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Art Nouveau Gold and Plique-à-Jour Enamel Cockatoo Brooch

An Art Nouveau 18 karat gold and plique-à-jour enamel bird brooch, featuring a stylized depiction of a dimensional cockatoo set on a green and red plique-à-jour enamel foliate panel with gold trim.

Art Nouveau Gold and Plique-à-Jour Enamel Cockatoo Brooch

Marcus & Co. Art Nouveau Opal and Gold Stick Pin

An American Art Nouveau 18 karat gold stick pin with enameling and black opal by Marcus & Co. The stick pin has a cabochon opal surrounded with four enamel side sections decorated with gold relief arabesque designs. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother William was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and ... their work won prizes at the prestigious Society of Arts & Crafts of Boston. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.

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Marcus & Co. Art Nouveau Opal and Gold Stick Pin

Louis Zorra Art Nouveau Diamond, Amethyst, Pearl and Plique-à-Jour Enamel Brooch

An Art Nouveau 18 karat gold and plique à jour brooch with diamond, amethysts and pearl by Louis Zorra. The brooch has an old mine-cut diamond with an approximate total weight of .65 carat, 21 round bezel-set amethysts with an approximate total weight of 1.10 carats, and a hanging, enamel-capped pearl. Similar pictured in "Imperishable Beauty Art Nouveau Jewelry", by Yvonne J. Markowitz and Elyse Zorn Karlin, "MFA Publications Museum of Fine Arts", Boston, 2008, pages 8 and 68. "Zorra was possibly born in Italy, working in Paris during the Art Nouveau period)...he moved to Paris from Asti, Italy, and exhibited at the Salon des artistes français, receiving an honorable mention in 1902." Markowitz and Karlin in Imperishable Beauty, pg. 151.

Louis Zorra Art Nouveau Diamond, Amethyst, Pearl and Plique-à-Jour Enamel Brooch

Kohn Art Deco Diamond, Ruby, Emerald and Lapis Lazuli Jardiniere Brooch

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.

Kohn Art Deco Diamond, Ruby, Emerald and Lapis Lazuli Jardiniere Brooch

Hunt & Roskell London Antique Diamond, Pearl, Gold and Enamel Bracelet

An Antique English 18 karat gold, diamond, natural pearl and enamel hinged bracelet by Hunt & Roskell of London. The bracelet features 84 old mine- and rose-cut diamonds that have the approximate total weight of 2.70 carats. The natural pearl center plaque of the bracelet is removable and can be worn as a brooch. The center pearl measures 8.55 mm. with 4 additional pearls that measure 5.9 mm. With original brooch attachments and original signed fitted box. Selected as jewelers and goldsmiths to Her Majesty in the 1840s, Hunt & Roskell of New Bond Street were prominent participants in the Crystal Palace Exhibition of 1851, the first of the competitive international expositions that provided dynamic impetus to creativity and accomplishment in the fine and decorative arts. Their work ran from glamorous (diamond and gem-set tiaras convertible into necklaces) to exotic (bracelets set with rare Indian portrait diamonds), and they were owners for a time of the legendary Hope blue diamond. In keeping with the firm''s tradition of versatility, this chic bracelet, with its creamy natural pearls set off by sparkling antique-cut diamonds, conceals a brooch fitting under the velvet interior of its original morocco leather box.

Hunt & Roskell London Antique Diamond, Pearl, Gold and Enamel Bracelet

French Art Nouveau Plique-a-Jour, Diamond, and Pearl Pendant/Brooch

A French Art Nouveau 18 karat gold, plique-a-jour enamel, diamond and pearl brooch. The brooch centers a relief portrait of a young woman with flowing hair among flowering vines on a plique-a-jour enamel ground with foliate old mine and rose-cut diamond accents weighing approximately 0.25 carat, suspending a freshwater pearls. With French assay mark.

French Art Nouveau Plique-a-Jour, Diamond, and Pearl Pendant/Brooch

Marcus & Co. Art Nouveau Pearl, Diamond and Emerald Brooch

An Art Nouveau brooch with pearls, diamonds and emerald by Marcus & Co. The brooch has 10 semi-spherical pearls, 15 Old European-cut diamonds with an approximate total weight of 1.25 carats and a polished emerald drop. Gemological Institute of America certificate #2171449596 states the pearls are natural saltwater button pearls. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother William was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-se ... en black opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. Plique-a-jour enamel was an art in which Marcus & Co. excelled, creating jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.

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Marcus & Co. Art Nouveau Pearl, Diamond and Emerald Brooch

Marcus & Co. Art Nouveau White Opal and Chrysoprase, Plique-à-Jour Enamel and Gold Pendant Brooch

An American Art Nouveau 18 karat gold and enamel pendant brooch with opals and chrysoprase by Marcus & Co.. The pendant brooch has 6 cabochon white opals, 63 cabochon chrysoprase stones and plique-à-jour enamel. Suspended from the brooch is an opal and chrysoprase pendant drop. Detachable brooch finding and flip-down bail. The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother William was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black ... opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. Plique-a-jour enamel was an art in which Marcus & Co. excelled, creating jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard. Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.

