A French Art Deco platinum and diamond bracelet . The wide, flexible, openwork bracelet is composed of 3 diamond plaques centering on 3 Old European-cut diamonds that weigh approximately .95 carat, .85 carat and .80 carat. There are 411 old European-cut diamonds with an approximate total weight of 12.50 carats that form a geometric pattern. The larger diamonds are framed with 24 baguette-cut diamonds with an approximate total weight of 2.00 carats. The total approximate weight of the bracelet is 28.00 carats, G/H/I color, VS/SI clarity. Similar bracelets are pictured in Art Deco Jewelry, by Sylvie Raulet, Rizzoli, 1984, pages 84,154.
An Art Deco platinum necklace with diamonds. The necklace has 250 old European-cut diamonds with an approximate total weight of 9.00 carats, 27 mixed-cut diamonds with an approximate total weight of 5.50 carats, and 7 marquise-cut diamonds with an approximate total weight of 3.00 carats. The approximate total weight of the necklace is 17.50 carats, H/I color, VS/SI clarity. The necklace is designed in a strong Art Deco geometric motif with the central plaque suspending a graduated series of marquise diamond articulated tassels, and the clasp repeating the central plaque motif. Similar pictured in Art Deco Jewelry, by Sylvie Raulet, Rizzoli, 1984, page 124.
Dimensions: Necklace: 16-1/2" length; pendant element: 1-1/2" length x 3/4" width.
A French Retro 18-karat yellow and pink gold bracelet composed of 6 three-dimensional links in a "tank track" motif. Following World War II, jewelry makers in Europe and America made heavy geometric link bracelets popular. Their inspiration for these pieces were the wheel tracks from the tanks which were used so heavily during the war.
Signed: Unidentified Maker’s and French control marks
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 mahogany side table with carved decoration in an abstract curvilinear vegetal motif by Edouard Colonna (1862-1948). Along with Louis Comfort Tiffany, Edouard Colonna was one of the main designers who worked for Siegfried Bing and who, under Bing''s guidance, was responsible for the creation of what is known today as the Modern Style, or Art Nouveau. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. Colonna furniture, jewelry and designs for small objects like scarf and money holders would become the backbone of Bing''s business. By 1898 a number of his works were on display at Bing''s L''Art Nouveau. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 109.
A Tiffany Studios New York "Dragonfly" glass and bronze chandelier. This elegant chandelier is composed of a choice selection of glass, which makes this an exceptional example of Tiffany''s iconic dragonfly lamp. The dragonflies are composed of dark green glass bodies, variegated blue glass wings and red glass eyes. The cabochon glass jewels that surround this chandelier depict emeralds, sapphires and topaz. The two top and three bottom borders are made up of various colors of rippled glass. This exciting glass composition rests upon a ground of green, green/blue and brown glass. While Tiffany was largely credited for his company''s glass innovations during his lifetime, recent archival research has shed light on the unsung heroes behind his genius. Two such figures were responsible for the astounding effects of this dragonfly lamp: Tiffany had gone through four chemists before he landed on Arthur J Nash, a chemist previously employed at the White House Glass Works in Stourbridge. England. It was Nash''s formulas, developed from before his employment at Tiffany, that became the core of Tiffany''s palette. Nash was no stranger to experimentation, adding unconventional materials such as birch bark and burnt oats to create his amber glass. Clara Driscoll, head of the Tiffany Studios Women''s Glass Cutting Department, designed the dragonfly lamp, earning much acclaim for h
er artistic prowess in her time. (For more information on her work see "A New Light on Tiffany: Clara Driscoll and the Tiffany Girls," by Martine Eidelberg, Nina Gray, and Margaret K. Hofer, 2007.) Louis Comfort Tiffany''s "Dragonfly" lamps have become so iconic and loved because the artisans who made them were not limited in color as they were when making floral and geometric shades. We can imagine that the dragonflies that adorn the lower edge of the shade are flying low across a verdant field. Similar chandeliers are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 230, plate 891-893.
A French Retro 18 karat gold bracelet. The 8 link bracelet is composed of geometric pink and yellow gold graphic dimensional sections. Following World War II, jewelry makers in Europe and America made heavy geometric link bracelets popular. Their inspiration for these pieces were the wheel tracks from the tanks which were used so heavily during the war.
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