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  Jules Wiese (1818-1895) / Louis Wiese (son of Jules, 1852-1923) Renaissance Revival jeweled and enameled 18k gold pendant necklace set with an ancient carved carnelian cameo, table cut diamonds, rubies and an emerald, two natural pearl drops and a cabochon emerald drop with the original chain, signed, original leather box with and silk velvet and satin interior, c.1875

  A goldsmith and jeweler, Louis Wiese (Berlin 1818 – Paris 1890) began his career in Berlin where he served his apprenticeship before moving to Paris to work for J.V. Morel and then more significantly with F.D. Froment-Meurice, with whom he established a close bond. Weise opened his first atelier rue Jean-Pain-Molet in 1844 and worked exclusively for Froment-Meurice, as ever a supporter of Wiese’s work, he pushed for Wiese to receive the collaborator’s medal at the Exposition of 1849. Jules Wiese eventually worked for many of the top manufacturing jewelers and went on to win a first-class medal at the 1855 Exposition and a medal of honor at the 1862 Exhibition in London. M. Magne was quoted as follows when discussing Jules Wiese in light of the 1855 Exposition, “fine goldsmith and jeweler with an already distinguished reputation which can only be enhanced by his display. The importance of his pieces and his brave experiments reveal, even in the most modest work, an awareness of art and beauty which deserves to be encouraged by the jury.” Louis, Jules’ son, took over the company in 1880, continuing the reputation for fine craftsmanship and artistry that his father had established.

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  Mathilde Augé / Ely Vial Limoges French Art Nouveau Eucalyptus vase c. 1900

  MATHILDE AUGÉ France

  ELY VIAL  France

  Eucalyptus vase   c. 1900

  Colored enamels on copper with foil-backing depicting eucalyptus berries and leaves, gilt details

  Signed: MA (artist’s monogram)

  For more information see:  The Paris Salons 1895-1914 Jewellery, Vol. I: Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1994), p. 44; The Paris Salons 1895-1914, Objets d’Art et Metalwork, Vol. 5, Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1994) p. 58; 1900, Philippe Thiébaut et al., exhib. cat. (Paris: Réunion des musées nationaux, 2000), p. 256.

  H: 10 1/2″ x Dia: 4 1/2″

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  Louis Majorelle French Art Nouveau “Fiddleback Fern” bowl c. 1900

  LOUIS MAJORELLE    (1859-1926)  France
  MOUGIN FRÈRES  Nancy, France

  Fiddleback Fern trefoil bowl    c. 1900

  A rare stoneware example of Majorelle and the L’Ecole de Nancy with a mauve and sea-green glaze, crystalline formations in interior in a trefoil loped form with fiddleback ferns at each interval.

  Marks:  Majorelle. de (impressed facsimile signature)  MOUGIN NANCY, 10.K , L

  Illustrated:  Majorelle: Une Aventure Moderne, Roselyne Bouvier (Paris:
  La Bibliothèque des Arts/Editions Serpenoise, 1991) p. 34, illus. 32.

  H: 3 1/4″ x W: 6 3/4″

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  Black Starr & Frost American Art Nouveau Sterling Mounted Jewelry Box c.1900

  BLACK STARR & FROST New York, NY

  Art Nouveau Sterling and Mahogany Jewelry Box   c.1900

  Mahogany jewelry box with thick sterling silver decorative graphic mountings in an elaborate Art Nouveau whiplash design, original key

  Marks: Eagle mark (Company logo) BLACK STARR & FROST, Sterling

  For more information see: American Jewelry Manufacturers, Dorothy T. Rainwater (West Chester, Penn.:  Schiffer, 1988)

  H: 4 1/2″ x W: 10 1/2″ x D: 7″

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  One of America’s oldest fine jewelers, Black, Starr and Frost traces its roots to 1810. In that year, Erastus Barton and Frederick Marquand opened Marquand and Barton near New York’s Maiden Lane. The firm added and lost partners numerous times and it also frequently moved locations in accordance with the addresses of its prestigious clientele. Its merchandise was eclectic and greatly varied including, lamps, jewelry, paintings, porcelain, and artistic objects. In 1876, the firm changed its name from Black, Ball, and Co. to Black, Starr, and Frost, and moved to 251 Fifth Avenue. Its inventory became focused on jewelry and silver objects, some imported from Europe, some produced in-house. For many decades, the renowned jewelry house, Black, Starr, and Frost was considered one of the great American jewelers. In 1876, it was invited to exhibit at the Centennial Exposition in Philadelphia along with renowned firms like Tiffany & Company, Whiting, and Gorham. In 1939, the firm was one of five American jewelers invited to exhibit at the New York’s World’s Fair. In 1929, it merged with Gorham to become Black, Starr, Frost – Gorham.