A French Art Nouveau "Chardons des Sables" chest of drawers by Émile Gallé. The "Chardons des Sables" (sand thistle) commode is a moving meditation on mortality. Gallé created this piece in 1903, after he was diagnosed with leukemia. He died the following year. Gallé has rendered a vista redolent of a longing for return. The commode''s central "sand thistle" motif alludes to a passage in Victor Hugo''s poem Les contemplations, Paroles sur la dune (1854): Maintenant que mon temps décroît comme un flambeau Que mes tâches sont terminées; Maintenant que voici que je touche au tombeau Par les deuils et par les années, (...) Je regarde, au dessus du mont et du vallon, Et des mers sans fin remuées, S''envoler sous le bec du vautor aquilon, Toute la toisuon des nuées (...) Et je pense, écoutant gémir le vent amer, Et l''onde aux plis infranchissables; L''été rit, et l''on voit sur le bord de la mer Fleurir le chardon bleu des sables. Now that, like candlelight, my lifetime wanes And my tasks are complete; Now that I, passing years and faced with pains, Find the grave at my feet, (...) I watch, high over mountaintop and vale And ever-surging sea, Before the beak of that vulture the gale, The woolen clouds all flee. (...) So I reflect, hearing the wind''s harsh roar, And the wave''s boundless pow
er Though summer smiles, and on the sandy shore, See the blue sand thistle flower. Like Victor Hugo in Les contemplations, Paroles sur la dune, the sand thistle figured on the marquetry frontispiece is towards the end of its bloom season. Most of the flower heads have turned dark brown and three have detached from their rosettes only to blow away in the ocean gale. To understand the extent of Gallé''s thematic dedication, one need only look at a blackened sand thistle leaf located in the center back of the commode top. The leaf is of the same value as the aqueous background, rendering it nearly imperceptible. Though seemingly a superfluous detail, the leaf''s inclusion completes the piece''s narrative: the plant, like the artist, fades into oblivion. Gallé''s pairing of image and poem is steeped in Japanese tradition. Gallé believed that Japanese artists painted with a "spirituel pinceau" (spiritual brush) and that marine plants were "bulleuse calligraphie" (blistered calligraphy). Unlike his previous Hugo-inspired furniture, Gallé has opted not to include the refrains of the poem that inspired this piece in the marquetry. Instead the work itself has become the poem. Gallé had previously synthesized land and sea in his 1889 Flora Marina, Flora exotica jardiniere. While his prior explorations of the theme relied heavily on allegory and ornate high relief carving, the "Chardons des Sables" commode is a prime example of Gallé''s aesthetic maturation into a thoroughly modern artist. Gone are the ink and shellac outlines and the sand-shaded wood. Rather, Gallé has taken advantage of the striations, figuring and coloration of the natural veneer. The "Chardon des sables" commode stands on four short legs with five long drawers in a carcass of walnut. The first and fifth drawer feature umbelliferae friezes. The second to fourth drawer fronts are veneered with marquetry panels showing "Chardon des sables" in front of the sea. The sky background of the second and third drawer utilizes Burmese rosewood. While rays are a cell type present in all hardwoods, woods in which the rays appear as parallel minute dark stripes of wood are rare. This feature, termed "storied rays," are only found in choice species of tropical hardwoods. For the background of the commode''s frontispiece, the ray patterning serves as a secondary pattern to the dominant dark veining. In this way, although the sky and sea are represented by different wood species, the storied rays imbue the piece with a visual harmony. The Burmese rosewood used in the sky was selected so that the height between each striation decreased as it approached the horizon thereby creating a depth of field. The striation terminates two-thirds of the way down the third drawer. The uniformity from this point until the horizon line mimics the way in which clouds merge into a continuous layer in the deep background. The Le Champ du Sang commode, a piece created three years prior to this one, for the Exposition Universelle de 1900, was designed in a similar compositional formula: foreground flowers and low horizon line. The horizon line was articulated as a hard edge with two contrasting pieces of wood spliced together. The stillness of the scene is palpably felt. As opposed to Le Champ du Sang, the Chardons des Sables commode features a remarkably seamless transition between the sky and the undulating ripples of the sea. Recent close examination has confirmed that the pattern was formed by cutting a single piece of veneer using two different methods. This is evidenced by the wood''s ray arrangement. The first quarter of the drawer is uniformly colored with horizontally storied rays. In the undulating dark brown pattern of the bottom three-quarters of the drawer, the ray arrangement becomes varied (horizontally, obliquely and vertically.) Horizontal