• A late 1940s/1950s pair of yellow gold ear clips by Marchak PARIS. The french jewellery house was founded in 1918. Originally from Kiev in Russia, Alexandre Marchak moved to Paris at the age of 26 and opened his boutique at 4, rue de la Paix. By the end of the 1920s he had established an excellent reputation not only in Europe but also in America. Exhibiting alongside Robert Linzeler, with whom he was an associate for a period, at the famous Paris exhibition of decorative arts in 1925, he was awarded a grand prix for his pieces inspired by the Orient in black laquer and mother-of-pearl. However, the pieces with which the name Marchak are most associated today are the works of the 1950s and 1960s when Alexandre's son had taken over the reigns. During this time the house worked closely with Jacques Verger and, similarly to his friend Pierre Sterlé, was very inspired by birds and flowers. These clips are beautifully made and showcase well one of the stylistic evolutions of the period - ropework yellow gold details - which can be seen here in between the spheres. Marchak did a series of jewels incorporating these two elements. #symbolicchase #marchak #vintagejewelry #yellowgold #finejewelry
    318 7
    A late 1940s/1950s pair of yellow gold ear clips by Marchak PARIS. The french jewellery house was founded in 1918. Originally from Kiev in Russia, Alexandre Marchak moved to Paris at the age of 26 and opened his boutique at 4, rue de la Paix. By the end of the 1920s he had established an excellent reputation not only in Europe but also in America. Exhibiting alongside Robert Linzeler, with whom he was an associate for a period, at the famous Paris exhibition of decorative arts in 1925, he was awarded a grand prix for his pieces inspired by the Orient in black laquer and mother-of-pearl. However, the pieces with which the name Marchak are most associated today are the works of the 1950s and 1960s when Alexandre's son had taken over the reigns. During this time the house worked closely with Jacques Verger and, similarly to his friend Pierre Sterlé, was very inspired by birds and flowers. These clips are beautifully made and showcase well one of the stylistic evolutions of the period - ropework yellow gold details - which can be seen here in between the spheres. Marchak did a series of jewels incorporating these two elements. #symbolicchase #marchak #vintagejewelry #yellowgold #finejewelry
  • A 133 carat Colombian emerald of exceptional transparency, carved in India with foliate motifs to its contours in the late 17th Century... #symbolicchase #mughal #carvedemerald #maharaja
    658 40
    A 133 carat Colombian emerald of exceptional transparency, carved in India with foliate motifs to its contours in the late 17th Century... #symbolicchase #mughal #carvedemerald #maharaja
  • A platinum, amethyst and pearl brooch by René Boivin, early 1930s. Graduated steps leading to an embellished plaque or dome is one of the styles most associated with Maison Boivin. Indeed the plaque brooch was a staple of many French jewellery houses in the 1930s. The Modernist jewellers tended to prefer these plaques to have flat surfaces upon which they used gems to create geometric or abstract motifs, the larger jewellery houses tended to add volume and piercing within their metal plaques to create all-diamond geometric designs...here Boivin displays their own touch; the flat surfaces are stacked to create volume when seen at an angle but seem flat when seen face-on - the large amethyst section itself is carved as a truncated pyramid whose facets are only seen when they catch the light...and of course the use of amethyst itself and the often disregarded blister pearl (which has subtle pink overtones to compliment the purple of the amethyst) is a stylistic choice often associated with Boivin and Belperron (although they were by no means alone in this) who used semi-precious materials for their aesthetic properties and ignored their monetary value. #symbolicchase #reneboivin #boivin #frenchjewelry #bringbackthebrooch #artdeco #1930s #artistjewelry
    344 2
    A platinum, amethyst and pearl brooch by René Boivin, early 1930s. Graduated steps leading to an embellished plaque or dome is one of the styles most associated with Maison Boivin. Indeed the plaque brooch was a staple of many French jewellery houses in the 1930s. The Modernist jewellers tended to prefer these plaques to have flat surfaces upon which they used gems to create geometric or abstract motifs, the larger jewellery houses tended to add volume and piercing within their metal plaques to create all-diamond geometric designs...here Boivin displays their own touch; the flat surfaces are stacked to create volume when seen at an angle but seem flat when seen face-on - the large amethyst section itself is carved as a truncated pyramid whose facets are only seen when they catch the light...and of course the use of amethyst itself and the often disregarded blister pearl (which has subtle pink overtones to compliment the purple of the amethyst) is a stylistic choice often associated with Boivin and Belperron (although they were by no means alone in this) who used semi-precious materials for their aesthetic properties and ignored their monetary value. #symbolicchase #reneboivin #boivin #frenchjewelry #bringbackthebrooch #artdeco #1930s #artistjewelry
  • One of the finest examples of the 1930s ‘door knocker’ design that inspired many of the big Parisian jewellery houses (both Cartier and René Boivin did series of this design). As you can see from the photos, the annular section can be removed and both elements worn separately... All white, geometric in design, embracing different cuts of diamonds, and versatile - this jewel is a poster child for Parisian high jewellery of the 1930s. #symbolicchase #artdeco #french #unsigned #importantjewelry #finejewelry #vintagejewelry #1930s
