{"title":"Art Nouveau Jewellery","description":"\u003cp\u003eArt Nouveau jewellery represents a short artistic movement from 1890 to 1910. This completely new style celebrated the natural world, with handmade pieces depicting flowers, animals and mythical creatures, like fairies and nymphs. Icons of Art Nouveau jewellery include Renee Lalique, Georges Fouquet and Henri Vever. Art Nouveau jewellery is often set with pastel-hued gemstones and embellished with enamel.\u003c\/p\u003e","products":[{"product_id":"victorian-enamel-diamond-and-gold-flower-brooch-circa-1890","title":"Victorian Enamel Diamond and Gold Flower Brooch, Circa 1890","description":"\u003cp\u003eA Victorian enamel, diamond and gold flower brooch, with five cream and red striped enamelled petals, with an old-cut diamond in the centre and rose-cut diamond set stamens. The gold stem forms a knotted loop around the flower, with a rose-cut diamond set at the base of the stem, circa 1890. Electronically tested as 18ct gold.\u003c\/p\u003e","brand":"Moira Fine Jewellery","offers":[{"title":"Default Title","offer_id":63797241807178,"sku":"22296B3","price":1600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/victorian-enamel-diamond-and-gold-flower-brooch-circa-1890_175aed6b-f7f6-4b9e-ad5b-7033439bf5dc.jpg?v=1791140432"},{"product_id":"desbazeille-art-nouveau-champagne-diamond-and-gold-cufflinks-circa-1895","title":"Desbazeille Art Nouveau Champagne Diamond and Gold Cufflinks, Circa 1895","description":"\u003cp\u003eA pair of French, Art Nouveau, champagne brown diamond and yellow gold floral cufflinks, for Maison G. Desbazeille, with old-cut pink toned dark champagne brown diamonds, in rub over settings, in the centre of engraved sunflower like flowers, with a twisted wire border, on chain links, mounted in gold, with French eagle head marks for 18ct gold and maker's mark G*D for Germain Desbazeille, circa 1895.\u003cbr\u003e\u003cbr\u003eLouis Desbazeille became partners with Ernest Derouen, circa 1872. In 1877 Louis Desbazeille started his own business. He specialised in carved gems, cameos, intaglios and engraved garnets and gentlemens jewellery, such as cufflinks, lockets, swivel seals, rings and stickpins. His son, Germain, joined the firm, in 1881. Louis Desbazeille retired in 1886. La Maison G. Desbazeille, broadened the range, to include plique-à-jour jewellery with Arabic, Persian and Japanese themes, hair combs, bookmarks and hatpins. Germain used pierced cameos (à jour) in an attempt to boost their popularity. By 1889 cameos and intaglios had become less fashionable. Germain Desbazeille concentrated on marketing medal jewellery accented with applied patinas and enamels. Medal jewels, imitating ancient Greek and Roman medals and coins, was a branch of the Art Nouveau jewellery movement. Master medal engravers and those adept at the use of the tour à réduire were in high demand and received important commissions from the top jewellers. Desbazeille commissioned some of the most excellent examples, including the 'Cleopatra', 'The Four Seasons', 'Women with Flowers' and 'Saint George' medals by Émile-Séraphin Vernier (1852-1927). From 1895 the firm also kept Oscar Roty (1846-1911) occupied with the creation of religious and irreligious medals. Roty was an expert in the use of the tour à réduire - a machine, inspired by a lathe, designed in Russia, in the 1700s, to reduce designs and etch metals. He studied at the Ecole de Beau Arts, Paris. In 1885 he was awarded the Chevalier of the Légion d'Honneur. He won the Grand Prix for his medal jewellery in 1889. Germain Desbazeille, whose maker's mark is a G, a star and a D in a lozenge, had premises at 6 rue Monsigny, Paris.\u003c\/p\u003e","brand":"Desbazeille","offers":[{"title":"Default Title","offer_id":63797305049418,"sku":"S28116CL2","price":21000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/desbazeille-art-nouveau-champagne-diamond-and-gold-cufflinks-circa-1895.jpg?v=1791141517"},{"product_id":"french-georges-le-sach-for-tiffany-co-art-nouveau-sapphire-ruby-and-gold-cufflinks-circa-1890","title":"French Georges Le Saché for Tiffany \u0026 Co. Art Nouveau Sapphire Ruby and Gold Cufflinks, Circa 1890","description":"\u003cp\u003eA pair of Tiffany art nouveau sapphire and ruby cufflinks, with three cabochon sapphires set on one side and three cabochon rubies on the other, mounted on a foliate design, with an oval surround, in 18ct gold, with red patina, signed Tiffany \u0026amp; Co., engraved L.C.J. on each back. Each part has a French eagle mark, for 18ct gold and French makers marks with LS, in a lozenge, over an oval with a dot in the middle, which is a bobeche - a candle holder, for Georges Le Saché, whose marks were registered in 1885 and 1920, circa 1890.