"The roots of Art Nouveau are as convoluted as the meandering line it worshiped. It was short-lived, in jewelry lasting only from about 1895 to 1910. In the last years of the nineteenth century critics were unanimous in attributing the start of the jewel revolution to the renewed study of plants and their application to decorative design from the middle of the century. Nature, and its associations of femininity and fertility, is the dominant theme of Art Nouveau jewelry, but it took on a very different image from its nineteenth-century garb of minute realism, changing from stiff imitation to vivid interpretation.
One of the chief principles of Art Nouveau proposed that the aim of art was to suggest reality – in Mallarmé’s words, ‘to suggest it, that’s the dream.’ It had to provide a ‘veiled essence of reality’ which, like Impressionism, became true to nature, more lifelike – or rather full of life – than any exact copy.”
From Art Nouveau Jewelry, Vivienne Becker, Thames and Hudson, 1985, p 9.
Arts and Crafts Circa 1890-1920
"In essence, the Arts and Crafts movement was a protest against the results of industrialization: the dehumanization of the worker and the loss of pride in the product. The debate of man vs. machine had begun in England in the late 1820s when the side effects of the Industrial Revolution first became evident.
Three 19th century British writers and social theorists, Thomas Carlyle, John Ruskin, and William Morris, helped build the theoretical foundation of the Arts and Crafts Movement.
Morris spent the better part of his artistic career learning various craft techniques in order to better understand the potential and limitations of the natural materials with which he worked. His advocacy of the honest use of material, of simplicity of form, and of a return to the principles of organic beauty, captured the imagination of artists and craftsmen, and was formulated into the philosophy of the Arts and Crafts movement."
From Chicago Metalsmiths, by Sharon S. Darling, Chicago Historical Society, 1977, pgs.30-32
Date(s): March 19, 2004. Album by Cathy Gordon. 1 - 207 of 207 Total. 33545 Visits.
Thanks for the help, by using your site. I have found out so much about a silver buckle I found in my late parents house. Made for Murle Benett, by Theodor Fahrmer, designed by Patriz Huber, all stamps and 2 of which I knew nothing about. Thanks so much . David J-G - DAVID DACKSON-GRANT, Fri, 23 Oct 2015 1:38AM
I have the same great tiger broach as no.68,great image! - dean harris, Wed, 22 Feb 2012 2:05PM
Beautiful work! I have a few pieces, including cufflinks. - Joni, Mon, 7 Nov 2011 12:47PM
Arts and Craft silver and furniture collector with obvious love of A&C & AN. Always looking to add to collection. - Alan Foley, Sat, 19 Sep 2009 11:29PM
Love the beauty of the pieces, I am looking for any info on the Art Nouve Circa 1895 Jewel Box if you know of any please pass on. - Jolene, Sat, 18 Jul 2009 12:39PM
1 Art Nouveau Plique a Jour pin Levinger & Bissinger Circa 1900
900 silver plique a jour and pink stone pin signed HL Depose 900.
Heinrich Levinger, while not as well-known as Fahrner, was another Pforzheim, Germany firm of jewelers founded during the 19th century by Heinrich Levinger who dies in 1899). In 1903, the firm was renamed Levinger und Bissinger, but reverted to the name of Heinrich Levinger in 1909. They produced Jugendstil designs and are noted for stylized organic forms in plique a jour enamel and silver. They alos executed designs by the Viennese designer Otto Prutscher (1880-1949).
2 Karl Karst circa 1910
Art Nouveau necklace by Karl Karst, a jewelry designer at Pforzheim. Hammered silver "petals" each with a mother-of-pearl button and a large central stone of lapis lazuli. Marked Karst 800.
3 Back of necklace.
4 Karst signature plaque
5 Elizabeth Bonte' horn and glass bead necklace of a bug all strung on multiple cord strands. Circa early 1900s
Madame Bonte' was a French designer and maker who specialized in decorative horn jewelry, especially pendants. Her workshops were merged (exact date unknown) with those of her main rival, George Pierre (GIP), and they worked together in the Art Nouveau style until 1936.
6 Bonte' signature.
Antique Collector 11/82.
Many of the skills involved in the production of horn jewellery have been lost, but a rough outline of the techniques employed by the Bonté Studio is described below.
First, suitable pieces of bull horn were cut into sections, then heated & unrolled whilst still hot to form plaques about 15 by 30 cm by 2 cm thick. A design drawn on a piece of paper was then stuck to the horn, cut out with a saw, then drilled through, the saw being dismantled then reset many times. The cut & perforated horn was then immersed in hydrogen peroxide for a day, giving it the translucent quality desired. The edges were then smoothed by buffing wheels & polished with powder made of pumice & millstone.
The still pliable horn was then dipped in various chemical compounds to produce ...
