Art Deco, at least defined by some experts, covers the period between 1910 and 1939. The first major international manifestation of Art Deco was the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925.
The term "Art Deco" was not used as a style label until 1966 in an exhibition in Paris titled: "Art Déco/Bauhaus/Stijil/Ésprit Nouveau."
Two years later, the words Art Deco were explicitly used to identify a style, when Bevis Hillier published his book "Art Deco of the 20s and 30s."
He defined Art Deco as "an assertively modern style, developing in the 1920s and reaching its high point in the 1930s...a classical style in that, like neo-classicism but unlike Rococo or Art Nouveau, it ran to symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; it responded to the demands of the machine and of new materials...[and] the requirements of mass production."
Three years later, he refined the definition, identifying two main strands: "the feminine, somewhat conservative style of 1925, chic, elegant, depending on elegant craftmanship and harking back to the 18th century; and the masculine reaction to the thirties, with its machine-age symbolism and use of new materials like chrome and plastics in place of old beaux-arts materials such as ebony and ivory...."
Date(s): March 19, 2004. Album by Cathy Gordon. 1 - 141 of 141 Total. 37168 Visits.
Cloisonne and champleve have a similar look, difference is how the enamel is contained on the metal base, before firing in the kiln. Cloisonne requires fine applied wires which from an enclosure,that will hold the enamel flux, champleve is enamel flux filling a cavity impressed in the metal base before firing. These are made by hand, your 2 bracelet's links demonstrate the impressed metal base with a complete match of all the design on each piece. This is called champleve, a French word with means raised field, cloisonne means enclosure. - marie, Sun, 4 Mar 2018 9:33AM
Thank you so much for both the quality images and the fascinating insight. These things are glorious - certainly the age of glamour and style. - Sally, Sat, 26 Apr 2014 4:59AM
I have one of the flapper pins - celluloid- in perfect condition. i could send you a photo if you are interested. - Molly B Simms, Mon, 3 Jun 2013 5:39PM
Number 9 is not Fahrner, it's by Rodi & Wienenberger. There is a necklace with the same chain identified as a R&W piece on page 177 in Fahrner...between Avant-Garde and Tradition. I have the same necklace, so I did a lot of research. It's also for sale here: http://jewelry.1stdibs.com/jewelry_item_detail.php?id=18119 AND here. This one thinks it's Fahrner: http://www.vendome-expertise.com/ventes.php?t=01_06_2011_THIERRY_DE_MAIGRET&id=NV3266 - Debra, Sun, 7 Oct 2012 5:00PM
Thought you might be interested, I saw your purse (photo 85) on the Metropolitan Museum of Art website. Here is the link: http://www.metmuseum.org/collections/search-the-collections/80050132?img=0 It is listed as an evening purse by Jay-Thorpe, Inc. ca. 1927-28 - mls, Wed, 18 Jul 2012 11:32AM
Rare red and black galalith with chrome links necklace by Henkel and Grosse.
Jakob Bengal red and black bakelite and chrome link bracelet.
2 French Deco parure of marcasites and black and cream-colored enamel set in rhodium. The center part of the bracelet is 2" x 2 1/2". Earrings each are set with an onyx cabachon.
3 Close-up of the necklace center section.
4 Bracelet, showing pierced metal center.
5 Earrings with central onyx stone.
6 Fahrner necklace and bracelet Circa 1920s
Superb Fahrner set with rectangular faceted stones of chalcedony and amazonite, marcasites, all set in sterling. Signed Germany Sterling and TF 935.
7 Fahrner Pendant on Chain Germany, circa 1925
Silver chain and geometric Art Deco pendant with black enamel, marcasite and green agate, chain length 16 inches, pendant 1/2 x 1 3/4 inches, marked: TF 935.
See trademark in Hase-Schmundt, Theodore Fahrner, p.262.
8 Fahrner Pendant circa 1920s
Theodore Fahrner pendant (drop measures 3" x 1") set with amazonite and onix stones, black enamel and marcasites. Set in sterling. Chain has faceted glass bead links. Marked TF and Germany.
9 Rodi & Wienenberger matte enamel necklace Circa 1930
Chain of gilt silver, coarse granulation, soldered with corded wire, with rectangular and square links. Pendant is of matte enamel in pale and bright blue and brown with corded wire. Signed Germany 935. See page 177 of Theodor Fahrner Jewelry between Avantgarde and Tradition for a similar necklace,
10 Fahrner 1930s
Enameled necklace and pendant.
