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Louis Majorelle French Art Nouveau "Orchid" Table

A French Art Nouveau two-tiered ""Caltha des Marais" table with ormolu mounts by Louis Majorelle. The table was created at the height of Majorelle''s most fertile period. While pastiches marked Majorelle''s early career, Majorelle''s mature style reduced the excessive ornament of the ancien regime into the fluid line of modernity. This reduction is most apparent in the table''s skirt, where the baroque swag motif transforms into a graduating concave form. The table''s ormolu mounts are bereft of foliate scrolls and grotesque motifs. Instead, Majorelle''s sophisticated naturalism takes inspiration from the flowers of his native Nancy. Marsh marigolds form the top of each mount. Among the few flowers to grow in the caliginous marshes, their yellow petals are a welcome respite to the eye. So loved was the marsh marigold that Shakespeare proclaimed they grew at heaven''s gate, "Hark, hark! The lark at heaven''s gate sings...His steeds to water at those springs, On chaliced flowers that lies; And winking Mary-buds begin, To ope their golden eyes." The marsh marigolds terminate in "saggitaire fleche d''eau" or arrowhead leaves. Both flowers were endemic to lakes in the Vosges region. The tabletop is set with Amboyna burl veneer. Amboyna veneer is among the world''s rarest and most expensive veneers — holding the distinction of being the original wood used on Rolls Royce dashboards. ... Against the sobriety of the walnut skirt, the Amboyna burl gives the table an air of luxury. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396 (Chairs and tables Salon, 1904); and in: "Louis Majorelle: Master of Art Nouveau Design," by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, plate 57.

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Louis Majorelle French Art Nouveau 'Orchid' Table

Marsh & Co. Mid-20th Century Jadeite Jade, Diamond, Steel and Platinum Ring

An American Mid-20th Century oxidized steel, platinum, jadeite and diamond ring, by G. T. Marsh & Co. The ring set with a marquise-shape jadeite cabochon, flanked by lines of 8 round diamonds with an approximate total weight of .16 carat. G.T. Marsh & Co. was a San Francisco-based Asian art dealer known for their distinctive jewels. As a boy infatuated with Asian culture, George Turner Marsh apprenticed with a Japanese tea merchant, remaining there alone while his Australian family continued on to San Francisco, where they settled. Young George used his time in Yokohama to become conversant in Japanese art and aesthetics, and after re-joining his family, established an Asian art gallery using the expertise he had acquired. During the 1930s, 40s and 50s, his family began designing jewelry based on their interpretation of masterful Japanese metalwork together with the favored gems of the region, jadeite, coral and pearls. The firm''s unique steel jewelry was produced by bluing and sandblasting techniques, which gave the metal its matte finish, an extraordinary base for its sparkling, gleaming gems.

Marsh & Co. Mid-20th Century Jadeite Jade, Diamond, Steel and Platinum Ring

Marsh Mid-20th Century Steel and Pearl Dress Set

A Mid-20th Century patinated steel and gold dress set with cultured pearls by G.T. Marsh. The full dress set is composed of double sided cuff links, three dress studs and two dress buttons. The set is in a square geometric step motif with a pearl at the center. In the original signed Marsh box. G.T. Marsh & Co. was a San Francisco-based Asian art dealer known for their distinctive jewels. As a boy infatuated with Asian culture, George Turner Marsh apprenticed with a Japanese tea merchant, remaining there alone while his Australian family continued on to San Francisco, where they settled. Young George used his time in Yokohama to become conversant in Japanese art and aesthetics, and after re-joining his family, established an Asian art gallery using the expertise he had acquired. During the 1930s, 40s and 50s, his family began designing jewelry based on their interpretation of masterful Japanese metalwork together with the favored gems of the region, jadeite, coral and pearls. The firm''s unique steel jewelry was produced by bluing and sandblasting techniques, which gave the metal its matte finish, an extraordinary base for its sparkling, gleaming gems. "Marsh had a jeweler that worked exclusively for them. He was Italian, but he also liked shotguns and, because of his interest in shotguns, he had an interest in iron and metallurgy and what they did to rifles and shotguns t ... o keep them from rusting. And the Marsh''s jewelry is steel that''s been treated with gun bluing. He sandblasted the steel before he gun blued it, that gives it this marvelous matte finish. And nowadays I don''t think there is anything more chic than the idea of black jewelry where the diamonds and the white gold absolutely pop and these marvelous pearls that he suspended have motion...The firm closed its doors in 2001." Barry Weber on the Antiques Road Show.

