Rago Auctions

Though his name has since been eclipsed by that of his contemporary, René Lalique (an employee of Vever’s for a time), Henri Vever was one of the foremost jewelers of his day and played a key role in the emergence of modern jewelry. Vever and his brother, Paul, were born into a family of jewelers, their grandfather having founded the company in 1821 in Metz, France. The family moved to Paris in 1871 where Henri’s father, Ernest, established the Vever maison. It was not until Henri and Paul took over in 1881 that the Vever name became widely known; Paul’s skill in business combined with Henri’s decorative arts training to guide the company in creating jewelry masterworks.

[Vever] introduced materials and techniques to the company’s creations that were historically overlooked, including delicate plique-à-jour enamel, ivory, opal, and pearls, and the resulting jewelry earned him a Grand Prix at the 1889, 1897, and 1900 Expositions universelles in Paris.

Henri was a passionate collector of decorative art, from Persian miniatures to Impressionist paintings and Japanese woodblock prints, and jewelry, as well as a devotee of the burgeoning Art Nouveau style. He introduced materials and techniques to the company’s creations that were historically overlooked, including delicate plique-à-jour enamel, ivory, opal, and pearls, and the resulting jewelry earned him a Grand Prix at the 1889, 1897, and 1900 Expositions universelles in Paris. These accolades are denoted with pride on the original fitted box that accompanies the present lot, an impeccably crafted butterfly brooch featuring plique-à-jour enamel in shades of blue and bezel-set old mine and rose-cut diamonds. 

Beyond his status as a prominent collector and jewelry designer, Henri Vever wrote La Bijouterie Française au XIXe Siècle, a three-volume text published between 1906 and 1908 which constitutes the most comprehensive account of 19th century French jewelry ever written. He also donated more than 350 pieces of jewelry to the Musée des Arts Décoratifs in Paris. The Vever maison remained in business until 1982 and was reopened in 2021 by the seventh generation of the Vever family, 200 years after its original founding.

David Jonathan Bromer spent his childhood a block from the ocean in Miami Beach; I grew up 1,500 miles north, also a block from the ocean, in Winthrop, Massachusetts. We met through a mutual friend when David was a junior at M.I.T. and I was a sophomore at Emerson College. At nineteen years old each, we were certain we would be happy together, so we married in 1962. David completed his doctorate degree at M.I.T. in metallurgy and worked in the field of science for ten years. We dabbled in collecting and selling rare books as a hobby until we were able to fulfill our dreams and become full-time antiquarian booksellers. 

In 1980, David and I moved our antiquarian book business, operating under the name of Bromer Booksellers, to Copley Square, Boston. We specialized in “The Book Beautiful,” as coined by T.J. Cobden-Sanderson in his 1900 publication, The Ideal Book. All the elements of creating the ideal book, from text to handmade paper, illustrations, calligraphy, and binding, unified to form a beautiful book. Book design of the Arts & Crafts period, c. 1895-1915, especially captured our interest. In 1993, we were gifted a small estate of gemstone jewelry from David's family, which had us thinking about the link between book designers and well-designed jewelry.

In 1993, we were gifted a small estate of gemstone jewelry from David’s family, which had us thinking about the link between book designers and well-designed jewelry.

British book designers led the way in creating handmade books distinguished by good typography, design, and materials, and several of them were also jewelry designers. Charles Robert Ashbee, printer at the Essex House Press in the Cotswolds, England, was the first book designer to cross over into jewelry. His private press books were exquisite works of art, some printed on natural calfskin called vellum. We were able to purchase one of his rare peacock necklaces executed at the Guild of Handicraft in Chipping Camden and designed by Ashbee. 

Arthur and Georgie Gaskin were known for their illustrations in children’s books as well as Arthur’s beautiful drawings for one book printed by William Morris at the Kelmscott Press. The husband-and-wife team began working together at the turn-of-the-century to create foliate necklaces that are festooned with wire and semi-precious stones. When Arthur died in 1928, Georgie continued making beautiful necklaces on her own.

In June 1997 I wrote “Three British Book Designers and their Arts & Crafts Jewelry” for Antiquarian Book Monthly. By then we were expanding our collecting vision to include representative pieces from designers further afield than the British Isles. We were seeking variety with excellent design and materials and eventually added pieces from France, Germany, Austria, Spain, America, Denmark, and Russia.

Our jewelry has been photographed in major jewelry references and exhibited at the Driehaus Museum, the Museum of Fine Arts, Boston, and the Forbes Galleries, New York. 

Our collection largely focused on necklaces, pendants, and brooches, with a bracelet and several rings included. The necklaces are presented in silver and gold; some with enameling and the French examples with plique-à-jour. A variety of precious and semi-precious stones were used as well as crystal and paste. Several are in their original boxes, and most are signed or verified as to the maker. Our jewelry has been photographed in major jewelry references and exhibited at the Driehaus Museum, the Museum of Fine Arts, Boston, and the Forbes Galleries, New York. 

Art Nouveau, the new art, was an integral component of modernism. Whether it was labeled Arts & Crafts in Britain, Jugendstil in Germany, Wiener Werkstätte in Austria, it was revolutionary in accenting fine design and the elements of care in producing fine, handmade objects. Nature and female forms are thematic in the jewelry. Flowers, leaves, and insects—all are incorporated in pieces, as is the birth of Venus from a diamond studded starfish and a green enameled mermaid with a golden thread.

Art Nouveau, the new art, was an integral component of modernism. Whether it was labeled Arts & Crafts in Britain, Jugendstil in Germany, Wiener Werkstätte in Austria, it was revolutionary in accenting fine design and the elements of care in producing fine, handmade objects.

When I lost David in 2021, I continued to buy a few pieces, but the partnership for the hunt and then the enjoyment of ownership was no longer possible. It is the season now to bid adieu to these incredible pieces of jewelry, all of which I have loved and most of which I took pleasure in wearing at least once. I am delighted to have the collection offered in an open auction for others to appreciate.