Diamond solitaire ring, 6.67 carat round “Old European Cut” diamond (GIA certificate, potentially flawless, O-P color) in a very elaborate “Belle Epoque” 18K gold setting by Neil Lane set with numerous small round diamonds, signed
Arrow brooch c. 1925
Pavé set rectangular, triangular, square and round diamonds (approx. 9 carats TW)
all set in an articulated platinum mount
Marked: Marchak Paris, No.1673, wolfs-head French guarantee mark for platinum
L: 1 3/4”
Alexandre Marchak left his native Kiev in the wake of the Russian Revolution in 1918, settling in Paris. Within a few years he opened an establishment at 4, rue de la Paix in Paris with Robert Linzeler. They exhibited jewelry in the 1925 Exposition des Arts Decoratifs as well as in the 1937 International Exhibition of Arts and Techniques in Modern Life, both in Paris. Marchak’s son carried on the firm and was associated in the 1940s with another scion of an important jewelry family, Jacques Verger, grandson of the great Parisian watchmaker Ferdinand Verger. Like other European jewelers, this firm switched from platinum to gold in the 1930s.
HAYNO FOCKEN (1905-1968) Germany
Round covered box c. 1935
Hand-wrought and hand-hammered copper with brass details
Marks under the foot: HF (conjoined monogram)
For other works by Hayno Focken see: Metallkunst: Vom Jugendstil zur Moderne (1889-1939), ed. Karl H. Bröhan (Berlin: Bröhan Museum, 1990), illus. 177, p. 183; Avantgarde Design 1880=1930,Torsten Bröhan & Thomas Berg (Köln, Benedict Taschen, 1994) p. 116; , (Berlin 1937) S. 43f, Abb. 37, Abb. S 128, S 146, Sl 243; Die Schaulade 15 Ausg. A (1939) Abb. S. 197, S. 204, S. 213; Die Schaulade 16 Ausg. A (1940) Abb. S. 44, S. 51., S. 54, S. 71, S. 83. S. 89; Die Kunst 84 (1941) S. 136, S. 139-39; Die Schaulade 17 (1941) Abb. S. 13, S. 41, S. 82, S. 229;
H: 4 ¼” x Dia: 4 7/8”
Hayno Focken (1905-1968) was an eminent German metal artist. He completed his training under Professor Karl Müller (1888-1972) at the design and arts school on Giebichenstein Castle in Halle (Saale), which was strongly tied to the ideals of the Deutsche Werkbund and the Bauhaus. In 1932 he established his own workshop in Lahr/Schwarzwald and continued his work until shortly before his death. His artistic work always stood out with a strong preference for large, organic forms, a similar manner of surface design and the same adherence to the principle of handicraft. Even his artist signet was modelled on the simple, square castle mark. In the 1950s he became one of those significant artists who had a major impact on contemporary metal design. The foundation of his creative work was a masterful understanding of proportions.