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Marcus & Co. Art Nouveau 18kt Gold Black Opal and Enamel Stick Pin

This miniature representation of Renaissance Revival within the Art Nouveau period is set with a square black opal cabochon whose indigo and brilliant green swathes of color are echoed in its glowing enamel surround, highlighted by fleur-de-lis and scrolls. It would make a superb addition to any gentleman''s stick pin collection, or a glamorous gift for a showjumping or hunting equestrian to use as a stock tie pin. 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 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 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 exceptiona ... l 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.

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Marcus & Co. Art Nouveau 18kt Gold Black Opal and Enamel Stick Pin

Marcus & Co. Art Nouveau Pearl, Diamond and Emerald Brooch

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.

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Marcus & Co. Art Nouveau Pearl, Diamond and Emerald Brooch

Marcus & Co. Art Nouveau White Opal and Chrysoprase, Plique-à-Jour Enamel and Gold Pendant Brooch

This Art Nouveau pendant-brooch by Marcus & Co. presents a flowing form abstracted from the delicate shapes of flowers and leafy vines. Its subtle coloration comes from the use of unusual materials, such as rare chrysoprase and translucent plique-à-jour enamel, whose organic greens are set off by pools of spectral hues provided by the shimmering opals. Signature Marcus gold work, characterized by the miniature scrolls, incised circles, stippling, and graduated beads, adds to the organic feeling of the flowing form. Wearable on a simple black ribbon or cord, it is a statement of inspired naturalism. The pendant brooch is set with 6 cabochon white opals, 63 cabochon chrysoprase stones, and is highlighted by plique-à-jour enamel. Suspended from the brooch is an opal and chrysoprase pendant drop. Detachable brooch finding and flip-down bail. Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.  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 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 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.

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Marcus & Co. Art Nouveau White Opal and Chrysoprase, Plique-à-Jour Enamel and Gold Pendant Brooch

Georges Fouquet French Art Nouveau Opal and Silver Peacock Cloak Clasp

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.

Georges Fouquet French Art Nouveau Opal and Silver Peacock Cloak Clasp

Lalique Silver and Glass Brooch

A French Art Nouveau silver foil-backed molded glass brooch set in brass. The molded glass features a motif of embracing pheasants with elongated, twisting tail feathers. Signed LALIQUE. Pictured in René Lalique maitre-verrier 1860-1945, by Felix Marchilhack, Les editionsde l/amateur, 1989, page 549, Plate 1391.

Lalique  Silver and  Glass Brooch

Art Nouveau Brooch with Aquamarine, Diamond and plique-à-jour Enamel by Lalique

"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.

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Art Nouveau Brooch with Aquamarine, Diamond and plique-à-jour Enamel by Lalique

Art Deco Platinum, Diamond, and Enamel Jabot Pin

A French Art Deco platinum, diamond and enamel jabot pin designed in a floral motif with flowers at each end, set with 100 old European-cut diamonds with an approximate total weight of 2.90 carats, and black enamel forming the two flowers. This type of brooch, usually long and vertically shaped, consists of a single central pin with two decorative ornaments at either end. The lower ornament, which either clicks or screws into place, is detachable, allowing the connecting pin to be slipped through the garment. When fastened, the pin is invisible, so the two ornaments seem to float on the fabric. In the 1920''s and 1930''s, Cartier was famed for its jeweled jabots, which it called cliquet pins or brooches (named for the "click" made when the detachable ornament is snapped on to the pin). Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.

Art Deco Platinum, Diamond, and Enamel Jabot Pin

Mauboussin Late Art Deco Diamond, Sapphire and Gold Butterfly Brooch

A French Art Deco 18 karat gold brooch with sapphires and diamonds by Mauboussin. The brooch has 34 round sapphires with an approximate total weight of 2.00 carats, and 54 old European-cut diamonds with an approximate total weight of 1.35 carats. The butterfly brooch is composed in a high three dimensional motif with open-work gold wings.

Mauboussin Late Art Deco Diamond, Sapphire and Gold Butterfly Brooch