A Newark jewelry manufacturer, A. J. Hedges & Co. developed a patented process for mottling differently colored golds, inspired by Japanese metalwork. A bracelet in the Metropolitan Museum of Art combines this technique with diamond and Montana sapphires, documenting the firm’s inventive Aesthetic Movement goldwork.
1A. J. Hedges & Co. — EarringsMacklowe Gallery Archives2
MATERIALS & TECHNIQUES
Adularescence
A diffuse glow that appears to move beneath the surface of moonstone as the viewing angle changes.
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MAKER
Alling & Co.
Alling & Co. belonged to Newark’s jewelry-manufacturing industry. Its predecessor, Alling Brothers & Company, began in 1850; the family adopted the later name after 1881. Surviving company records document manufacturing and wholesale trade, rather than a named individual designer.
2 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants.
Subjects include Faces and Figures, Hearts, Women’s Faces.
Henry and George A. Allsopp established their Newark jewelry business in 1887, adopting the Allsopp Brothers name in 1892. The firm manufactured diamond and gemstone-set gold rings, including birthstone and sentimental designs, supplying retailers across the United States.
Gabriel Argy-Rousseau made colorful pâte-de-verre jewelry as well as decorative glass. His Conifer pendant, designed in 1924, translates a pinecone into molded glass worn on thread. For Plate 20, the sculptures Femme Papillon and Danseuse, made with sculptor Marcel Bouraine, inspire a new butterfly-woman pendant. Macklowe Gallery describes Femme Papillon as pâte de cristal and Danseuse as pâte de verre; the pendant in this book is an imagined pâte-de-verre design.
Arnould’s Paris workshop contributed to Art Nouveau jewelry through sculptural floral and insect designs. Documented pieces include chrysanthemum cufflinks in two-colored gold and an opal ring held between embracing butterflies, signed Arnould and dated circa 1900.
2 jewels in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Dragonflies, Flowers and Foliage.
An international decorative style prominent around 1890–1910, often using flowing lines and forms drawn from nature.
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MATERIALS & TECHNIQUES
Articulated
Constructed from connected parts that can move, allowing a jewel to bend or drape.
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MATERIALS & TECHNIQUES
Arts and Crafts
A design movement that emphasized skilled craftsmanship, the qualities of materials and the relationship between design and making.
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MAKER
Louis Aucoc
1850–1932
Louis Aucoc was a leading Parisian jeweler and goldsmith. René Lalique entered his workshop as an apprentice in 1876, making Aucoc’s workshop an important part of the younger designer’s early training.
4 jewels in the Macklowe Gallery archive.
Brooches.
Subjects include Faces and Figures, Flowers and Foliage, Lilies of the Valley, Stars and Celestial, Trees and Landscapes, Women’s Faces.
A loop or fitting that connects a pendant to a chain or cord.
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MATERIALS & TECHNIQUES
Bangle
A rigid bracelet, either hinged or made to slip over the hand.
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MATERIALS & TECHNIQUES
Baroque pearl
A pearl with an irregular shape.
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MATERIALS & TECHNIQUES
Basse-taille
An enameling technique in which transparent enamel covers a shallow relief design in metal, leaving that design visible.
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MAKER
Edgar Bense
Documented work: c. 1890
Edgar Bense made the dragonfly brooch for Boucheron documented by the Metropolitan Museum of Art. Its translucent plique-à-jour enamel wings, diamonds and trembling mounts bring light and movement to an insect form—a particularly expressive example of Art Nouveau jewelry.
A metal rim that surrounds and holds the edge of a stone.
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MAKER
Bippart, Griscom & Osborn
Bippart, Griscom & Osborn was a Newark jewelry manufacturer. A circa-1895 pin discussed by PBS combines a woman’s profile and flowers in chased, high-relief gold. Such surviving jewels document the firm’s contribution to American figurative and naturalistic jewelry around the Art Nouveau period.
Elizabeth Bonté worked in French Art Nouveau jewelry using horn, glass and silk. Her business eventually joined that of Georges Pierre, who produced similar jewelry. A pendant exhibited in Maker & Muse documents her use of these materials around 1900.
7 jewels in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Birds, Chrysanthemums, Daisies, Dragonflies, Faces and Figures, Flowers and Foliage, Goats, Moths, Swans, Trees and Landscapes.