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Marsh Mid-20th Century Steel and Pearl Dress Set

Marsh Mid-20th Century Patinated Steel, Palladium, Pearl and Diamond Ring

An American patinated steel, palladium, mabé pearl and diamond ring, by G.T. Marsh. The ring centers on a 15.4mm Mabé pearl flanked by 6 round brilliant-cut diamonds with an approximate total weight of .30 carat, mounted in patinated steel, completed by a palladium shank. G.T. Marsh & Co. was a San Francisco-based Asian art dealer known for their distinctive jewels. As a boy infatuated with Asian culture, George Turner Marsh apprenticed with a Japanese tea merchant, remaining there alone while his Australian family continued on to San Francisco, where they settled. Young George used his time in Yokohama to become conversant in Japanese art and aesthetics, and after re-joining his family, established an Asian art gallery using the expertise he had acquired. During the 1930s, 40s and 50s, his family began designing jewelry based on their interpretation of masterful Japanese metalwork together with the favored gems of the region, jadeite, coral and pearls. The firm''s unique steel jewelry was produced by bluing and sandblasting techniques, which gave the metal its matte finish, an extraordinary base for its sparkling, gleaming gems.

Marsh Mid-20th Century Patinated Steel, Palladium, Pearl and Diamond Ring

Tiffany Studios "Millefiori" Vase

A Tiffany Studios New York monumental glass "Aquamarine" vase, featuring iridescent yellow, blue and brown marsh marigolds against an iridescent aquamarine ground. The vase''s featured flower, the marsh marigold (Caltha palustris), was a common spring wildflower that was often seen in the marshy areas on the grounds of Tiffany''s garden estate, Laurelton Hall. While the marsh marigold motif was previously used in Tiffany''s Metalwork and Enameling Department, what distinguished Tiffany''s aquamarine vases was the decision to view an above-ground flower through a lens of water. Like many of his fellow fin-de-siècle aesthetes, Tiffany frequently vacationed in the Bahamas, at Nassau, on New Providence Island. Inspired by the island''s lush marine and aquatic life, Tiffany sent Arthur Sanders, one of his gaffers, to tour the island in a glass-bottomed boat. Invented in 1878, the glass-bottomed boat consisted of two or three decks and almost no bottom, in place of which were great panes of glass or windows. No longer impeded by the water''s optically erratic surface, tourists could view the ocean''s bottom through the boat''s floor, similar to the view through a scuba diver''s mask. The glass-bottomed boat thereafter became a popular tourist attraction in many island locales. Tiffany encased his designs in thick layers of green glass to emulate the intimate view of the glass-botto ... med boat. The complex process of internal decoration meant few vases survived the vase''s cooling stage. The artistic value and technical difficulty of the Aquamarine vases were reflected in their high price of $300.

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Tiffany Studios 'Millefiori' Vase

Tiffany Studios "Marsh Marigold" Planter

A Tiffany Studios bronze "Marsh Marigold" planter, featuring a repeating pattern of marsh marigold leaves and vines around the gilt bronze base. The marsh marigold was included in one of the first four "Dragonfly" lamps made in April, 1899, entitled "Dragonfly and Water Flowers." The lamp was a collaboration between the female designers Clara Driscoll and Alice Carmen Gouvy. Gouvy, who would later design for the Metalwork and Enameling Department created this breathtaking naturalistic design. The planter has faint reddish enameling in the design to give the illusion of a fierce sunset peeking through a dense underbrush. The truly organic shape of the leaves featured is highlighted by the undulating modeling of their forms. Identical model planter pictured in "Louis C. Tiffany's Glass - Bronzes - Lamps: A complete collector's guide", by Robert Koch, page 224.

Tiffany Studios 'Marsh Marigold' Planter