A French Late-20th Century 18 karat gold and platinum ring with emerald and diamonds. The ring has 18 round diamonds with an approximate total weight of 1.55 carats, 32 square-cut diamonds with an approximate total weight of 1.75 carats, and a cabochon emerald with an approximate weight of 3.35 carats. The emerald carries American Gemological Laboratory Certificate #69327 stating Natural Colombian with insignificant-minor treatment.
In this lavish brooch, Marcus & Co. offers a Mughal-style jewel interpreted through the lens of American masters of the Art Nouveau. Open to inspiration from great global art, Marcus created this intriguing ornament expressing Mughal sensibility and form, over-spilling with lustrous natural pearls and an emerald drop, gems the empire had eagerly imported from the Arabian Gulf and Colombia. The distinctive, highly-textured Marcus gold work, with its miniature scrolls, incised circles and tiny graduated beads, serves to enhance the fluid lines and organic presence. Wearable on a simple black ribbon or cord, the jewel is a statement of global vision and artistic virtuosity.The pendant-brooch is set with 10 semi-spherical pearls, 15 Old European-cut diamonds with an approximate total weight of 1.25 carats , suspending an emerald bead. 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 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 r
ecognizable, 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 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.
A pair of American 18 karat gold earrings with sapphires, rubies and emeralds by David Webb. The earrings have 8 cabochon sapphires with an approximate total weight of 2.40 carats, 4 rubies with an approximate total weight of 1.60 carats, and 2 emeralds with an approximate total weight of 1.50 carats. The earrings illustrate the genius of Webb in his use of vivid color, volume, and invention of high late-20th Century design. Discussed in David Webb The Quintessential American Jeweler, by Ruth Peltason, Assouline, 2013.
A Tiffany Studios New York "Dragonfly" glass and bronze chandelier. This elegant chandelier is composed of a choice selection of glass, which makes this an exceptional example of Tiffany''s iconic dragonfly lamp. The dragonflies are composed of dark green glass bodies, variegated blue glass wings and red glass eyes. The cabochon glass jewels that surround this chandelier depict emeralds, sapphires and topaz. The two top and three bottom borders are made up of various colors of rippled glass. This exciting glass composition rests upon a ground of green, green/blue and brown glass. While Tiffany was largely credited for his company''s glass innovations during his lifetime, recent archival research has shed light on the unsung heroes behind his genius. Two such figures were responsible for the astounding effects of this dragonfly lamp: Tiffany had gone through four chemists before he landed on Arthur J Nash, a chemist previously employed at the White House Glass Works in Stourbridge. England. It was Nash''s formulas, developed from before his employment at Tiffany, that became the core of Tiffany''s palette. Nash was no stranger to experimentation, adding unconventional materials such as birch bark and burnt oats to create his amber glass. Clara Driscoll, head of the Tiffany Studios Women''s Glass Cutting Department, designed the dragonfly lamp, earning much acclaim for h
er artistic prowess in her time. (For more information on her work see "A New Light on Tiffany: Clara Driscoll and the Tiffany Girls," by Martine Eidelberg, Nina Gray, and Margaret K. Hofer, 2007.) Louis Comfort Tiffany''s "Dragonfly" lamps have become so iconic and loved because the artisans who made them were not limited in color as they were when making floral and geometric shades. We can imagine that the dragonflies that adorn the lower edge of the shade are flying low across a verdant field. Similar chandeliers are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 230, plate 891-893.
An Italian Estate 18 karat white and yellow gold ring with emerald and diamonds by Buccellati. The ring has an oval-cut Colombian emerald with an approximate total weight of 2.19 carats, and 30 round-cut diamonds with an approximate total weight of .80 carat. The ring is composed in a classic Mario Buccellati foliate design, set with round diamonds that center on the engraved bezel-set emerald. With certificate from Mario Buccellati dated June 14, 2012, stating the ring has "a Colombian emerald weighing 2.19 ct. and 20 diamond weighing .80 ct in total."
A Mid-20th Century 18 karat gold ring with diamonds and emeralds by Van Cleef & Arpels. The ring has 15 round diamonds with an approximate total weight of 3.40 carats, F/G color, VS clarity, and 38 round, calibre- and emerald-cut emeralds with an approximate total weight of 1.10 carats.
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.
An Art Deco platinum necklace with emeralds, diamonds and enamel. The necklace has five fluted emerald beads with an approximate total weight of 19.00 carats, accented with 124 baguettes, 10 triangular and 302 round old European-cut diamonds with an approximate total weight of 11.10 carats, G/H/I color, VS clarity. Each graduated emeraldbead is flanked by black enamel accents, with the back chain set in an Art Deco baguette and round diamond motif.
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