Founded by Frédéric Boucheron in 1858, the Paris house participated in Art Nouveau’s transformation of natural forms into jewels. Edgar Bense’s dragonfly brooch for Boucheron combines plique-à-jour enamel, diamonds and trembling wings, demonstrating the house’s technical and imaginative range.
2 jewels in the Macklowe Gallery archive.
Brooches.
Subjects include Cicadas, Flowers and Foliage, Whiplash Curves.
Antoine Bricteux is represented in the Maker & Muse exhibition by a French pendant of about 1900 combining diamonds, enamel, gold and platinum. This documented jewel places his work within the material and technical vocabulary of Art Nouveau jewelry.
2 jewels in the Macklowe Gallery archive.
Convertible Jewelry, Necklaces and Pendants.
Subjects include Flowers and Foliage, Trumpet Vines.
An ornament fastened to clothing by a pin and catch.
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MATERIALS & TECHNIQUES
Cabochon
A stone with a smooth, polished, usually domed surface rather than flat facets.
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MATERIALS & TECHNIQUES
Cameo glass
Glass made in contrasting layers, with parts of the outer layer removed by carving or etching to create a relief design.
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MATERIALS & TECHNIQUES
Carved stone
Stone shaped by removing material to form a face, leaf, pattern or other design.
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MATERIALS & TECHNIQUES
Champlevé
Enamel filling hollows in a metal surface; the remaining metal separates the colored areas.
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MATERIALS & TECHNIQUES
Chasing
Shaping or defining a metal surface from the front with tools, generally without removing metal.
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MATERIALS & TECHNIQUES
Chatoyancy
A band of reflected light that appears to move across a gemstone, producing the silky effect seen in tiger’s eye.
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MAKER
Jules Chéret
1836–1932
Jules Chéret brought the female figures of his celebrated poster art into jewelry. His designs for Maison Fonsèque et Olive included gold-and-diamond brooches. A fan-shaped brooch related to his lithograph Dance translates a fashionable young woman into sculptural gold relief.
1 jewel in the Macklowe Gallery archive.
Brooches.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
Enamel held in compartments formed by thin metal strips or wires attached to a metal base.
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MAKER
Édouard Colonna
1862–1948
Colonna designed jewelry for Siegfried Bing’s L’Art Nouveau enterprise in Paris. A pendant of about 1900 in the Musée des Arts Décoratifs combines chased gold with translucent and plique-à-jour enamels, documenting his contribution to the movement’s jewelry design.
Crane & Theurer was a Newark jewelry firm active around the turn of the twentieth century. Its floral jewelry is represented in the Macklowe Gallery archive by a brooch combining gold, enamel and diamond.
1 jewel in the Macklowe Gallery archive.
Brooches.
Subjects include Flowers and Foliage, Pansies, Violets.
Fasteners that pass through the buttonholes on both sides of a shirt cuff.
63Colored-pencil study64
MAKER
D. De W. Brokaw
Documented activity: c. 1896–1922
Brokaw was a New York jewelry business documented from the 1890s into the early twentieth century. A floral brooch in the Macklowe Gallery archive combines gold, enamel and diamond. D. D. Brokaw & Son succeeded the firm.
1 jewel in the Macklowe Gallery archive.
Brooches.
Subjects include Flowers and Foliage, Pansies, Violets.
65D. De W. Brokaw — BroochMacklowe Gallery Archives66
MATERIALS & TECHNIQUES
Dark opal
Opal with a dark body color, which can provide a strong contrast to its play-of-color.
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MAKER
Day, Clark and Company for Tiffany & Co
Documented jewelry circa 1900
Day, Clark & Co. was an American jewelry manufacturer active around the turn of the twentieth century. Its work included gold cufflinks, shirt studs and coordinated dress sets, often set with colored stones such as carnelian.
Pierre-Georges Deraisme designed and modeled jewelry and worked as a chaser for René Lalique from 1890. His studies of plants and insects informed Art Nouveau designs. The Petit Palais preserves his drawings, documenting the development from observed nature to finished jewelry compositions.
Joë Descomps designed jewelry alongside decorative vessels and mixed-media metalwork. His Three Graces pendant of about 1900 combines gold, plique-à-jour enamel, diamond and pearl; it documents his use of the female figure within Art Nouveau jewelry.
