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Art Nouveau, Arts and Crafts
Art Nouveau

"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. 32478 Visits.
  Sign the Guestbook. Displaying 5 of 7 entries.
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
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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
  More guestbook entries...
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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).


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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.


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Back of necklace.

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Karst signature plaque

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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.


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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 ...


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Horn letter opener of a cicada.  Original leather case.  Approximately 4 inches long.

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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.


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Close-up of the bug!

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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.

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Horn necklace of a poppy with wood and glass beads on cord.

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Horn necklace of a flower on silk ribbon.

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[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!


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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.


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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.


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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.


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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.


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Ar Nouveau silver plated, cell enamel pin
Circa 1908-1910

Hermann Haussler, based on floral enamel.  No marks.


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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.


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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".


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Sterling bracelet with enameled shamrocks and mother-of-pearl buttons.  One MOP link is missing.

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Sterling butterfly pendant with enamel.

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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.


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Late 1800s-early 1900s festoon, possible bridge between Art Nouveau and Arts & Crafts.  American turquoise and Mississippi pearls, gold gryphons and chains.

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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.

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Some slight enamel loss.  Flowers are amazingly similar to work done by Hermann Haussler.

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Back of pin.

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Hallmarks.

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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.


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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.


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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!


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Another view of the Lillian Pines pansy.

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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.

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Necklace in Suffragette colors -- circa 1915, amethysts, peridots and pearls in 18K gold.

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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."

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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.


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Heintz Art Metal Shop
Buffalo, NY
circa 1906-1929

Patinated bronze with sterling overlay in floral pattern.


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First one I've had with any markings.

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Heintz Art Metal Shop dish from Roger....  Signed 537A.

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Another view.  Brass with sterling silver patterned overlays.

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Arts and Crafts pin on bronze.

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Arts and Crafts necklace and pin, both in copper with citrine-colored stones.  Necklace has sterling floral designs on the pendant.

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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.


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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.

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Whale's tooth ivory Billiken.

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Billiken with a green cab.

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Celluloid necklace of Billiken charms and glass beads.

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Ivory Billiken figural -- probably whale tooth.  3 3/4" tall.

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Side view of Billiken.

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Krementz pink enameled bar pin with pearls.  Signed 14K and with the maker's mark for Krementz and Co.

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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!


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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.


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Top of the knife handle showing wheat pattern.  Smed is known for producing individual pieces made by hand from start to finish.

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Side view showing wheat pattern and spiral on the end.

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Peer Smed signature  He marked his pieces with his name and the words "handwrought" or "handchased."

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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 ...


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Isn't she adorable?

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Maker's mark for Piel Frères

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Maker's mark -- P [sword] F

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Plique a jour enamel buckle
French Art Nouveau
c. 1890
Gold over silver, French maker's mark, French hallmark, in original leather box.


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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.

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Art Nouveau or Arts & Crafts picture frame with red glass inserts.

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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."


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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.


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Arts & Crafts peacock eye glass cabs necklace and two pins set in sterling.

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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.


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"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"


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"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"


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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.

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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.  ;-(


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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.

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Celluloid and glass beads necklace and earrings.

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Powder box, cell enamel on stamped silver metal
Attributed to Hermann Haussler
Circa 1908-1911


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Arts & Crafts
2 small patinated bronze pins
Frost


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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.

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Krementz enamel pansy pin.

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Art Nouveau peacock glass necklace
Fishel Nessler (F.N. Co.)


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Arts & Crafts
Sterling watch fob with quartz stone
Carence Crafters


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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.


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Close-up of the tops of the tassels and some of the matrix opals.

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Bottoms of the tassels showing the small silver pearls.

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A couple of the matrix opals and close-up of the chain links.

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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.

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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.


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Signature stamp for buckle -- TF 935 and Depose.

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Two acid-etched and patinated brass pins
Carence Crafters
Circa 1900-1915

Marked with interlocking CC.


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Peacock glass hat pin

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Peacock eye glass and MOP clips

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George W. Shiebler sterling teapot, creamer and sugar bowl with repousee chrysanthemums.

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George W. Shiebler sterling teapot with repousee chrysanthemums.

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George W. Shiebler sterling sugar bowl with repousee chrysanthemums.

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George W. Shiebler sterling creamer with repousee chrysanthemums.

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Wendell August Forge Arts & Crafts pin

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Bronze and sterling Arts & Crafts pin.

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Peacock glass lavaliere necklace

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Sterling brooch with classic profiles.  Similar to pieces by Schiebler.

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Sterling Arts & Crafts pin with enamel and amethyst
Charles Horner


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Charles Horner hallmark

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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.


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Enamel pansy pin with pearl center in 14K
Krementz
C. 1900


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106

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Hermann Haussler hammered metal and enameled powder box
C. 1903-1908


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Enameled shamrock set in half-moon shaped pin in 14K gold
Krementz
C. 1900


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111

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112

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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.


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Czech peacock glass earrings

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Arts & Crafts enamel pendant

Large enameled pendant with a bird and its prey.  Sterling filigree with inset citrines and amethysts.  Handwrought sterling chain.


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Close-up of enameled bird

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Enamel and pearl necklace
Arts & Crafts (Art Nouveau?)

Necklace with blue and green enamel, seed pearls and blister pearls set in silver.


