A Victorian silver-top 18 karat gold, diamond, emerald, ruby and pearl brooch, featuring a depiction of the penultimate scene from the fable "Jack and the Beanstalk" in which Jack lures the giant by stealing the mermaid''s harp. A baroque pearl forms the tail of a sculpted 18-karat gold mermaid decorating the base of a lyre outlined with old mine-cut diamonds. The strings of the lyre are accented with emeralds, rubies, diamonds and a sapphire weighing approximately .30, .30, 1.75, and .05 carats respectively.
An Art Deco platinum and gold brooch with diamonds, ruby, emerald and lapis lazuli by Kohn. The brooch has 38 round-cut diamonds with an approximate total weight of 1.20 carats, with ruby and emerald accents. The base of the jardiniere is formed of a single piece of lapis lazuli banded with red and black enamel. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
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.
In this lavish brooch, Marcus & Co. offers a Mughal-style jewel interpreted through the lens of American masters of the Art Nouveau. Open to inspiration from great global art, Marcus created this intriguing ornament expressing Mughal sensibility and form, over-spilling with lustrous natural pearls and an emerald drop, gems the empire had eagerly imported from the Arabian Gulf and Colombia. The distinctive, highly-textured Marcus gold work, with its miniature scrolls, incised circles and tiny graduated beads, serves to enhance the fluid lines and organic presence. Wearable on a simple black ribbon or cord, the jewel is a statement of global vision and artistic virtuosity.The pendant-brooch is set with 10 semi-spherical pearls, 15 Old European-cut diamonds with an approximate total weight of 1.25 carats , suspending an emerald bead. 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 with a prominent court jeweler in Dresden. 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 r
ecognizable, 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 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, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created 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. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.
An Antique 18 karat gold butterfly brooch with diamonds, emeralds, rubies and sapphires. The dimensional butterfly brooch centers on an old European-cut diamond with an approximate weight of 1.00 carat. The brooch has an additional 82 Old European-cut diamonds with an approximate total weight of 2.00 carats. The brooch is further detailed with 7 bezel-set emeralds with an approximate total weight of .45 carat, 7 bezel-set rubies with an approximate total weight of .45 carat, and 2 bezel-set sapphires with an approximate total weight of .20 carat. The brooch has ruby-set knife-wire antennae.
A French Mid-20th Century platinum brooch with diamonds, sapphires, and emeralds by Cartier Paris. The brooch has pavé round-cut diamonds with an approximate total weight of 4.30 carats, a cabochon sapphire with an approximate weight of 4.70 carats, 44 cabochon sapphires with an approximate total weight of .88 carat, and 2 cabochon emerald eyes. Signed Cartier box. Note: A Cartier legend, the designer Jeanne Toussaint was a creative spirit at Cartier Paris for almost 40 years. Born in the late 19th century, Jeanne rose from almost inconceivably difficult circumstances of poverty and abuse to an influential position as a woman of style and intelligence. "PanPan" was the nickname given to her in honor of the elegant and fiercely independent nature associated with the wild panther itself. Winning the support and trust of Louis Cartier and the women tastemakers who were the firm''s most important clients, Jeanne led the Maison to success after success, guiding it through its most challenging periods. For the legendary Duchess of Windsor, she created one of her great "Panthere" jewels, a diamond-pavé, onyx-spotted feline perched on a giant Kashmir sapphire. Jeanne had not sought her client''s approval first - she was confident that the Duchess would buy it on the spot, and she did. The "Panthere" design, a byword for the spirit of Jeanne Toussaint, has remained one of the firm''s
most enduring symbols, embodied in this amusing rendition of the big cat playing with a sapphire ball. / "In 1914 Louis Cartier commissioned French painter George Barbier to draw a lady with jewels and a panther. The artwork was later used in advertising, and Cartier was inextricably linked with the symbol of this animal. Louis Cartier was the pioneer in taming the legendary creature and his associate Jeanne Toussaint went on to make magnificent use of the icon. The panther has since inspired timeless and elegant collections of jewelry and timepieces that show the multiple facets of the animal that can be at times bold, regal or sensual." -- "Amazing Cartier", by Nadine Coleno, Flammarion, 2008, p. 72.
An Art Deco plaque platinum brooch with emeralds, rubies, sapphires and diamonds around a central window with a rock crystal bottom on which pheasant and vegetal forms stand out as glycine. The plant forms and the bird are made with emeralds, rubies yellow and blue sapphires and calibrated rubies. These are based on a pavé of diamonds, with the window framed in an oval of diamonds with chatons and a fan at the bottom. The sides of the brooch are made with rubies, emerald and faceted onyx sapphires and set in cells, each one of them in a unique way, simulating a stained glass window. Vegetal forms of diamonds are applied on it. Approximate total weight of diamonds: 4.80 carats. Total approximate weight of colored stones: 4.00 carats.
An American Art Deco platinum and enamel watch/brooch with diamonds, rubies and emeralds by Tiffany & Co. The watch/brooch has 215 round-cut diamonds with an approximate total weight of 4.65 carats, and 14 baguette diamonds with an approximate total weight of 1.00 carat, 20 square-cut diamonds with an approximate total weight of .90 carat, 6 cabochon rubies and 1 carved bead ruby with an approximate total weight of .52 carat and 11 cabochon and calibre-cut emeralds with an approximate total weight of .33 carat. "The style for decorative arts of the 1920''s was streamlined; form was reduced to basic geometry and the color palette was made strong and bold as opposed to the delicate pastels that were fashionable in the decades before the war. This trend became solidly established at the 1925 Paris Exposition des Arts Décoratifs, Industriels et Modernes, where visitors were electrified by the explosion of contrasting primary colors, geometric pattern and stylized natural subjects that burst on the scene," Falino and Markowitz. Similar pictured and discussed in American Luxury Jewels from the House of Tiffany, by Falino and Markowitz, editors, Antique Collectors'' Club, 2009, page 144, Plate 91. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
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