7 Horn letter opener of a cicada. Original leather case. Approximately 4 inches long.
8 Horn necklace Circa early 1900s
Huge carved horn necklace of a cicada or locust (?), hung on silk cord and with 3 art glass beads. Body of the bug is 2 1/2" long.
9 Close-up of the bug!
10 Carved horn necklace simulating monnaie du Pape, a plant with dry translucent leaves that lent itself to Art Nouveau translation in horn; on silk ribbon with glass beads.
11 Horn necklace of a poppy with wood and glass beads on cord.
12 Horn necklace of a flower on silk ribbon.
13 [Sold] Peacock-eye glass cab earrings set in plated brass metal. Wires are replacements. Length without the wires is 2 1/2". Circa early 1900s, most likely Czech.
From my favorite guy, Roger!
14 Sterling pendant with turquoise stones Murrle, Bennett and Co. Circa early 1900s
This pendant has a strong likeness to jewelry produced by Fahrner, which makes sense as Ernst Murrle came from Pforzheim and had workshops in that city. According to Becker, about 80% of Murrle Bennett's jewelry came from Pforzheim.
Murrle, Bennett and Co. were a London-based firm of wholesale jewelers, specializing in Art Nouveau designs, often in the German style. They were established in 1884, and probably collaborated with Liberty and Co. including supplying them with jewels made in Pforzheim. They produced a vast and varied range of popular jewels, including some Archibald Knox designs identical to those made by Liberty and Co.
Murrle, Bennett and Co often collaborated with Theodor Fahrner on certain designs and their marks may often be found together on the same pieces.
During the First World War, Murrle was repatriated to Germany and the company was renamed White Redgrove and Whyte.
15 Sterling and turquoise brooch Theodor Fahrner circa 1902-1903
Sterling with turquoise stones. Designed by Max Joseph Gradl. Similar brooch shown on page 96 in Theodor Fahrner Jewelry.
16 Art Nouveau silver plated stamped brass enameled brooch with cell enamel flowers Circa 1908-1910
Unsigned, but attributed to Hermann Haussler. Similar pieces are illustrated in the Fahrner book page 99.
17 Art Nouveau silver plated stamped brass enameled brooch with cell enamel flowers Circa 1908-1910
Unsigned, but attributed to Hermann Haussler. Similar pieces are illustrated in the Fahrner book, page 99.
18 Ar Nouveau silver plated, cell enamel pin Circa 1908-1910
Hermann Haussler, based on floral enamel. No marks.
19 Art Nouveau silver plated cell enamel floral pin Theodor Fahrner Circa 1908-1910
Brooch with flowers. Design attributed to Hermann Haussler. Beaten silver, blue, green, white and violet cell enamel. Marked TF 935 Depose See Fahrner book page 98 for a larger brooch of the same design, but with dangles.
20 Art Nouveau beaten silver pin with cell enamel flowers Attributed to Hermann Haussler Circa 1908-1910
Beaten silver octagon with enameled flowers in shades of blue, yellow and black. The flower motif with the fanlike leaves was used in a variety of colors and forms with various rim widths. This is a large size for these brooches at 1 7/8" x 1 7/8".
21 Sterling bracelet with enameled shamrocks and mother-of-pearl buttons. One MOP link is missing.
22 Sterling butterfly pendant with enamel.
23 Art Nouveau period necklace in 14K yellow gold with 3 bezel-set opal drops accented with amethysts.
Opals were especially popular in Art Nouveau jewelry for its organic look.
24 Late 1800s-early 1900s festoon, possible bridge between Art Nouveau and Arts & Crafts. American turquoise and Mississippi pearls, gold gryphons and chains.
25 This is a beautiful antique enameled sterling brooch. It is marked 925s and has the hallmark used by David Andersen from 1888-1930. It measures 2.5 inches by just under 1/2 inch.
26 Some slight enamel loss. Flowers are amazingly similar to work done by Hermann Haussler.
27 Back of pin.
29 Sterling brooch with pink quartz stone Carence Crafters Circa 1908-1911
Carence Crafters used acid-etched geometric and nature designs (and on rare occasions lifelike tableaus), on copper, brass, German silver, and silver. The most common forms are small trays, desk items, bookends, frames, and candleholders, but the firm did produce a fair amount of jewelry, often with stones, and almost always with trademark cutouts and intertwined (often asymmetric) versions of a Celtic knot. Generally, Carence Crafters did not employ heavy use of hammering at the edges the way Forest Craft did, or the lighter edge hammering used by Frost.
The firm was probably in business for just a few years, and seems to have closed in 1911.
30 Signature -- Carence Crafters
The genuine Carence Crafters mark came in two forms. One was just two intertwined "C" letters in a small outlined box. The other used the words "Carence / Crafters / Chicago" next to this box. Lots of unsigned copper and brass items are attributed to Carence Crafters, but these were probably produced by other firms.
