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).
A French Art Nouveau 18 karat gold pendant with pink sapphire, diamonds and pearl by Lucien Gautrait. The pendant has a pear-cut pink sapphire with an approximate total weight of .80 carat, 2 old European-cut diamonds with an approximate total weight of .10 carat, and a baroque pearl drop. The pendant shows an emergent woman with flowing hair and outstretched arms in a euphoric opium-induced state. Art Nouveau 18 karat chain not original to the piece. Pictured in Masterpieces of French Jewelry, by Judith Price, Running Press, 2006, page 48. Pictured in Henri Vever French Jewelry of the Nineteenth Century, Thames Hudson, 2001, page 1110.
A French Art Nouveau 18 karat gold and enamel pendant by André Rambour. The pendant depicts a maiden within an enamel iris which is suspended by fancy link chain and an enameled foliate top.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
An Art Deco platinum necklace with diamonds. The necklace has 250 old European-cut diamonds with an approximate total weight of 9.00 carats, 27 mixed-cut diamonds with an approximate total weight of 5.50 carats, and 7 marquise-cut diamonds with an approximate total weight of 3.00 carats. The approximate total weight of the necklace is 17.50 carats, H/I color, VS/SI clarity. The necklace is designed in a strong Art Deco geometric motif with the central plaque suspending a graduated series of marquise diamond articulated tassels, and the clasp repeating the central plaque motif. Similar pictured in Art Deco Jewelry, by Sylvie Raulet, Rizzoli, 1984, page 124.
Dimensions: Necklace: 16-1/2" length; pendant element: 1-1/2" length x 3/4" width.
A French 18 karat gold necklace with diamonds by Van Cleef & Arpels/Georges Lenfont. The necklace has 1400 round cut pave set diamonds with an approximate total weight of 47.00 carats, F/G color, VS clarity. The necklace is composed of 37 graduated curb links.
A French late-20th Century 18 karat gold necklace with diamonds by Cartier. The necklace has round and square-cut diamonds with an approximate total weight of 5.50 carats, G/H color, VS clarity, which compose the three diamond-set plaques on the brick chain necklace. The "Trinidad'' diamond necklace. With signed Cartier box and Cartier documentation.
A Mid-20th century 18 karat gold necklace with diamonds. The necklace has 184 round-cut diamonds with an approximate total weight of 14.70 carats, G/H color, VS clarity. The necklace is designed in a diamond-set layered rope motif.
A Mid-20th Century diamond and platinum necklace. The necklace is composed of a row of 79 marquise-cut diamonds with an approximate total weight of 29.00 carats. The marquise diamonds graduate from a center stone weighing approximately 1.50 carats to approximately .15 carat. Nine of the marquise central stones in the necklace weigh over 1.00 carat. The interior row of the necklace is composed of 155 baguette-cut diamonds with an approximate total weight of 32.00 carats, graduating from the center stone weighing approximately .45 carat to approximately .15 carat. The approximate total of the diamonds is 61.00 carats, D/E color, VVS/VS clarity.
A French Mid-20th Century platinum necklace with sapphires and diamonds. The center of the necklace has 4 graduated festooned strands of 162 round and oval-cut sapphires with an approximate total weight of 25.00 carats that form the articulated swag. The blue sapphires are most likely from Ceylon. The top strand and side decoration have 153 baguette diamonds with an approximate total weight of 9.00 carats, and 104 round-cut diamonds with an approximate total weight of 14.40 carats, G/H color, VS clarity. French control mark for platinum. The motifs of 1950''s jewelry design may appear similar to pieces produced in the ''40''s, but they were executed in an entirely different way. Retro jewelry had a solid, heavy and highly polished look whereas 1950''s jewelry was open, airy and textural, although still solid and "important" in appearance. There was beautiful movement and a depth displayed in the execution of design in this period, as this swag designed necklace exemplifies.
Dimensions: 14-1/2" length, with later 2" extension x 1-5/8" width at the center of the draping.
An Edwardian platinum and 15 karat gold collier de chien necklace with diamonds and seed pearls. The necklace is composed of 12 strands of freshwater seed pearls that are connected together with four diamond spacers set with 56 old mine-cut diamonds with an approximate total weight of 2.80 carats.
