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Legacy
Uniquely Beautiful
Vintage Marchak Paris jewelry is prized by estate jewelry dealers and connoisseurs of fine craftsmanship.
By Phyllis Schiller
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Diamond, lapis lazuli, ruby and gold stylized Firebird brooch by Marchak, circa 1960s.
Photo courtesy Nadine Krakov Collection. |
While perhaps not as well known to today’s generation of jewelry buyers as some of the other French jewelry powerhouses such as Cartier and Van Cleef & Arpels, the House of Marchak has had a reputation for producing beautiful, high-quality jewelry for decades. From its start in Kiev in 1878 to its relocation in Paris, the family firm triumphed over the tumultuous events of the twentieth century, including the Russian Revolution and two World Wars, to build on a heritage of attention to detail and fine craftsmanship established by its founder, Joseph Marchak (1854-1918). In Paris, the family firm continued under the leadership of his son Alexander (1892-1975) and by 1919, it was doing business at a prime location on the fashionable Rue de la Paix. Enhancing Marchak’s reputation by entering and winning top honors at some of the leading international expositions, Alexander grew the business, creating beautiful examples of the leading styles of the day.
Following World War II, in 1946, the firm underwent yet another renaissance with the hiring of Alexander Diringer — who had worked for both Cartier and Sterlé — as head designer. Joining the company within a year was Jacques Verger, whose family’s jewelry workshop had clients that included some of the top Paris jewelry firms. Verger eventually bought the company from Alexander, expanding its scope to the U.S. and abroad, garnering such illustrious clientele as Jacqueline Kennedy and King Hassan II of Morocco. After Diringer retired in 1967, designer Bertrand Degommier kept Marchak’s artistic reputation on track through the 1980s. In 1988, Verger retired, selling the Paris boutique to Daum. Yet another chapter of Marchak history was begun in 2005, when a descendent, Dr. Daniel Marchac, revived the firm for the twenty-first century.
Mention the name Marchak to estate jewelry dealers and you’ll get a positive response. But just which of the many styles the firm produced during its original run is most prized is open to debate.
“Their jewelry was wonderful,” says Audrey Friedman, co-owner with husband Haim Manishevitz of Primavera Gallery in New York City. “Even though the designs were in the context of the styles of the period, they were very distinctive.” Friedman cites the jewelry from the 1930s to 1950s and even into the 1960s as most interesting, and ranks some of the Art Deco designs as “quite remarkable.”
For Gus Davis, partner, Camilla Dietz Bergeron, Ltd., New York City, “the epitome of great Marchak pieces were the designs of the Art Deco period. I love the incredible hard-stone inlaid boxes they did, which quality-wise rank with Cartier and Van Cleef. Their work was absolutely beautiful.” One reason for their enduring appeal, says Davis, is that they had a long history with some of the “best of the best designers” working for them.
Benjamin Macklowe, president of the Macklowe Gallery in New York City, cites their “bold and unique designs from the mid-twentieth century and their strong use of color in unique combinations. We’ve had great success with those pieces.”
Asked to choose a specific era, Nadine Krakov, owner of the Nadine Krakov Collection, Fine Antique and Estate Jewelry, Beverly Hills, California, names designs from the 1920s through the 1940s, Art Deco to Retro periods, as the most desirable Marchak pieces.
Marchak used “the best colored gemstones and utilized the best workmanship in woven gold,” points out Krakov. “You can look at a vintage Marchak bracelet that is a branch with leaves and flowers and it will look better than the real thing. The colors and the attention to detail in the gold are absolutely marvelous.” The use of “rope-like gold,” she says, rivals the likes of renowned houses like Fabergé and Cartier.
Friedman points out the wonderful proportions of the pieces. “And when the design was about nature, the pieces were very lyrical.” Two examples she notes: a slice of fruit set in rubies that graduate in color from darker to lighter as they go to the top of the slice, the seeds done in sapphire, and a floral spray of demantoid garnets with a pink tourmaline and diamond butterfly perched on the stem.
Another hallmark, Friedman says, was the use of either pear-shaped or rounded marquise-shaped stones, sapphires and emeralds in particular, as leaves, often mounted so they were flexible. While diamonds were used as accents, Marchak also did a lot with pearls, she says, “and used fox chain to represent feathers or leaves or something else that would give the piece a lot of movement. Another thing that you see very often are rings with larger stones, often turquoise, set in very high dome mountings.”
Macklowe says all categories are in demand, although they mainly have Marchak brooches and earrings, which are “very chic and wearable jewelry.” Davis points out “beautiful long, hanging earrings and bracelets” as his favorites. “The rings are gorgeous but I love the earrings the best.”
Experts agree that Marchak pieces have held their value — and are very hard to find on the market. “Marchak’s output wasn’t nearly that of Cartier, Van Cleef or Mauboussin,” explains Friedman. “So the pieces are more rare, they don’t come onto to the market that often.” Agrees Macklowe, “There is not a lot available in the secondary market place; much of Marchak’s work was one-of-a-kind. As with all unique and beautiful jewelry, prices are increasing.”
You have to hunt for good pieces, says Davis. “If we find a piece of Marchak jewelry, we try to buy it.” Krakov says she buys Marchak’s designs because “they are uniquely beautiful, each piece tells a story.”
“Among the smaller jewelry houses, Marchak was one of the best, on the level of Sterlé. Sometimes smaller houses did more interesting things,” sums up Friedman. “I’m a very big Marchak fan. They absolutely deserve recognition for the wonderful work they did.”Article from the Rapaport Magazine - January 2016. To subscribe click here.
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