31 Sterling pansy brooch by Lillian Pines. Approximately 3" x 3" and signed Lillian Pines / New York / Sterling
A contemporary and friend of Mary Gage was Lillian H. Rosenblum Pines, who was born in 1894 in Manchester, NH. According to one Internet source, Pines graduated from Radcliffe College in 1915 and had a retail store in the Westbury Hotel on Madison Avenue in New York City. She died at the age of 100. Gage and Pines clearly influenced each other.
Both Pines and Gage used wirework and beads. Pines's pieces are sometimes more naturalistic (in the form of fans or lifelike flower baskets, for instance), and she often used twisted wire and filigree details.
Found by Roger!
32 Another view of the Lillian Pines pansy.
33 Arts and Crafts necklace with a large sliced opal backed with stone and a dangling pearl. 9 ct setting and 18 ct trim. Newer 14K chain.
34 Necklace in Suffragette colors -- circa 1915, amethysts, peridots and pearls in 18K gold.
35 Three pins from the Heintz Art Metal Shop of Buffalo, NY. Made of patinated bronze with sterling overlay in cutout patterns. The studio was in business from 1906 to 1929. No marks are on their jewelry. The bottom pin is a patina called "lizard skin."
36 Heintz Art Metal Shop circa 1906-1929
Two lovely pins from the Heintz Art Metal Shop, Buffalo, NY. Heintz Art Metal made decorative objects and jewelry of patinated bronze with sterling overlay in decorative patterns. None of the jewelry was signed, but their style is so distinctive, it is readily identifiable.
37 Heintz Art Metal Shop Buffalo, NY circa 1906-1929
Patinated bronze with sterling overlay in floral pattern.
38 First one I've had with any markings.
39 Heintz Art Metal Shop dish from Roger.... Signed 537A.
40 Another view. Brass with sterling silver patterned overlays.
41 Arts and Crafts pin on bronze.
42 Arts and Crafts necklace and pin, both in copper with citrine-colored stones. Necklace has sterling floral designs on the pendant.
43 Billiken brooch. Stamped twice with a Billiken symbol and signed Trademark Billiken. 2" across.
More information on Billiken can be found at http://www.jester.net/secure/Billiken.htm.
44 From Warman's Jewery Identification and Price Guide 3rd edition, by Christie Romero, pg 101. A must-have book! A signed copy can be purchased directly from Christie by going to http://www.center4jewelrystudies.org/books.html The book is currently priced at $25 if you order it from the site.
45 Whale's tooth ivory Billiken.
46 Billiken with a green cab.
47 Celluloid necklace of Billiken charms and glass beads.
50 Krementz pink enameled bar pin with pearls. Signed 14K and with the maker's mark for Krementz and Co.
51 American gypsy pin in the shape of a five-pointed star, gold spheres at each point, engraved geometric motifs, 3 drops at the bottom. Center is a bezel-set U.S. gold coin dated 1917 with the central figure raised.
See similar piece in Romero, Warman's Jewelry 3rd edition pg 104.
Another Roger find!
52 Arts & Crafts Holloware Sterling Knife Peer Smed (1878-1943)
Peer Smed trained as a silversmith in Denmark, came to the US in 1904, having apprenticed with the well-known Danish firm A. Michelsen. He is known to have designed for Tiffany & Co. He set up his own shop in New York City and produced hand-made holloware and jewelry. His holloware is often dramatic, with much ornamentation in the Danish taste, while his jewelry is usually lifelike, simpler, and well-executed.
53 Top of the knife handle showing wheat pattern. Smed is known for producing individual pieces made by hand from start to finish.
54 Side view showing wheat pattern and spiral on the end.
55 Peer Smed signature He marked his pieces with his name and the words "handwrought" or "handchased."
56 Art Nouveau sash buckle with wonderful tendrils and a carved ivory [or is it celluloid?] face of a woman.
Makers mark for Piel Frères.
To quote Vivienne Becker in Art Nouveau Jewellery, pg 226:
"Piel Frères, Paris jewelry firm (at 31 Rue Mesley) which caused a sensation at the Paris International Exhibition in 1900 with its fashionable but inexpensive 'art' jewels. The head of the firm was Alexandre Piel, who worked with the sculptor Gabriel Stalin as artistic director. In their jewels, sculpted ivory was replaced by the new plastic material, celluloid, while copper and silver replaced gold. Critics approved of these substitutes, since the aim was to present art at an affordable price. Piel Frères' jewels were often gilt or enamelled, which they accomplished successfully on the difficult media of copper and silver. The designs were excellent, and they are known particularly for their range of buckles, and for ...