3 jewels in the Macklowe Gallery archive.
Brooches.
Subjects include Faces and Figures, Flowers and Foliage, Lily Pads, Snakes, Trees and Landscapes, Women’s Faces.
A jeweled head ornament, often shaped around a curved band.
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MATERIALS & TECHNIQUES
Diamond
A gemstone made of carbon. Its polished facets can reflect bright light and flashes of color.
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MAKER
Jean-Baptiste-Émile Dropsy
1848–1923
Émile Dropsy worked in medals and decorative arts and exhibited at the 1900 Paris Exposition Universelle. Museum records preserve his figurative and dragonfly compositions. His documented practice provides context for the small-scale sculptural imagery associated with jewelry of the period.
2 jewels in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
Henri Dubret made botanical ornaments combining carved horn, gold and translucent enamel. His lily-of-the-valley comb, exhibited at the Paris Salon in 1902, illustrates Art Nouveau’s transformation of flowering plants into wearable jewelry.
1 jewel in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Butterflies, Flowers and Foliage.
Glass fused by heat to a surface, usually metal, or held within a metal framework. It may be opaque, translucent or transparent.
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MATERIALS & TECHNIQUES
Engraving
Creating a design by cutting lines into a surface.
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MAKER
Comte d’Épinay de Briort
1836–1914
Comte d’Épinay de Briort contributed to French Art Nouveau jewelry through ornaments including brooches and lockets. The Maker & Muse exhibition documents a gold-and-diamond brooch made for Boucheron and a locket, both dating to around 1900.
6 jewels in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
89Compte d'Epinay de Briort — NecklaceMacklowe Gallery Archives90
MATERIALS & TECHNIQUES
Facet
A flat, polished surface on a cut gemstone that helps direct light.
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MAKER
Theodor Fahrner (firm)
The Pforzheim firm helped bring Jugendstil design into manufactured jewelry by commissioning contemporary artists, including Max Gradl, Erich Kleinhempel and Joseph Maria Olbrich. Its work linked artistic design with jewelry production; after Fahrner’s death in 1919, Gustav Braendle continued the business.
Gabriel Falguières produced jewelry for important Parisian firms in the late nineteenth and early twentieth centuries. During the Art Nouveau period, he retained a distinctive emphasis on diamonds while many contemporaries explored enamel and glass.
The Parisian house founded by Alexis Falize became known for finely worked gold and colored enamels. Its Japanese-inspired jewelry, successfully exhibited in Paris in 1867, preceded Art Nouveau’s broader exploration of East Asian design and enamel.
Feuillâtre led René Lalique’s enameling workshop before opening his own in 1897. His contribution to Art Nouveau centered on enamel, including work on silver, bringing luminous color to jewelry and decorative objects.
11 jewels in the Macklowe Gallery archive.
Accessories, Bracelets, Brooches, Necklaces and Pendants, Rings.
Subjects include Bees, Birds, Butterflies, Dragonflies, Faces and Figures, Flowers and Foliage, Orchids, Swans, Thistles, Trees and Landscapes.
Opal with a yellow, orange, red or brown body color. It may or may not display play-of-color.
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MAKER
François Fleuret
François Fleuret’s Paris workshop produced cast-gold and enamel brooches, including Ophelia and The Dream. These works connect his workshop with the figurative jewelry of the Art Nouveau period.
2 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants.
Subjects include Dragonflies, Faces and Figures, Flowers and Foliage, Women’s Faces.
Paul Follot worked across furniture and decorative arts, including jewelry. His pendant designs, preserved at the Musée des Arts Décoratifs, place him among the designers whose Art Nouveau practice extended from interiors and furnishings to personal ornament.
2 jewels in the Macklowe Gallery archive.
Necklaces and Pendants, Rings.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
Fouquet’s Paris workshop realized Alphonse Mucha’s elaborate jewelry designs during their collaboration of 1899–1901. Combining gold and gemstones with enamel and unconventional materials, these jewels exemplified Art Nouveau’s emphasis on artistic conception rather than material value alone.
6 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants, Rings.
Subjects include Birds, Faces and Figures, Flowers and Foliage, Lily Pads, Peacocks, Swans, Trees and Landscapes, Women’s Faces.