A French Mid-20th Century platinum and diamond necklace/tiara by Mellerio dits Meller. The necklace is composed of 200 round-cut diamonds with an approximate total weight of 44.25 carats, and 200 baguette diamonds with an approximate total weight of 45.75 carats. Approximate total carat weight is 90.00 carats, G/H color, VS clarity. The triple row necklace is formed of two outer rows of round-cut diamonds and a center row of baguette diamonds. The necklace separates forming a separate bracelet. The tiara frame is decorated with 7 round cut pastes. Mellerio fitted box. Mellerio dits Meller, the French jewelry house, was founded in 1613, and is still active today. "With jewelry for Marie-Antoinette, brooches for Princess Mathilde and tiaras for the court of the Netherlands, some of the biggest names in European royal history have cameos in the history of Mellerio dits Meller. The story of this jeweler to kings and queens has been written in gold and precious stones ever since Marie de Medicis lent her support to the house in 1613." Vincent Meylan, Mellerio historian.
A European Retro 14 karat gold "tubogas" necklace with diamonds. The necklace has 18 round-cut diamonds with an approximate total weight of 1.08 carats. The diamond-set center section is mounted between two twisted screw-shaped capitals.
Signed: European country control mark 14kt gold
Dimensions: 14-1/4" interior length x 1" - 1/4" width
An Art Nouveau 14 karat gold and enamel pendant locket with diamonds. The pendant is decorated with 10 old mine- and single-cut diamonds with the approximate total weight of .30 carat. The relief cover depicts the angel Gabriel blowing his horns. Engraved in script, "BJ June 29, 1904" on back cover. Chain is a later period addition. Pictured in Masterpieces of American Jewelry, by Judith Price, Echo Point Books & Media, LLC, 2004, page 28.
A platinum necklace with sapphires and diamonds. The necklace is set with ten oval-cut sapphires with an approximate total weight of 44.74 carats, and 133 round and marquise-cut diamonds with an approximate total weight of 38.00 carats, G/H color, VS clarity. American Gemological Laboratory certificates on 6 of the sapphire states no evidence of heat treatment.
A French Mid-20th Century 18kt gold and platinum necklace with diamonds by Cartier. The necklace has 148 round-cut diamonds with an approximate total weight of 4.50 carats, G/H color, VS clarity. The necklace is designed in a foliate fringe motif with diamond set platinum articulated ''leaves''. With signed Cartier box.
An Art Deco platinum necklace with emeralds, diamonds and enamel. The necklace has five fluted emerald beads with an approximate total weight of 19.00 carats, accented with 124 baguettes, 10 triangular and 302 round old European-cut diamonds with an approximate total weight of 11.10 carats, G/H/I color, VS clarity. Each graduated emeraldbead is flanked by black enamel accents, with the back chain set in an Art Deco baguette and round diamond motif.
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.
A French Art Deco platinum necklace with diamonds and emeralds by Henri Picq. The necklace centers on an emerald-cut diamond with an approximate total weight of 2.50 carats, and baguette, old European-cut and single-cut diamonds with an approximate total weight of 40.00 carats, H/I color, VS. The pendant has 2 emerald-cut emeralds and 44 calibré-cut emeralds with an approximate total weight of 7.70 carats. The pendant is detachable from the twisted design and barrel-shaped links of the necklace. Henri Picq''s workshop, located in the Marais district of Paris, was one of the most important workshops in Paris from the early 20thCentury through the late 1920''s. He produced some of the highest quality gem-set platinum jewels of the period. Among other houses, Picq worked for Cartier, becoming their main supplier between 1900 and 1918. These jewels were said to be the finest in Paris, and it was the workshop of Henri Picq that became famed for the quality of this jewelry. Picq was instrumental in the use of novel materials and executed some of Cartier''s most avant-gard designs, especially the beautifully-produced Cartier ''Tutti Frutti'' jewels, described at the time as ''pierres de couleur'' and which continue to endure. He also produced a bracelet designed and exhibited at the revolutionary Paris Exposition Universelle in 1925. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.
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.
A Retro 18 karat polished gold necklace. This unique necklace is designed in a strong geometric link motif. This ''tank track'' necklace is an exceptionally rare expression of this jewelry style. Following World War II, jewelry makers in Europe and America made heavy geometric link jewelry popular. Their inspiration for these pieces were the wheel tracks from the tanks which were used so extensively during the war.