57 Isn't she adorable?
58 Maker's mark for Piel Frères
59 Maker's mark -- P [sword] F
60 Plique a jour enamel buckle French Art Nouveau c. 1890 Gold over silver, French maker's mark, French hallmark, in original leather box.
61 Buckle held up to the light -- the leaves are plique as well as the portions connecting the center area to the outside of the buckle.
62 Art Nouveau or Arts & Crafts picture frame with red glass inserts.
63 Bleeding hearts brooch Krementz C. 1900
Gorgeous realistic rendering of bleeding hearts, in matte enamel with each blossom ending in a seed pearl. The leaves are iridescent enamel and the pin is 14K gold.
Marked with the Krementz "collar button."
64 Art Nouveau Tree of Life pendant Murrle Bennett C. 1900-1905
Sterling pendant designed as a tree of life, with leaves of blue and green iridescent enamel and a pearl drop. Marked MBCo and 950.
65 Arts & Crafts peacock eye glass cabs necklace and two pins set in sterling.
66 Arts & Crafts Egyptian Revival pin Doris Cliff
[Sold] Handwrought sterling pin by American Arts & Crafts silversmith, Doris Cliff. In an Egyptian Revival theme, it depicts a winged scarab with a scalloped bezel setting containing an opal stone. A ring by Doris Cliff is in Warman's Jewelry 2nd edition page 88.
67 "Newark" enameled pansy watch pin Circa 1890s
Not marked, but a lovely 14K enameled pansy watch pin with a pearl center. Probably made by one of the Newark manuafacturers. 7/8" x 7/8"
68 "Newark" enamel tiger watch pin Circa 1900
Tigers were popular subjects for some Newark jewelers, with all having a diamond set in the mouth. this is a fine example, enamel on gold with diamond eyes and in the mouth. 7/8" x 7/8"
69 Aigrette headpiece with a diamond starburst in 14K, circa 1915. It is folded flat in this picture. The bottom of the tube holding the starburst allows the gold band to rotate. Came in its original box. Very rare.
70 Headpiece unfolded. Aigrette feathers are a deep mahogany color, possibly dyed as egrets are white.
FYI, the fashionable ladies almost caused the egret to go extinct. Aigrette plumes only occur during mating season and huge numbers of egrets were killed for their feathers. ;-(
71 Close-up of the starburst. Note the 3 diamonds on gold wires above the centerpiece. The starburst is also a pin and can be removed to wear separately.
72 Celluloid and glass beads necklace and earrings.
75 Powder box, cell enamel on stamped silver metal Attributed to Hermann Haussler Circa 1908-1911
76 Arts & Crafts 2 small patinated bronze pins Frost
77 Arts & Crafts/Jugenstil style sterling muff chain. Entirely handwrought, with six hand cut panels set between gorgeous 1/2 inch long links. Sterling swivel at the bottom.
78 Krementz enamel pansy pin.
79 Art Nouveau peacock glass necklace Fishel Nessler (F.N. Co.)
80 Arts & Crafts Sterling watch fob with quartz stone Carence Crafters
81 Sterling and enamel necklace with tassels C. 1902-1903 Theodor Fahrner, designed by Georg Kleeman
A rare and amazing sterling silver chain necklace with tassels. The tops of the tassels are sterling in Art Nouveau designs with blue-green cell enamel. Reflecting the Arts & Crafts influence, at the bottom of the tassels are silver pearls and set in the chain are nine matrix opals.
The chain is 5 feet 6 inches and the tassels are 8.5 inches. The chain wraps around the neck several times with the decorative parts and tassels to the front.
Necklace is shown on page 111 of the Fahrner book.
82 Close-up of the tops of the tassels and some of the matrix opals.
83 Bottoms of the tassels showing the small silver pearls.
84 A couple of the matrix opals and close-up of the chain links.
85 Signature on the necklace. TF for Theodor Fahrner, and MBCo for Murrle Bennett and Co. The two firms worked quite closely together but this is the first piece I have seen with combined signatures.
86 German Jugendstil Sterling buckle with enamel C. 1904-1905 Theodor Fahrner, designed by Franz Boeres
Sterling silver buckle with blue enamel, designed by Franz Boeres for Fahrner. See page 87 in Theodore Fahrner Jewelry for additional design examples.
87 Signature stamp for buckle -- TF 935 and Depose.
88 Two acid-etched and patinated brass pins Carence Crafters Circa 1900-1915
Marked with interlocking CC.