storied rays only become visible in crown cut veneer where the wood is cut tangentially to the growth ring. Meanwhile, the varied "storied ray" arrangement only becomes visible when the wood is rotary cut, wherein, the log is centered on a lathe and turned against a broad cutting knife set into the log at a slight angle. To create the veneer''s pattern, the wood must have first been rotary cut. The log had to be subsequently removed from the lathe, and a steam-powered band saw had to rip the wood precisely a few millimeters to the left and right of the rotary cut''s terminus. The method used in the fourth drawer was an extremely time-consuming and precise method of cutting-- all done for the sake of capturing the artist''s compelling personal vision. The characteristic dark-veined swirled grain rotary cut pattern combined with the pommele markings present throughout distinguish the wood as Bubinga, a wood sourced from Equatorial Africa. The density of the pommele-figured Bubinga causes a chatoyant (changeable luster) effect. The resultant sheen simulates the way that light dapples across the water, ideal for Gallé''s representation of the ocean. The work stands out not only in its exceptional artistic technique but also marks the culmination of a scientific career. A lifetime as a botanist had given Gallé a penchant for morphological accuracy. Gallé had previously depicted other species of brittle stars, namely the Striped Ophiolepis superba. While Ophiolepis superba features short to non-existent arm spines, Gallé has chosen to depict the long arm spined Ophiothrix fragilis (hairy brittle star). Using an astounding economy of means, Gallé articulated these spines using the natural wood texture of the Cocos nucifera (Red Coconut Palm.) The contrasting red-brown, black and light gray-brown fibrovascular bundles of the Coconut Palm respectively articulate the negative space between the spines, the shadows of each spine, and the delicate mucosal spines themselves. In another instance of material specificity, the bumpy conceptacles (reproductive cavities) on a bladderwrack are rendered by Gallé using birdseye-figured Acer saccharum (Sugar Maple.) Gallé collected and preserved a variety of seaweed and shell specimens while in the Keller villa. Charles Keller (alias Jacques Turbin) was an anarchist, activist, poet and archaeologist. Keller had built a seafront villa in Carnac, Brittany after the excavation in 1862 of the Saint-Michel Tumulus, a megalithic grave mound. He regularly invited Gallé to this seaside retreat, and even when Gallé returned to Nancy, Keller was sure to send new species to add to Gallé''s burgeoning herbarium. Gallé''s choice of motifs on the commode''s top go far beyond scientific interest in morphological accuracy. Integral to Gallé''s macchia is the dissimilarity of the stiff and flexible, the brittle and fluid. Unlike the closely-related sea star, brittle stars have sinuous flexing arms, giving their legs an efflorescent appearance. This quality makes the brittle star an ideal object of representation. Conversely, the thick stem of the star thistle reads to the viewer as kelp in this underwater milieu. At the point in which the marine becomes flora and flora becomes marine, the conceptual unity of the piece reaches its culmination. Hugo, Victor, E. H. Blackmore, and A. M. Blackmore. 2004. Selected poems of Victor Hugo: a bilingual edition. Chicago: University of Chicago Press. Gallé, Emile. 1908. Écrits pour l''art: floriculture, art décoratif, notices d''exposition, 1884-1889. Paris: Renouard. https://archive.org/details/critspourlartflo00gall. Pictured in: "The Paris Salons 1895-1914 Volume III: Furniture," by Alastair Duncan, Antique Collectors Club, 1996, page 235.
A French Mid-20th Century platinum, carved coral and diamond "Panthère" ring, by Cartier, Paris. The bombé form ring centering 84 pave-set round brilliant-cut diamonds, with an approximate total weight of 2.50 carats, accented by onyx spots, and flanked by gadrooned bands of carved coral, completed by a ridged and reeded shank. Together with certificates of authenticity nos. 0626 and 110898, signed by former archivist Eric Nussbaum, stating that the ring is an authentic Cartier jewel from 1965.Note: Cartier's Panthère design has exerted an enduring appeal since it was introduced in 1912, when Louis commissioned the artist Georges Barbier to create a representation of a chic woman with a black panther to express the daring spirit of the firm. Under Cartier's head jewelry designer (1932-1965) Jeanne Toussaint, whose audacious personality is said to have inspired the original image, the Panthère theme found its highest expression, represented by both figural and boldly abstracted jewels. Apart from Toussaint herself, an utterly modern woman, one of the design's famous adherents was the Duchess of Windsor, who commissioned the most audacious and original Panthère motif jewels.. This Panthère ring design belongs to a group of strong sculpural forms designed under Toussaint's direction in the 1950s and 60s. See Amazing Cartier: Jewelry since 1937, by Nadine Coleno, p 165.