\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eGeorges Le Saché was a respected French jewellery designer and manufacturer who created pieces for some of the most prominent jewellery houses of the late 19th and early 20th Centuries. Born into a creative family in Paris in 1849, Georges Le Saché showed artistic promise early in life. His grandfather Jean-Jacques Le Saché was an engraver for the Paris Mint and was commissioned by the Mayor of Ghent in 1810 to make a medal for which he was praised not only for “the imaginative handling of the subject” but also the “meticulous craftsmanship evident in the piece”. His father, Emile, was a talented draughtsman, with a particular skill for line engraving, whilst his mother ran a jewellery shop in Paris’s Palais Royal. \u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eThe young George wanted to be a painter. His creative talents were nurtured and inspired by spending much of his early youth with artists, including one of the best academic painters, William-Adolphe Bouguereau. He planned to attend the Ecole des Beaux-Arts in Paris however his parents wanted a more secure career path for him. Fearing the life of a painter was too unstable, they sent him to Germany, in 1866, at the age of 17. He worked for the renowned jewellery firm, Friedman, which was well known in France at the time and where Carl Fabergé would go to train a few years later. Le Saché's his skill as an artist was quickly recognised and he worked on the rendering of designs, whilst being exposed to all aspects of the jewellery trade. He then travelled to England where he studied and learnt as much as possible, applying his knowledge of drawing and design to a variety of decorative arts. At the outbreak of war in 1870 he returned to France, where he spent six months serving in the 1st battalion of the Seine regiment, until March 1871. He then returned to London for another year, until settling back in Paris, finding work as a designer for the jeweller Lucien Falize. \u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eThis proved an important period in Le Saché’s life as he and Falize became friends as well as professional collaborators. Falize taught him much about the jewellers’ art and Le Saché's position enabled him to study a wide variety of wonderful jewels, both antique and contemporary. The craft of the goldsmith inspired Le Saché’s designs, leading him to become a knowledgeable and skilled manufacturer, thanks to the careful tutelage and encouragement of his friend. After five years of working with Falize, Le Saché left, to join the highly regarded manufacturing jewellery company, Baucheron et Guillain, in 1877. His marriage to Baucheron’s daughter made a move to the family business almost inevitable. Eventually he would take it over as his own. He soon came to create pieces for some of the most famous Parisian jewellery houses of the period, who exhibited his pieces at the world fairs, both in Paris and internationally. He also attracted the attention of the American jewellers, Tiffany \u0026amp; Co., who commissioned various pieces from him.\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eLe Saché ran his workshop for over thirty years, preferring to remain anonymous. He worked to commission and sold only through agents. His workshop trained a steady stream of apprentices and craftsmen, never forgetting his enriching five years with Falize. The quality of his work spoke for itself. He was recognised by his peers, in 1901, with a large silver-gilt plaque, awarded for what Henri Vever referred to as the “rare talents and absolute integrity of an excellent artist and manufacturer”. Despite never seeking attention for himself his pieces are now in some of the most important jewellery collections in the world.\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family:Calibri, sans-serif;font-size:14.6667px;\"\u003eWith thanks to Hancocks.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tiffany \u0026 Co","offers":[{"title":"Default Title","offer_id":63797308064074,"sku":"S3616CL4","price":14000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/french-georges-le-sach-for-tiffany-co-art-nouveau-sapphire-ruby-and-gold-cufflinks-circa-1890_248384a1-d408-48e1-9224-47a4a83ff46a.jpg?v=1791141577"},{"product_id":"t-b-starr-belle-poque-pearl-platinum-and-gold-brooch-circa-1905","title":"T. B. Starr Belle Époque Pearl Platinum and Gold Brooch, Circa 1905","description":"\u003cp\u003eAn antique, T. B. Starr, Belle Époque diamond, pearl, platinum and gold brooch, featuring a natural pearl, in the centre of an Art Nouveau double whiplash, above three graduating loops, with foliate scroll terminals, set with old-cut diamonds, in grain settings, with larger diamonds, in rub over settings, at the bottom of the scrolls and in five old-cut diamond and natural pearl pendant drops, mounted in platinum on gold; with a gold pin, signed T. B. STARR., with a safety catch fitting, circa 1905.