89 Peacock glass hat pin
90 Peacock eye glass and MOP clips
91 George W. Shiebler sterling teapot, creamer and sugar bowl with repousee chrysanthemums.
92 George W. Shiebler sterling teapot with repousee chrysanthemums.
93 George W. Shiebler sterling sugar bowl with repousee chrysanthemums.
94 George W. Shiebler sterling creamer with repousee chrysanthemums.
96 Wendell August Forge Arts & Crafts pin
97 Bronze and sterling Arts & Crafts pin.
98 Peacock glass lavaliere necklace
99 Sterling brooch with classic profiles. Similar to pieces by Schiebler.
100 Sterling Arts & Crafts pin with enamel and amethyst Charles Horner
101 Charles Horner hallmark
102 Homeric Sterling Medallion Brooch George Shiebler Circa 1880-1900
Sterling silver brooch with 5 graduated circular portrait medallions with a hanging sword engraved with "XAPIE."
Marked with the winged Shiebler hallmark Sterling and 874.
From Romero, 3rd edition "A quote from an 1892 article about the firm in Jeweler's Circular says that the pieces were designed to look like they had been "unearthed at Pompeii and Herculaneum." pg 78.
103 Enamel pansy pin with pearl center in 14K Krementz C. 1900
107 Hermann Haussler hammered metal and enameled powder box C. 1903-1908
108 Enameled shamrock set in half-moon shaped pin in 14K gold Krementz C. 1900
113 Sterling Arts & Crafts period serving fork Hammersmith & Co., San Francisco Circa 1910.
Hand hammered marks are pronounced over the entire piece. The top and back of the handle have applied strap work with rivets.
114 Czech peacock glass earrings
115 Arts & Crafts enamel pendant
Large enameled pendant with a bird and its prey. Sterling filigree with inset citrines and amethysts. Handwrought sterling chain.
117 Close-up of enameled bird
118 Enamel and pearl necklace Arts & Crafts (Art Nouveau?)
Necklace with blue and green enamel, seed pearls and blister pearls set in silver.
119 Italian "tourist" chain with charms C. 1900
120 Close up of some of the charms
121 Boulder opal earrings Arts & Crafts
122 Art Nouveau 14K chain
Chain has mixed oval and round links interspersed at regular intervals with 10 intricately crafted spacers.
123 Enameled dragonfly brooch Arts & Crafts
Large enameled dragonfly set in sterling and with amazonite cabachon, opal eyes and small river pearls.
124 Back of dragonfly. It is a large pin measuring 4 inches long and with a 3 1/4 inch wingspan.
125 Sterling sugar shovel Levi & Salaman Birmingham Mark "d" 1903-04
Also marked Pd (or Rd) No. 371432. May be a 1900 Archibald Knox pattern.
History in brief: * 1870-1910 - known as Levi & Salaman * 1910-1920 - were Levi & Salaman Ltd. & proprietors of the Potosi Silver Co. from 1828) * 1921 - Amalgamated with Barker Brothers (Silversmiths) Ltd. on 1st of January 1921
126 Enameled bracelet and pin in a swastika pattern. Circa 1910
The word swastika is derived from the Sanskrit word svastik (in Devanagari, स्वस्तिक), meaning any lucky or auspicious object and has been used for centuries as a sacred symbol. It fell into ill repute through its use by the Nazis.
The sterling and enamel bracelet has the following marks: Anchor (Birmingham), Lion (925 silver) and date letter l (1910)and a maker mark J.F for James Fenton. No marks on the hammered brooch.
127 Moonstone Festoon Necklace C. early 1900s
14k moonstone necklace with moonstone drops.
128 American Gypsy Gold Cuff Bracelet American Circa 1900-1930
Rare American gypsy cuff bracelet in 14k rose gold. Hand-engraved designs and patterns, appliqued horse shoe, dimensional flowers and with a central motif of a woman in profile wearing a tiara. She wears a necklace with a synthetic ruby in a closed back bezel set mount. Marked 14K and P14KP.
132 Demantoid garnet pendant Russian Circa 1898 - 1908
14K red-gold lavalier set with demantoid garnets and a single ruby. Russian hallmarks indicate a circa date between 1898 and 1908. 2 1/2 inches long, a large size for these pieces.
133 Back of pendant.
134 Arts & Crafts Kappa Kappa Gamma Pin Carence Crafters
135 Art Nouveau opal and pearl pendant French? Circa 1900
Lovely black opal accented by natural pearls set in 14K gold.
136 Back of pendant.
137 Wiener Werkstatte (attributed) glass microbead necklace Austria Circa 1925 (?)
Founded in 1903 by the young architect Josef Hoffmann and his artist friend Koloman Moser, with funding from the industrialist Fritz Wärndorfer, the undertaking "WIENER WERKSTAETTE" had a clear aim: to make all facets of human life into one unified work of art.
This began with the creation of - for that time extraordinarily - advanced working conditions for the craftsmen, and it ended with the wish to create everything entirely anew, whether or not it was needed for everyday use or should act as decoration. It was also decided only to approve objects of outstanding individuality and beauty, and great value was put on the exclusive and exquisite craftsmanship. This followed the organisation's motto: "Better to work 10 days on one product than to manufacture 10 products in one day."