    1K+ 36
    One of the finest examples of the 1930s ‘door knocker’ design that inspired many of the big Parisian jewellery houses (both Cartier and René Boivin did series of this design). As you can see from the photos, the annular section can be removed and both elements worn separately... All white, geometric in design, embracing different cuts of diamonds, and versatile - this jewel is a poster child for Parisian high jewellery of the 1930s. #symbolicchase #artdeco #french #unsigned #importantjewelry #finejewelry #vintagejewelry #1930s
  • A French carved ruby and yellow gold ring, late 1940s...beautifully made and with such attention to each design element. the warmth of the yellow gold with the slight coppery hue of much post war jewellery brings light to the rubies which are each carved with a different foliate motif... #symbolicchase #rubyring #carvedruby #foliate #1940s #1950s #frenchjewelry #vintagejewelry #postwarart
    254 3
    A French carved ruby and yellow gold ring, late 1940s...beautifully made and with such attention to each design element. the warmth of the yellow gold with the slight coppery hue of much post war jewellery brings light to the rubies which are each carved with a different foliate motif... #symbolicchase #rubyring #carvedruby #foliate #1940s #1950s #frenchjewelry #vintagejewelry #postwarart
  • A pair of green and black enamel Art Deco silver cufflinks, circa 1925. #symbolicchase #cufflinks #artdeco #greenandblack #vintagecufflinks
    92 0
    A pair of green and black enamel Art Deco silver cufflinks, circa 1925. #symbolicchase #cufflinks #artdeco #greenandblack #vintagecufflinks
  • Continuing yesterday’s flower-head theme from day to night - a pair of diamond ear clips each set with a central brilliant-cut diamond weighing 4.12 carats and 4.18 carats respectively, within stylised petal motifs set with brilliant-cut diamonds, clip and post fittings, contemporary. Accompanied by two GIA certificates stating that the diamond weighing 4.12 carats is D colour, VS2 clarity, and is Type IIA. and that the diamond weighing 4.18 carats is E colour, VS1 clarity. #symbolicchase #flowerhead #floral #finejewelry #bridaljewellery #bridaljewelry #diamondearrings
    749 18
    Continuing yesterday’s flower-head theme from day to night - a pair of diamond ear clips each set with a central brilliant-cut diamond weighing 4.12 carats and 4.18 carats respectively, within stylised petal motifs set with brilliant-cut diamonds, clip and post fittings, contemporary. Accompanied by two GIA certificates stating that the diamond weighing 4.12 carats is D colour, VS2 clarity, and is Type IIA. and that the diamond weighing 4.18 carats is E colour, VS1 clarity. #symbolicchase #flowerhead #floral #finejewelry #bridaljewellery #bridaljewelry #diamondearrings
  • A pair of citrine and demantoid garnet flower-head ear clips from the 1950s....as bright and caramel-toned as an autumnal afternoon #symbolicchase #citrine #demantoidgarnet #1950s #finejewelry #vintage #vintagejewelry #autumnal
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    A pair of citrine and demantoid garnet flower-head ear clips from the 1950s....as bright and caramel-toned as an autumnal afternoon #symbolicchase #citrine #demantoidgarnet #1950s #finejewelry #vintage #vintagejewelry #autumnal
  • A pair of yellow gold and diamond (old-cut demi-lune-shaped diamonds to be exact) cufflinks by Suzanne Belperron...French assay marks for gold, partial maker’s mark for Darde et Fils. #symbolicchase #belperron #suzannebelperron #diamondcufflinks #cufflinks
    294 10
    A pair of yellow gold and diamond (old-cut demi-lune-shaped diamonds to be exact) cufflinks by Suzanne Belperron...French assay marks for gold, partial maker’s mark for Darde et Fils. #symbolicchase #belperron #suzannebelperron #diamondcufflinks #cufflinks
  • ‘The Indore Sapphire’ - an 18th Century facetted sapphire bead weighing 23.20 carats. In the 20th Century it was owned by the doyen of Art Deco style, Maharaja Yeshwant Rao Holkar II of Indore, who is the subject of the current exhibition ‘Moderne Maharajah’ at the Musée des Arts Décoratifs in Paris. Amongst other details of the Maharaja’s extraordinary life on display in the exhibition, are the famous photographs Man Ray took of the Maharajah and his young bride in France in the late 1920s…in which the sapphire can clearly be seen adorning his neck. (It is photographed above against the exhibition catalogue entry)…The sapphire was then later mounted by Cartier in a similar style and exhibited around the world as part of the Al-Thani collection…It is simple and yet powerful, imbued with the talismanic qualities of a stone that has lived many lives…#symbolicchase #maharajas #maharaja #indore #maharajaofindore #museedesartsdecoratifsparis #modernemaharajah #althanicollection #artdeco #talisman
    1K+ 45
    ‘The Indore Sapphire’ - an 18th Century facetted sapphire bead weighing 23.20 carats. In the 20th Century it was owned by the doyen of Art Deco style, Maharaja Yeshwant Rao Holkar II of Indore, who is the subject of the current exhibition ‘Moderne Maharajah’ at the Musée des Arts Décoratifs in Paris. Amongst other details of the Maharaja’s extraordinary life on display in the exhibition, are the famous photographs Man Ray took of the Maharajah and his young bride in France in the late 1920s…in which the sapphire can clearly be seen adorning his neck. (It is photographed above against the exhibition catalogue entry)…The sapphire was then later mounted by Cartier in a similar style and exhibited around the world as part of the Al-Thani collection…It is simple and yet powerful, imbued with the talismanic qualities of a stone that has lived many lives…#symbolicchase #maharajas #maharaja #indore #maharajaofindore #museedesartsdecoratifsparis #modernemaharajah #althanicollection #artdeco #talisman