Page 1 of 2 NEXT >>         View All
Search Results for

"white gold chain"

Gold, Mother of Pearl and White Opal Cuff Links

A pair of English 18 karat gold cuff links. Each circular cuff link features a white opal center that has a background of black mother of pearl. The cuff links are chain linked and double-sided.

Gold, Mother of Pearl and White Opal Cuff Links

Edwardian Gold, Platinum, Diamond and Pearl Pendant

An 18 karat gold and platinum pendant with diamonds and freshwater pearl. The pendant has 31 old mine-cut diamonds with an approximate total weight of 1.15 carats, and a natural freshwater pearl drop that measures 12mm x 11.6mm x 9.6mm. With an 18 karat white gold chain that is 18 inches long. GIA certificate: Natural freshwater pearl #110205873347

Edwardian Gold, Platinum, Diamond and Pearl Pendant

Diamond Gold and Cultured Pearl Necklace

An estate cultured round South Sea pearl necklace composed of 37 pearls measuring 12.50 mm to 10.75 mm. The strand is knotted on silk and finished with an 18 karat white gold diamond ball clasp.

Diamond Gold and Cultured Pearl Necklace

Tiffany Studios New York Favrile Glass and Bronze "Harp" Floor Lamp

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.

< View More >
Tiffany Studios New York Favrile Glass and Bronze 'Harp' Floor Lamp

Platinum and Gold Necklace with Aquamarine and Diamonds

A platinum and 14 karat gold necklace with aquamarines and diamonds. The necklace has one kite-cut aquamarine with an approximate total weight of 17.39 carats, and a triangle aquamarine with an approximate total weight of 1.80 carats. The pendant is suspended from an 18.5" white gold chain that is set with 8 round-cut bezel-set diamonds that have the total weight of .45 carat.

Platinum and Gold Necklace with Aquamarine and Diamonds

Art Deco Amethyst and Diamond Necklace

An Edwardian diamond and amethyst necklace set in 18 karat white gold. The necklace''s double chain is comprised of a repeating pattern of white gold diamond-studded plaques and cabochon amethysts, while the two central chandelier pendants both feature substantial cabochon amethysts and detailed frames studded with white diamonds. This necklace has 290 rose-cut diamonds that have the approximate total weight of 7.30 carats. The weight of the 2 large amethysts is 29.00 carats and 21.00 carats. With additional 30 oval cabochon amethysts. With documentation of this necklace designed with fire opals made by A.Marx & Co jewelers London

Art Deco Amethyst and Diamond Necklace

Italian Mid-20th Century Diamond and Gold Necklace

An Italian Mid-20th Century 18 karat white gold necklace with diamonds. The necklace has 138 round-cut diamonds with an approximate total weight of 11.04 carats, G/H color and VS clarity. The necklace is designed as a series of three rows of diamond-set blossoms.

Italian Mid-20th Century Diamond and Gold Necklace

Tiffany Studios New York "Geometric Tile" Chandelier

A Tiffany Studios New York "Geometric Greek Key" chandelier. The domed shade has a central white opalescent turtleback tile with gold iridescence, from which radiates a geometric pattern of graduating glass tiles in white and amber tones, all set within a wide Greek Key patterned rim in verdigris patina, supported by four handles and chains. A similar chandelier is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 316, plate 1263. Brief Overview of the Chandelier Tiffany was a man preoccupied with Grecian decor. In the same year this fixture was produced, Tiffany threw his famed Quest of Beauty pageant for his sixty-eighth birthday on February 19, 1915. The Greek pageant illustrated the journey of mankind from caveman to cultured artistic civilization. Tiffany spared no expense, spending $15,000 on lights, and hiring a cast of forty-two professional actors. On the wall behind the actors, were a row of Grecian shields including the shield of Medusa. The iridescence for which Tiffany was most renowned was inspired by the iridescence of Roman and Grecian glass. As a close friend of the Met Museum''s president, he kept up to date with the latest archaeological discoveries. The lamp''s amber glass is of particular richness, owing to the fearless experimentati ... on of Tiffany''s lead chemist Arthur J. Nash. Nash added unconventional materials such as birch bark and burnt oats to create glass that varied in value and delighted with their imperfection. It is extremely rare to find a chandelier with exquisite bronze work surrounding the overall leaded glass composition. In 50 years specializing in the artwork of Louis Comfort Tiffany, this is the first "Greek Key" border chandelier we have had the good fortune to offer for sale.

< View More >
Tiffany Studios New York 'Geometric Tile' Chandelier