\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eTheodore B. Starr was among the most prominent and influential jewellery and silversmithing firms in New York, in the late nineteenth and early twentieth centuries. Born in 1837, Theodore Starr founded his company in 1862, at No.18 John Street. He went into partnership with jeweller and silversmith, Herman Marcus, in 1864. The company became known as Starr and Marcus. Marcus left to join Tiffany \u0026amp; Co., in 1877. Starr bought back control of the company, with the name of the company reverting to Theodore B. Starr. The company was incorporated in 1907, by Starr's son. On 1\u003csup\u003est\u003c\/sup\u003e July, 1918, their stock was purchased by the silver firm of Reed and Barton. The firm maintained a shop at 47th Street and Fifth Avenue. Theodore B. Starr finally closed its doors in 1923.\u003c\/p\u003e, \u003cp\u003e\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eStarr’s work was heralded in the press. On 18\u003csup\u003eth\u003c\/sup\u003e March, 1880, “The Independent” published an article in which \"The House of Theodore B. Starr\" is described as an establishment that develops, \"an educated demand for ‘beauty in use;’\" and where one will find, \"his taste and his intelligence stimulated.\"\u003c\/p\u003e, \u003cp\u003e\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eStarr encouraged Henry Schrady to cast miniature bronzes that the company could cast from and sell copies of. The bronzes Schrady made were among the first in the US to use the lost-wax process. It was in Starr's gallery that Karl Bitter first saw Schrady's work and hired him to make larger versions of his bull moose and elk buffalo sculptures, to be shown at the 1901 Pan-American Exposition. One cast of the bull moose can be found in the Metropolitan Museum of Art's collection.\u003c\/p\u003e, \u003cp\u003e\u003c\/p\u003e, \u003cp\u003e\u003c\/p\u003e, \u003cp class=\"MsoNormal\"\u003eWith thanks to Wikipedia, Met Museum and Stein Marks\u003c\/p\u003e","brand":"Moira Fine Jewellery","offers":[{"title":"Default Title","offer_id":63797457715530,"sku":"S17123B1","price":9900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/t-b-starr-belle-poque-pearl-platinum-and-gold-brooch-circa-1905_4eb2846a-693f-46dd-a1b9-e4a5fd24e172.jpg?v=1791142604"},{"product_id":"french-belle-poque-diamond-and-platinum-cufflinks-by-victor-r-ard-circa-1921","title":"French Belle Époque Diamond and Platinum Cufflinks, by Victor Réard, Circa 1921","description":"\u003cp\u003eA pair of French, Belle Époque, diamond and platinum cufflinks, by Victor Réard, with an old-cut diamond in each centre, in a millegrain edged rub over setting, on an openwork background of rose-cut diamond pavé set stripes, with a rose-cut diamond set surround, with a millegrain edge, mounted in platinum, with chain and bolt ring fittings, with French dog head marks for platinum and eagle marks for the gold parts of the fittings, with V foot R maker's marks, for Victor Réard, circa 1921. His workshop was located on 28 rue Reaumur, in the third district of Paris. His mark was registered in 1921. He worked for Boivin, amongst other houses.\u003c\/p\u003e, \u003cp\u003eWith thanks to Drouot.com\u003c\/p\u003e","brand":"Moira Fine Jewellery","offers":[{"title":"Default Title","offer_id":63797481668938,"sku":"XAN251023CL1","price":12000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/french-belle-poque-diamond-and-platinum-cufflinks-by-victor-r-ard-circa-1921_a6597b1e-b6e5-4e01-b850-e227a6d4944d.jpg?v=1791142856"},{"product_id":"french-belle-poque-thibault-jolivot-sapphire-diamond-and-platinum-bracelet-circa-1910","title":"French Belle Époque Thibault \u0026 Jolivot Sapphire Diamond and Platinum Bracelet, Circa 1910","description":"\u003cp\u003eA French Belle Époque Thibault \u0026amp; Jolivot sapphire, diamond and platinum bracelet, comprising long oval links, with central cushion shaped sapphires, with three rows of open work eight-cut diamonds in grain settings, with millegrain edges, onto links connected by diamond set rings, with open sides, with bars, mounted in platinum, on a gold box and tongue clasp, with French eagle head marks and a maker's mark T\u0026amp;J with an arrow above, for Thibault \u0026amp; Jolivot , with a figure-of-eight safety clasp, circa 1910. Accompanied by GCS certificate 5785-0290, stating that the sapphires are natural, of Basaltic deposit origin, with no indications of heating. The estimated stone weight of the smallest sapphire is 0.50 carat and the estimated weight of the largest sapphire is 0.80 carat.