René Foy created Art Nouveau ornaments using the female figure, animals and carved ivory. Contemporary designs reproduced by the Victorian Web include a bat-shaped belt buckle, a nude pendant and ivory hair ornaments, documenting the range of his jewelry practice.
Lucien Gaillard was a French jeweler and metalworker whose Art Nouveau designs reflect his interest in Japanese art and the natural world. He worked with horn, gold, enamel and gemstones, and also made decorative objects. His bronze Stag Beetle vase, about 1905, has insects with turquoise-green enamel on copper, showing how he carried the same subjects into his metalwork.
111Lucien Gaillard — Stag Beetle vase, about 1905Photograph courtesy of Macklowe Gallery. Bronze, copper and enamel; YB-22066. Related decorative object.112
MAKER
Léon Gariod
Léon Gariod worked as a jeweler realizing designs by other artists. A chestnut-leaf brooch of around 1900 at the Bayerisches Nationalmuseum records Gariod as jeweler and Gautrait as designer and modeler, illustrating the collaboration behind Art Nouveau jewelry.
Gautrait’s documented Art Nouveau jewels combine colored gemstones and enamel. The Maker & Muse exhibition catalogues a sapphire, enamel and diamond bracelet and a pendant necklace with fire opal, pearl and plique-à-jour enamel, both dating to about 1900.
14 jewels in the Macklowe Gallery archive.
Bracelets, Brooches, Necklaces and Pendants, Rings.
Subjects include Bats, Birds, Bows, Faces and Figures, Flowers and Foliage, Moths, Owls, Peacocks, Poppies, Roosters, Stars and Celestial, Stylized Bug.
115Lucien (Léopold) Gautrait — Pendant NecklaceMacklowe Gallery Archives116
MATERIALS & TECHNIQUES
Gilded silver
Silver covered with a thin layer of gold; also called silver-gilt.
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MATERIALS & TECHNIQUES
Gold
A precious yellow metal, often mixed with other metals for strength or a different color.
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MAKER
Fuset y Grau
The Barcelona house Fuset y Grau participated in Catalan Modernista jewelry. Its work combined medieval-inspired female portraits with natural plant and floral motifs, using carved ivory, plique-à-jour enamel, pearls and engraved gold.
121Fuset y Grau — BraceletMacklowe Gallery Archives122
MAKER
Guillemin Frères
Guillemin Frères worked as jewelers in the collaborative world of French decorative arts. The Musée d’Orsay’s Salon records credit the firm with making a pendant designed by Émile-Séraphin Vernier, decorated with translucent enamel over relief.
Hirtz designed jewelry and enamel objects for Falize and, from 1893, Boucheron. A specialist in painted enamel, he brought painterly color to luxury ornaments and exhibited at the Paris Salons between 1896 and 1911.
1 jewel in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
125Attributed to Lucien Hirtz — NecklaceMacklowe Gallery Archives126
MATERIALS & TECHNIQUES
Horn
A material composed mainly of keratin that can be carved or shaped with heat. Thin sections may be translucent.
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MAKER
Henri Husson
1852–1914
Henri Husson translated plants and insects into Art Nouveau jewelry. His silver necklaces, bracelets and brooches in the Petit Palais collection use modeled foliage, ivy and beetles, with techniques including hammering, engraving and soldering.
A rainbow-like sheen that changes with the viewing angle, as on mother-of-pearl.
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MATERIALS & TECHNIQUES
Japonism
The influence of Japanese art on Western design, including its natural motifs and use of open space.
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MAKER
Georg Jensen
1866–1935
Georg Jensen trained as a goldsmith and studied sculpture before opening his Copenhagen workshop in 1904. His early silver jewelry drew on the natural world: flowers, leaves, fruit and rounded buds became softly modeled forms. Curved surfaces catch the light, while darker recesses bring out their depth and detail. The imagined Sculpted Leaf Cufflinks in Plate 19 borrow this approach to form: curled leaves, rounded beads and smooth stones, with bright raised edges and deeper shadows beneath the folds.
135Georg Jensen Sølvsmedie — Brooch, 1904–1908. Silver, agate and amber.Cooper Hewitt, Smithsonian Design Museum, 1989-98-1. Museum purchase from Decorative Arts Association Acquisition Fund. Digitally refined: white background, orientation and surface tone.
