An Art Nouveau 18 karat gold and plique-à-jour enamel bird brooch, featuring a stylized depiction of a dimensional cockatoo set on a green and red plique-à-jour enamel foliate panel with gold trim.
|Dimensions: 1-3/4" length x 2-1/2" width|
|Item #: BO-12184|
|Price: $15,000 – Call: (212) 644-6400|
An American Art Nouveau 18 karat gold stick pin with enameling and opal by Marcus & Co. The stick pin has a cabochon opal surrounded with four enamel side sections decorated with gold relief arabesque designs. During the first decade of the Twentieth century the firm Marcus & Co. 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 this new style and expanded with branches in London, Paris, and Palm Beach.
|Artist: Marcus & Co.|
|Signed: “M & Co.”|
|Dimensions: 5/8 inches square; pin length 2-1/2 inches|
|Item #: BO-16439|
|Price: $3,250 – Call: (212) 644-6400|
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.
|Artist: Louis Zorra|
|Signed: “Emily C, Minor” “V.B.K. From C.W.W”|
|Dimensions: 1-3/4'' length x 1-1/2'' width|
|Item #: BO-16930|
|Price: $22,500 – Call: (212) 644-6400|
A French Art Nouveau 18 karat gold brooch with pearl and plique-a-jour enamel and diamonds. The plique-a-jour brooch has a freshwater pearl, and is decorated with old mine-cut and rose-cut diamonds weighing approximately .25 carat. The gold relief is a portrait of a young maiden with flowing hair.
|Signed: French assay mark|
|Dimensions: 2" length x 1-7/8" width|
|Item #: BO-14015|
|Price: $15,500 – Call: (212) 644-6400|
A French Art Nouveau gilt bronze bust of a woman by Louis Chalon. "The Sunflower at Dawn". The young woman wears her wavy hair loose, with a headband decorated with a feather and flower. Her right shoulder is ornamented with drapery and a floral-motif brooch. A large sunflower covers her bare breasts. A similar bust is pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 111.
|Artist: Louis Chalon|
|Signed: “L. Chalon”|
|Dimensions: 21" high x 11" wide x 6-1/2" deep|
|Item #: S-15939|
|Price: $5,500 – Call: (212) 644-6400|
An Art Nouveau brooch with pearls, diamonds and emerald by Marcus & Co. The brooch has 10 semi-spherical pearls, 15 Old European-cut diamonds with an approximate total weight of 1.25 carats and a polished emerald drop. Gemological Institute of America certificate #2171449596 states the pearls are natural saltwater button pearls. During the first decade of the Twentieth century Marcus & Co. offered a variety of Revivalist-style jewelry. Egyptian-inspired pieces along with Renaissance Revival and Mughal style were created. This brooch is composed in sarpech form, which were turban brooches that were worn by Hindu and Muslim princes. 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 this new style and expanded with branches in London, Paris, and Palm Beach.
|Artist: Marcus & Co.|
|Dimensions: 3'' length x 1-5/8' width|
|Item #: BO-17466|
|Price: $45,000 – 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 French Art Nouveau silver cloak clasp with opals by Georges Fouquet. The cape clasp is decorated with 14 bezel-set crystal opal plaques. The clasp is designed as two intertwined peacocks with extravagant whiplash 'feathers'. Inspired by a noted collaboration with the renowned Art Nouveau innovator Alfonse Mucha, this cloak clasp in all its exquisite detail and voluptuous lines perfectly encapsulates the spirit of the period. Its peacock theme was a favorite motif of Fouquet and Mucha. A similar piece is pictured in Alastair Duncan's, The Paris Salons, 1895-1914: Volume I, Antique Collectors' Club, Woodbridge, Suffolk, 1994, page 251.
|Artist: Georges Fouquet|
|Signed: Stamp: G. Fouquet (French assay and maker's marks) 3105.|
|Dimensions: 4-1/4'' length x 3-1/4'' width|
|Item #: BO-18397|
|Price: $15,000 – Call: (212) 644-6400|
An Art Nouveau 18 karat gold sweet pea brooch in pink and green shaded enamel. On the open petal of the charming pink bloom is a silver-topped gold insect studded with 14 rose-cut diamonds weighing 15 carat and 2 cabochon ruby eyes that weigh .04 carat. With fitted box.
|Dimensions: 2'' long x 3/4'' wide|
|Item #: BO-19216|
|Price: $5,500 – Call: (212) 644-6400|
An Art Nouveau 15 karat gold and platinum bat brooch with two ruby eyes. Accompanied by a fitted box signed Wartski.
|Dimensions: 2" wingspan; 1/2" body length|
|Item #: BO-19141|
|Price: $8,500 – Call: (212) 644-6400|
A French Egyptian Revival 18 karat gold pendant necklace with opal, diamond, freshwater pearl and enamel by Antoine Bricteux. The necklace has one carved matrix scarab opal that measures 11.89 mm by 4.06 mm. It is accented with 21 Old European-cut diamonds with an approximate total weight of 1.00 carat, and a 5.50 mm freshwater pearl drop. It is suspended from an 18 karat gold chain and can be converted to be worn as a brooch.
|Artist: Antoine Bricteux|
|Signed: Makers mark for Antoine Bricteux|
|Dimensions: 3'' width x 3'' length|
|Item #: N-19312|
|Price: $35,000 – Call: (212) 644-6400|
A French Art Nouveau 18 karat gold, platinum and enamel brooch with pearl and diamonds. The brooch has a Baroque pearl measuring approximately 20 mm x 7.15 mm, and 5 old European-cut diamonds with an approximate total weight of .55 carat. The brooch is designed in the classic floral/whiplash Art Nouveau motif.
|Signed: French Assay Marks|
|Dimensions: 2-1/2'' length x 1'' width|
|Item #: BO-18599|
|Price: $12,500 – 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|