Price range: £1,000-5,000

This is one of those pieces that makes you rethink what you know of modern design.

The bracelet is in classic “faux leather” style with “straps of silver” held in place with two silver studs.  It opens with a hidden hinge and clasp below the buckle design.   This form of bracelet design was popular in the UK and Europe around 1870 – 1890.  The buckle symbolized eterrnal or devoted love between the giver and wearer.   In this example the silver design is particularly modern and appears to almost resemble classic Gucci or Hermes design style.

What makes this bracelet so special is its enamel work and design.  The bracelet is covered with geometric cloisonne squares of multi colored enamel.  The workmanship and condition are exceptional.  I believe the design is either inspired by textile beadwork or by Roman mosaics. Geometric beadwork would have been seen in a number of cultures – Albania and Native Indians produced designs similar to this. Similarly Roman or byzantine mosaics had geometric patterns not dis-similar to this design.  The effect in enamel is very modern and most similar to the style of Josef Hoffmann and Koloman Moser for the Wiener Werkstatte –  with  a flavour of Gustav Klimt.

Based on its marks (and that of a near identical bracelet – see A1609) this bracelet pre-dates the Secession by a remarkable three decades and can be dated to c 1872. It is Austrian and made in Vienna.

A large part of my interest in modern design history is identifying pieces that are ahead of their time, and inspired by ancient design. So you have Dresser Bauhaus teapots “from ancient Japan”, Mackintosh modernist ladder back chairs “from tribal Africa”, Knox modernism “from the Celts”. The irony and brilliance of this is a constant pleasure. And now you have a bracelet that dates to 1870, and yet could be from 1905 or even the 1970’s, and is inspired by something ancient for sure. I love it.

This remarkable bracelet perhaps becomes more comprehensible when you appreciate it is the work of the little known firm Markovitsch and Scheid. Whilst not well known, Scheid is the famous Georg Adam Scheid. Before he set out on his own in 1882, making items of silver and enamel to great acclaim, including for the Secession, Scheid partnered his mentor and father in law Markovitsch. So whilst the specific maker and designer of this piece is unknown , I think it likely it is a piece by Georg Adam Scheid .

In terms of marks this piece is marked MuS for, Markovitsch and Scheid. It also carries the pre 1902 import assay mark for Austria and pre 1893 French import mark for the town of Bellegarde, Ain. I can confidently date this piece to c. 1872 because of the near identical bracelet I have found and listed (A1609), also with mark MuS, that carries Austrian assay marks  that imply this date specifically.

The number 4 appears on this and other Markovitsch and Scheid bracelets (and also later Scheid bracelets). I believe it denotes the size as I have seen other smaller and larger bracelets with different numbers.

The condition of this bracelet is really excellent. The enamels are virtually all perfect and without a loop it presents perfectly. The silver, hinges, and clasp, are similarly in excellent condition with just one small “nick” to the silver around the hinge.

In terms of size this will fit both small and most large wrists.

For a full biography of the firm of Markovistch and Scheid see “Additional Information” below, as extracted from the British Musem who hold a bracelet by this firm from the famous Grundy collection reference 1978,1002.1165.

Maker:  Markovitsch und Scheid

Designer:  Markovitsch und Scheid

Date: c 1872

Marks: See text

Material: Silver (prob 800 standard), enamel

Condition: Excellent

Size:  6.5 x 6.0 cm diameter

Weight: 40 grams, 1.4 oz