11 Possible Fahrner matte enamel oriental style pendant based on resemblance to the prior pieces. Several small marks on the side probably designer marks looks like j.p. bb or 88 and j.m. There are also several illegible marks on the ring near the clasp.
12 Back of necklace and marks.
13 Fahrner matte enamel oriental style pendant with chain circa 1927. Silver, gilded, soldered with corded wires (flowers and waves), turquoise matte enamel, amethyst center stone with inset coral beads, coarse grain forming hexagonal outline of pendant. Matte enamel links with small metal squares inset with coral. Stamped Sterling Germany.
14 Page 211 of the Fahrner book showing pieces in the matte enamel Oriental style.
15 Fahrner brooch, circa late twenties. Silver, matte rock crystal, eight small turquoises, marcasite. Stamped TF (linked) 925.
16 Theodor Fahrner sterling Deco ring in chrysoprase and rock crystal with inlaid marcasites.
17 Side of the Fahrner ring.
18 Top showing signature -- TF, Sterling 935.
19 Fahrner coral, rock crystal and marcasite brooch and ring, set in sterling. Brooch marked TF 925; ring unmarked.
20 Close-up of ring -- some marcasites missing. Where can I get these replaced?
21 Another close-up.
22 Jakob Bengal German 1930s
Red enamel and plated chrome "brickwork" necklace and bracelet.
23 Germany Sterling basket necklace.
24 Enameled Link Bracelet Austria, circa 1935
Blue, green and red enameled on copper, carre-cut glass paste stones imitating jade and carnelian, rhinestones, length 6 3/4 inches, Signed Made in Austria.
25 French Deco sterling pin with carnelian stone, blue and green poured glass plique a jour and marcasites. Trombone clasp, but no marks.
26 Trifari Deco style bracelet in clear and ruby-toned rhinestones. Marked KTF and 4 8. Center motif is arced to fit your wrist and measures 1 1/2" wide. Articulated band is 1 1/4" wide. All rhinestones are bright and clear (despite my mediocre pictures...).
27 Side view of Trifari bracelet.
28 Another side view.
29 Top view showing construction.
30 German necklace of links of pale green bakelite, chrome and channel set rhinestones. Each link is joined so the necklace is articulated. Some of the rhinestones have grayed. Marked Patented D.R.G. M. 4438525 on one of the chrome pieces. According to Moro, page 133, DRGM was a German patent mark (meaning Deutsches Reich Geschmacksmuster) and was used on both jewelry or applied to technical inventions. It was used until 1945. Thus, the mark could refer to the chrome strips with rhinestones.
31 Back of necklace.
32 German bakelite, chrome and channel-set rhinestones necklace and bracelet 1920s-1930s
Same style as prior necklace except in black bakelite. Bracelet is marked D.R.G.M. and 1138525. Necklace is unmarked.
33 Two "flapper pins" that are on celluloid over metal and appear to be printed or screened images. Measure about 2" tall. The backs are brass colored and use a safety pin type spring loaded clasp with a "C" catch.
34 Celluloid pin of a flapper with brass backing.
35 Celluloid pin of a flapper with a blue corsage. Every now and then I find these but am always looking for additional ones. Let me know if you have any!
36 Probable German bracelet marked Sterling. Chalcedony stones with marcasites.
37 French sterling bird pin and earrings set with marcasites and onyx. Marked Made in France.
38 Deco bracelet of turquoise and black blocks of galalith, separated by chrome strips. Bracelet connecting links are ridged chrome, very similar to Bonaz clasps. Unsigned.
39 Auguste Bonaz cream and red galalith necklace. The Real McCoy.
40 Auguste Bonaz signature. Easy to fake as it is heat-stamped into the galalith.
41 Auguste Bonaz galalith necklace in white and black. Circa 1920s.
42 Galalith necklace in red and black attributed to Auguste Bonaz. Ginger Moro and I examined this piece and believe it is probably a fake due to its non-metal clasp. There are definite Bonaz fakes showing up though this was purchased 5 years ago.
43 Auguste Bonaz pins.
44 French black and white galalith necklace.
45 French brass and plastic seahorse parure.
46 Two cloisonne enamel bracelets with the links strung through gilt ribbon and with an ingenious adjustable snap clasp. Signed Barboteaux, circa 1930s.
47 Plique a jour enamel bracelet Egyptian Circa 1929
Fabulous plique enamel bracelet in the form of stylized butterflies. Sterling, chrysoprase, onyx, enamel, marcasites. Butterfly wings are plique enamel in green, white and purple. Hallmarks includes a cat (Egypt)and a capital letter E dating it to 1929.