Most of the objects produced in the Wiener Werkstatte were stamped with a number of di...
138 Wiener Werkstatte (attributed) glass microbead necklace Austria Circa 1925?
139 Two Wiener Werkstatte microbead necklaces Austria Circa 1925?
140 Microbeaded necklace Wiener Werkstatte Circa 1925?
Glorious Wiener Werkstatte micro beaded necklace in autumn shades, with two beaded dangles, leaves and large terminal beaded balls.
141 Turquoise and Diamond Heart Pendant and longchain Art Nouveau Circa early 1900s
Art Nouveau 14kt gold, turquoise, and diamond heart pendant and longchain, the turquoise heart bezel-set on each side with an old European-cut diamond, and suspended from a spectacle-set double cabochon and delicate trace link chain.
142 Turquoise and Diamond Heart Pendant and longchain Art Nouveau Circa early 1900s
143 Gold Nugget and Azurmalachite Bracelet Arts & Crafts Circa early 1900s
[sold] Bracelet is designed as oval cabochons graduating in size, within gold nugget frames, lg. 6 1/2 in., marked "Native Gold" and signed Osborne Cordova.
144 Arts & Crafts aluminum necklace Wendell August Forge
Forge museum dated it to 1935-1941 Oriental Tree pattern Very Collectible since it was early. Just beautiful with graduated disks and hammered chain with S clasp.
145 Sterling Art Nouveau bar pin with peacock eye glass beads. Circa early 1900s
146 Arts & Crafts long chain Circa early 1900s
Silver long chain with enameled plaques.
147 Arts & Crafts long chain Circa early 1900s
silver long chain with turquoise enameled links.
148 Turquoise and sterling dragonfly necklace Arts & Crafts? or possible marriage of the pendant and the chain?
149 Closeup of the dragonfly
150 Arts & Crafts sterling handmade chain
151 Gold and gem-set pendant Arts & Crafts, possibly French
Arts & Crafts 18K green and yellow gold pendant set with natural pearls, with 3 large stones from top to bottom: a .72 ct fancy light greenish yellow old mine brilliant diamond, a yellow-green emerald cut Hiddenite, and a 1.55 ct fancy yellowish-brown cushion modified brilliant diamond. Original chain.
Hiddenite is named after A.E. Hidden who discovered this stone in 1879 in North Carolina. The coloring agent is chromium, with the stone colors being yellow-green, green-yellow or emerald-green. Usually used with the step cut (emerald). Deposits are found in Burma, Brazil, Madagascar, North Carolina and California.
152 Gold and gem-set pendant Arts & Crafts, possibly French
153 Gold-filled peacock eye glass necklace Circa 1900
Unusual chain as these are typically brass.
154 Printed silk crepe shawl Arts & Crafts period Circa 1912
Burgundy square printed with trees and branches in autumnal tones, with black knotted silk fringe. 35 x 35 with 9 inch fringe.
155 Printed silk crepe shawl Arts & Crafts period Circa 1912
156 Printed silk crepe shawl Arts & Crafts period Circa 1912
Close-up of pattern
157 Printed silk crepe shawl Arts & Crafts period Circa 1912
Close-up of pattern
158 Butterfly wing necklace Arts & Crafts Circa 1900-1910
Lovely silver necklace with elegantly balanced drops set with iridescent blue Morpho butterfly wings under crystal.
159 Art Nouveau dragonfly brooch German Circa 1910
Silver and plique a jour enamel dragonfly brooch marked Depose Sterling.
160 Arts & Crafts necklace (attributed) Arthur and Georgie Gaskin Circa 1910
An English Arts and Crafts silver swagged pendant necklace, circa 1910, in the manner of Arthur and Georgie Gaskin, with its typically Gaskin-like bar twist heart sections, leaves and tendrils. The necklace is set with cabochon turquoise, mother of pearl and blister pearls. It is 15.5 inches in length and the central stone-set section is 1.5 inches wide and 2.5 inches long from the top of the drop to the bottom of the central blister pearl. Immaculate condition.
162 Arts & Crafts necklace George Hunt (1892-1960) Circa 1925
An Arts & Crafts silver pendant/necklace set with a large, domed, stained agate (chrysoprase), moonstones, a further agate, and lapis within enamelled leaves. English. Circa 1925. Signed ‘G H’ in shield. Size: Height of central pendant 10 cm. Lit.: The Antique Collector. February 1990. Article pages 54-58.
163 Side view of George Hunt pendant.
164 George Hunt mark
165 Blue bird pendant Arthur & Georgie Gaskin Circa 1909
Arthur and Georgie Gaskin blue bird pendant. Set in silver and gold with black opals, pink tourmalines and pearls in a floral design with two blue birds. It is c.1909 and in a fitted case.
