechanism is fitted with rosette motif side knobs that beautifully complement the liliform socket holder. The base of the harp splays into petals, connecting to the globular molding of a five-foot stem which swells, tapers, reswells, straightens, then reswells at the base. The stem is supported by five dartform feet. The cast bronze stem, harp, and base all have acid etched finishes giving them a red-speckled green patina. A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827; base: p. 210, plate 821. Shade signed: ''''"L.C.T." ''''. Base signed: '''' "Tiffany Studios New York Provenance: Property from the Geyer Collection A similar base and shade are pictured separately in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 90, plate 357; base: p. 90, plate 359.

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'Favrile' Tiffany Lamp