48 Back of bracelet, showing areas where light shines through.
49 [Sold] Splendid paste and sterling German Deco necklace. It has paste set baguettes and rounds with a central green stone. The chain is sterling links with baguettes and rounds and has several hidden spring-loaded clasps that allow the chain to be turned into a necklace and bracelet.
The marks are very interesting. Both pendant and chain are stamped Germany Sterling 935 and there are two other marks--one has the letters KP set at an angle and the other has a central Star of David with the letters E G on either side.
No one seemed to know who KP stood for until Robin Deutsch, one of the best researchers of vintage jewelry I know (and a very dear friend), figured it out. This mark stands for Knoll & Pregizer, a Pforzheim firm which trademarked the KP in 1887 (Robin found this reference in the Fahrner book on pg 68). For detailed information on KP and its definitive connection to Knoll & Pregizer, go to Robin Deutsch's web page at http://imageevent.com/nibor56/knollpregizer
50 Back of necklace.
51 Knoll & Pregizer mark. For detailed information on KP and its definitive connection to Knoll & Pregizer, go to Robin Deutsch's web page at http://imageevent.com/nibor56/knollpregizer
52 All marks on the Deco German necklace.
53 Sterling pin of a flying heron marked KP.
54 Real or costume??
Deco bracelets, with the center one marked Otis Sterling.
55 Platinum Art Deco diamond and synthetic sapphire bracelet. Diamonds are European cut and total weight is 4.98 carat, color average H, clarity average SI.
56 Deco bracelet with central bow motif. White gold, synthetic sapphires and diamonds.
57 German Deco ring, onyx, carnelian and marcasites.
58 Another view of ring.
59 Kollmar and Jourdan bracelet 1930s
Enameled plaques with coral glass stones set in silver gilt metal.
60 Kollmar and Jourdan Enamel and rhinestone bracelet 1930s
According to Ginger Moro's book, European Designer Jewelry, p 128: "Kollmar & Jourdan in Pforzheim was another firm which manufactured dramatic geometric enamelled jewelry in the Thirties, although the metal foundation was silver or silver-gilt, not copper. A large factory, established in 1885, it closed its doors in 1977.
Bracelet is marked with KJAG, German marks and "Gold Shell." According to Caroline Sunday: Gold shell means that the bracelet is made from actual sheets of solid gold heat processed onto metal, more gold content than gold plate (cold processed plating), more than gold filled (heat processed layering), but not as much as solid gold (which is gold all the way through). Not a lot of gold shell pieces are out there. It is a very common process for watches though. For instance,...
61 Deco buckle bracelet, enameled chrome with a green glass stone. Enamel has been scraped.
62 Chicago World's Fair bracelet A Century of Progress International Exposition 1933-1934
Hammered metal bracelet with scenes from the Chicago World's Fair, which also commemorated Chicago's Centennial.
You can view a panoramic view of the Exposition from the Library of Congress's files at this link: http://lcweb2.loc.gov/pnp/pan/ 6a28000/6a28300/6a28300r.jpg
63 Pile of several Deco bracelets. With the exception of the sterling filigree bangle at the top, the remainder are made of pot metal. The red stone one is an FN Co. bracelet.
64 Possible Bengal necklace with overlapping circles of chrome painted with black enamel. See page 186 of Art Deco Schmuck for a similar example.
65 Chrome and galalith bracelet. Jakob Bengal 1933 collection
See page 252 in Art Deco Schmuck.
66 Sterling Deco Egyptian-themed cuff bracelet. Marked 925 and 000. Anyone know this mark?
67 French Deco necklace of black glass stones alternating with black and white enamel plaques.
68 Stunning French sautoire of taupe/chocolate/cream glass beads intermingled with large filigree gold-tone metal beads, some in an Egyptian theme, ending in a cranberry bead tassle. It has been attributed to Chanel and sounds like bells when you wear it.
73 FN Co pin with channel-set rhinestones. The clears are quite gray, but still a wonderful design.
74 Embroidered and beaded coat and dress mid-to-late 1920s
A navy georgette coat and dress heavily embroidered with seed bead accents in the Egyptian style.
By the beginning of the 1920s, the Eastern dress shapes explored by Poirot had evolved into straight and flat dresses, which provided an ideal canvas for the artictic motifs of the period: embroideries, appliques and stylized, naturalistic or geometrically patterned prints.
75 Dress has knife-pleated sleeves and ruffled skirt. The lower-most embroidered panel is see through mesh lending a risque touch to an otherwise sober outfit.
During the second half of the decade, designers began to 'complicate' the straight dresses, too easy to copy, by adding flounces, panels and flaring sleeves.