\u003c\/p\u003e, \u003cp\u003ePlatinum was officially recognized by the French government as a precious metal in 1910, at which time the eagle's head, for gold, was also used for platinum. In 1912, a special mark, for platinum, was introduced, a dog's head. The dog's head does not appear on this bracelet so it is likely that it was made after 1903 and before 1912. The use of the eagle head mark and the Thibault \u0026amp; Jolivot maker's mark narrow the dates down to 1910 to 1912.\u003c\/p\u003e, \u003cp\u003e\u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003eGeorges Adolphe Thibault was a French jeweller, based in Paris. His maker’s mark was GT, surmounted by a horizontal arrow. He was born on 13th August, 1873, in Rethel, in the Ardennes. His parents were \u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003eJulie Caroline Manneville, aged 28 and\u003c\/span\u003e\u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003e Leon Adolphe, aged 29, a painter, like his grandfather. They lived on rue des Minimes in Rethel. In 1901 he lived at 18 rue de la Sourdière, in the 1st arrondissement of Paris, near the church of Saint Roch, this was probably his personal address. Later in 1901, he was registered at 101 rue Réaumur, a district where many manufacturing jewellers settled.\u003c\/span\u003e \u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003eIt is likely that he was producing custom made jewellery during this period, prior to having a registered maker's punch and it is possible that, by then, he was working with his partner, Jolivot. In 1903 they officially joined forces. Their Thibault \u0026amp; Jolivot maker's punch dates from 11th September, 1903, with the initials T\u0026amp;J and the symbol of an Arrow above. In November, 1913, the Thibault and Jolivot partnership was dissolved but Georges remained at 101 rue Réaumur. Officially setting up on his own on 17th February, 1914, with the registration of his\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003e GT maker’s mark\u003c\/span\u003e\u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003e. O\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003en 7th April, 1914 Thibault had filed a patent with the ONPI, for sprung, expandable bracelet links. \u003c\/span\u003e\u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003eThe First World War started six months after\u003c\/span\u003e \u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003eGeorges Thibault's business was registered. He had been exempted from military service, \u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003eat the review board, in 1891\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003e as he was the only son of a widow. Nevertheless he served from 13th October, 1894 to 24th September, 1895, he was then placed on leave but the War of 1914 took him back into the artillery, on 6th August, 1914, until 5th May, 1916. The army recorded his addresses as 18 Rue des \u003c\/span\u003eÉ\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003ecoles, in the 5th, then rue Monge in the 11th, place d'Enfert Rocherea, place d'Anger and finally 6 bis Avenue de la Grande Armée, in Paris in the 16th. During the 1920s \u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003eGeorges Thibault produced fine jewellery, in the Art Deco style.\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003eIn 1924, the newspaper, \"Le Petit Parisien\", announced the death of his mother. On 16th June, 1924 he filed another patent, with the ONPI (now the INPI), for what looks much like a Cartier folding watch bracelet clasp. His work often featured frosted rock crystal.\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003e His workshop produced items for Boucheron, which lead to him being awarded\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003e a gold medal, at the International Exhibition of Modern Decorative and Industrial Arts, of 1925, in Paris\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:11.3333px;\"\u003e.\u003c\/span\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003e It is likely that he also made items for Lacloche frères. He was so highly regarded by fellow jewellers that Monsieur Boucheron sent his son, Frederik, to be apprenticed to the Thibault workshop, in 1928. In the year that Georges Thibault turned 60 his maker’s mark was deleted, on 19\u003c\/span\u003e\u003csup style=\"font-family:Verdana, sans-serif;\"\u003eth\u003c\/sup\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003e December, 1932. He remarried at the age of 71, to Emma Claudine Malot. He died on 6\u003c\/span\u003e\u003csup style=\"font-family:Verdana, sans-serif;\"\u003eth\u003c\/sup\u003e\u003cspan style=\"font-family:Verdana, sans-serif;font-size:8.5pt;\"\u003e September, 1955, at the age of 82. Like many of the most skilled fine manufacturing jewellers of the time, there is very little written information about him. Vever did not record him and there are no advertisements, other than in directories.