Price range: £1,000-5,000

See A1592 for a very similar bracelet.  I discovered this bracelet Whilst researching the other.  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 a tongue of silver” held in place with a gold buckle clasp.  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 eternal 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 or possibly Egyptian revival. 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 this bracelet pre-dates the Secession and can be dated to 1872 – 1898. 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 pre 1900, 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 or the post 1882 partnership of Markowitsch and Sons. 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.

In terms of marks this piece is marked MuS for, Markovitsch and Scheid or Markowitsch and Sons. It also carries the Vienna assay mark (“A”) and the 1872-1922 dogs head Austrian/Vienna mark with A enclosed.  It is on this basis that the bracelet can safely be dated between 1872 when this dogs head assay mark was introduced and 1898 when Markowitsch and Sons ceased trading. There is also a rubbed unidentified mark alongside the assay marks.

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 very good. There is some minor damage to some of the enamels, mostly only visibile with a loop.  Overall it presents in excellent condition. The silver, hinges, and clasp, are in excellent condition.  The gold buckle “clasp” is engraved with the initials “L*H” which could readily be removed if preferred.

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 or Sons

Designer:  Markovitsch und Scheid or Sons

Date: 1872 – 1898

Marks: See text

Material: Silver (prob 800 standard), gold, enamel

Condition: Excellent

Size:  6.5 x 6.0 cm diameter

Weight: 36 grams, 1.3 oz