A French Mid-20th Century platinum and 18 karat white gold brooch with diamonds and pearls by Pierre Sterlé. The brooch contains 300 round-cut diamonds with an approximate total weight of 8.50 carats, G/H color, VS clarity. There are 3 articulated South Sea pearls measuring 13.5 mm, 13.3 mm and 12.5 mm finishing the bottom. The brooch is designed as a tied bow composed of chevron-set diamond ribbons finished with the 3 diamond-capped South Sea pearls. A similar brooch is pictured in Sterlé Joaillier Paris, by Viviane Jutheau, Editions Vecteurs, 1990, Plate 1273.
|Artist: Pierre Sterlé|
|Signed: “Sterlé Paris" "5263” and French control marks|
|Dimensions: 2-1/4'' length x 3-1/4'' width|
|Item #: BO-16411|
|Price: Price on Request. Call (212) 644-6400|
An American Art Nouveau 18 karat gold and enamel pendant brooch with opals and chrysoprase by Marcus & Co.. The pendant brooch has 6 cabochon white opals, 63 cabochon chrysoprase stones and plique-à-jour enamel. Suspended from the brooch is an opal and chrysoprase pendant drop. Detachable brooch finding and flip-down bail.During the first decade of the twentieth century the firm offered a variety of Revivalist style jewelry. Egyptian inspired pieces along with Renaissance Revival and Mughal style were created. The venerable firm of Marcus & Co. was established in 1892 by William, Herman and George Elder Marcus with a shop in New York. The firm distinguished itself as an early proponent of the Art Nouveau style in America, of which this ring is an exquisite example. During the Art Deco period of the 1920's, the firm continued producing fine jewels in the new Art Deco style and expanded with branches in London, Paris, and Palm Beach.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
|Artist: Marcus & Co.|
|Signed: “Marcus & Co.”|
|Dimensions: 3-1/2'' length x 2'' width|
|Item #: PT-17467|
|Price: $50,000 – Call: (212) 644-6400|
A Mid-20th Century 18 karat and platinum gold 'Hawaii' brooch with diamonds, rubies and sapphires by Van Cleef & Arpels. The brooch has 15 round diamonds with an approximate total weight of 1.35 carats, 10 round rubies with an approximate total weight of 1.00 carat, and 36 round sapphires with an approximate total weight of 4.00 carats. The brooch is designed in a stylized flower motif. Van Cleef & Arpels Certificate of Authenticity, "According to a visual appraisal and to the Van Cleef & Arpels Archives, the item illustrated and described below bearing the engraved numbers NY22818.2...the item illustrated and described has been identified as a Van Cleef & Arpels creation." "A 'Hawaii' clip set with round diamonds, sapphires and rubies. Mounted in platinum, yellow gold and white gold. 1954."
|Artist: Van Cleef & Arpels|
|Signed: "22818.2" "18K' Partial signature.|
|Dimensions: 2-3/4'' length x 1-1/4'' width|
|Item #: BO-18600|
|Price: $17,500 – Call: (212) 644-6400|
A sea turtle brooch set with pink mother of pearl diamonds and rock crystal on gold by Vhernier. The exotic sea turtle brooch features a carved rock crystal shell backed with mother of pearl, the head and extremities pavé-set with 151 round brilliant-cut diamonds totaling approximately 0.85 carat, approximately F – G color and VVS – VS clarity, mounted in 18 karat white gold. Excellent condition consistent with age and wear.
|Dimensions: 1-1/4'' length|
|Item #: BO-18935|
|Price: $4,500 – Call: (212) 644-6400|
An American Contemporary 18 karat gold brooch with diamonds, emeralds, amethysts, turquoise and coral by Henry Dunay. The piece is a beautiful and playful array of cabochon amethyst, turquoise and coral set in twisted gold bezels, accented with raised, gold-framed diamonds and organized in an arresting organic lozenge shape. The brooch has 34 white round brilliant-cut diamonds with an approximate total weight of 3.40 carats, 10 cabochon emeralds with an approximate total weight of 1.50 carats, 16 cabochon amethysts, 12 cabochon turquoise, 4 cabochon coral. Pendant attachment on back.
|Artist: Henry Dunay|
|Signed: "Dunay "18k|
|Dimensions: 3'' diameter|
|Item #: BO-19284|
|Price: $22,500 – Call: (212) 644-6400|
A French 18 karat gold elephant brooch with coral and enamel by Van Cleef and Arpels. A novelty brooch of an elephant with oval-cut emerald eyes that have the approximate total weight of .24 carat, carved white coral tusks and black enamel feet, in textured 18 karat yellow gold.
