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 pair of antique silver-top/18 karat gold rhodium plated earrings with diamonds. The earrings have 96 Old European-cut diamonds with an approximate total weight of 8.70 carats, (including large diamonds, approximate weight .75 carat each), H/I/J color, SI clarity. In the late 19th century, a revival of Georgian and French 18th-Century design took place. These pendeloque ear pendants exemplify this revival, as the majority of ear pendants of this age were set entirely with diamonds or a combination of diamonds and pearls. Similar examples of these earrings are illustrated in Earrings, by Daniela Mascetti and Amanda Triossi, Thames & Hudson, 1990, pgs. 71-76.
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 and 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 to the East Indian craft that attributed to the revival of Gilded Age America. This covered box is an example of such influence with a gold background and highlights with the 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.
A French Egyptian Revival 18 karat gold pendant necklace with boulder opal, diamond, freshwater pearl and enamel by Antoine Bricteux, Paris. Designed as a winged scarab carved in boulder opal, measuring 11.89 mm by 4.06 mm, within a surround of white en plein and indigo plique-a-jour enamel wings, with 21 old mine-cut diamond highlights, approximate total weight of 1.00 carat, and a freshwater pearl drop measuring approximately 5.50 mm, suspended from oval and rectangular trace link chain, convertible to a brooch, with original fitted box.Note: Exquisitely modeled and finished, this Egyptian Revival winged scarab necklace by Maison Bricteux, Paris, exemplifies the total freedom of imagination that characterized the Art Nouveau period. Centering a scarab carved from a boulder opal still in its seam of ironstone, within a surround of translucent plique-a-jour enamel feathers, the jewel demonstrates Art Nouveau''s restless exploration of unusual techniques and materials.The jeweler Antoine Bricteux ran a small boutique firm in the neighborhood of the Palais Royale, a center of the artistic luxury trade in Paris. Mention of his work appears in Henri Vever''s history of French jewelry, where Maison Bricteux is described as a "distinguished firm" which created "charming jewelry of modern inspiration." Bricteux collaborated with the designer G. Landois -along with the great firm
of Louis Aucoc -until Landois'' sudden death. Egyptian motifs such as the scarab have appeared prominently in European art since the Renaissance. Worn over the millennia in many societies as a favorite amulet, the scarab is identified with purity of heart. During the Art Nouveau period, it was a highly popular design motif along with winged women, who represented the imaginative liberty of the age.
An English Art Nouveau silver and enamel picture frame by William Hutton & Sons, Ltd. The frame features a fabric-covered wooden back with an easel support and with a clear glass face over original silk lining. Founded in 1800 and in family hands for well over a century, William Hutton & Sons was one of the few English silversmiths to successfully adapt the Art Nouveau aesthetic to English tastes. Around 1900 they produced a collectible line of silver picture frames featuring whiplash lines and attenuated floral forms. Many of their frames echo the Celtic Revival style of Archibald Knox for Liberty & Company, even adopting the brilliant blue and green enamel for which Knox was so famous. William Hutton & Sons Ltd wasn''t always classed as a limited company. The silverware company that became William Hutton & Sons Ltd started life as simply William Hutton in 1800, when William Hutton established his silverware firm in Birmingham. The company moved to Sheffield in 1832 when it became clear that the firm was well and truly active in the silversmith industry.After William''s death, the business was continued in the same style by his son William Carr Hutton; the name was subsequently changed to William Hutton & Son. This form of the business was a partnership between William Carr Hutton and his son Herbert Hutton. In 1863, two years before William Carr Hutton died, a showroom
in London was opened.William Carr Hutton died in 1865, and in about 1870 Herbert''s older brothers James Edward Hutton and Robert Hutton joined the business. The name was then changed to William Hutton & Sons to match the new circumstances.In 1893 the business acquired Rupert Favell & Co, a manufacturer silversmith based in London. That same year the company became limited -- William Hutton & Sons Ltd.PROVENANCE: Victor and Gretha Arwas, Editions Graphiques, London, circa 1983.Pictured in Victor Arwas, "Liberty Style," Tokyo, 1983, p. 118, no. S.24
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