The form of Art Nouveau associated with German-speaking regions, encompassing both organic and geometric ornament.
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MAKER
Erich Kleinhempel
1874–1947
Kleinhempel was an architect and designer whose work extended to jewelry. He supplied modern designs to the Theodor Fahrner firm, participating in the collaboration between independent artists and manufacturers that shaped German Jugendstil jewelry.
Knox brought Celtic interlace and flowing plant forms to British Art Nouveau jewelry. Designing for Liberty’s Cymric range, he integrated ornament with structure, using colored enamel and sinuous lines in necklaces, brooches, clasps and buckles.
141Belt buckle designed by Archibald Knox — historical examplePhotograph: Sunshineramsey71 / Wikimedia Commons. Background replaced with black using AI image editing; buckle retained as closely as possible.
A major Newark manufacturer, Krementz made gold jewelry and accessories for a broad American market and supplied leading retailers, including Tiffany & Co. Its surviving design archives document the industrial workshops behind American jewelry around 1900.
12 jewels in the Macklowe Gallery archive.
Brooches, Cufflinks and Dress Sets, Earrings.
Subjects include Birds, Faces and Figures, Flowers and Foliage, Irises, Lilies of the Valley, Lily Pads, Poppies, Swans, Women’s Faces.
Edmond Lachenal extended his ceramic work into wearable accessories. Around 1900, he made matte-glazed stoneware buttons and ceramic portrait belt buckles mounted in gilded metal, bringing ceramic color and modeled relief into the Art Nouveau wardrobe.
1 jewel in the Macklowe Gallery archive.
Accessories.
Subjects include Faces and Figures, Women’s Faces.
145Edmond Lachenal — Belt BuckleMacklowe Gallery Archives146
MAKER
Gaston Laffitte
Active circa 1900
Laffitte made French Art Nouveau jewelry around 1900. The Frick Pittsburgh’s Maker & Muse exhibition documents his brooch combining gold, enamel, diamonds and pearl among the movement’s nature-inspired jewels.
4 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants.
Subjects include Butterflies, Faces and Figures, Flowers and Foliage, Hearts, Women’s Faces.
Lalique helped transform Art Nouveau jewelry through expressive designs drawn from plants, animals and the female figure. He combined precious materials with horn, glass and enamel, placing artistic invention above the conventional emphasis on costly gemstones.
53 jewels in the Macklowe Gallery archive.
Accessories, Bracelets, Brooches, Convertible Jewelry, Necklaces and Pendants, Rings.
Subjects include Bats, Beetles and Scarabs, Birds, Butterflies, Daisies, Damselflies, Doves, Dragonflies, Faces and Figures, Feathers, Ferns, Flowers and Foliage.
Le Turcq was a Parisian jeweler and goldsmith associated with Julien Duval. Musée d’Orsay’s artist directory documents this partnership and his activity around the turn of the twentieth century.
151Georges Le Turcq (attributed to) — RingMacklowe Gallery Archives152
MAKER
Levinger and Bissinger
Working in Pforzheim, Levinger & Bissinger produced German Art Nouveau jewelry. A necklace in the Spencer Museum of Art combines silver, pearls and rhinestones with translucent plique-à-jour enamel, documenting the firm’s use of this characteristic technique.
153Levinger and Bissinger — PendantMacklowe Gallery Archives154
MAKER
Liberty & Co.
Established 1875
Liberty helped bring British Art Nouveau jewelry to a wider market through its Cymric range. The London retailer commissioned designers including Archibald Knox, combining Celtic-inspired ornament, flowing forms and colored enamel with commercially organized production.
Liénard explored the natural world in jewelry. His Seaweed brooch, dated about 1908 in the Museum of Fine Arts, Boston, documents his use of marine plant forms as ornament during the Art Nouveau period.
Opal with a pale background color; patches of play-of-color may appear against it.
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MATERIALS & TECHNIQUES
Lorgnette
A pair of spectacles held by a handle rather than worn over the ears.
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MAKER
Paul François Louchet
1854–1936
Paul Paul François Louchet worked as a sculptor, chaser and decorative artist. His jewelry designs at the Rijksmuseum include a dragonfly-winged woman, flowers and insects, showing the transformation of natural and fantastic forms into jeweled pendants.