Dimensions: 19-1/2'''' length x 1 to 1/2'''' width
A French Belle Epoque platinum-topped gold necklace with diamonds by Chaumet. The necklace has old European-cut diamonds with an approximate total weight of 68 carats, H-I-J color, VS/SI clarity. The necklace is designed as a graduated double festoon. The center stone weighs approximately 2.50 carats, with the remaining stones graduating to .20 carat. The house of Chaumet was founded in 1780 by Marie-Etiene Nitot as Nitot et fils. Nitot had begun his career working with Auber, jeweler to Queen Marie-Antoinette. An aristocratic clientele was soon to follow him to his new workshop. A reputation as the "jeweler of the tiara" was earned in those early commissions when Nitot created the coronation crown for Napoleon. Napoleon wanted to make his family transcendent and saw jewels as the true symbol of power to be used in displaying his kingly authority. Empress Josephine appeared at the coronation resplendent in a tiara created for her by Nitot, and so it began.A similar festoon necklace is pictured in Chaumet Paris, by Roselyne Hurel and Diana Scarisbrick, Paris musées, 1998, page 95, Plate 128.
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.
An Edwardian platinum sautoir necklace with diamonds and seed pearls. The necklace is comprised of a chain with five rows of seed pearls, interspersed with complex decorative filigree work and studded with diamonds. It has a hanging pendant encrusted with diamonds, cut with open work and replete will delicate millgraining. The piece has 235 old mine- and rose-cut diamonds with an approximate total weight of 5.50 carats, including the chain. The center of the pendant is one old European-cut diamond with an approximate total weight of .75 carat.
A French Belle Epoque 18 karat gold, platinum, diamond, pearl and Paillet enamel pendant watch necklace. The pendant watch has 26 old European-cut diamonds with an approximate total weight of 1.05 carats, 70 rose-cut diamonds with an approximate total weight of .70 carat, and 28 seed pearls. The back of the pendant has a Paillet enamel depicting putti, Aphrodite with doves in hand and Pandora. It can be counted as an example of the virtuoso enameling Paillet is known for. The platinum chain is composed of 4 diamond-set plaques. Similar pictured in Boucheron Le Joaillier Du Temps, by Gilles Neret, Conti, 1992, pages 49-50.
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
A Belle Epoque platinum and 14 karat gold lavaliere necklace with bezel-set garnet, yellow sapphire, blue sapphire and diamonds. The diamond-set platinum chain necklace suspends a cushion-shape red garnet with an approximate weight of 5.50 carats, an oval blue sapphire with an approximate weight of 5.75 carats, an oval cushion yellow-orange sapphire with an approximate weight of 5.50 carats, and rose and Old European cut diamonds with an approximate total weight of 1.30 carats. With original signed "Peter Rath Munchen" fitted box.
An American early 21st-Century 18 karat gold necklace with diamonds by Henry Dunay. The necklace is comprised of yellow gold links textured in an elegant swirling pattern. The links, which are each nearly an inch in width, are studded with 247 round-cut F/G color, VS clarity diamonds with an approximate total weight of 7.8 carats.
A French Mid-20 Century 18 karat gold and platinum "Angel Hair" necklace with diamonds by Van Cleef & Arpels. The necklace has 26 round-cut diamonds with an approximate total weight of 2.10 carats. The "Angel Hair" necklace is designed as a highly flexible tapered band of gold fringe enhanced by a circular-cut diamond cross-over front detail. Pictured in Jewelry of the 1940''s and 1950''s, by Sylvie Raulet, Rizzoli, 1988, page 172.
A French Retro 18 karat gold and platinum necklace with diamonds and sapphires. The necklace has 74 round-cut diamonds with an approximate total weight of 3.75 carats, and 66 calibre-cut sapphires with an approximate total weight of 5.50 carats. The necklace is designed with stylized twisted gold leaves interspersed with a row of diamonds alternating with a row of sapphires. The front of the necklace is suspended by two woven gold chains with a twisted leaf motif clasp.
Signed: “Made in France” with French control marks
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.
A charming 18 karat gold chain featuring six heart-shaped, diamond-studded dangling charms with a matching pair of two-tiered diamond and gold heart shaped earrings. Each heart in this traditionally sentimental late Victorian suite is studded with approximate total weigh of 2.20 carats of old European-cut diamonds adding substantial sparkle to the already brilliant polished gold. The highly sentimental nature of Victorian jewelry is due in large part to the great love affair between Queen Victoria and Prince Albert. The young Queen and her Prince were among the 19th Century''s most celebrated icons of fashion, and they openly celebrated their very doting relationship by giving each other jewelry with snakes or hearts, symbols of eternal love. Although lockets with compartments designed to hold human hair are most often associated with mourning jewelry, they were also, as this necklace and earring suite most probably were, presented as tokens of love.
