A pair of Spanish Art Nouveau armchairs with giltwood frames by Joan Busquets. Made for Antonio Gaudi''s Palacio Güell, Barcelona, Joan Busquets crafted much of Gaudi''s furniture. A member of a family that was long involved in the design and manufacture of furniture in Spain, Joan Busquests was a proponent of Art Nouveau and modernism at the turn of the 20th century Spain. Most often associated with the architect and designer Antonio Gaudi and the movement specific to the Catalan region of Barcelona, Busquets''s designs encompass a broader range of European Art Nouveau, particularly those of France and Belgium. His furniture is often reduced in scale, embodies the rococo in an inventive way and uses gilding to enhance and lightened design, as well as to serve as a reflective element. This chair model looks identical to a suite of furniture designed in collaboration with Antonio Gaudi for the Güell Palace, Barcelona that is pictured in situ in a photograph from the palace. These chairs appear to be identical to those pictured. From 1840 on, Joan Busquets produced furniture for numerous distinguished clients in Barcelona, and also supplied the aristocracy in Madrid, Cuba, Puerto Rico and the republics of Central and South America. The leitmotiv of Busquets''s firm was the golden sunflower with sinuous stem (to which must be added other motifs based on flora and fauna, suc
h as lilies, orchids and snails), evident in his furniture designs. Provenance: Pedro Uhart, Paris Allan Stone Gallery, New York (acquired from the above ca. 1986) Exhibited: New York, Allan Stone Gallery, Furniture by Gaudi and Busquets, September 9 - November 26, 1996. New York, Allan Stone Gallery, Nouveau to Modern: Transitions in Art and Design, January 16-March 2, 2013.
A suite of three English Victorian silver-plated objects by Elkington & Co. The suite comprises a pair of four-light candelabra and an epergne. Each candelabrum is decorated with three sphinxes that sit atop a splayed paw-footed platform. The stem and arms are adorned with a classic foliage decoration. The epergne is ornately decorated and accented with enamel work surrounding the "Three Graces;" daughters of Zeus who were said to represent youth, beauty, mirth and elegance. The graces presided over banquets and gatherings, to delight the guests of the gods. Elkington & Co. was founded by George Richards Elkington and his brother Henry Elkington in the 1830''s. The company, over the years, was very successful and known to be a prime producer of silver-plated objects. Elkington received various royal warrants of appointments including an appointment from the emperor of Austria.
An American mid-20th century 18 karat Retro gold brooch and earrings suite with rubies, diamonds and turquoise by John Rubel. The brooch is an openwork bloom comprised of large gold loops studded with accenting rubies that expertly play with the negative space. Three raised clusters of turquoise and ruby, each centering on a diamond, make up the center of the bloom, while matching clusters make up the earrings. The brooch has 88 round-cut rubies with an approximate total weight of 5.85 carats, 3 round-cut diamonds with an approximate total weight of .95 carat, and 69 cabochon turquoise. The earrings have 10 round rubies that have the approximate total weight of 1.60 carats and 5 round diamonds with the approximate total weight of .60 carat. With original box. The Retro jewelry period took place directly before and during World War II. As a reaction to the dire world conflict, jewelry became bolder, brighter, and more light-hearted. Unlike the Art Deco style, Retro jewelry has soft curves and feminine motifs, set off against the severe silhouettes of women''s war-time wardrobes. Gold regained popularity, as platinum was essential to the war effort and scarcely available for commercial use. Different colors of gold, such as yellow, rose, and green, were used in striking combinations. Popular gemstones including non-traditional stones, such as turquoise, were suddenly in vogu
e, and were used widely, as they are beautifully employed in this suite. Patriotic themes were also popular, and blue stones and rubies were often paired together with diamonds and open work to convey a message of patriotism. Three-dimensional sculptural ribbons, bows, and folds made out of metal were common, as they conveyed a sense of victory and celebration that all were hoping for.
A French Art Nouveau dining suite featuring a dining table with two custom leaves, a set of six mahogany dining chairs with tooled leather and brass tacks and a sideboard featuring a mirror, bronze accents and a marble top by Camille Gauthier & Paul Poinsignon. The sideboard is carved with berries and leaves. It has bronze inlays and a bronze drawer-pull in a sinuous leaf and twisted vine motif. The berries and leaves are also carved into the legs and base of the table. Each tooled leather chair back is affixed with bronze studs and decorated with a different floral image. Dimensions: Dining Table: 29-1/2'''' high x 45'''' wide x 50-1/2'''' long, extends with three leaves to 122-1/2".Dining Chairs: 38¾'''' high x 17'''' wide x 17'''' deep.Sideboard: : 62¾'''' high x 51'''' wide x 21'''' deep.
