A French Art Nouveau mahogany Ecole de Nancy desk, featuring a hand-tooled leather top, letter rack and bronze drawer pulls with a floral motif. The rounded carved details also draw inspiration from vegetal forms.
A French Art Nouveau desk in walnut, veneer wood fruit and bronze by Louis Majorelle. The three drawers of the desk are decorated in marquetry with flowers. The same pattern is repeated on the desk''s upright piece, which features letter holders on both sides. The pulls on the two upper drawers are in the shape of flowers. The desk''s legs are deeply carved and sinuous. A similar desk is pictured in Alastair Duncan, "The Paris Salons Volume III, Furniture", Antique Collectors'' Club, England, 1996 variant reproduced on page 403 and in Alastair Duncan, "Louis Majorelle," Abrams, New York, 1991, page 99.
An early and unusual Tiffany Favrile glass Cypriote vase. The rounded body of the vase is decorated near the tapered neck and near the foot with an iridescent swirling motif in richly saturated tones of gold and ochre, framing a series of central pointed oval "window" panels of textured "Cypriote" glass, resting on a small circular foot, signed on the underside. Cypriote is a textured glass achieved at Tiffany Glass and Decorating Company by rolling glass over a marble or iron surface covered with pulverized bits of the same glass. Its iridescence and bubbles resembled the decomposed surface of Roman glass discovered during archeological explorations on the island of Cyprus, hence its name. Lava glass evolved from Cypriote glass by using thicker, brighter glass and dripping golden glass irregularly over the surface. Tiffany created a unique numbering system for his artistic glass. Beginning in 1892, glassware was progressively signed 1-9999. The next series deployed an "A" as a prefix, making it easy to date this "E" prefix vase to 1896. Vases with prefixes of J, N and V have dates confirmed by international exhibitions, as do vases with suffixes of J and M. Vases from 1928, the last year of production were signed with a suffix "W". It appears that starting in 1906 each new year ushered in a new letter. While the diligence of the Tiffany Studios records cannot be veri
fied due to a catastrophic fire that closed the factory in 1928, if one follows the logic of the numbering system it is possible that as many as 490,000 artistic vases were produced at the Tiffany Studios New York from 1892-1928. A similar vase is pictured in:" The Tiffany Collection of the Chrysler Museum at Norfolk," by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 59, cat. no. 57; and in: "Timeless Beauty: The Art of Louis Comfort Tiffany," Atglen, PA: Schiffer Publishing, 2016, p. 79.
An English Victorian 18 karat gold acrostic necklace. The heart charms consist of 161 rose-cut diamonds that have the approximate total weight of 3.20 carats. The center of these charms have 2 emeralds, with amethyst, ruby, sapphire and topaz that have the approximate total weight of .90 carat. Acrostic jewelry, which was immensely popular in the highly sentimental Victorian era, was actually originally introduced to the popular market by the famed French house of Mellerio, who created acrostic jewels for Marie Antoinette. A piece of acrostic jewelry is a piece that includes a series of center stones whose first letter of their common names spells out a word of affection. For example, this necklace, whose charms feature center stones of Diamond, Emerald, Amethyst, Ruby, Emerald (again), Sapphire and Topaz in that order is meant to say "DEAREST." Each of the heart-shaped charms in this particular piece features not only the meaning-filled center stone but also several carats worth of rose-cut diamonds, that encrust their faces.
Dimensions: Necklace 15" length; each charm 1/2" x 1/2".
A pair of French 18 karat textured gold "Chevalerie" earrings by Van Cleef & Arpels. The pendant hoop earrings designed with a complex geometric patterning that lends them significant visual interest. Circa 1972. Together with a letter of authenticity from Van Cleef & Arpels dated 14 February 2019. In the 1970s, Van Cleef & Arpels moved away from the gem-studded opulence of the post-war years and instead focused their efforts on creating dynamic forms out of precious metals. Inspired by the moon landing, simple, forms such as these earrings were modeled so as to appear "cratered." Important, too, as an influence was kinetic art, inspiring a new dynamism and sense of movement and patterning of the famed firm''s designs, strongly represented in these earrings. Voluminous but not overly heavy, the earpendants, with their unusual surface texture, represent a subtly different interpretation of the classic hoop design.
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