• Public Gallery  • Help  
• Join Now!  • Log In  • Feature Tour
 Cathy Gordon | Home > 
Art Deco
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. 48659 Visits.
 Email a Comment
 Your Comment is
 immediately emailed
 to the album owner
Name:   Enter your comment
Start SlideshowSelect images and click to download to your computer 
Enlarge photo 1
Galalith and chrome

Rare red and black galalith with
chrome links necklace by Henkel and Grosse.

Jakob Bengal red and black bakelite and chrome link bracelet.

Enlarge photo 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.

Enlarge photo 3
Close-up of the necklace center

Enlarge photo 4
Bracelet, showing pierced metal center.

Enlarge photo 5
Earrings with central onyx stone.

Enlarge photo 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.

Enlarge photo 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.

Enlarge photo 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.

Enlarge photo 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,

Enlarge photo 10

Enameled necklace and pendant.

Enlarge photo 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.

Enlarge photo 12
Back of necklace and marks.

Enlarge photo 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.

Enlarge photo 14
Page 211 of the Fahrner book showing pieces in the matte enamel Oriental style.

Enlarge photo 15
Fahrner brooch, circa late twenties.  
Silver, matte rock crystal, eight
small turquoises, marcasite. Stamped
TF (linked) 925.

Enlarge photo 16
Theodor Fahrner sterling Deco ring in
chrysoprase and rock crystal with
inlaid marcasites.

Enlarge photo 17
Side of the Fahrner ring.

Enlarge photo 18
Top showing signature -- TF, Sterling 935.

Enlarge photo 19
Fahrner coral, rock crystal and marcasite brooch and ring, set in sterling.  Brooch marked TF 925; ring unmarked.

Enlarge photo 20
Close-up of ring -- some
marcasites missing.  Where
can I get these replaced?

Enlarge photo 21
Another close-up.

Enlarge photo 22
Jakob Bengal

Red enamel and plated chrome
"brickwork" necklace and bracelet.

Enlarge photo 23
Germany Sterling basket necklace.

Enlarge photo 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.

Enlarge photo 25
French Deco sterling pin with
carnelian stone, blue and green
poured glass plique a jour and
marcasites. Trombone clasp, but
no marks.

Enlarge photo 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...).

Enlarge photo 27
Side view of Trifari bracelet.

Enlarge photo 28
Another side view.

Enlarge photo 29
Top view showing construction.

Enlarge photo 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

Enlarge photo 31
Back of necklace.

Enlarge photo 32
German bakelite, chrome and channel-set
rhinestones necklace and bracelet

Same style as prior necklace
except in black bakelite.
Bracelet is marked D.R.G.M. and 1138525.  Necklace is unmarked.

Enlarge photo 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.

Enlarge photo 34
Celluloid pin of a flapper with
brass backing.

Enlarge photo 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!

Enlarge photo 36
Probable German bracelet marked
Sterling.  Chalcedony stones
with marcasites.

Enlarge photo 37
French sterling bird pin and earrings
set with marcasites and onyx.  Marked
Made in France.

Enlarge photo 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.

Enlarge photo 39
Auguste Bonaz cream and red galalith
necklace.  The Real McCoy.

Enlarge photo 40
Auguste Bonaz signature. Easy
to fake as it is heat-stamped
into the galalith.

Enlarge photo 41
Auguste Bonaz galalith necklace
in white and black. Circa 1920s.

Enlarge photo 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.

Enlarge photo 43
Auguste Bonaz pins.

Enlarge photo 44
French black and white galalith

Enlarge photo 45
French brass and plastic seahorse

Enlarge photo 46
Two cloisonne enamel bracelets
with the links strung through gilt
ribbon and with an ingenious
adjustable snap clasp. Signed
Barboteaux, circa 1930s.

Enlarge photo 47
Plique a jour enamel bracelet
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.

Enlarge photo 48
Back of bracelet, showing areas where
light shines through.

Enlarge photo 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

Enlarge photo 50
Back of necklace.

Enlarge photo 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

Enlarge photo 52
All marks on the Deco German necklace.

Enlarge photo 53
Sterling pin of a flying heron marked KP.

Enlarge photo 54
Real or costume??

Deco bracelets, with the center one marked Otis Sterling.

Enlarge photo 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.

Enlarge photo 56
Deco bracelet with central bow motif. White gold, synthetic sapphires and diamonds.

Enlarge photo 57
German Deco ring, onyx, carnelian and

Enlarge photo 58
Another view of ring.

Enlarge photo 59
Kollmar and Jourdan bracelet

Enameled plaques with coral glass stones set in silver gilt metal.

Enlarge photo 60
Kollmar and Jourdan
Enamel and rhinestone bracelet

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,...

Enlarge photo 61
Deco buckle bracelet, enameled chrome with a green glass stone.  Enamel has been scraped.

Enlarge photo 62
Chicago World's Fair bracelet
A Century of Progress International Exposition

Hammered metal bracelet with scenes
from the Chicago World's Fair,
which also commemorated Chicago's

You can view a panoramic view of
the Exposition from the Library of
Congress's files at this link:

Enlarge photo 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.