A Mid-20th Century 18 karat gold, sapphire, ruby and diamond "Bagatelle" ring by Van Cleef & Arpels, New York. The bombé form features a ruby, sapphire and diamond "Hawaii" floral motif: 6 round-cut sapphires with an approximate total weight of .66 carat, 13 round-cut rubies of approximately 1.40 carats, and 9 round-cut diamonds of approximately 1.15 carats. Dating from the 1950s, this chic ring represents the spirit of post-war rejuvenation and easy glamour. Sometimes worn two to a hand, these bold, domed rings expressed the relaxed elegance of cocktail hour and women''s renewed social freedom. The bombé form, topped with playful beads, is scattered with richly colored, gemmy flowers, combining organic appeal with a sculptural quality. The ring''s volume is perfectly distributed and sits balanced on the hand.Representing the spirit of joyful post-war rejuvenation and easy glamor, this stylish suite, dating from the 1950s, comprises domed earclips and a bombé-form ring. The jewels belong to a chic and original VCA collection of bold, colorful designs which exemplified the relaxed elegance of cocktail hour and women''s renewed social freedom. The domed, voluminous forms, scattered with gemmy blossoms, have an organic appeal characterized by the pleasing asymmetry of nature. The little jeweled flowers, interspersed with playful gold buds, lent the design its name, "Hawaii
". A reference to the islands'' climate of eternal spring, the motif derives from the plumeria flower. Like these sensational jewels, plumeria forms dense clusters of vivid blooms composed of perfectly formed petals, while, sprinkled among them, tight buds promise to unfold.
An English Victorian 18 karat gold and amethyst parure of a rivière necklace and drop earrings. The rivière features 20 deeply-colored oval amethysts on a horizontal orientation set into delicate pie-crust collets that have an approximate total weight of 220 carats. The suite also includes a pair of drop earrings with two beautifully-colored pear-cut amethysts and two circular-cut amethysts that have the approximate total weight of 8.50 carats. With fitted box.
Dimensions: Necklace: 17" length; earrings: 1-3/4" length x 3/8" width
A chic statement of modernist abstraction, this highly flexible 18 karat gold necklace of stylized palmette leaves converts into two bracelets for versatile wear. Expressing the post-war Retro spirit with bold forms and freedom from ornament, this necklace/bracelet combination, with its soft-edged links, offers easy glamour and understated luxury. A version of this necklace is held in the collection of the Boucheron Archives in Paris. Boucheron Paris has been at the intersection of versatility and avant-garde design since "Monsieur Frédéric" founded the firm as a young man in 1858. With money borrowed from friends and family, Boucheron opened a small but opulent salon offering expensive modern jewels which appealed to the most daring buyers, including the tastemakers of the Russian aristocracy and the Parisian demi-monde. A friendly man, and a calm and graceful risk-taker himself, Boucheron was a creative force and benevolent presence in the Parisian jewelry world. While many houses were looking back to historical styles for inspiration, Boucheron re-introduced naturalism into jewelry arts with novel forms that were delightfully surprising in their asymmetry and unusual, exquisitely-handled materials. Suites of convertible jewels, popular among women clients buying for themselves such as the American expatriate Marie-Louise Mackay, were a specialty. Numerous innovations, am
ong them engraved diamonds, "scarf" necklaces of woven gold and platinum, and the re-discovery of the technique of plique-a-jour enamel (a patent he held but never enforced against others), gained the firm several prizes at the international expositions, as well as a devoted elite clientele and worldwide reputation.
A pair of French Mid-20th Century 18 karat gold ear clips by Van Cleef and Arpels with diamonds, rubies and sapphires. The 12 round-cut diamonds have the approximate total weight of 1.68 carats and the approximate total weight of the 24 round sapphires and rubies is 2.00 carats. Dating from the 1950s, these stylish earclips represent the spirit of joyful post-war rejuvenation and easy glamour. They belong to a chic and original VCA collection of bold, colorful jewelry, informally named "couscous", which exemplified the relaxed elegance of cocktail hour and women''s renewed social freedom. The domed, voluminous forms, topped with playful beads, center richly colored, gemmy blossoms, combining organic appeal with a sculptural quality. The ear clips are precisely modeled to hug the ear close to the face.Representing the spirit of joyful post-war rejuvenation and easy glamor, this stylish suite, dating from the 1950s, comprises domed earclips and a bombé-form ring. The jewels belong to a chic and original VCA collection of bold, colorful designs which exemplified the relaxed elegance of cocktail hour and women''s renewed social freedom. The domed, voluminous forms, scattered with gemmy blossoms, have an organic appeal characterized by the pleasing asymmetry of nature. The little jeweled flowers, interspersed with playful gold buds, lent the design its name, "Hawaii". A ref
erence to the islands'' climate of eternal spring, the motif derives from the plumeria flower. Like these sensational jewels, plumeria forms dense clusters of vivid blooms composed of perfectly formed petals, while, sprinkled among them, tight buds promise to unfold.
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