An Art Deco platinum and gold brooch with diamonds, ruby, emerald and lapis lazuli by Kohn. The brooch has 38 round-cut diamonds with an approximate total weight of 1.20 carats, with ruby and emerald accents. The base of the jardiniere is formed of a single piece of lapis lazuli banded with red and black enamel. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
A late Edwardian platinum brooch with diamonds and onyx. The brooch has milgrain-set old European-cut diamonds with an approximate total weight of 6.50 carats, H/I color grade, VS clarity, with baguette-cut onyx accents. The brooch is designed as a poppy blossom with articulated diamond-set knife-edge bars. With detachable brooch fitting.
A French Art Deco 18 karat gold brooch with sapphires and diamonds by Mauboussin. The brooch has 34 round sapphires with an approximate total weight of 2.00 carats, and 54 old European-cut diamonds with an approximate total weight of 1.35 carats. The butterfly brooch is composed in a high three dimensional motif with open-work gold wings.
An American Art Deco platinum brooch with diamonds by E. M. Gattle & Co.. The brooch has 168 old European-cut diamonds with an approximate total weight of 4.50 carats, and 5 square-cut diamonds with an approximate total weight of .75 carat. The total approximate diamond weight of the brooch is 5.25 carats, H/I color, VS clarity. The brooch centers on a dimensional jardinière flanked by pierced foliate elements with a milgrain set diamond border. E.M. Gattle Co. was founded by Emanuel Gattle in the latter part of the 19th century. Originally, E.M. Gattle & Co. was located on Broadway in the theatre district. In 1907, the company moved to the corner of 38th Street and Fifth Avenue and, later, to 55th Street and Fifth Avenue, next to the St. Regis Hotel. One of their notable customers was Enrico Caruso, who shopped Gattle stores for jewelry. However, he was not only a shopper of Gattle, he also allowed his name and photograph to be used in Gattle advertising. Gattle became successful until the time they closed their doors. The firm closed in 1940, a year before the outbreak of World War II. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
A French Art Deco platinum double clip brooch with diamonds by Ostertag. The double clip brooch has 182 round and baguette-cut diamonds with an approximate total weight of 9.50 carats, G/H/I color, VS/SI clarity. Original bill of sale from M.S.Arnold Ostertag. The clips are designed in a stylized wing motif. Signed box, ''Paris Arnold Ostertag''. The firm of Ostertag, founded in the 1920''s by Swiss-born, Arnold Ostertag (1883 – c.1940) is said to have created objects that rivaled the creations of the more celebrated houses of Cartier, Van Cleef & Arpels, and Boucheron. The Ostertag Maison was located in Paris, at number 16 Place Vendôme, near other important jewelry houses of the day.During the 1920s and 1930s, Ostertag was especially known for jewelry and objets d''art based on Asian and Indian designs. One style, known as Tutti Frutti, popular from the early 1920s to the late 1930s, combined influences from Islamic religious architecture and so-called Hindu or Indian styles. Emeralds, carved rubies, and sapphires – often imported from worldwide locations – were interspersed with diamonds. The jewels were crafted into unique pieces using the highest known techniques of the day and arranged into flowers and leaves, studded with berries and fruit. Many of the creations were purchased by an elite clientele that ranged from empresses, kings, and dukes to celebrities.Ostert
ag was among the renowned Parisian jewelers, led by Cartier and Mauboussin, that were invited to commission masterpieces in collaboration with other respected and well-known jewelry and timepiece houses of the day. Ostertag''s objets d''art and decorative clocks made by the revered clockmaker, George Verger, are jeweled works of art. In 1929 Ostertag exhibited jewelry and objets d''art at the Musée Galliera. Ostertag''s Paris shop continued until late 1939, when he left for America, where he died around 1940.His biographers, Proddow and Healy, write that Ostertag regularly visited America in years between World Wars I and II. They write that he would come to New York in mid-October, spend two months in Los Angeles, then visit Florida, and return to Paris via Cannes at Easter. After two months in Paris, he spent July in Deauville, August in the south of France, and September in Biarritz. At the onset of World War II, Maison Ostertag closed its doors forever. Discussed in Art Deco Jewelry by Sylvie Raulet, Rizzoli, 1985.
An Art Deco platinum and diamond double clip brooch designed in a stylized ribbon motif centering on two kite-shaped diamonds with an approximate total weight of .90 carat, surrounded by 170 old European-cut diamonds and 66 baguette-cut diamonds with an approximate total weight of 7.50 carats, H/I color, VS clarity. The brooch has a removable pin back which separates the clips.
A French Art Deco platinum and enamel brooch with diamonds and rubies. The brooch has 306 round diamonds with an approximate total weight of 8.75 carats, and 2 cabochon ruby accents. This dimensional brooch representing a dove, the symbol of peace and love, is of special significance, as it was produced as France and the European continent were heading towards war.
An Art Deco platinum bar brooch with diamonds and rubies by Cartier. The brooch centers on an old European-cut diamond that weighs just under 1.00 carat, 60 old European-cut diamonds that weigh approximately 2.80 carats. and 4 rectangular-cut rubies with an approximate total weight of .72 carat.