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Marcus & Co. Art Nouveau White Opal and Chrysoprase, Plique-à-Jour Enamel and Gold Pendant Brooch

French Art Deco Diamond, Ruby, and Platinum Dove Brooch

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.

French Art Deco Diamond, Ruby, and Platinum Dove Brooch

Asprey London Diamond Gold and Enamel Cat Brooch

An Italian Estate 18 karat gold and enamel brooch with diamonds by Asprey London. The brooch has 10 round diamonds with an approximate total weight of .20 carats. The golden enamel cat has sky blue enamel spots.

Asprey London Diamond Gold and Enamel Cat Brooch

Art Nouveau Enamel Sweet Pea Brooch with Fly

An Art Nouveau 18 karat gold sweet pea brooch in pink and green shaded enamel. On the open petal of the charming pink bloom is a silver-topped gold insect studded with 14 rose-cut diamonds weighing .15 carat and 2 cabochon ruby eyes that weigh .04 carat. With fitted box.

Art Nouveau Enamel Sweet Pea Brooch with Fly

American Gold Brooch with Enamel, Diamonds and Coral, attributed to Donald Claflin for Tiffany & Co.

An American mid-20th Century 18 karat yellow gold brooch with enamel, diamonds and coral, attributed to Donald Claflin for Tiffany & Co. The brooch has a cabochon coral face with black enamel eyes, turquoise enamel dress, and 16 round brilliant-cut diamonds, with total approximate weight of 0.55 carats, sprinkled through the figure''s hair. The brooch measures approximately 2.75" in length and 1" in width.

American Gold Brooch with Enamel, Diamonds and Coral, attributed to Donald Claflin for Tiffany & Co.

Art Nouveau Necklace with Opal Scarab by Antoine Bricteux

A French Egyptian Revival 18 karat gold pendant necklace with boulder opal, diamond, freshwater pearl and enamel by Antoine Bricteux, Paris. Designed as a winged scarab carved in boulder opal, measuring 11.89 mm by 4.06 mm, within a surround of white en plein and indigo plique-a-jour enamel wings, with 21 old mine-cut diamond highlights, approximate total weight of 1.00 carat, and a freshwater pearl drop measuring approximately 5.50 mm, suspended from oval and rectangular trace link chain, convertible to a brooch, with original fitted box. Note: Exquisitely modeled and finished, this Egyptian Revival winged scarab necklace by Maison Bricteux, Paris, exemplifies the total freedom of imagination that characterized the Art Nouveau period. Centering a scarab carved from a boulder opal still in its seam of ironstone, within a surround of translucent plique-a-jour enamel feathers, the jewel demonstrates Art Nouveau''s restless exploration of unusual techniques and materials. The jeweler Antoine Bricteux ran a small boutique firm in the neighborhood of the Palais Royale, a center of the artistic luxury trade in Paris. Mention of his work appears in Henri Vever''s history of French jewelry, where Maison Bricteux is described as a "distinguished firm" which created "charming jewelry of modern inspiration." Bricteux collaborated with the designer G. Landois -along with the great firm ... of Louis Aucoc -until Landois'' sudden death. Egyptian motifs such as the scarab have appeared prominently in European art since the Renaissance. Worn over the millennia in many societies as a favorite amulet, the scarab is identified with purity of heart. During the Art Nouveau period, it was a highly popular design motif along with winged women, who represented the imaginative liberty of the age.

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Art Nouveau Necklace with Opal Scarab by Antoine Bricteux

French Art Nouveau Baroque Pearl Diamond Enamel and Gold Whiplash Brooch

A French Art Nouveau 18 karat gold, platinum and enamel brooch with pearl and diamonds. The brooch has a Baroque pearl measuring approximately 20 mm x 7.15 mm, and 5 old European-cut diamonds with an approximate total weight of .55 carat. The brooch is designed in the classic floral/whiplash Art Nouveau motif.

French Art Nouveau Baroque Pearl Diamond Enamel and Gold Whiplash Brooch

Art Deco Platinum, Diamond, and Enamel Jabot Pin

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.

Art Deco Platinum, Diamond, and Enamel Jabot Pin

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

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.

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

Van Cleef and Arpels Elephant Brooch

A French 18 karat gold elephant brooch with coral and enamel by Van Cleef and Arpels. A novelty brooch of an elephant with oval-cut emerald eyes that have the approximate total weight of .24 carat, carved white coral tusks and black enamel feet, in textured 18 karat yellow gold.

