An Antique silver-top 15 karat gold necklace, composed of 5 openwork flower motif clusters. The clusters are connected by diamond set swag links. Both clusters and links are set with old mine-cut diamonds with an approximate total weight of 16.80 carats.
An English antique 18 karat gold pendant locket with pearls and diamonds. The pendant locket has 1 old mine-cut diamond with an approximate total weight of .18 carat which is surrounded by a seed pearl-set garland. The locket is suspended from an antique 18 karat chain and has a split opening with two interior compartments.
An Edwardian 18 karat gold and platinum dress set with moonstones and diamonds. The set has 7 cabochon moonstones with an approximate total weight of 4.10 carats and 86 rose-cut diamonds with an approximate total weight of .45 carat. The classically-designed cluster cuff links are double-sided with clasped chain connections. The 3 cluster dress studs have gold folding wing backs. Similar pictured in Cuff Links, by Susan Jonas and Marilyn Nissenson, Harry N. Abrams, 1991, page 50 (similar).
An English Antique 15 karat gold and silver necklace with fourteen emerald and diamond clusters. The necklace has 14 antique-cut emeralds with an approximate total weight of 20.50 carats, including the center emerald with an approximate weight of 2.50 carats. The emeralds are surrounded by 140 old mine-cut diamonds, including diamond spacers joining the clusters with an approximate total weight of 24.00 carats. With signed, fitted antique box.
An Austro-Hungarian Etruscan Revival 18 karat gold necklace. The necklace is composed of 20 wire and bead-work embellished amphora. In Italy, goldsmiths had been reviving the Etruscan Archeological-style jewelry unearthed at Pompeii and the Greek jewelry found in the Museo Bourbonico since the early years of the 19th century. Along with the Italian Etruscan Revival jewelry, archeological revival jewelry was also made in Vienna in the in style presented in the discovered hoards unearthed in the Crimea, such as this necklace. Archeological jewelry is extensively discussed in Antique and 20th Century Jewellery by Vivienne Becker and Victorian Jewelry Design by Charlotte Gere.
An American Late-19th Century 14 karat gold pendant with moonstone and rubies. The pendant has a cabochon moonstone with an approximate total weight of 14.30 carats, and 12 cabochon rubies with an approximate total weight of 1.20 carats. With 14 karat gold 32" antique chain.
A Tiffany Studios New York "Harp" floor lamp with patinated bronze base and green blown-glass "Damascene" shade. This "Damascene" floor lamp is of a lead composition with a transparent green, "dychroide" glass and iridized glass combed decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at the Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic
oxides were then painted obliquely around the form. The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The lamp shade is surmounted by a cast bronze aperture ring with three ball screws, liliform heat cap, terminating in a ball-shaped finial. The ventilation holes in the heat cap are subtly concealed by the five petals of the flower. The heat cap holds a light bulb and pull chain that terminates in an acorn pendant. The heat cap is supported on both sides by a harp with two component parts, a double ogee shoulder, and a single ogee base. The two parts of the harp are held together with a pin that allow the user to change the position of the light if they so wish. This mechanism is fitted with rosette motif side knobs that beautifully complement the liliform socket holder. The base of the harp splays into petals, connecting to the globular molding of a five-foot stem which swells, tapers, reswells, straightens, then reswells at the base. The stem is supported by five dartform feet. The cast bronze stem, harp, and base all have acid etched finishes giving them a red-speckled green patina. A similar base and shade are pictured separately in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827; base: p. 210, plate 821.
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