An Art Deco platinum brooch with onyx and diamonds. The brooch has 82 calibre-cut onyx stones with an approximate total weight of .40 carat, and 49 Old European-cut diamonds with an approximate total weight of 1.45 carats. The brooch is designed as a dimensional tied ribbon bow with an open work gallery in a stylized Art Deco motif.
An Art Deco brooch in platinum with diamonds and pearls. The brooch has 54 Old European- and rose-cut diamonds with an approximate total weight of 3.2 carats and a large center old mine-cut stone with an approximate total weight of 1.25 carats. The scrolling motifs in diamond and platinum at the top of the piece give way to striations of graduating pearls.
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.
An Art Deco plaque platinum brooch with emeralds, rubies, sapphires and diamonds around a central window with a rock crystal bottom on which pheasant and vegetal forms stand out as glycine. The plant forms and the bird are made with emeralds, rubies yellow and blue sapphires and calibrated rubies. These are based on a pavé of diamonds, with the window framed in an oval of diamonds with chatons and a fan at the bottom. The sides of the brooch are made with rubies, emerald and faceted onyx sapphires and set in cells, each one of them in a unique way, simulating a stained glass window. Vegetal forms of diamonds are applied on it. Approximate total weight of diamonds: 4.80 carats. Total approximate weight of colored stones: 4.00 carats.
A French Art Deco platinum, diamond and enamel jabot pin designed in a floral motif with flowers at each end, set with 100 old European-cut diamonds with an approximate total weight of 2.90 carats, and black enamel forming the two flowers. This type of brooch, usually long and vertically shaped, consists of a single central pin with two decorative ornaments at either end. The lower ornament, which either clicks or screws into place, is detachable, allowing the connecting pin to be slipped through the garment. When fastened, the pin is invisible, so the two ornaments seem to float on the fabric.In the 1920''s and 1930''s, Cartier was famed for its jeweled jabots, which it called cliquet pins or brooches (named for the "click" made when the detachable ornament is snapped on to the pin). Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
An American Art Deco platinum and enamel watch/brooch with diamonds, rubies and emeralds by Tiffany & Co. The watch/brooch has 215 round-cut diamonds with an approximate total weight of 4.65 carats, and 14 baguette diamonds with an approximate total weight of 1.00 carat, 20 square-cut diamonds with an approximate total weight of .90 carat, 6 cabochon rubies and 1 carved bead ruby with an approximate total weight of .52 carat and 11 cabochon and calibre-cut emeralds with an approximate total weight of .33 carat. "The style for decorative arts of the 1920''s was streamlined; form was reduced to basic geometry and the color palette was made strong and bold as opposed to the delicate pastels that were fashionable in the decades before the war. This trend became solidly established at the 1925 Paris Exposition des Arts Décoratifs, Industriels et Modernes, where visitors were electrified by the explosion of contrasting primary colors, geometric pattern and stylized natural subjects that burst on the scene," Falino and Markowitz. Similar pictured and discussed in American Luxury Jewels from the House of Tiffany, by Falino and Markowitz, editors, Antique Collectors'' Club, 2009, page 144, Plate 91. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
A set of two of French Art Deco 18 karat gold "lilac-leaf" clip brooches,the larger set with oval-cut green tourmalines, yellow heliodor beryls, yellow-gray beryls and aquamarines, highlighted by a single-cut diamond stem set in platinum, the second set with circular and oval-cut pink tourmalines, pale amethysts, and green tourmalines, both with medium-relief naturalistic modeling, by René Boivin. Executed under the leadership of famed Boivin designer Juliette Moutard, these spectacular pieces are as significant in the history of high jewelry as they are beautiful. These elegant brooches demonstrate the height of Moutard''s particular style: the refined, geometrically-rendered organic shape of the lilac leaf, the sensitive and masterful employment of color gradation, and the interplay of complementary shapes are all hallmarks of Moutard''s work for Boivin. The brooches have oval-cut tourmalines, green and yellow beryl, which together have and approximate total weight of 42.25 carats; aquamarines with an approximate total weight of 17.00 carats; and 30 single-cut diamonds with an approximate total weight of .70 carat. With authenticity report from expert Francoise Cailles. Boivin''s work is a remarkable exception to many of the presiding trends of the 1930s. For one, the house eschewed the stark, monotonous, and highly geometric Art Deco stye. While other firms continued
to churn out architecturally clean designs in diamond and platinum, Boivin maintained their commitment to celebrating color and the organic forms of the natural world. Also notable, and unusual for the time, is that Boivin was an all-female led firm. After the premature death of René Boivin in 1917, the firm would be led until its dissolution by his widow, Jeanne Boivin, and a host of brilliant female designers, among them Suzanne Belperron, Juliette Moutard and Germaine Boivin,
A French late Art Deco platinum brooch with diamonds and aquamarine by Cartier Paris. The brooch has 80 round, square and baguette-cut diamonds with an approximate total weight of 5.90 carats, centering on a hexangular aquamarine with an approximate total weight of 35.20 carats.
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