|Artist: Van Cleef and Arpels|
|Signed: "VCA 750 (c) 68 B100629" French control marks|
|Dimensions: 1-3/4'' long x 1-1/2'' wide|
|Item #: BO-19362|
|Price: $27,500 – Call: (212) 644-6400|
"L'Anémone des Bois", A French Art Nouveau masterwork by René Lalique. Created in 1897, this 18 karat gold brooch showcases Lalique's mastery of "plique-à-jour" enamel and also represents one of his earliest explorations of the art of molded glass. The brooch is accented by two oval faceted aquamarines weighing approximately 8.10 and 3.75 carats. More than any technical mastery or gemological import, the brooch is distinguished by its aesthetics and its deep meaning. This exquisite "Anémones des Bois" Brooch is an important example of René Lalique's early work, predating his international debut at the Exposition Universelle of 1900. While his most prolific version of the anemone motif was the "Anémone couronnée" or poppy anemone, only a few choice pieces depict the "Anémone des Bois" or wood anemone. Unlike the poppy anemone, which grew in the balmy Mediterranean summer, the Anémone des Bois was known to the French as the harbinger of spring. While the forest floor lay dormant, the wood anemone alone reared its small head. Areas where the poor could pick this humble flower were demarcated with signs reading "Les Halles." The Anémone des Bois lined the border of the forest, enticing promenading couples into the forest's embrace for an afternoon tryst. Pure white anemones thus became a symbol of virginal purity, mourning its imminent profanity by carnal desire. Lalique knew these traditions well from spending his childhood and summer holidays in the commune of Aÿ in Marne, located on a plateau overlooking the hillsides of Champagne. Two forests dominated the Marne landscape. To the west lay the old-growth forest of Sermiers, and to the east lay La forêt domaniale du Chêne à la Vierge. Promenading in the forest was a popular Sunday pastime for locals, especially as a way to escape the unrelenting dry heat of the noonday sun. Lalique expanded upon the theme of carnal desire, using the anemone to allegorize the stages of courtship. Our Anémone des Bois marked the beginning of this five-year-long exploration. With its petals slightly closed, the flower embodies the initial "rejet" or rejection of love. Fitting of a depiction of "rejet" the work epitomizes divine symmetry and youthful vigor. The flower's posture relates to local wisdom: villagers could tell rain was coming when the Anémone des Bois closed its petals. By closing its petals, the flower rebuffs the words and sexual advances of the man. The second anemone in the series has its petals in disarray but receptive to potential pollination. An anemone in this position embodied "l'acceptation de l'amour" or the acceptance of love. The third anemone is the most sensual of the series, two anemones approach a passionate kiss, embodying the "consommation" or consummation. The final anemone in the series was completed in 1901. Titled "Mort de l'anémone" it is Lalique's only representation of the blue anemone. Through the consummation, its petals have been dyed and its purity defiled. In macabre detail, the skeletal structure of the anemone's rhizomes, or underground stems, are put on full view. The plant has been uprooted, and the encounter has finished. Contemporary novelist Émile Pouvillon related the death of the anemone to the act of deflowering in his 1895 short story "Les Anémones sont Mortes." The story's heroine, a young country girl, loses herself in a bout of unrestrained euphoria with her lover. In their rolling about, "Anémones des Bois" are ripped out and bruised. At the 1898 Salon, the first Anémone des Bois was a critical triumph. Displayed with the second and third anemone in the series, the first was favored for its fully articulated plique-à-jour leaves. In the premier French decorative arts magazine Art et Décoration, the Anémone des Bois was praised for its "candid whiteness" and leaves that suggest "an infinitely complicated and precious architecture."Our Anémone des Bois is resplendent with the technical acuity that made Lalique known as the "master of modern bijoux (jewelry.)" In his early years, Lalique personally designed and modeled each mold for his creations in clay. These molds were then cast in iron and coated with a paste of resin and beeswax, hand-tooled for detail. The finish pressed-glass jewel was submerged in a bath of hydrofluoric acid, frosting the exterior. A thin layer of "jade green" powdered enamel was sifted and annealed onto the piece. The venation of each petal was painstakingly cut, revealing the plain crystal underneath. The warm glow of the gold backing gives the piece a breathtaking amber hue.
|Dimensions: 2-1/2'' length x 2-3/4'' width|
|Item #: BO-19326|
|Price: Price on Request. Call (212) 644-6400|
A pair of French Art Deco 18 karat gold "lilac-leaf" brooches with tourmaline, peridot, aquamarine and diamond by René Boivin. Executed under the leadership of famed Boivin designer Suzanne Belperron, these spectacular pieces are as significant in the history of high jewelry as they are beautiful. Belperron once famously declared "my signature is my style..." and these elegant brooches certainly demonstrate the height of her particular style: the refined, geometrically-rendered organic shape of the lilac leaf, the sensitive and masterful employment of color gradation, and the interplay of complementary shapes are all hallmarks of Belperron's work for Boivin. The brooches have oval-cut tourmalines, green and yellow beryl, which together have and approximate total weight of 42.25 carats; aquamarines with an approximate total weight of 17.00 carats; and 30 single-cut diamonds with an approximate total weight of .70 carat. With authenticity report from expert Francoise Cailles. Boivin is a remarkable exception to many of the presiding trends of the 1930s. For one, the house eschewed the stark, monotonous, and highly geometric Art Deco stye. While other firms continued to churn out architecturally clean designs in white diamond and platinum, Boivin maintained their commitment to celebrating color and the organic forms of the natural world. Also notable, and unusual for the time, is that Boivin was an all-female led firm. After the premature death of René Boivin in 1917, the firm would be led until its dissolution by his widow, Jeanne Boivin, and a host of brilliant female designers, among them Suzanne Belperron, Juliette Moutard and Germain Boivin,
|Dimensions: 2-3/4" length x 2-1/8"'width|
|Item #: BO-19401|
|Price: Price on Request. Call (212) 644-6400|