An Antique English 18 karat gold and oxidized silver ring with ruby and diamonds. The ring has an oval ruby with an approximate weight of 2.13 carats, and 10 old mine-cut diamonds with an approximate total weight of 2.00 carats. The ring is composed in a classic English Raj cluster motif with bezel-set ruby and floral bezel-set diamonds. The shoulders of the ring are composed in an open work lyre motif. SSEF Swiss Gemmological Institute Report #76870 stating no heat indications and of Burma origin, dated 29 September 2014.
Dimensions: Ring size 6-1/2; this ring can be sized.
An Antique English 18 karat gold ring with diamonds. The ring has 5 old mine-cut diamonds with an approximate total weight of 5.30 carats, K-L color, SI clarity. The diamond center is approximately 1.60 carats, then descending diamonds each weighing approximately 1.25, 1.15, .65 and .65 respectively. The diamonds are K/L color, SI clarity. The shoulders of the ring are carved with a flame motif which swirls into the deeply carved open work swirl gallery.
Dimensions: Ring size 9-1/2; this ring can be sized.
An Antique 18 karat yellow gold ring with emerald and diamonds. The ring has an emerald-cut emerald with an approximate total weight of .80 carat, 4 old European-cut diamonds with an approximate total weight of .70 carat, and 2 rose-cut diamonds with an approximate total weight of .02 carat. The ring is designed in a classic 3-stone motif. The ring shank is later.
An Antique 18 karat gold, double serpent ring with diamonds. The ring has a 2 old European-cut pear diamonds with an approximate total weight of 1.00 carat, and 4 rose-cut diamonds with an approximate total weight of .04 carat. The ring is designed in a double serpent motif. Serpents and their symbolism are discussed in The Triumph of Love Jewellery 1530-1930, by Geoffrey C. Munn, Thames and Hudson, 1993,. "...this ancient symbol stressed the metaphor of eternal love. All kinds of snake jewels were popular gifts in the nineteenth century, not least because they carried this covert yet fundamental message to the recipient." Discussed in The Triumph of Love Jewellery 1530-1930, by Geoffrey Munn, Thames & Hudson, 1993.
Dimensions: Ring size 11-1/4; this ring can be sized.
An Antique silver-topped gold pendant with a diamond-studded pendant loop featuring two rings of old European-cut diamonds surrounding one exceptional, significant center stone. The center diamond is approximately 2.35 carats, surrounded by 10 old European-cut and old miners-cut diamonds with an approximate weight of 2.50 carat. There are an additional 15 old European-cut and old-miners cut diamonds on the exterior ring with an approximate weight of 7.50 carats. The detachable bail is set with 3 old European-cut and old miners-cut diamonds with an approximate weight of 0.65 carats, Overall VS-SI clarity, H-J color. This timelessly elegant piece can be worn as a pendant, a brooch or a hairpin. With fitted box.
An Edwardian ring featuring two pearls and 22 diamonds set in platinum, with an 18 karat gold shank. The two pearls, which stack up the finger, are elegantly framed by a naturalistic motif echoing the form of a clover made of pear-cut diamonds. The ring is further accented by leaf-like scroll forms studded with old European-cut stones in refined Edwardian brilliance. The diamonds have an approximate total weight of 1.5 carats.
We are committed to making this website available to as many people as possible and is engaged in continued efforts to ensure that this website is accessible to those with special needs, including those with visual, hearing, cognitive and motor impairments. Our efforts in that regard are ongoing. Many internet users can find websites difficult to use. We recognize that this is an important issue, and we are working to ensure that this website is accessible to all persons who wish to use it. Our efforts to improve this website in this regard are in process, so if you come across a page or feature you find inaccessible or difficult to use, please send your feedback to email@example.com.