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Italian "tourist" chain with charms
C. 1900

800 silver


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Close up of some of the charms

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Boulder opal earrings
Arts & Crafts


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Art Nouveau 14K chain

Chain has mixed oval and round links interspersed at regular intervals with 10 intricately crafted spacers.


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Enameled dragonfly brooch
Arts & Crafts

Large enameled dragonfly set in sterling and with amazonite cabachon, opal eyes and small river pearls.


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Back of dragonfly.  It is a large pin measuring 4 inches long and with a 3 1/4 inch wingspan.

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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


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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.


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Moonstone Festoon Necklace
C. early 1900s

14k moonstone necklace with moonstone drops.


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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.


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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.


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Back of pendant.

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Arts & Crafts Kappa Kappa Gamma Pin
Carence Crafters


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Art Nouveau opal and pearl pendant
French?
Circa 1900

Lovely black opal accented by natural pearls set in 14K gold.


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Back of pendant.

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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...


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Wiener Werkstatte (attributed) glass microbead necklace
Austria
Circa 1925?


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Two Wiener Werkstatte microbead necklaces
Austria
Circa 1925?


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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.


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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.


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Turquoise and Diamond Heart Pendant and longchain
Art Nouveau
Circa early 1900s


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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.


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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.


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Sterling Art Nouveau bar pin with peacock eye glass beads.
Circa early 1900s


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Arts & Crafts long chain
Circa early 1900s

Silver long chain with enameled plaques.


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Arts & Crafts long chain
Circa early 1900s

silver long chain with turquoise enameled links.


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Turquoise and sterling dragonfly necklace
Arts & Crafts? or possible marriage of the pendant and the chain?


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Closeup of the dragonfly

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Arts & Crafts sterling handmade chain

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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.


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Gold and gem-set pendant
Arts & Crafts, possibly French


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Gold-filled peacock eye glass necklace
Circa 1900

Unusual chain as these are typically brass.


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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.


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Printed silk crepe shawl
Arts & Crafts period
Circa 1912

Fringe


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Printed silk crepe shawl
Arts & Crafts period
Circa 1912

Close-up of pattern


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Printed silk crepe shawl
Arts & Crafts period
Circa 1912

Close-up of pattern


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Butterfly wing necklace
Arts & Crafts
Circa 1900-1910

Lovely silver necklace with elegantly balanced drops set with iridescent blue Morpho butterfly wings under crystal.


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Art Nouveau dragonfly brooch
German
Circa 1910

Silver and plique a jour enamel dragonfly brooch marked Depose Sterling.


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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.


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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.


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Side view of George Hunt pendant.

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George Hunt mark

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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


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Blue bird pendant
Arthur & Georgie Gaskin
Circa 1909


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Blue bird pendant
Arthur & Georgie Gaskin
Circa 1909


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Blue bird pendant
Arthur & Georgie Gaskin
Circa 1909


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Blue bird pendant
Arthur & Georgie Gaskin
Circa 1909


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Blue bird pendant
Arthur & Georgie Gaskin
Circa 1909

Shirley Bury book frontspiece


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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


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ARTS & CRAFTS Bird Brooch  Marks: 'EM' monogram & 'ST.SILV'

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ARTS & CRAFTS Bird Brooch  Marks: 'EM' monogram & 'ST.SILV'

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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.


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Enamel and Turquoise Butterfly Necklace
Arts & Crafts
Attributed to The Guild of Handicraft Ltd
Circa 1900


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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...


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Gold, enamel and opal necklace
Arts & Crafts
Agnes Pool
Circa 1902-1905


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Gold, enamel and opal necklace
Arts & Crafts
Agnes Pool
Circa 1902-1905


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Gold, enamel and opal necklace
Arts & Crafts
Agnes Pool
Circa 1902-1905

Illustration from the Arts & Crafts Magazine (Vol II 1905)


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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.


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Silver necklace set with moonstones
Arts & Crafts
Attributed to Frances Thalia How and Jean Milne
Circa 1900


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Silver necklace set with moonstones
Arts & Crafts
Attributed to Frances Thalia How and Jean Milne
Circa 1900


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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.


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Gold, moonstone and amethyst necklace
Arts & Crafts
William Hasler for Liberty
Circa 1905


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Gold, moonstone and amethyst necklace
Arts & Crafts
William Hasler for Liberty
Circa 1905


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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.


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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.


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Grape leaves necklace
Arts & Crafts
Dorrie Nossiter
Circa 1920-1925


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Grape leaves necklace
Arts & Crafts
Dorrie Nossiter
Circa 1920-1925


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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.


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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.


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Microbead sautoir
Austrian
Circa 1920s-1930s


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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.


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Arts & Crafts gem-set pendant
Glasgow School of Arts - Scotland
Circa 1900

Back of pendant.


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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.


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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.


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Ruth A. Isaac Arts & Crafts Gem-set Pendant
England
Circa early 20th c


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Ruth A. Isaac Arts & Crafts Gem-set Pendant
England
Circa early 20th c

Signature plaque.


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Plique a Jour enameled pendant
Art Nouveau period

Beautifully enameled iris set in 14 K gold with diamonds over plique a jour enamel.


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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.


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Art Nouveau gold stick pin
Emile Venier
Circa 1886


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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


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Gold, pearl and emerald necklace
Arts & Crafts?
Circa 1900


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Gold, pearl and emerald necklace
Arts & Crafts?
Circa 1900

back of necklace


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Ink blotter resembling an owl
Arts & Crafts


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