76 Side view of the coat and dress. Coat has beautifully draped and tucked shoulders.
77 Closeup of the see-through panel and embroidery.
78 Maria Monaci Gallenga Silk velvet hand-stencilled evening cape C. 1923
The textile art of Maria Monaci Gallenga is often compared to that of Fortuny because they both produced hand-stenciled designs that drew inspiration from the distant past. The patterns of Gallenga are generally larger and less textured than those of Fortuny.
Gallenga's loyal followers, who frequented her shop in Florence, preferred the antique Gothic quality of her designs. She is best known for medieval and Oriental designs stenciled in shades of silver and gold.
This black silk velvet evening cape with an elaborate, pleated and rolled collar is lined with an orange silk velvet. Both side are stencilled in metallic tones -- the outer in silver and the inner in gold.
79 View of the cape showing the lining.
80 Close-up of the superb Asian-styled floral pattern, stencilled in tones of silver.
81 Made of silk velvet, both the outside and inside are stencilled with up to nine tones of gold and silver paint.
Her husband, a professor at the University of Rome, helped devise the method by which the metallic paint seemed to float on the fabric, not tarnishing nor flaking off.
82 Gallenga occasionally sewed a printed label into her garments, or would include, as in this cape, her signature stencilled somewhere in the pattern of the fabric.
83 Fortuny Black Delphos Dress Italian, 1920s-1930s
Sleeveless, with tan Venetian glass beads on shoulders and down sides, silk stenciled belt, selvage and belt labeled: Fortuny/Made In Italy/Depose.
Mariano Fortuny is remembered as a Renaissance man, for his versatile mosaic of talents, but particularly for his mastery in his textiles and garments. His first textile/garment, called the Knossos scarf, was made in 1906. Following in 1907 was the Delphos gown, a columnar dress of finely pleated, thin silk satin hand-dyed in every imaginable shade.
The early Delphos gowns had short bat-wing sleeves, laced along their tops. Because of the elastic quality of the pleating, Fortuny weighted his dresses by sewing cords strung with hand-blown Venetian glass beads down the sides. To keep their pleats, the dresses were twisted like skeins of yarn and packed in a small cream-colored box.
The tiny pleats remain a subject of discussion even though...
84 Fortuny gown in its original box. Noe how it is twisted like a skein of yarn. This is how I store my Fortuny though I would love to find an original box.
85 Deco purse with marcasite and glass insets in green and onyx.
86 Bakelite "radio grill" bracelets Circa 1950
3 bakelite bracelets in a radio or car grill design mounted with gilded brass gills, but from the 1950s. See Moro, European Designer Jewelry page 45.
"The 1937 Exposition Universelle celebrated modern art and industry, and never had the machine been so gloriously exalted." Moro pg 44
87 Another view of the bracelets.
88 Contemporary -- 1980s
Diamond and emerald necklace set in platinum, openwork filigree with design. Emerald is .95 carat, there are 107 round brillants @ approx 2.70 carats, 1 marquise @ approx .45 carat, 14 brilliants in the platinum chain, approx .55 carats.
89 Celluloid pin of a flapper with brass back.
90 Painted porcelain pin of a flapper.
91 Celluloid pin of a flapper.
92 Painted porcelain pin of a flapper.
93 Celluloid pin of a flapper.
94 Bakelite and chrome necklace by Jakob Bengel.
95 Sterling and marcasite necklace with Peking glass stone. Marked 935.
96 Center piece of necklace.
97 Celluloid on brass pin of Art Deco flapper
98 Emerald and diamond ring, set in platinum Deco, circa 1925
99 Platinum chain with nine spectator set diamonds Circa 1920s
Appears to have originally been a watch chain.
100 Green molded glass bracelet Rene Lalique
Called "Renaissance" and created January 29, 1928, the elasticated form composed of cylindrical links with stepped-triangle etched terminals. Signed R. Lalique, Marcilhac no.1336. See Jewels of Fantasy, pg. 133.
101 Pools of Light parure in original box. Undrilled rock crystal spheres with sterling silver "caged" wires.
103 Pools of Light parure
Rock crystal and onyx with elaborate sterling floral caging.
104 Close-up of the beads.
105 Celluloid on brass Deco flapper pin
106 Deco amazonite, onyx, and marcasite, sterling pendant Theodor Fahrner Circa 1929
Large Deco pendant with elaborate sterling and marcasite chain. Unusual clasp. Stamped TF Sterling Germany. See pg 200 Fahrner book for a coral/onyx version.