Dimensions: Necklace: 16'''' long; earring 1-1/4" long
An 18 karat gold necklace with peridot and diamonds by Henry Dunay. The necklace has brushed gold curb links centering one heart-shaped peridot with an approximate total weight of 15.60 carats, 6 round brilliant-cut diamonds and 4 marquise-cut diamonds with an approximate total weight of 2.00 carats. All are framed by bombé panels, supporting a concave spade-shaped bombé link, pavé-set with round diamonds approximately 3.00 carats.
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.
An Early-20th Century platinum necklace with diamonds. The necklace has 5 large Old European-cut diamonds ranging in size from smallest to largest at 0.82 carats 0.82 - 1.00 - 1.00 - 1.11 - 1.16 carats, 443 Old European-cut and round diamonds with an approximate total weight of 18.74 carats, 10 trapazoid-cut diamonds with an approximate total weight of 1.20 carats, 8 French-cut diamonds with an approximate total weight of 1.60 carats, and 10 baguette diamonds with an approximate total weight of 1.40 carats. The necklace overall measures 16" in length, and may be converted to a choker necklace at 13.25", or or to two bracelets at 6.75" each.
A platinum Art Deco lavalier necklace with diamonds and pearls. The lavalier pendant and tapered plaques have 117 round old European-cut diamonds with an approximate total weight of 3.00 carats and 2 natural saltwater pearls which hang from the diamond set plaques designed in a classic Art Deco motif. The natural white pearl measures 10.1 x 9.4 mm and the dark gray natural pearl measures 8.8 x 8.6 mm. The necklace has 376 seed pearls connected with a platinum chain weave. Gemological Institute of America report #6173345278.
A French Art Nouveau 18 karat gold link long chain. The link chain is formed of 145 lozenge-shaped links which have wire arabesque motif overlay. The attached shield-shaped medallion depicts Joan of Arc at the Coronation of Charles VII in 1429.
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
Dimensions: 16-1/2 '''' length, 2-1/2 in pendant drop
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.
A modern Italian 18 karat gold flexible chain-link ring with sapphire. The entirely flexible band of the ring features a fetching woven pattern in high polish. The ring centers on a cabochon sapphire with an approximate weight of .90 carat.
A French Egyptian Revival 18 karat gold pendant necklace with opal, diamond, freshwater pearl and enamel by Antoine Bricteux. The necklace has one carved matrix scarab opal that measures 11.89 mm by 4.06 mm. It is accented with 21 Old European-cut diamonds with an approximate total weight of 1.00 carat, and a 5.50 mm freshwater pearl drop. It is suspended from an 18 karat gold chain and can be converted to be worn as a brooch.
A Late-20th Century 18 karat gold necklace with diamonds and pearls by Van Cleef & Arpels. The necklace has 231 round-cut diamonds with an approximate total weight of 17.00 carats, G-H color, VS clarity, and 21 cultured pearls ranging in size from 7.85 mm to 7.50 mm. The cultured pearls alternate with 21 diamond-set five pointed stars.
A Victorian necklace featuring ten natural pearls and 171 old European-cut diamonds set in silver-topped 14 karat yellow gold. The diamonds have an approximate total weight of 20.00 carats. This is a beautiful example of late-19th century romance in design and elegance, as well as in the use of important stones and lustrous pearls.
A French Art Nouveau 18 karat gold and silver 4 inch pendant with diamonds and freshwater pearls suspended from a 29 inch 18 karat gold chain with 8 freshwater pearls. The pendant has 40 rose-cut diamonds with an approximate total weight of .40 carat, and 13 freshwater pearls. The articulated pendant is designed in a stylized wisteria motif.
Signed: French Import mark
Dimensions: Chain: 29" length; pendant 3-3/4" length x 1-7/8" maximum width
A three-tiered antique necklace comprised of three rows of alternating pink and orange garnets set in elaborately textured gold collets with delicate looping design elements further accenting the stones. From each tier of the necklace hang tear-shaped boulder opal beads that form a stylized, articulated fringe. The piece features 45 round orange garnets and 46 pink garnets, further highlighted by 4 demantoid garnets.
