A pair of French Art Nouveau "Pommes de Pins" walnut armchairs by Louis Majorelle. The chair backs and seats are upholstered in green fabric. They have carved arms, legs and spindle sides. This model of arm chair was used in the bed chamber of Madam Majorelle. Pictured in: "Majorelle: Une Aventure Moderne," by Roselyne Bouvier, Paris: La Bibliothèque des Arts, 1991, page 118, plate 120.
"La Femme Couchée", A French Art Nouveau glass pâte-de-verre paperweight (press-papiers) designed by A. Finot and executed by Amalric Walter, cast in the form of a female nude with light brown hair reclining on a bed of leaves colored in various tones of yellowish/orange and green. A similar piece, entitled Femme couchée, is pictured in: La pâte de verre, by Nöel Daum, Paris: Edition Denöel, 1984, page 105, plate 129.
This exquisite Tiffany Studios "Tulip" table lamp features s brilliant red tulips with green leaves against a blue ground and sits atop a gilt bronze "Mock Turtle" base. Louis Comfort Tiffany first fell in love with the red tulip as a young man during his trips to the near east. While journeying through Persia and the Ottoman empire, Tiffany learned from his guide the lore and history of the Near East. Among his favorite stories was that of Farhad and Shirin, considered by many to be Persia''s Romeo and Juliet. The flowers are recreated with stunning realism. In some cases, all six petals of some of the blossoms can be seen. The tulips are ingeniously overlapped to create the illusion of depth. Because of the sky blue ground on the upper portion of the shade and the earthy tones present throughout the lower apron, one has the impression of gazing at a tulip bed on a sunny afternoon. The lamp base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors'' Club Ltd.: base, p. 110, cat. 454, base # 587; shade, p. 179, cat. 682, shade # 1546. A similar shade is also pictured in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 150, plate 212.
A French "Crab" pâte de verre vide-poche by Amalric Walter and Henri Bergé. The reddish-brown crab, with spots of deep yellow and deep green on its back, sits atop a bed of kelp on an elongated green and yellow dish. A similar vide-poche is pictured in: Amalric Walter (1870-1959), by Keith Cummings, Kingswinford: Broadfield House Glass Museum, 2006, p. 25, cat. no .30.
A pair of French Art Nouveau lithographs, "Dawn and Dusk," by Alphonse Mucha. These two panels, both representing reclining female figures, are among the few horizontal formats produced by Mucha. These two ladies represent the terminal points of the sun''s daily journey. Dawn is represented by a girl removing the coverlet from her nude torso as she looks towards the rising sun. Dusk is a somnolent beauty settling down in her bed under the last rays of the day. Some of the most delicate pastel shadings are used by Mucha to differentiate one from the other. Pictured in: "Alphonse Mucha, The Complete Posters and Panels", by Jack Rennert and Alain Weill, G. K. Hall, 1984, page 258-259, plate 70.
The Van Cleef & Arpels "Bagatelle" Bracelet:This French Mid-20th Century 18 karat gold "Bagatelle" bracelet with diamonds and sapphires by Van Cleef & Arpels was designed as a bed of gold beads scattered with sapphire and diamond blossoms, set with 58 round-cut diamonds, with an approximate total weight of 6.00 carats, G/H color, VS clarity, and 61 round-cut sapphires with an approximate total weight of 6.00 carats. Price: $65,000 – Call: (212) 644-6400Dating from the late 1940s/early 1950s, this chic bracelet represents the spirit of post-war rejuvenation and easy glamor. Sometimes worn two to a wrist, these bold bracelets defined the relaxed elegance of cocktail hour and women''s renewed social freedom. Its domed form, topped with playful beads, is scattered with richly colored sapphire and diamond blossoms, presenting a complex visual and tactile texture, and combining organic appeal with a sculptural quality. The master jeweler workshop that realized VCA''s design was Pery et Fils, who famously collaborated with the house on the Duchess of Windsor''s "Zip" necklace and the "Passe Partout" convertible jewels. This bracelet''s superb construction, with its exquisitely articulated, myriad micro-springs and hinges, is a creation of a lost jeweler''s art and is supremely flexible, soft and comfortable to wear.A similar bracelet is pictured in Van Cleef & Arpels, by S
ylvie Raulet, Rizzoli, 1986, page 236. VC&A devised a number of delightful variations using these design elements, sometimes variously named between the house and the trade. On page 131, Raulet explains that when the massed gold beads, referred to as the "Lawn" or in the market as "Couscous", was paired with "Hawaii" flowers, the overall design was called "Bagatelle".
A modern Karesa Cuff by Neha Dani. This 18 karat rose gold cuff mimics the naturally-undulating shape of an oyster''s bed, and is similarly embedded with a natural freshwater pearl. The piece is studded with 724 cognac- and amber-colored diamonds dynamically clustered so as to accent the bracelet''s elegant curvature. The colored diamonds weigh 18.23 carats, with a VVS clarity grade.
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