Enlarge photo 64
Possible Bengal necklace with overlapping circles of chrome painted with black enamel.  See page 186 of Art Deco Schmuck for a similar example.

Enlarge photo 65
Chrome and galalith bracelet.
Jakob Bengal
1933 collection

See page 252 in Art Deco Schmuck.

Enlarge photo 66
Sterling Deco Egyptian-themed cuff bracelet.  Marked 925 and 000.  Anyone know this mark?

Enlarge photo 67
French Deco necklace of black glass stones alternating with black and white enamel plaques.

Enlarge photo 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.

Enlarge photo 69
Czech glass sautoir.

Enlarge photo 70
French Deco pin.

Enlarge photo 71
Mesh cuff bracelet showing Deco geometric influence.

Enlarge photo 72
Superb FN Co belt buckle.

Enlarge photo 73
FN Co pin with channel-set rhinestones.  The clears are quite gray, but still a wonderful design.

Enlarge photo 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.

Enlarge photo 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.

Enlarge photo 76
Side view of the coat and dress.  Coat has beautifully draped and tucked shoulders.

Enlarge photo 77
Closeup of the see-through panel and embroidery.

Enlarge photo 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.

Enlarge photo 79
View of the cape showing the lining.

Enlarge photo 80
Close-up of the superb Asian-styled floral pattern, stencilled in tones of silver.

Enlarge photo 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.

Enlarge photo 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.

Enlarge photo 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...

Enlarge photo 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.

Enlarge photo 85
Deco purse with marcasite and glass insets in green and onyx.

Enlarge photo 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

Enlarge photo 87
Another view of the bracelets.

Enlarge photo 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.

Enlarge photo 89
Celluloid pin of a flapper with brass back.

Enlarge photo 90
Painted porcelain pin of a flapper.

Enlarge photo 91
Celluloid pin of a flapper.

Enlarge photo 92
Painted porcelain pin of a flapper.

Enlarge photo 93
Celluloid pin of a flapper.

Enlarge photo 94
Bakelite and chrome necklace by Jakob Bengel.

Enlarge photo 95
Sterling and marcasite necklace with Peking glass stone.  Marked 935.

Enlarge photo 96
Center piece of necklace.

Enlarge photo 97
Celluloid on brass pin of Art Deco flapper

Enlarge photo 98
Emerald and diamond ring, set in platinum
Deco, circa 1925

Hallmarked Plat.

Enlarge photo 99
Platinum chain with nine spectator set diamonds
Circa 1920s

Appears to have originally been a watch chain.

Enlarge photo 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.

Enlarge photo 101
Pools of Light parure in original box.  Undrilled rock crystal spheres with sterling silver "caged" wires.

Enlarge photo 102

Enlarge photo 103
Pools of Light parure

Rock crystal and onyx with elaborate sterling floral caging.

Enlarge photo 104
Close-up of the beads.

Enlarge photo 105
Celluloid on brass Deco flapper pin

Enlarge photo 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.

Enlarge photo 107
Close-up of pendant.

Enlarge photo 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.

Enlarge photo 109
Close-up of pendant.

Enlarge photo 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.

Enlarge photo 111
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.

Enlarge photo 112
Carved ivory, enamel, marcasites and sterling pendant
Theodor Fahrner
Circa 1920s

Marked TF Sterling and Germany.

Enlarge photo 113
Rock crystal and marcasite brooch set with coral and chalcedony
Theodor Fahrner
Circa late 1920s

Marked TF and 935.

Enlarge photo 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.

Enlarge photo 115
Deco brass radiator grill bracelet

Enlarge photo 116

Enlarge photo 117

Enlarge photo 118
Sterling and Carnelian necklace
Circa 1930s

Enlarge photo 119
Pools of Light choker necklace

Alternating beads of rock crystal and onyx caged with floral sterling bands.

Enlarge photo 120

Enlarge photo 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...

Enlarge photo 122
For more information on WMF, go to http://www.xs4all.nl/~abel/wmf.htm

Enlarge photo 123

Enlarge photo 124
WMF Myra Kristall beads
Circa 1925

Beads in iridescent blue-tone glass.

Enlarge photo 125
WMF Myra Kristall beads
Circa 1925

Two different shades of these rare beads.

Enlarge photo 126
WMF Myra Kristall  beads against a white background.

Enlarge photo 127
WMF Myra Kristall bead earrings

Enlarge photo 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.

Enlarge photo 129
WMF Myra Kristall Necklace
Circa 1925

Another view of the necklace in bright light.

Enlarge photo 130
WMF pink glass beads
Circa 1930s

Enlarge photo 131

Enlarge photo 132

Enlarge photo 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.

Enlarge photo 134
Close up of the WMF Ikora Medusa beads.

Enlarge photo 135
WMF lemon yellow glass beads on original chain.
Circa 1926

Enlarge photo 136

Enlarge photo 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.

Enlarge photo 138
Rock crystal faceted necklace
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.

Enlarge photo 139

Enlarge photo 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.

Enlarge photo 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.

 Select All.  
Album Properties. Email Album. Send Invitation. Add to Website. Share URL