\u003c\/span\u003e\u003c\/p\u003e, \u003cp\u003e\u003cspan style=\"font-size:8.5pt;font-family:Verdana, sans-serif;\"\u003eWith thanks to https:\/\/richardcourrierdeslecteurs.blogspot.com\/ https:\/\/www.richardjeanjacques.com\/2023\/06\/georges-alphonse-thibault-un-grand.html and Christies.\u003c\/span\u003e\u003c\/p\u003e","brand":"Moira Fine Jewellery","offers":[{"title":"Default Title","offer_id":63797789032778,"sku":"S241024T","price":32000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/french-belle-poque-thibault-jolivot-sapphire-diamond-and-platinum-bracelet-circa-1910_8f8ef4bc-ed75-4896-a995-8759db1d0ec2.jpg?v=1791143310"},{"product_id":"art-nouveau-moonstone-and-gold-necklace-circa-1890","title":"Art Nouveau Moonstone and Gold Necklace, Circa 1890","description":"\u003cp\u003eAn Art Nouveau moonstone and gold necklace, featuring a pendant, with an Art Nouveau design, with an oval moonstone, in a rub over setting, suspending a cushion shaped silver moonstone, rub over set in a framed scrolling openwork surround, on a chain of rub over set blue moonstones, alternating with ribbed bars and openwork trefoil cylinders, mounted in gold, electronically tests as 18ct gold, with a jump and bolt ring clasp, which is stamped 14K, with inventory mark 04331, circa 1890.\u003c\/p\u003e","brand":"Moira Fine Jewellery","offers":[{"title":"Default Title","offer_id":63798163636554,"sku":"XAZ11225N2","price":16000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/art-nouveau-moonstone-and-gold-necklace-circa-1890_aa987709-fe40-491b-be8d-1f97ef81e90e.jpg?v=1791143712"},{"product_id":"georges-le-sach-for-vever-belle-poque-emerald-diamond-platinum-and-gold-brooch-cum-pendant-necklace-circa-1900","title":"Georges Le Saché for Vever Belle Époque Emerald, Diamond, Platinum and Gold Brooch-Cum-Pendant Necklace, Circa 1900","description":"\u003cp\u003eA French Belle Époque emerald, diamond, platinum and gold brooch-cum-pendant necklace, in an openwork design of a garland, with three cabochon-cut emeralds, in gold millegrain edged rub over settings below, over a stylised jardinière, with old-cut diamonds, in grain and millegrain edged rub over settings, with three articulating drops, set with pear shaped diamonds, in claw settings, mounted in platinum over gold, initialled M.D., with a removable brooch fitting, with with two, French eagle heads for 18 carat gold, French makers marks with LS, in a lozenge, over an oval with a dot in the middle, which is a bobeche - a candle holder, for Georges Le Saché, whose marks were registered in 1885 and 1920, circa 1890, numbered 2698, with a removable, platinum, long and short link chain, in a green leather fitted case, with embossed M.P. initials, with a Vever logo on the silk interior, which reads, \"Ane Mon Marret \u0026amp; Baugram Vever, 19 Rue De La Paix, Paris, Gand Prix, Exp Univ. Paris, 1889\", containing a screwdriver to remove the brooch fitting.\u003c\/p\u003e\n\u003cp\u003eThe emeralds have an estimated total weight of 0.30 carat and in our opinion, show characteristics of Columbian emeralds. Estimated total diamond weight 4.25 carats. In our opinion the colour is G to H and our opinion of the clarity is VS.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVever\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eGeorges Le Saché was a respected French jewellery designer and manufacturer who created pieces for some of the most prominent jewellery houses of the late 19th and early 20th Centuries. Born into a creative family in Paris in 1849, Georges Le Saché showed artistic promise early in life. His grandfather Jean-Jacques Le Saché was an engraver for the Paris Mint and was commissioned by the Mayor of Ghent in 1810 to make a medal for which he was praised not only for “the imaginative handling of the subject” but also the “meticulous craftsmanship evident in the piece”. His father, Emile, was a talented draughtsman, with a particular skill for line engraving, whilst his mother ran a jewellery shop in Paris’s Palais Royal.