1 jewel in the Macklowe Gallery archive.
Convertible Jewelry.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
163Paul François Louchet — Brooch, PendantMacklowe Gallery Archives164
MATERIALS & TECHNIQUES
Luster
The way a surface reflects light, such as the soft sheen of pearl or the bright shine of polished metal.
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MAKER
Gustav Manz
1865–1946
Manz was a German-born manufacturing jeweler working in New York. His carved gold, inventive gemstone combinations and natural forms contributed to American art jewelry. Often sold under retailers’ names, his work can be identified through surviving design journals and business records.
Founded in New York by Herman Marcus, the firm developed an important American expression of Art Nouveau jewelry. Its sinuous natural forms, colored gemstones and accomplished plique-à-jour enameling placed it among the few American jewelers to master this demanding technique.
32 jewels in the Macklowe Gallery archive.
Accessories, Brooches, Cufflinks and Dress Sets, Necklaces and Pendants, Rings.
Subjects include Cats, Faces and Figures, Flowers and Foliage, Irises, Orchids, Stars and Celestial, Whiplash Curves.
De Martilly was a French jewelry designer active between 1902 and 1913. Musée d’Orsay documents his professional role and activity during the Art Nouveau period.
171Édouard de Martilly — RingMacklowe Gallery Archives172
MATERIALS & TECHNIQUES
Moonstone
A feldspar gemstone known for adularescence: a soft glow beneath its surface.
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MATERIALS & TECHNIQUES
Mother-of-pearl
The lustrous inner lining of certain shells, made of nacre and often showing rainbow colors.
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MATERIALS & TECHNIQUES
Motif
A subject or shape repeated or developed in a design, such as a dragonfly or curling leaf.
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MAKER
Julia Munson
1875–1971
Julia Munson helped develop Louis Comfort Tiffany’s art jewelry and supervised its fabrication until 1914. Trained in art and design, she worked with enamel and colored stones.
179Plique-à-jour enamel necklace — with Julia Munson · c. 1910 · Louis Comfort Tiffany for Tiffany and Co. · With the collaboration of Julia MunsonPhotograph courtesy of Macklowe Gallery. Used with permission.180
MATERIALS & TECHNIQUES
Neck plaque
A decorative panel worn close to the neck, usually supported by a ribbon, chain or collar.
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MATERIALS & TECHNIQUES
Opaque
Not allowing light to pass through. Opaque enamel conceals the metal below it.
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MATERIALS & TECHNIQUES
Openwork
A design with open spaces between its solid parts; the gaps help form the pattern.
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MATERIALS & TECHNIQUES
Patina
A surface change, often a darkening of metal, that develops naturally or is created as a finish.
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MAKER
Paulding Farnham for Tiffany & Co.
1859–1927
Farnham designed Tiffany’s celebrated enameled orchid jewels for the 1889 Paris Exposition. Their botanical precision and combinations of gold, enamel and gemstones helped establish an American naturalistic jewelry tradition alongside the emerging Art Nouveau movement.
An ornament suspended from a chain, cord or ribbon.
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MAKER
Georges Pierre
1873–1943
Pierre specialized in carved horn jewelry, transforming insects and flowers into translucent ornaments. He worked alongside Elizabeth Bonté while maintaining a separate practice. Their closely related designs express Art Nouveau’s interest in nature and materials beyond conventional precious gems.
4 jewels in the Macklowe Gallery archive.
Bracelets, Necklaces and Pendants.
Subjects include Bees, Cicadas, Flowers and Foliage.
199Georges Pierre — NecklaceMacklowe Gallery Archives200
MATERIALS & TECHNIQUES
Platinum
A dense, naturally white precious metal used in fine jewelry and gemstone settings.
201Colored-pencil study202
MATERIALS & TECHNIQUES
Play-of-color
Changing patches of color seen in some opals as the stone, light or viewer moves.
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MATERIALS & TECHNIQUES
Plique-à-jour
Enamel held in a metal framework without a permanent backing, admitting light like stained glass.
205Colored-pencil study206
MAKER
Plisson et Hartz
This French firm contributed to Art Nouveau jewelry’s imaginative figural imagery. Its La Princesse Lointaine stickpin, documented in the Frick Pittsburgh’s Maker & Muse exhibition, translated the era’s idealized feminine imagery into gold, enamel and diamonds.