Van Cleef and Arpels Elephant Brooch

Art Nouveau Brooch with Aquamarine, Diamond and plique-à-jour Enamel by Lalique

"L''Anémone des Bois", A French Art Nouveau masterwork by René Lalique. Created in 1897, this 18 karat gold brooch showcases Lalique''s mastery of "plique-à-jour" enamel and also represents one of his earliest explorations of the art of molded glass. The brooch is accented by two oval faceted aquamarines weighing approximately 8.10 and 3.75 carats. More than any technical mastery or gemological import, the brooch is distinguished by its aesthetics and its deep meaning. This exquisite "Anémones des Bois" Brooch is an important example of René Lalique''s early work, predating his international debut at the Exposition Universelle of 1900. While his most prolific version of the anemone motif was the "Anémone couronnée" or poppy anemone, only a few choice pieces depict the "Anémone des Bois" or wood anemone. Unlike the poppy anemone, which grew in the balmy Mediterranean summer, the Anémone des Bois was known to the French as the harbinger of spring. While the forest floor lay dormant, the wood anemone alone reared its small head. Areas where the poor could pick this humble flower were demarcated with signs reading "Les Halles." The Anémone des Bois lined the border of the forest, enticing promenading couples into the forest''s embrace for an afternoon tryst. Pure white anemones thus became a symbol of virginal purity, mourning its imminent profanity by carnal desire. Lalique ... knew these traditions well from spending his childhood and summer holidays in the commune of Aÿ in Marne, located on a plateau overlooking the hillsides of Champagne. Two forests dominated the Marne landscape. To the west lay the old-growth forest of Sermiers, and to the east lay La forêt domaniale du Chêne à la Vierge. Promenading in the forest was a popular Sunday pastime for locals, especially as a way to escape the unrelenting dry heat of the noonday sun. Lalique expanded upon the theme of carnal desire, using the anemone to allegorize the stages of courtship. Our Anémone des Bois marked the beginning of this five-year-long exploration. With its petals slightly closed, the flower embodies the initial "rejet" or rejection of love. Fitting of a depiction of "rejet" the work epitomizes divine symmetry and youthful vigor. The flower''s posture relates to local wisdom: villagers could tell rain was coming when the Anémone des Bois closed its petals. By closing its petals, the flower rebuffs the words and sexual advances of the man. The second anemone in the series has its petals in disarray but receptive to potential pollination. An anemone in this position embodied "l''acceptation de l''amour" or the acceptance of love. The third anemone is the most sensual of the series, two anemones approach a passionate kiss, embodying the "consommation" or consummation. The final anemone in the series was completed in 1901. Titled "Mort de l''anémone" it is Lalique''s only representation of the blue anemone. Through the consummation, its petals have been dyed and its purity defiled. In macabre detail, the skeletal structure of the anemone''s rhizomes, or underground stems, are put on full view. The plant has been uprooted, and the encounter has finished. Contemporary novelist Émile Pouvillon related the death of the anemone to the act of deflowering in his 1895 short story "Les Anémones sont Mortes." The story''s heroine, a young country girl, loses herself in a bout of unrestrained euphoria with her lover. In their rolling about, "Anémones des Bois" are ripped out and bruised. At the 1898 Salon, the first Anémone des Bois was a critical triumph. Displayed with the second and third anemone in the series, the first was favored for its fully articulated plique-à-jour leaves. In the premier French decorative arts magazine Art et Décoration, the Anémone des Bois was praised for its "candid whiteness" and leaves that suggest "an infinitely complicated and precious architecture." Our Anémone des Bois is resplendent with the technical acuity that made Lalique known as the "master of modern bijoux (jewelry.)" In his early years, Lalique personally designed and modeled each mold for his creations in clay. These molds were then cast in iron and coated with a paste of resin and beeswax, hand-tooled for detail. The finish pressed-glass jewel was submerged in a bath of hydrofluoric acid, frosting the exterior. A thin layer of "jade green" powdered enamel was sifted and annealed onto the piece. The venation of each petal was painstakingly cut, revealing the plain crystal underneath. The warm glow of the gold backing gives the piece a breathtaking amber hue.

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Art Nouveau Brooch with Aquamarine, Diamond and plique-à-jour Enamel by Lalique

Louis Zorra French Art Nouveau Plique-à-Jour Enamel, Gold and Freshwater Pearl Pendant

A French Art Nouveau 18 karat gold pendant/brooch with freshwater pearl drop and plique-à-jour enamel, depicting a maiden in profile against a sky with clouds and framed with pink poppy blossoms by Louis Zorra. The serpentine clouds, the woman''s abundant tresses, and the flower tendrils all follow the organic curvilinear line associated with Art Nouveau. Nature, flowers and women are themes that were often explored in tandem by fin-de-siècle artists. Here they function together to create a harmonious and picturesque scene that delights the eye. Pictured in "The French Aesthetic, Art Nouveau", by Victor Arwas, Andreas Papadakis, page 346.

Louis Zorra French Art Nouveau Plique-à-Jour Enamel, Gold and Freshwater Pearl Pendant