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe young George wanted to be a painter. His creative talents were nurtured and inspired by spending much of his early youth with artists, including one of the best academic painters, William-Adolphe Bouguereau. He planned to attend the Ecole des Beaux-Arts in Paris however his parents wanted a more secure career path for him. Fearing the life of a painter was too unstable, they sent him to Germany, in 1866, at the age of 17. He worked for the renowned jewellery firm, Friedman, which was well known in France at the time and where Carl Fabergé would go to train a few years later. Le Saché's his skill as an artist was quickly recognised and he worked on the rendering of designs, whilst being exposed to all aspects of the jewellery trade. He then travelled to England where he studied and learnt as much as possible, applying his knowledge of drawing and design to a variety of decorative arts. At the outbreak of war in 1870 he returned to France, where he spent six months serving in the 1st battalion of the Seine regiment, until March 1871. He then returned to London for another year, until settling back in Paris, finding work as a designer for the jeweller Lucien Falize.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis proved an important period in Le Saché’s life as he and Falize became friends as well as professional collaborators. Falize taught him much about the jewellers’ art and Le Saché's position enabled him to study a wide variety of wonderful jewels, both antique and contemporary. The craft of the goldsmith inspired Le Saché’s designs, leading him to become a knowledgeable and skilled manufacturer, thanks to the careful tutelage and encouragement of his friend. After five years of working with Falize, Le Saché left, to join the highly regarded manufacturing jewellery company, Baucheron et Guillain, in 1877. His marriage to Baucheron’s daughter made a move to the family business almost inevitable. Eventually he would take it over as his own. He soon came to create pieces for some of the most famous Parisian jewellery houses of the period, who exhibited his pieces at the world fairs, both in Paris and internationally. He also attracted the attention of the American jewellers, Tiffany \u0026amp; Co., who commissioned various pieces from him.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eLe Saché ran his workshop for over thirty years, preferring to remain anonymous. He worked to commission and sold only through agents. His workshop trained a steady stream of apprentices and craftsmen, never forgetting his enriching five years with Falize. The quality of his work spoke for itself. He was recognised by his peers, in 1901, with a large silver-gilt plaque, awarded for what Henri Vever referred to as the “rare talents and absolute integrity of an excellent artist and manufacturer”. Despite never seeking attention for himself his pieces are now in some of the most important jewellery collections in the world.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWith thanks to Hancocks.\u003c\/p\u003e","brand":"Moira Fine Jewellery","offers":[{"title":"Default Title","offer_id":63798316269898,"sku":"XAZ17626P2","price":32000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/georges-le-sach-for-vever-belle-poque-emerald-diamond-platinum-and-gold-brooch-cum-pendant-necklace-circa-1900_884f7a0b-e7e9-4c64-9aef-59e40ef1e1db.jpg?v=1791143862"},{"product_id":"art-nouveau-boucheron-diamond-and-platinum-bracelet-circa-1910-6-50-carats","title":"Art Nouveau Boucheron Diamond and Platinum Bracelet, Circa 1910, 6.50 Carats","description":"\u003cp\u003eA French, Art Nouveau, Boucheron diamond and platinum bracelet, featuring repeating links of forget-me-not type flowers, rub over set with old European-cut diamonds, within fine curling loops, grain set with rose-cut diamonds with an individual set diamond in each loop, in a millegrain edged rub over setting, with leaf sprays linking the loops, grain set with an old-cut diamond and rose-cut diamonds either side, onto open sided galleries, with a French rhino head mark, for platinum, signed Boucheron Paris, with yellow gold tongue, with scratched inventory marks: 48042 tfltt and a safety chain, circa 1910, in a brown leather case, with Boucheron logo.\u003c\/p\u003e\n\u003cp\u003eEstimated total diamond weight 6.50 carats. In our opinion the colour is H to I and our opinion of the clarity is VS to SI.\u003c\/p\u003e","brand":"Boucheron","offers":[{"title":"Default Title","offer_id":63798349529418,"sku":"XAZ17626T2","price":40000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1047\/8026\/7850\/files\/art-nouveau-boucheron-diamond-and-platinum-bracelet-circa-1910-6-50-carats_d31003b8-9f56-4a4f-8032-074f9fd78ea8.jpg?v=1791143900"}],"url":"https:\/\/moirafinejewellery.com\/collections\/art-nouveau-jewellery.oembed","provider":"Moira Fine Jewellery","version":"1.0","type":"link"}