Literature: cf. Jewellery The International Era, Shirley Bury, vol II Illustrated: The book's title page & p.637. Arthur & Georgie Gaskin, City Museum & Art Gallery, Birmingham, 1982, cat. G57 & G67 for comparison of the bird motif.
Arthur Gaskin and his wife Georgie were book illustrators, designers and jewelers. In the main they made necklaces and pendants, with fine chains and delicate designs which featured flowers and foliage, also interspersed with birds, as seen in this necklace. Their inspiration came from Flemish and Northern French traditional jewelry
166 Blue bird pendant Arthur & Georgie Gaskin Circa 1909
167 Blue bird pendant Arthur & Georgie Gaskin Circa 1909
168 Blue bird pendant Arthur & Georgie Gaskin Circa 1909
169 Blue bird pendant Arthur & Georgie Gaskin Circa 1909
170 Blue bird pendant Arthur & Georgie Gaskin Circa 1909
Shirley Bury book frontspiece
171 ARTS & CRAFTS Bird Brooch
Silver and Enamel H: 3.6 cm (1.42 in) W: 5.3 cm (2.09 in); Marks: 'EM' monogram & 'ST.SILV' European, c.1930
174 Enamel and Turquoise Butterfly Necklace Arts & Crafts Attributed to The Guild of Handicraft Ltd Circa 1900
The double length chain has alternating enamel panels and collet set turquoise stones with a larger enamel to the center. Each blue/green enamel of a butterfly is backed with sparkling silver foil. English. Circa 1900.
Size: Total length approximately 43 cm. Height of center pendant with drop 4.8 cm. Size of central enamel 2.6 cm. x 2.6 cm.
175 Enamel and Turquoise Butterfly Necklace Arts & Crafts Attributed to The Guild of Handicraft Ltd Circa 1900
176 Gold, enamel and opal necklace Arts & Crafts Agnes Pool Circa 1902-1905
A gold and gilded necklace by Agnes Pool. The gilded plaques decorated with gold rope twist scrolls and turquoise enamels set with opal cabochons in raised collets united by gold link chains. Circa 1902-1905.
Agnes Pool was a student of the Birmingham School of Art between approximately 1902 and 1904. She specialized in enamels in the Arts and Crafts style, and designed and created jewelry, figural panels, decorative objects, and objects as diverse as belt buckles, lace pins and spoons. Her work was exhibited at the Royal Academy, Leeds City Art Gallery and Royal Birmingham Society of Artists, as well as winning medals and prizes in the National Competition run by the Board of Education, South Kensington in 1902 and 1904.
Provenance: by direct family descent; Exhibited at Leeds Guild at the Clarion Arts & Crafts Exhibition receiving special mention in the Judges' Notes. Illustrated...
177 Gold, enamel and opal necklace Arts & Crafts Agnes Pool Circa 1902-1905
178 Gold, enamel and opal necklace Arts & Crafts Agnes Pool Circa 1902-1905
179 Gold, enamel and opal necklace Arts & Crafts Agnes Pool Circa 1902-1905
Illustration from the Arts & Crafts Magazine (Vol II 1905)
180 Silver necklace set with moonstones Arts & Crafts Attributed to Frances Thalia How and Jean Milne Circa 1900
This splendid Arts & Crafts silver necklace set with moonstones is attributed to Frances Thalia How and Jean Milne, though there are no marks. English. Circa 1900. Central panel length 8 cm. Width 5.3 cm. Around necklace 43 cm. In its original fitted case, (unfortunately, with no labeling).
Frances Thalia How exhibited 1896-1928 & Jean Milne exhibited 1904-1917. Their address was 72, Pembroke Walk Studios, London.
Lit.: The Directory of Gold & Silversmiths, Jewellers & Allied Traders, 1838-1914, John Culme, London 1987, p. 240, ref 7541.
181 Silver necklace set with moonstones Arts & Crafts Attributed to Frances Thalia How and Jean Milne Circa 1900
182 Silver necklace set with moonstones Arts & Crafts Attributed to Frances Thalia How and Jean Milne Circa 1900
183 Gold, moonstone and amethyst necklace Arts & Crafts William Hasler for Liberty Circa 1905
A lovely gold necklace by William Hasler for Liberty, circa 1905. It’s marked 15ct and WHH on the reverse. Set with moonstones and amethysts. It’s 16 inches long and the festoon section is 2 and 3/4 inches wide with center drop of 2 and 1/4 inches.
