An Antique 18 karat gold and enamel pendant cross with lapis lazuli. The pendant cross is designed in a Renaissance Revival style, intricately enameled and backed with lapis lazuli and inlaid gold. Hair locket. Inscribed "HAC" and "Obit July 6th, 1877".
A French bas-relief glass pâte-de-verre plaque by Henri Cros, depicting a mythical dragon or sea creature in hues of pink, against a crystal-like ground. This is an experimental plaque by the originator of the revival of the ancient pâte-de-verre process.
An American Art Nouveau gold, peridot, diamond and enamel ring by Marcus & Co. The unique Renaissance Revival motif features green enameled 18-karat gold, two round-cut peridots totaling approximately 1.60 carats, and 30 round-cut diamonds that weigh approximately 1.20 carats. The Renaissance Revival design influence is carried onto the ring shank, culminating in a diamond set into the ring shank bottom. This striking ring demonstrates the color sensitivity of the famed American firm, Marcus & Co. It is also a rare and interesting Art Nouveau example of a Toi et Moi ring, or a ring in which two stones or two types of stones dynamically cross over each other symbolically representing a romantic union. The Toi et Moi rings were popularized by no less than Napoleon Bonaparte when he scandalously proposed to his soon to be Empress, Josephine.The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. 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 s
ensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic 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, his brother William was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.
An Austro-Hungarian Etruscan Revival 18 karat gold necklace. The necklace is composed of 20 wire and bead-work embellished amphora. In Italy, goldsmiths had been reviving the Etruscan Archeological-style jewelry unearthed at Pompeii and the Greek jewelry found in the Museo Bourbonico since the early years of the 19th century. Along with the Italian Etruscan Revival jewelry, archeological revival jewelry was also made in Vienna in the in style presented in the discovered hoards unearthed in the Crimea, such as this necklace. Archeological jewelry is extensively discussed in Antique and 20th Century Jewellery by Vivienne Becker and Victorian Jewelry Design by Charlotte Gere.
An Art Nouveau enamel covered box by Louis Comfort Tiffany. The intricate design features vines with tendrils culminating in paisleys, almost replicating a Henna pattern. It is an example of Indian patterns that influenced Tiffany''s work. In the late 1870''s Tiffany''s partnership with Lockwood de Forest resulted in an introduction of East Indian craft motifs that contributed to their revival within the context of Gilded Age America. This covered box is an example of such influence, with its gold background and highlights of blue enamel paisleys. Several pieces of Tiffany''s enamelware are marked with a four-digit number preceded by an "S." Since there are only a handful of such objects available, it may be that Tiffany designed them for himself, or to fulfill special commissions. The Tiffany & Co. archives contains many drawings marked "S.O." for items sold as commissioned. Perhaps "S" was Louis Tiffany''s way of identifying those earmarked for an exhibition, a special client, or himself. A similar jar is featured in: "The Jewelry and Enamels of Louis Comfort Tiffany," by Janet Zapata, p. 69.
An English Antique 15 karat gold necklace with amethyst, diamond and pearl. The necklace has an oval cut amethyst approximately 9.50 carats, 30 old mine-cut diamonds with an approximate total weight of .30 carats, and 24 natural pearls approximately 2mm. With enamel plaques in a Renaissance Revival motif.
A Tiffany Studios New York Art Nouveau "Magnolia", gold, white, pink, red, and green enamel on copper vase, by Louis Comfort Tiffany. This bespoke "Magnolia" enamel vase was designed from watercolor renderings and photographs from the enamel department''s lead designer, Agnes Northrop. Northrop depicted the saucer magnolia (Magnolia soulangiana) on this enamel vase, an Asian variety that was hybridized in France and then introduced in this country in the early nineteenth century. Magnolias were among Tiffany''s favorite flowers, so much so that three "Magnolia" window panels decorated his first 72nd Street home and his garden estate, Laurelton Hall. In an interview for Town and Country Magazine, Tiffany compared his enameled vases against sapphires, topaz, opal, aquamarine, and other stones, and concluded that the enamels "showed much more depth and perspective than were found in the stones", an insight sensitively demonstrated in this monumental and masterful vase.Tiffany took a painterly, impressionist approach to his enamel work, in intentional contrast to renowned Japonesque and Renaissance Revival masters like Eugene Richet (enamel master for the house of Fontenay), Antoine Tard (enamel master for the house of Falize), and Paul Briançon (House of René Lalique). Much in the way that Tiffany used gemstones in his early jewels as mere means to achieve color effects and mome
ntary impressions of nature, here, his use of opulent, varicolored enamel conveys the essence of the flowers on the verge of full bloom, already overspilling the form.There was some minor touch up to the enamel at the top, otherwise it''s in lovely original condition. This Magnolia vase was exhibited in the Japanese leg of the Tiffany Masterworks exhibition that originated at the Metropolitan Museum of Art several years ago.
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