A French Art Deco platinum bracelet with diamonds by Okrant et Davidonniez. The flexible open work bracelet has 512 European-cut diamonds with an approximate total weight of 38.00 carats, 2 larger diamonds with an approximate total weight of 2.00 carats, and 2 smaller flanking diamonds with an approximate total weight of 1.00 carat, VS clarity, G/H/I color grade. With original box. The Okrant et Davidonniez workshop was located in Paris at 64 rue Lafayette. They produced jewelry for all the Place Vendôme fine jewelry houses, such as Van Cleef & Arpels, Cartier, Mauboussin, and Boucheron. The firm closed in 1939. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018. Similar bracelets are pictured in Art Deco Jewelry, by Sylvie Raulet, Rizzoli, 1984, page 84, 154.
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 important French Retro, 18-karat rose gold bangle bracelet with diamonds, rubies, and rose quartz, by Verger Frères. The hinged bangle bracelet is designed with terminals of rose quartz sphere clusters, each set with circular-cut rubies, approximate total weight 1.65 carats, flanked by old mine-cut diamonds with an approximate total weight of 1.30 carats, further highlighted by calibré-cut rubies with an approximate total weight of 1 carat. The Verger workshop was a successful, behind-the-scenes force creating jewels for Boucheron, Cartier, Tiffany, and Van Cleef & Arpels. Unlike those of many manufacturing jewelers, who merely produced work to order, Verger''s own original designs were particularly valued and sought after by these great Parisian Maison. Verger are known for their magnificent clocks featuring strongly defined shapes, stylized lines and global inspiration. For the Haute Joaillerie he created elaborate fancies of form and color contrast, as we see here in this important rose gold bracelet.
A French Mid-20th Century platinum, sapphire and diamond bracelet by Boucheron. The bracelet is made of alternating rows of round- and oval-cut blue sapphires with an approximate total weight of 16.45 carats, and baguette-cut diamonds with an approximate total weight of 16.65 carats, G/H color, VS clarity. Sapphires are untreated and no evidence of enhancement. The origin is Thailand and Cambodia (Pailin). American Gemological certificate #1092977
A French Belle Epoque 18 karat gold, platinum, diamond, pearl and Paillet enamel pendant watch necklace. The pendant watch has 26 old European-cut diamonds with an approximate total weight of 1.05 carats, 70 rose-cut diamonds with an approximate total weight of .70 carat, and 28 seed pearls. The back of the pendant has a Paillet enamel depicting putti, Aphrodite with doves in hand and Pandora. It can be counted as an example of the virtuoso enameling Paillet is known for. The platinum chain is composed of 4 diamond-set plaques. Similar pictured in Boucheron Le Joaillier Du Temps, by Gilles Neret, Conti, 1992, pages 49-50.
An Art Deco citrine and sapphire ring by Boucheron Paris. This handsome, architecturally striking ring features a center rectangularly-cut and warmly-colored citrine in an 18 karat gold bezel setting, flanked by two raised shoulders of sapphires and rectangular-cut citrines. The ring has a total of 9.8 carats of citrine, while the 12 calibre cut sapphire total 1.2 carat. It can be considered a fine example of the famed design strength and fine workmanship of the house of Boucheron.
A French Mid-20th Century 18 karat gold and platinum bombé ring with diamonds by Boucheron. The ring has 38 round-cut diamonds with an approximate total weight of 7.65 carats, H/I color, VS clarity and 20 baguette-cut diamonds with an approximate total weight of 2.00 carats, H-I color, VS clarity.
A pair of platinum- and gold-set diamond and ruby earrings by Boucheron. The earrings, housed in their original box from the mid-20th century, center on a semicircular raised cluster of 32 remarkably well matched rubies, total approximate weight 4.60 carats, surrounded by 30 round brilliant and 16 marquise-cut diamonds, approximate total weight 6.10 carats., mounted in platinum and 18 karat gold.The House of Boucheron was founded in 1858 by the young entrepreneur M. Frederic Boucheron, whose charming, generous nature and taste for daring design and superb gems attracted both the aristocracy and celebrities to his Paris salon. These bombé earclips, each composed of a tightly-set cluster of brilliant, rich red rubies within a scintillating diamond surround, represent a modern example of this classic French jeweler''s art.
A French Retro 18-karat gold bracelet with blue sapphires and diamonds by Boucheron. The flexible link bracelet has 72 cabochon blue sapphires with an approximate total weight of 2.20 carats, and old European-cut diamonds with an approximate total weight of 1.80 carats. The bracelet is composed of 4 dimensional half moons set with cabochon sapphires and diamonds from a double row of oval and rectangular "seed" links.
A French Late 20th Century 18 karat gold convertible necklaces/ long chain, by Soubrenie et Bois, Paris, composed of freely shaped navette form links highlighted by round briliiant-cut diamonds, joined by shaped trace link chain, separable to form nesting necklaces. The necklace has 60 brilliant-cut diamonds with an approximate total weight of 9.00 carats.The firm of workmasters Soubrenie et Bois manufactured for such high style Parisian makers as Cartier, Boucheron and Fred.
Signed: Soubrenie et Bois (maker''s marks), with French control marks.
A French mid-20th century 18 karat gold necklace by Frederic Boucheron. The necklace, which elegantly and seamlessly breaks apart into two wearable bracelets, is comprised of highly polished rounded triangular section links, with two mirroring section lying smoothly and luxuriously on the neck, and another section of the link vertically aligned, so as to create fabulous visual interest in the piece''s repetitive design.
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