184 Gold, moonstone and amethyst necklace Arts & Crafts William Hasler for Liberty Circa 1905
185 Gold, moonstone and amethyst necklace Arts & Crafts William Hasler for Liberty Circa 1905
186 Silver pendant with opal Arts & Crafts Bernard Cuzner for Liberty Circa 1900
Arts & Crafts Silver & Opal Pendant - Bernard Cuzner for Liberty & Co, c1900; The pendant is made in silver and set with an opal, the design featuring the distinctive galleon motif. Unmarked.
Measures approximately 45 x 30mm (1.75 x 1.20"). In very good original condition, with a few small marks of wear from age and use.
187 Grape leaves necklace Arts & Crafts Dorrie Nossiter Circa 1920-1925
Lovely silver and silver gilt necklace with rose quartz beads and a chalcedony set clasp, circa 1920-1925. Terrific detail on the panels, with grape vines and grapes on the front and grapes on the back. It’s 17.5 inches long and 1/3 of an inch wide.
According to Sonya of Tadema Gallery there are a lot of mis-attributions of pieces to Sybil Dunlop and she spoke as well as why this is a Nossiter piece.
Specifically: the asymmetry, and on the clasp, the curled metal pieces and the metal "dots". She said that when they started to write about the differences between Dunlop and Nossiter, as well as comment on the wrong attributions, the families of both artists came forward to thank them.
188 Grape leaves necklace Arts & Crafts Dorrie Nossiter Circa 1920-1925
189 Grape leaves necklace Arts & Crafts Dorrie Nossiter Circa 1920-1925
190 Microbead sautoir Wiener Werkstatte Circa 1910-1920
An unusual example of a Wiener Werkstatte microbeaded sautoir, as the pink and blue colors are atypical. The beading is layered on top of a soft cord.
191 Wiener Werkstatte Micro-bead necklace Austria Circa 1910-1920
Elaborate example of a Wiener Werkstatte micro-bead necklace in autumn colors. Includes use of rare gilt beads and has lead and bead dangles.
192 Microbead sautoir Austrian Circa 1920s-1930s
193 Arts & Crafts gem-set pendant Glasgow School of Arts - Scotland Circa 1900
Glasgow School of Arts pendant, 15 carat gold, circa 1900, marked on the back GSA and 15ct.
The stones are tourmalines of varying shades and aquamarines. The Glasgow School of Art was at the center of the Arts and Crafts movement in Scotland, promoting painting, jewelry making, metal work, stained glass etc. Unusual to get a signed piece.
The pendant is2.5 inches long and 2 and 1/4 inches wide and the integral chain is 16 inches long.
194 Arts & Crafts gem-set pendant Glasgow School of Arts - Scotland Circa 1900
Back of pendant.
195 Wiener Werkstatte micro-bead lariat Austria Circa 1920s-1930s
Glorious micro-beaded Wiener Werkstatte lariat in autumn colors, geometric designs ending in 2 pear-shaped balls with leaf designs at the juncture.
196 Ruth A. Isaac Arts & Crafts Gem-set Pendant England Circa early 20th c
The shaped pendant centering a bezel-set citrine framed by bezel-set citrines and garnets, foliate motifs, and bead and wire accents, silver and gold mount, suspended from gold paperclip and silver and enamel chain, lg. 1 3/4, 15 3/4 in., signed R. Isaac.
197 Ruth A. Isaac Arts & Crafts Gem-set Pendant England Circa early 20th c
198 Ruth A. Isaac Arts & Crafts Gem-set Pendant England Circa early 20th c
199 Plique a Jour enameled pendant Art Nouveau period
Beautifully enameled iris set in 14 K gold with diamonds over plique a jour enamel.
200 Art Nouveau gold stick pin Emile Vernier Circa 1886
A rare French Art Nouveau stick pin (circa 1886) by renowned French sculptor Emile Venier in 18k – 22k yellow gold.
The beautifully sculpted round pin depicts a coin with the profile of a woman representing “Spring”, the intricate details show flowers in her hair and a curl draped over her bare shoulder. The pin’s stick is twisted at the top and the piece remains in the original jewelry box from the well respected jewelry shop of Eugene Marcus in Berlin.
Emile Venier was one of the foremen of the revival of “Medaillist” art in France around 1886. He received numerous medals from the Academy of Fine Arts in Paris, the Paris Exposition of 1899 and the prestigious French Medal of Honour.
201 Art Nouveau gold stick pin Emile Venier Circa 1886
202 Gold, pearl and emerald necklace Arts & Crafts? Circa 1900
Possible Arts & Crafts elaborate 3-chain swag necklace, large emeralds (both bead and cabachon), natural pearls, diamonds and gold motif in 18K circa 1900; most likely custom-made, no marks
203 Gold, pearl and emerald necklace Arts & Crafts? Circa 1900
204 Gold, pearl and emerald necklace Arts & Crafts? Circa 1900