Maison Ostertag Important French Art Deco Jewel Mounted Covered Box c.1925
MAISON OSTERTAG (Place Vendome, Paris) 1920’s and 30’s
ARNOLD OSTERTAG (Jeweler / Designer)
VERGER FRERES (maker)
Art Deco jewel mounted mechanical covered box c. 1925
Of rectangular stepped form, the black enamel box hinged and accented at the top with a gold bezel mounted sugar loaf shaped coral; spring loaded to pull down and reveal a cinnabar red enamel interior, the exterior with gold champlevé set highly stylized geometric initials and further ornamented with geometric square cut out gold applied handles embellished with salmon coral beads and red enamel bands, all resting on a recessed agate base and conforming black onyx base punctuated with a gold bezel mounted sugar loaf shaped coral on each corner.
Marks: Ostertag (on a gold plaque inset into the underside of the onyx base)
H: 4″ x W: 3 1/2″ x D: 3 1/2″
Arnold Ostertag was a Swiss-born jeweler who became a dominant force in the creation of fine jewels and objects in Paris during the 1920s and 30s. After studying dentistry in Chicago, Ostertag embarked on a world tour and, while traveling through India, became fascinated by jewels. He later settled in Paris and opened a very successful salon on the Place Vendome. In design and quality, Ostertag’s jewels, which frequently featured Indian themes, rivaled the production of many of the most famous Parisian jewelry houses. In fact, the renowned clockmaker George Verger/Verger Freres, produced wonderful clocks and mechanical objects for Ostertag, as well as for many other world renowned jewelers and likely masterminded the mechanism of the Art Deco box above. In addition to making pieces for Ostertag, Maison Verger made pieces for Cartier, LaCloche, Marzo, Boucheron, Hermes, Van Cleef & Arpels, Chaumet, Mauboussin, etc. Arnold Ostertag was popular on the international front and made many trips to America spending time in both New York, as well as Los Angeles where he befriended many Hollywood stars. He also received commissions during his trips to make exquisite custom jewelry and precious jeweled objects such as this fine Art Deco box.
H. Stern, Rio de Janeiro, Brazil highly textured and sculptural tapered bracelet in 18K gold set with 7 oval gem quality amethysts (approx. 14 carats TW) Marked: 750 mark, S (H. Stern mark) in a diamond, c. 1960’s
Jean Schlumberger, Paris, famous articulated “fish” lighter, 18K gold body and tail composed of striated and scallop edged scales, set with two cabochon sapphires for eyes, one pink and one blue, signed: Schlumberger, Modele Depose, French Eagle’s head touch mark for 18k gold (3x), Crab mark for silver made in the French provinces, (lighter insert only) c. 1939-42 Model illustrated: The Jewels of Jean Schlumberger, catalogue no. 50
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Udall & Ballou “Scottie” dog brooch set with 62 round cut diamonds (approx. 5 carats TW), two triangle shaped diamonds, one diamond shaped diamond, black enamel and onyx all set in platinum, c.1930
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William Ruser, Beverly Hills “Lotus Blossom” ring set with three large natural Baroque pearls and a yellow diamond in the center (approx. .50 carats by calculation) in an 18k gold highly textured structural gold mount, signed: R (for Ruser), 18k, c.1960
Jean Claude Champagnat, Paris (1923-1980) for the famous Couturier, Christian Dior (1905-1957) “Exotic Flower Blossom” ring in 18K gold with flower blossoms gemset with 3 round rose-cut rubies (approx. 2 carats TW) and 15 marquise shaped Kunzite flower petals, signed, c. 1950’s
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Burma, “Naga” dragon ring, high carat gold (22K +) enameled and set with 27 cabochons consisting of rubies, sapphires, emeralds, diamonds and other precious stones, second half 18th Century
These impressive and rare dragon rings have been a feature of all the great ring collections, including the Harari, Guilhou, Spitzer, Franks, and Koch collections. They are known as ‘Naga rings’ because they are thought to represent the naga dragon which is thought to have sheltered the Buddha during a prolonged period of meditation. Chadour suggests that these rings were made for Royalty. The extravagant design certainly re-enforces the idea that they were made for lavish ceremonial use. Another example is in the British Museum.
Lacloche Freres, Paris (attr.) Tutti Frutti “Bouquet of Flowers” ring set with two Mughal carved sapphire flower/leaf shaped jewels and further set with a matching cabochon sapphire, 11 baguette diamonds, 22 round cut diamonds and two golden hued pearls all in a very intricately detailed platinum mount, c.1920’s
Charles Gordon (reg. London 1828) “Medieval Revival” signet ring, 18K gold with stylized arrow motifs on either side and bezel set with an ancient agate Intaglio carved with the head of a knight and Latin or Greek letters, signed: C.G. for Charles Gordon in a rectangular cartouche, c.1850
Van Cleef & Arpels, Paris “Elephant Hair” ring, 18k gold tied loop detail and clasp with multiple strands of elephant hair forming the ring, signed: VCA (copyright mark), 750 (gold standard mark), 72 (1972), no.125043, French Eagle’s head mark for 18k gold (2x), VCA maker’s touchmark in a diamond (2x), 1972
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French 19th Century light yellow natural color diamond (approx. 2.20 carats TW, G.I.A certificate, 8.05 x 6.90 x 5.05mm, natural diamond) ring set in a fancy 18K yellow gold mounting, signed, numbered 3056, c. 1890
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***Top quality gem blue zircons over 10 carats trade at a minimum price of $200 per carat and go up from there depending on the size of the stone and the quality of the color. Blue zircon, the most popular color, is produced by heat treatment of brown zircon. But not all brown zircon will turn blue when heated; only some zircon has the right physical structure for this to occur. This is why most blue zircon comes from certain sources in Cambodia or Burma. Blue zircon is a reasonably hard gem with a Mohs hardness of about 7 to 7.5. Blue zircon has some unique properties that make it very popular with gemstone aficionados. Not only does zircon have outstanding brilliance, but it also has very strong dispersion or fire, the tendency to split white light into the spectral colors. Zircon also has very pronounced birefringence or double refraction, with a wide variance between the two refractive indices. This can be often be observed with the naked eye when you look down through the table of a cut zircon; you will observe facet doubling that makes the facet edges appear blurred.
Neil Lane solitaire “Cognac” orange/brown diamond ring (1.87 carats natural color, GIA certificate) set in a double loop through design all in 18k gold with micro pave work throughout, signed, c.2006
Marcus & Co. Arts & Crafts “Byzantine Revival” black opal (approx. 4 carats TW) ring in an elaborate wirework and applied beadwork 14k gold mounting, signed, c.1910
Edwardian Sugarloaf Fire Opal (approx. 4 carats TW) ring with 32 diamonds set in a milligrain platinum topped 18K yellow gold mounting, marked, c. 1910
Bhutan natural large cabochon emerald ring (approx. 37 carats TW, G.I.A Certificate, indications of clarity enhancement) in 20-22K gold with decorative incised details and a gold beaded bezel, marked, c.1900
Andrew Grima “Comet” ring, Asymmetric cut citrine mounted in 18K textured yellow gold, five diamonds, signed: GRIMA, 0.750 (in a rectangle cartouche, AG Limited (in a rectangular cartouche), Crown, 18, Lion’s Head (for London), q (date mark for 1971), 1971
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