A French Art Nouveau 18 karat gold pendant locket with mother-of-pearl and diamond. The oval pendant locket designed with baroque mother-of-pearl plaques among swirling seaweed with subtle chased detail, two old mine-cut diamond highlights, approximate total weight 0.16 carats, swiveling open to a locket compartment, suspended from a conforming 14 karat gold chain of oval and circular trace links highlighted by seed pearls (28 inch chain of later manufacture).Note: This work strongly resembles that of Edouard Colonna, a restless, influential, still mysterious Art Nouveau designer, master of a variety of artistic media. His rich and interesting early career was spent in the United States, where he quickly found a position with Louis Comfort Tiffany''s "Associated Artists" interior design firm. While in the U.S. and Canada, Colonna created design books, later viewed as anticipating the decorative language of the Art Nouveau movement. The design volumes drew influences from sources as diverse as broom-corn and other botanical subjects to funerary sculpture from Ravenna. The acme of his career, from 1898-1902, was spent in Paris at L''Art Nouveau Gallery of Siegfried Bing, for whom Colonna designed a salon at the 1900 World Exposition. In a burst of creative energy, Colonna also produced elegant, quietly sensuous jewels integrating highly stylized botanical motifs, which won critical acclaim. Many of the jewels were executed at Bing''s Paris workshop.
A Louis Comfort Tiffany Art Nouveau 18 and 14 karat gold ring with sapphire and demantoid garnet by Tiffany & Co. Set with a natural-form black opal measuring 14.1 x 12.2 x 4.0 mm, encircled by leafy grape vines, shoulders and shank with conforming leaf and vine motifs, highlighted by 10 circular-cut demantoid garnets and 7 sapphires. Note: The leafy grapevine set with opals was a favored motif in Louis Tiffany''s earliest artistic jewelry, including the prize-winning work he designed in secret for the 1904 St. Louis Exposition. Here, the black opal''s vivid ultramarine and iridescent green flashes are accentuated by the brilliantly colored stones nestling among the leaves. Made most likely in the 1910-1914 period, the ring is the product of Louis''s collaboration with one of two women artisans to whom he entrusted the day-to-day work of the studio, either Julian Munson or Meta Overbeck. The jewels that resulted represent the fruit of one of Louis'' most beloved projects, and he referred to them affectionately as "my little missionaries of art."
This exuberant ring, with its rich colors and materials, represents Marcus & Co.''s characteristic fusion of historic and global jewelry styles within the Art Nouveau sensibility. Along with the graduating lines of diamond melee framing the central stone, fields of glowing enamel among tiny hand-formed beads and textured gold scrolls help direct the eye toward the vividly colored opal, a specimen which is remarkable in its broad flash of reddish orange and its blue-green depths. The firm was an early and dominant importer of fabled Australian black opal into the U.S., thanks to the expertise and tireless gem-seeking expeditions of William Marcus, the founder''s son.Centering a black opal cabochon framed by 27 old mine-cut diamonds, approximate total weight of 0.65 carat, further enhanced by a blue and green basse-taille enamel surround and shoulders with chased high-relief gold scroll and bead motifs throughout.The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained with a prominent court jeweler in Dresden. 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 s
tyle. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse 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, William was a gem and pearl connoisseur who travelled the world hunting for exceptional gem material, including purchasing the entire production of never-before-seen black opal from Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes from the prestigious Society of Arts & Crafts of Boston. Plique-à-jour enamel was an art in which the firm excelled. Displaying a mastery equal to that of the French artists, they created 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. The firm''s jewelry is a focus of the collection of the American Wing at the Metropolitan Museum of Art.
Louis Tiffany played with the unusual light and color effects of black opals, green garnets, and sapphires to create an impressionistic artwork in this visually intriguing necklace. The opals, with their painterly brushstrokes, are set among cool sapphires and fiery green garnets, providing glowing pools of color. Multi-hued enamels, applied with an artistic hand, unify with the gems to enhance the delicate grapevine motif, one of the artist''s eternal favorites. The form of the ripe enamel grapes is echoed in the hand-crafted, ultralight gold beads and conforming clasp that complete the composition. A paired bracelet, highly unusual in Tiffany''s work, completes this extraordinary set. Sold exclusively as a matching set. CURATOR''S NOTES:For the role of head designer of his new Art Jewelry Department, established in secret in 1902, Louis Tiffany tapped Julia Munson, a trusted partner and expert in enamel work. Together, they created jewels in the same vibrantly colored palettes that were the hallmark of his celebrated glassware.
This exquisite American Art Nouveau 18 karat gold brooch is one of a limited series of jewels where Louis Comfort Tiffany and Julia Munson explored the spectrum''s green range in peridot, here weighing 7.95 carats, and enamel, all delicately framed in twisted, hand-drawn wire. Each work was an artist''s color study. Here, unusually, Tiffany added slim panels and little darts of blue enamel to off-set the bright yellowish-greens. Light and delicate to the touch, handmade with patience and genius, this unique jewel is a tiny treasure.
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.
This Art Deco jewel by Tiffany & Co. features a rare, untreated ruby from Burma, the origin most prized by global connoisseurs for hundreds of years. Burma rubies'' exceptional red fluorescence comes from their formation under very particular geologic conditions, in beautiful white limestone that is ultra low in iron content. In the 1920s, Tiffany mounted this vivid stone among colorless diamonds and lines of calibré-cut rubies. In skillfully minimizing the platinum mount, Tiffany jewelers made the pure geometry of the gems and the design cohere into a brilliant statement of the Deco aesthetic. A platinum Art Deco ring with rubies and diamonds by Tiffany & Co. The ring centers on an emerald-cut ruby with an approximate weight of 1.10 carats, and 10 old European-cut diamonds with an approximate total weight of 0.74 carat. The ring is designed in a highly graphic Art Deco motif.AGL report no. CS 72168, origin: Burma (Myanmar) origin, no indications of heat. Circa 1925.AGL report no. CS 72168, origin: Burma (Myanmar) origin, no indications of heat.
A Mid-20th Century 18 karat gold brooch with rubies and diamonds by Boucher for Tiffany & Co. The brooch has 27 round-cut rubies with an approximate total weight of 1.45 carats, and 9 round-cut diamonds with an approximate total weight of .85 carats. The brooch is designed in a modified shell form.
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