Attributed to Maynier et Pinçon, a fine Art Deco multi-gem-set and enamel brooch, circa 1925

Attributed to Maynier et Pinçon, a fine Art Deco multi-gem-set and enamel brooch, circa 1925, designed as a spray of flowers, leaves and berries, within a scalloped circular frame on a horizontal bar, set with circular-cut diamonds, outlined in black enamel, and accented with cabochon rubies, sapphires and emeralds, mounted in platinum, length 6.5cm, French assay mark for platinum, partial French maker's marks for Maynier et Pinçon, case

Maynier et Pinçon were based at 10, Rue Castiglione in Paris, and were one of the capital's most prestigious jewellery workshops. Later known as the training ground of the jeweller Pierre Sterlé, jewels made by Maynier et Pinçon appeared in the cabinets of Boucheron, Linzeler et Marchak and Marzo at the seminal 'Exposition Internationale des Arts Decoratifs et Industriels Modernes', which took place in Paris in 1925. The abbreviation of the fair's rather long title gave its name to the bold new aesthetic that was reflected in the jewels and objects exhibited there, as well as their architectural surroundings - 'Art Deco'.

Though it is widely reported that Maynier et Pinçon produced important jewels for these famed jewellery houses in the mid 1920s, documented examples of the workshop's jewels are extremely scarce, making this extraordinary jewel an exciting rediscovery from one of the unsung heroes of Art Deco jewellery, made at one of the great turning points in jewellery design history.

The combination of carved or cabochon rubies, sapphires, emeralds and diamonds with accents of black enamel was a defining 'Art Deco' jewellery design aesthetic of the mid 1920s, and can be seen in designs by Cartier, Lacloche Frères, Mauboussin, Boucheron and Marzo, often used for stylised, geometric depictions of flowers and birds.

Cf.: Pierre Contreau et al., Le Grand Négoce, organe du commerce de luxe français: Exposition des arts décoratifs 1925, Paris, 1925, pages 11, 19, 29 and 35, for stylised floral jewels of comparable style and technique exhibited at the 1925 fair by Mauboussin, Boucheron, Lacloche and Marzo.
Cf.: Laurence Mouillefarine and Véronique Ristelheuber, Lacloche Joaillers, Paris, 2019, p.168-9 and 183 for additional mid 1920s jewels by Lacloche of comparable design, and p.265 for a later platinum, ruby and diamond bracelet later made by Maynier et Pinçon for Jacques Lacloche in 1938.