3 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants.
Subjects include Faces and Figures, Flowers and Foliage, Lily Pads, Lotuses, Women’s Faces.
207Plisson Et Hartz (attributed to) — NecklaceMacklowe Gallery Archives208
MATERIALS & TECHNIQUES
Prong
A small metal claw that grips a gemstone and holds it in its setting.
209Colored-pencil study210
MAKER
André Rambour
Documented exhibitions: 1900–1902
Maison André Rambour created floral and figural Art Nouveau jewels, exhibiting at the 1900 Paris Exposition and subsequent Salons. Its Femme-Fleur pendant joins a woman’s face with an iris blossom in colored enamel and chased gold, exemplifying the fusion of human and botanical forms.
4 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants, Rings.
Subjects include Birds, Faces and Figures, Flowers and Foliage, Poppies, Swans, Whiplash Curves, Women’s Faces.
A design that rises above its background while remaining attached to it.
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MATERIALS & TECHNIQUES
Repoussé
Shaping metal from the back to raise a design on the front.
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MAKER
Riker Brothers
Newark, New Jersey
Riker Brothers made jewelry in Newark, New Jersey, and was known for richly worked gold and delicate plique-à-jour enamel. Dragons, birds and other natural forms appear in its bracelets, brooches and pendants. Its sculptural gold bracelets show how texture, raised ornament and gemstones could bring a jewel to life.
2 jewels in the Macklowe Gallery archive.
Bracelets.
Subjects include Beetles and Scarabs, Flowers and Foliage.
Maurice Robin & Cie made French Art Nouveau jewels around 1900. A gold brooch with pearls, ruby and diamonds was included in Maker & Muse; a documented gold-and-pearl necklace further illustrates the firm’s work in personal adornment.
219Maurice Robin & Cie — NecklaceMacklowe Gallery Archives220
MAKER
Paul Robin
Maison Paul Robin’s surviving design albums document its jewelry production across the late nineteenth and early twentieth centuries. The Musée des Arts Décoratifs preserves drawings for rings and other jewels, providing a record of the house’s designs.
The red gem variety of corundum. Sapphire belongs to the same mineral species.
223Colored-pencil study224
MAKER
Gustave-Roger Sandoz
Sandoz continued his father’s Paris jewelry house. His work belongs to the period’s exploration of jewelry as decorative art: the Musée des Arts Décoratifs preserves a silver-and-glass corsage ornament dated 1900, while contemporary exhibition reports document his firm’s artistic jewelry.
Gem-quality corundum other than ruby. Blue is familiar, but sapphires occur in many colors.
227Colored-pencil study228
MAKER
Sasportas
Documented award: 1925
Sasportas was a Parisian jewelry house documented particularly in Art Deco and later designs. It combined unusual gemstones with geometric forms and supplied work to Cartier and Van Cleef & Arpels. Sotheby’s records its gold medal at the 1925 decorative-arts exhibition.
The shank is a ring’s band; the shoulders are the parts beside its main ornament or stone.
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MAKER
Shreve & Co.
Established 1852 · United States
Founded in San Francisco in 1852, Shreve & Co. supplied jewelry and silverware to a growing West Coast clientele. Its history reflects the development of a major American retail jewelry house during the nineteenth century.
A precious white metal, usually mixed with other metals to make it stronger for jewelry.
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MATERIALS & TECHNIQUES
Skønvirke
A Danish movement around 1900 combining decorative design and skilled craft, related to Art Nouveau and Arts and Crafts.
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MAKER
Theodore B. Starr
Firm established 1877 · United States
Theodore B. Starr established his own New York jewelry firm in 1877 after partnering with Herman Marcus. The firm produced artistic goldwork around 1900, including chased buckles with stylized dolphins and acanthus leaves; its output extended beyond a single fashionable style.
Tiffany & Co. helped establish an American approach to jewelry around 1900 through natural forms, unusual color combinations and American gemstones. Designers including Paulding Farnham and Louis Comfort Tiffany brought distinct approaches to the house’s work, which won international recognition at major exhibitions.
5 jewels in the Macklowe Gallery archive.
Accessories, Bracelets, Brooches.
Subjects include Daisies, Flowers and Foliage, Snakes.
