A French Art Nouveau 18 karat gold and enamel pendant by André Rambour. The pendant depicts a maiden within an enamel iris which is suspended by fancy link chain and an enameled foliate top.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
A French Art Nouveau 18 karat gold pendant with diamonds, pearls and peridots. The pendant features a plique-à-jour background with rose-cut diamonds with an approximate total weight of .60 carat, 3 freshwater pearls and 3 pear and round-cut peridots with enamel decoration surrounding the profile of Juliet.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019. Note: This exquisite Art Nouveau image depicts Juliet at the moment when Romeo, lingering in the Montague''s garden, catches sight of her on her balcony. She is illuminated by the dawn light, represented in the jewel by the sparkling diamonds framing her head and the panes of glowing plique-a-jour enamel behind her. Though he first sees Juliet dancing with another man, Romeo is not put off, predicting that their love will prove "a beauteous flower" and identifying her with light: "she teaches the torches to burn bright". Meanwhile, behind a veneer of obedience, Juliette, resolute, witty, and loyal, chooses independence in death over life with the man her father has commanded her to marry. In part thanks to his captivating and complex woman heroes like Juliet, Shakespeare "went global" in the 19th century, inspiring world artists not only in drama but painting, printmaking, fiction, music and jewelry.
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.
A French Art Nouveau gold and plique-à-jour enamel pendant with opals, freshwater and natural pearls by Georges Fouquet. The pendant has 11 opals, 13 freshwater pearls and one natural saltwater pearl. The pendant is designed in a flowing foliate motif with plique-à-jour enamel leaves floating over translucent opals and decorated with clusters of pearls. With signed G. Fouquet box.Exhibited at the Poster House, New York exhibition, "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
A pair of French "Byzantine Heads" lithographs by Alphonse Mucha. The mastery evident in creating two archetypes of the female form against a decorative background confirms Mucha''s artistic maturity. Both women, portrayed in profile, have their heads decorated with beautiful jewelry, the richness and oriental nature of which suggested the name Byzantine Heads for the series. The subtle differences in details between the images are worth noticing. This is the first appearance of the perfect form of Mucha''s often-used motif, a circle framing each head interrupted by a strand of hair. With this device, it is as if Mucha''s unreachable beauties have broken the magic border between themselves and their admirers and suggest the possibility that they might, perhaps, meet. (Mucha/Art Nouveau, p. 192). In this version, Mucha added corners filigreed with curves to the original circular designs in order to create the standard rectangular shape of decorative panels. This is the rarest of all variants. Pictured in "Alphonse Mucha, The Complete Posters and Panels", by Jack Rennert and Alain Weill, page 167, cat. 40, variant 1.
A French "Théâtre de Loïe Fuller" lithograph by Manuel Orazi. The poster depicts the dancer Loïe Fuller with flowing red hair and her signature billowing costume, surrounded by stylized flowers. Realistically-drawn flowers descend from the poster title. The artist''s insignia appears on the lower right of the image. When dancer Loie Fuller arrived in France in 1892, in search of true recognition for her unique art, she was dismayed to find one of her copy-cats already ensconced at a premier Parisian theater. The theater''s owner was persuaded to let Fuller perform, with the accompaniment of the single violinist willing to work late. The owner found Fuller''s inimitable genius compelling: she was hired, and her imitator fired, on the spot. An early practitioner of free-form choreography, and a virtuoso of cutting-edge technologies, Fuller danced amid swirling silk wraps on an electrified stage glowing with her patented chemical salts, gels and smoke. To capture Fuller''s incandescent performances, the lithographer Manuel Orazi drew from his own considerable artistic vocabulary as well as innovations of his contemporaries. He evoked the midnight blue swirls of Mvnch''s 1890s madonnas and vampires to portray Fuller arising from blackness to accomplish feats of luminous transformation into blossoms, ocean waves and flames. He looked to Klimt''s gold period to depict Fuller'
's magic lantern projections of stylized stars and flowers upon her hovering silks as they took on evanescent forms in the air, sinking gently before cohering into the next fugitive sculpture. An evocation of the hypnotic performances that conjured trance states in her audiences, Orazi''s portrayal reveals why Fuller''s revolutionary art is acclaimed by contemporary dance critics as "emerging out of darkness, leading the audience into abstraction."A similar poster is pictured in: "Loïe Fuller: Magician of Light," Exhibition at the Virginia Museum, March 12-April 22, 1979, Richmond: The Virginia Museum, 1979, p. 76; and in: "The Kogod Collection," E. Greenwich, RI: Meridian Printing, 2004, p. 242.
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.
A French Art Nouveau "La Plume - Zodiac" lithograph by Alphonse Mucha. With Zodiac, Mucha reaches the full maturity of his style, with every one of his signature design elements in their most fluid and elaborate incarnations. The image was originally published as a calendar by F. Champenois but was quickly bought by La Plume, who began issuing it as a calendar with their own name at the top. The image was a huge success and was ultimately used for a variety of different advertising purposes. This lithograph is discussed in: "Alphonse Mucha: The Complete Posters and Panels", by Jack Rennert and Alain Weill, Boston: G.K. Hall & Co., 1984, pp. 100-102 and pictured in the same volume on p. 103 (var 1).
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