An American Art Deco platinum and white gold watch with diamonds and seed pearls by Dreicer & Co. The rectangular-faced watch has 68 single-cut diamonds with an approximate total weight of .76 carats surrounding the platinum case and accenting the bracelet strap of seed pearls measuring approximately 2 to 3 mm. Exhibited in "Roaring into the Future: New York 1915-35," at The Munson Williams Proctor Arts Institute, Utica, NY, June 17-October 9, 2017.
A French Retro 18 karat gold and platinum bracelet with emeralds and diamonds attributed to Rubel Frères. The bracelet has 64 square-cut emeralds with an approximate total weight of 8.30 carats, and 32 old European-cut diamonds with an approximate total weight of 0.95 carat. The flexible bracelet is designed in a step motif.
A pair of Estate 18 karat gold and platinum earrings with white and yellow diamonds by Van Cleef & Arpels. The earrings have 96 round-cut white diamonds with an approximate total weight of 10.50 carats, F/G color, VS clarity and 96 round-cut natural fancy vivid yellow diamonds with an approximate total weight of 10.50 carats. The diamonds range in size from ,07 carat to .15 carat. The earrings have been certified by the Gemological Institute of America, certificate # 2175461170 for the natural fancy vivid yellow diamonds.
A French Mid-20th Century platinum and 18 karat white gold brooch with diamonds and pearls by Pierre Sterlé. The brooch contains 300 round-cut diamonds with an approximate total weight of 8.50 carats, G/H color, VS clarity. There are 3 articulated South Sea pearls measuring 13.5 mm, 13.3 mm and 12.5 mm finishing the bottom. The brooch is designed as a tied bow composed of chevron-set diamond ribbons finished with the 3 diamond-capped South Sea pearls. A similar brooch is pictured in Sterlé Joaillier Paris, by Viviane Jutheau, Editions Vecteurs, 1990, Plate 1273.
A French Mid-20th Century 18 karat white gold ring with diamonds and natural pearl by Pierre Sterlé. The ring has 90 round diamonds with an approximate total weight of 2.00 carats, and a natural pearl measuring 8.35 mm carats. The ring is designed as a dimensional swirl culminating with the natural pearl.
A Mid-20th Century patinated steel and gold dress set with cultured pearls by G.T. Marsh. The full dress set is composed of double sided cuff links, three dress studs and two dress buttons. The set is in a square geometric step motif with a pearl at the center. In the original signed Marsh box. G.T. Marsh & Co. was a San Francisco-based Asian art dealer known for their distinctive jewels. As a boy infatuated with Asian culture, George Turner Marsh apprenticed with a Japanese tea merchant, remaining there alone while his Australian family continued on to San Francisco, where they settled. Young George used his time in Yokohama to become conversant in Japanese art and aesthetics, and after re-joining his family, established an Asian art gallery using the expertise he had acquired. During the 1930s, 40s and 50s, his family began designing jewelry based on their interpretation of masterful Japanese metalwork together with the favored gems of the region, jadeite, coral and pearls. The firm''s unique steel jewelry was produced by bluing and sandblasting techniques, which gave the metal its matte finish, an extraordinary base for its sparkling, gleaming gems. "Marsh had a jeweler that worked exclusively for them. He was Italian, but he also liked shotguns and, because of his interest in shotguns, he had an interest in iron and metallurgy and what they did to rifles and shotguns t
o keep them from rusting. And the Marsh''s jewelry is steel that''s been treated with gun bluing. He sandblasted the steel before he gun blued it, that gives it this marvelous matte finish. And nowadays I don''t think there is anything more chic than the idea of black jewelry where the diamonds and the white gold absolutely pop and these marvelous pearls that he suspended have motion...The firm closed its doors in 2001." Barry Weber on the Antiques Road Show.
This Art Nouveau pendant-brooch by Marcus & Co. presents a flowing form abstracted from the delicate shapes of flowers and leafy vines. Its subtle coloration comes from the use of unusual materials, such as rare chrysoprase and translucent plique-à-jour enamel, whose organic greens are set off by pools of spectral hues provided by the shimmering opals. Signature Marcus gold work, characterized by the miniature scrolls, incised circles, stippling, and graduated beads, adds to the organic feeling of the flowing form. Wearable on a simple black ribbon or cord, it is a statement of inspired naturalism.The pendant brooch is set with 6 cabochon white opals, 63 cabochon chrysoprase stones, and is highlighted by plique-à-jour enamel. Suspended from the brooch is an opal and chrysoprase pendant drop. Detachable brooch finding and flip-down bail.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019. 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 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.
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