107 Close-up of pendant.
108 Deco hematite, marcasite and sterling necklace Theodor Fahrner Circa 1930
Elaborate Deco necklace and sterling chain designed by Gustav Braendle Jr. Chain stamped TF 935 Sterling Germany. See pg 202 Fahrner book.
109 Close-up of pendant.
110 Brown matte enamel bracelet with citrine and Persian turquoise Theodor Fahrner Circa 1927
Bracelet is soldered with corded wire and the panels are repousee. Stamped TF Sterling Germany. See other examples of this sort of jewelry in the Fahrner book pgs 206-208.
111 Brooch Theodor Fahrner Circa 1927
A superb example of Fahrner from the Deco period of a sterling, onyx, chrysoprase, marcasite and enamel brooch. The two hanging parts are hinged. Marked TF and 935.
See Theodor Fahrner Jewelry pg 194 for similar earrings.
112 Carved ivory, enamel, marcasites and sterling pendant Theodor Fahrner Circa 1920s
Marked TF Sterling and Germany.
113 Rock crystal and marcasite brooch set with coral and chalcedony Theodor Fahrner Circa late 1920s
Marked TF and 935.
114 Green colored agate and marcasite sterling brooch Theodor Fahrner Circa 1920-1921
Marked TF Sterling and Germany See Theodor Fahrner Jewelry pg 188 for a similar pendant.
115 Deco brass radiator grill bracelet
118 Sterling and Carnelian necklace Circa 1930s
119 Pools of Light choker necklace Deco
Alternating beads of rock crystal and onyx caged with floral sterling bands.
121 WMF Beads WMF [Wuttembergisches Metallwarenfabriek] Circa 1925
From a private collection where they have been for the last 30 years, a rare strand of Myra iridescent glass beads from the German firm of WMF [Wuttembergisches Metallwarenfabriek], circa 1930. Essentially a firm specializng in Art Nouveau metalwork, WMF produced superior iridescent glass items from 1926 - 1938. The WMF designer Karl Weidman, using the same techniques as Tiffany used in their iridized glass, created the Myra Kristall range which went into production in 1926. The glass was covered in a thin layer of silver and etched with iridescent metal salts. This resulted in a peacock green/ blue and golden luster with a matte finish. As an added decorative effect the glass was blown out to achieve a slightly crazed surface. When lit from behind, Myra glass is always recognizable from its honey color. This large, graduated strand of WMF beads is strung on original silver chain with original spacers, in the w...
122 For more information on WMF, go to http://www.xs4all.nl/~abel/wmf.htm
124 WMF Myra Kristall beads Circa 1925
Beads in iridescent blue-tone glass.
125 WMF Myra Kristall beads Circa 1925
Two different shades of these rare beads.
126 WMF Myra Kristall beads against a white background.
127 WMF Myra Kristall bead earrings
128 WMF Myra Kristall Necklace Circa 1925
A rare WMF Art Deco bead necklace, circa 1925, comprised of four unusually large and intense purple iridescent WMR Myra glass beads with original spacers, chain and fittings.
129 WMF Myra Kristall Necklace Circa 1925
Another view of the necklace in bright light.
130 WMF pink glass beads Circa 1930s
133 WMF Ikora Medusa necklace Circa 1930
Lemon yellow glass beads on original chain. Ikora Medusa glass was launched in March 1930 : 'We chose a light cheerful lemon yellow for the Medusa collection'. It is zitro-glass, developed with cerium oxide.
134 Close up of the WMF Ikora Medusa beads.
135 WMF lemon yellow glass beads on original chain. Circa 1926
137 WMF beads -- yellow and pink Circa 1926
Neither of these necklaces appears to have the irridized silver treatment of others in the Myra Kristall line.
138 Rock crystal faceted necklace China C. 1929
Rock crystal, Chinese lantern cut necklace in original box with letter: From Mrs. W. D. Baldwin, 915 Second Street, S.W., Roanoke, Virginia "Miss DeTier bought this for Geo. Enfield in Panama City to save the entrance fee to the U.S. She had to pay $35.00 in 1929 for it. They are worth $60.00 now and can't be bought. It is real rock crystal Chinese lantern cut. Keep this to your self. W.
The inside box reads Guaranteed Pure Crystal, New China, Wing Hing & Co, Panama Colon.
140 Caged blue glass bead necklace Circa 1920s
Similar to pools of light, this necklace is made of undrilled blue glass beads caged in silver.
141 WMF Myra Kristall Necklace Circa 1925
A rare WMF Art Deco bead necklace, circa 1925, comprised of four unusually large and intense purple iridescent WMR Myra glass beads with original spacers, chain and fittings.