An important French Retro, 18-karat rose gold bangle bracelet with diamonds, rubies, and rose quartz, by Verger Frères. The hinged bangle bracelet is designed with terminals of rose quartz sphere clusters, each set with circular-cut rubies, approximate total weight 1.65 carats, flanked by old mine-cut diamonds with an approximate total weight of 1.30 carats, further highlighted by calibré-cut rubies with an approximate total weight of 1 carat. The Verger workshop was a successful, behind-the-scenes force creating jewels for Boucheron, Cartier, Tiffany, and Van Cleef & Arpels. Unlike those of many manufacturing jewelers, who merely produced work to order, Verger''s own original designs were particularly valued and sought after by these great Parisian Maison. Verger are known for their magnificent clocks featuring strongly defined shapes, stylized lines and global inspiration. For the Haute Joaillerie he created elaborate fancies of form and color contrast, as we see here in this important rose gold bracelet.
A French Art Nouveau porcelain vase by Georges de Feure, featuring a blue and pink floral decoration on a glazed cream-white ground. Made for La Maison Art Nouveau Bing. Similar vase in the collection of the Musée des Arts Décoratifs. Similar vases pictured in: "Art Nouveau Bing: Paris Style 1900" by Gabriel Weisberg, p. 204, pl. 198.
A French Art Nouveau covered porcelain jar designed by Georges de Feure and manufactured by Dufraisseix & Abbot, Limoges for Art Nouveau Bing. In the manner of de Feure''s renowned textiles, this piece is decorated with elegantly painted abstract floral and vegetal designs. Pictured in "The Paris Salons 1895-1914: Volume IV Ceramics & Glass" by Alastair Duncan, Page 159.
A Mid-20th Century patinated steel and gold dress set with cultured pearls by G.T. Marsh. The full dress set is composed of double sided cuff links, three dress studs and two dress buttons. The set is in a square geometric step motif with a pearl at the center. In the original signed Marsh box. G.T. Marsh & Co. was a San Francisco-based Asian art dealer known for their distinctive jewels. As a boy infatuated with Asian culture, George Turner Marsh apprenticed with a Japanese tea merchant, remaining there alone while his Australian family continued on to San Francisco, where they settled. Young George used his time in Yokohama to become conversant in Japanese art and aesthetics, and after re-joining his family, established an Asian art gallery using the expertise he had acquired. During the 1930s, 40s and 50s, his family began designing jewelry based on their interpretation of masterful Japanese metalwork together with the favored gems of the region, jadeite, coral and pearls. The firm''s unique steel jewelry was produced by bluing and sandblasting techniques, which gave the metal its matte finish, an extraordinary base for its sparkling, gleaming gems. "Marsh had a jeweler that worked exclusively for them. He was Italian, but he also liked shotguns and, because of his interest in shotguns, he had an interest in iron and metallurgy and what they did to rifles and shotguns t
o keep them from rusting. And the Marsh''s jewelry is steel that''s been treated with gun bluing. He sandblasted the steel before he gun blued it, that gives it this marvelous matte finish. And nowadays I don''t think there is anything more chic than the idea of black jewelry where the diamonds and the white gold absolutely pop and these marvelous pearls that he suspended have motion...The firm closed its doors in 2001." Barry Weber on the Antiques Road Show.
A French Art Nouveau games table by Emile Gallé, featuring inlaid fruitwood marquetry depicting thistles and card suit symbols. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 130, plate 1.
A French Art Nouveau "Ombelle" carved walnut table, by Emile Gallé. The table is decorated with fruitwood marquetry featuring a butterfly alighting on an ombelle blossom and has three carved feet. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 202, plate 182.
A French Art Nouveau games table in cedar and walnut by Emile Gallé, featuring inlaid marquetry when closed and open. When closed, the marquetry decoration is of tree branches with buds and flowers and can serve as an end table. Opened, the motif is more foliate. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 134, plates 8 and 8a.
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. 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 connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-se
en 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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