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.
A French Art Deco platinum double clip brooch with diamonds by Ostertag. The double clip brooch has 182 round and baguette-cut diamonds with an approximate total weight of 9.50 carats, G/H/I color, VS/SI clarity. Original bill of sale from M.S.Arnold Ostertag. The clips are designed in a stylized wing motif. Signed box, ''Paris Arnold Ostertag''. The firm of Ostertag, founded in the 1920''s by Swiss-born, Arnold Ostertag (1883 – c.1940) is said to have created objects that rivaled the creations of the more celebrated houses of Cartier, Van Cleef & Arpels, and Boucheron. The Ostertag Maison was located in Paris, at number 16 Place Vendôme, near other important jewelry houses of the day.During the 1920s and 1930s, Ostertag was especially known for jewelry and objets d''art based on Asian and Indian designs. One style, known as Tutti Frutti, popular from the early 1920s to the late 1930s, combined influences from Islamic religious architecture and so-called Hindu or Indian styles. Emeralds, carved rubies, and sapphires – often imported from worldwide locations – were interspersed with diamonds. The jewels were crafted into unique pieces using the highest known techniques of the day and arranged into flowers and leaves, studded with berries and fruit. Many of the creations were purchased by an elite clientele that ranged from empresses, kings, and dukes to celebrities.Ostert
ag was among the renowned Parisian jewelers, led by Cartier and Mauboussin, that were invited to commission masterpieces in collaboration with other respected and well-known jewelry and timepiece houses of the day. Ostertag''s objets d''art and decorative clocks made by the revered clockmaker, George Verger, are jeweled works of art. In 1929 Ostertag exhibited jewelry and objets d''art at the Musée Galliera. Ostertag''s Paris shop continued until late 1939, when he left for America, where he died around 1940.His biographers, Proddow and Healy, write that Ostertag regularly visited America in years between World Wars I and II. They write that he would come to New York in mid-October, spend two months in Los Angeles, then visit Florida, and return to Paris via Cannes at Easter. After two months in Paris, he spent July in Deauville, August in the south of France, and September in Biarritz. At the onset of World War II, Maison Ostertag closed its doors forever. Discussed in Art Deco Jewelry by Sylvie Raulet, Rizzoli, 1985.
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.
An Austrian Art Nouveau porcelain and silvered clock by Paul Follot. This clock heavily features the arabesquing line of the Art Nouveau movement, both in shape and in the relief decoration. Abstract blue flower buds decorate the clock in panels at the top and behind the clock face. The silvered clock face and pendulum are also decorated in the whiplash motif, which makes this clock a complete and total work of Art Nouveau. A similar clock is pictured in: Art Nouveau: The French Aesthetic, by Victor Arwas, London: Andreas Papadakis, 2002, p. 333; a similar clock is also pictured in the 1904 Louis Majorelle Catalog, in the "Les Algues" Chamber, near the end of the catalog.
A rare French Art Nouveau silver and plique-à-jour enamel "Capucines" clock with butterflies and nasturtiums by Eugène Feuillâtre. The front and sides of the clock are decorated with enameled orange flowers and green leaves. The top and back are gold-washed and heavily engraved with flowers and vines. The clock face features two painted butterflies. Provenance: Collection of Jerome Shaw, Florida A similar clock is pictured in: The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware, by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 255. Exhibited: La Société des Artistes Français, 1902.
An English Art Nouveau "Tudric" clock by Archibald Knox. The clocks has Roman numerals in relief. It is decorated with 12 abalone disks in two vertical columns. The clock hands are also decorated with abalone disks. This pewter and abalone clock is listed as model 097, for Liberty & Co. This clock is featured in A.J. Tilbrook and Gordon House, ''The Designs of Archibald Knox for Liberty & Co.'', 1976, p. 107 for an illustration of the model. Peter Barnet and MaryAnn Wilkinson, ''Decorative Arts 1900: Highlights from Private Collections in Detroit'', 1993 p. 14, cat no. 13 for a similar model. Stephen A Martin, ''Archibald Knox'', Academy Editions, 1995, p. 90 features a variant of this model.
A French Art Nouveau gilt bronze mantel clock and accompanying pair of three-branch candelabra by Charles Émile Jonchéry. The curvilinear shape of the clock, as well as the woman''s face in relief below the clock face, her tresses that merge with writhing vines and and the decorative vines and flowers that appear throughout the piece, exemplify the Art Nouveau aesthetic. Charles Émile Jonchéry designed numerous sculptural objets d''art that often combined female figures and floral motifs in the ornamentation of vases, lamps, clocks, inkwells, or fountains. These figural candlesticks and clock feature an asymmetrical design with characteristic Art Nouveau motifs: dreamy women and whiplash lines. The use of the pansy flower, whose French word "pensée" means both "thought" and "pansy", was a way of making these women into mysterious muses of thought, encouraging their owner to meditate on the passage of time and the imperative to live life to its fullest. Pictured in: "Dynamic Beauty: Sculpture of Art Nouveau Paris", by Macklowe Gallery, The Studley Press, 2011, p. 150.
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