Tiffany translated his interest in color and natural forms into art jewelry. He used opals, enamel and other colored stones in organic, often asymmetrical designs. His jewelry studio worked under Julia Munson’s direction before its operations moved into Tiffany & Co.
25 jewels in the Macklowe Gallery archive.
Brooches, Convertible Jewelry, Cufflinks and Dress Sets, Jewelry Suites, Necklaces and Pendants, Rings.
Subjects include Beetles and Scarabs, Birds, Feathers, Flowers and Foliage, Grapes and Vines, Peacocks, Snakes, Whiplash Curves.
249Louis Comfort Tiffany for Tiffany and Co. — BroochMacklowe Gallery Archives250
MATERIALS & TECHNIQUES
Tiger’s eye
Quartz with a silky, shifting band of light, commonly in golden-brown tones.
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MATERIALS & TECHNIQUES
Translucent
Allowing light through, but not a clear view of what lies behind.
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MATERIALS & TECHNIQUES
Transparent
Allowing light through clearly enough to see what lies behind.
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MAKER
Frédéric Vernon
1858–1912 · France
A French medal engraver, Vernon also worked in personal adornment. His gold Le Rêve evening bag of 1903 appeared in the museum exhibition Maker & Muse, placing his small-scale sculptural work within the period’s expanding relationship between art and jewelry.
1 jewel in the Macklowe Gallery archive.
Necklaces and Pendants.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
257Frédéric Vernon — PendantMacklowe Gallery Archives258
MAKER
Vever
Maison Vever moved from traditional jewelry toward Art Nouveau during the 1890s under Henri Vever’s influence. Its collaboration with Eugène Grasset produced figurative and nature-inspired jewels, and the house won a Grand Prix at the Paris Exposition of 1900.
4 jewels in the Macklowe Gallery archive.
Brooches, Convertible Jewelry, Necklaces and Pendants.
Vever helped steer his family’s Paris jewelry house toward Art Nouveau in the 1890s. His interests in Japanese art informed its changing designs. He also documented French jewelry history in a three-volume study that became an important reference for the field.
Walter was a glassmaker associated with Nancy’s Art Nouveau movement. After training at Sèvres, he introduced pâte de verre production at Daum in 1904. His documented contribution was primarily in glass.
265Amalric Walter — PendantMacklowe Gallery Archives266
MAKER
Walton & Co.
Walton & Co. is documented through an illustrated catalog of opal jewelry held by the Metropolitan Museum of Art. The museum identifies the firm with Los Angeles and San Francisco.
1 jewel in the Macklowe Gallery archive.
Rings.
Subjects include Faces and Figures, Women’s Faces.
A flowing curve that bends sharply back, a characteristic line in Art Nouveau design.
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MAKER
Whiteside & Blank
This Newark manufacturer contributed to American jewelry around 1900 through technically demanding enamel work, including plique-à-jour. Its production belongs to the city’s important jewelry industry. Surviving company records preserve pattern books, catalogs and workshop photographs; the business later became Henry Blank & Company.
1 jewel in the Macklowe Gallery archive.
Brooches.
Subjects include Butterflies, Faces and Figures, Women’s Faces.
Wièse jewelry belongs principally to the nineteenth-century revivalist tradition. Museum examples use sculptural goldwork and Gothic or Renaissance imagery. This context should remain distinct from Art Nouveau; the archive’s broad Wièse attribution does not identify whether Jules or Louis was responsible for an individual piece.
Philippe Wolfers (1858–1929) was a Belgian jeweler, sculptor and designer, and a leading figure in Brussels Art Nouveau. He worked within the family firm, Wolfers Frères, creating jewelry as well as silver, glass and sculpture. His Bats and Poppies bracelet of 1898–1899 brings animal and botanical forms together through enamel and sculpted metal. The archive photographs below retain their original Wolfers attribution.
Born in Asti, Italy, Louis Zorra worked in Paris and exhibited at the Société des Artistes Français salons. His Art Nouveau jewelry includes female profiles framed by translucent enamel and a gold ring commemorating the Paris 1900 Exhibition.
2 jewels in the Macklowe Gallery archive.
Brooches, Necklaces and Pendants.
Subjects include Faces and Figures, Flowers and Foliage, Women’s Faces.