An American Estate 18 karat gold necklace with diamonds. The necklace is composed of basket weave flexible links centered with 6 diagonally-set diamonds. The necklace contains 192 round-cut diamonds with an approximate total weight of 13.45 carats, G/H color, VS clarity.
Signed: “USA 18kt”
Dimensions: 15-3/4" interior length x 1/2-3/8" width
A Tiffany Studios New York golden stalactite chandelier with pulled gilt decoration, suspended from a patinated bronze and brass chain and pole system. This chandelier features a larger central stalactite surrounded by 6 smaller stalactites. The stalactite shades are decorated in gold and brown on a yellow background. In 1897 Mark Twain embarked on a lengthy tour of North Africa and the Holy Land. two years later, he published "Innocents Abroad," a widely read and celebrated account of these travels. Inspired by Twain''s work, Louis Comfort Tiffany traveled to Northern Africa the same year Innocents Abroad was published. What he found in Northern Africa and Southern Spain was a seemingly an endless trove of artistic inspiration. Upon he returned he immediately painted an oil painting titled "Market Day at Tangiers," depicting exactly that and particularly highlighting the Islamic architecture surrounding the market square in the city. Tiffany would later model the fountain court of his home at Laurelton Hall after the Court of the Lions at the Moorish palace La Alhambra in Granada. The Laurelton Hall fountain court, which was later described as "the soul of the house," by Tiffany scholars, was filled with arabesque texturing in the walls that created domed, stylized shelves called "Muqarnas," a traditionally Moorish architectural feature. Tiffany so loved the Muqarnas walls t
hat he designed Favrile glass forms to fit in the indentations, and, later still, Favrile glass shades, like those in this chandelier, to mimic and compliment their shape. 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. 299, plate 1186.
A French modern 18 karat yellow gold and red leather cord pendant necklace with diamonds by Poiray. The heart pendant necklace has round diamonds with an approximate total weight of .25 carat. Created in 1974 by François Herail and Michel Hermelin, the House of Poiray is nicknamed "The girl of the Place Vendôme" because it is the last to join the very closed circuit of the great jewelers of the Place Vendôme. The company Poiray opened their first shop in 1988 in Paris.
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.
An Italian Late-20th Century 18 karat gold necklace with stylized ebony links by Gucci. The large-scale necklace features variously-proportioned ebony links connected with polished gold link sections. The pattern completes a circle around the neck before terminating in two free-hanging tassels of slightly varying links.
An English Victorian 18 karat gold acrostic necklace. The heart charms consist of 161 rose-cut diamonds that have the approximate total weight of 3.20 carats. The center of these charms have 2 emeralds, with amethyst, ruby, sapphire and topaz that have the approximate total weight of .90 carat. Acrostic jewelry, which was immensely popular in the highly sentimental Victorian era, was actually originally introduced to the popular market by the famed French house of Mellerio, who created acrostic jewels for Marie Antoinette. A piece of acrostic jewelry is a piece that includes a series of center stones whose first letter of their common names spells out a word of affection. For example, this necklace, whose charms feature center stones of Diamond, Emerald, Amethyst, Ruby, Emerald (again), Sapphire and Topaz in that order is meant to say "DEAREST." Each of the heart-shaped charms in this particular piece features not only the meaning-filled center stone but also several carats worth of rose-cut diamonds, that encrust their faces.
Dimensions: Necklace 15" length; each charm 1/2" x 1/2".
An Antique 18 karat yellow gold chain of approximately 60 inches. The gorgeous turn of the 20th century chain is comprised of an elegant yet playful interlocking design that lends itself to layering or being worn as a single feature.
A Contemporary 18 karat gold chain with diamonds by Bulgari. The chain reflects the strength of Bulgari''s hallmark designs, with sleek, tightly-assembled gold curb links interspersed with sections of chain that are studded with diamonds. The chain has 192 diamonds with an approximate total weight of 5.76 carats.
An 18 karat gold chain with 7 ribbed barrel-shaped rhodochrosite beads. The dynamic links of the chain feature an alternating pattern of elongated, polished metal design elements with shorter, textured sub-links cast so as to mimic the appearance of braided rope. The aesthetically complex chain perfectly complements both the shape and the visual interest of the rhodochrosite beads, whose magnesium-based natural striations, in conjunction with their dynamic shape, striking color and carved, barrel-like vertical ribbing, make them a weighty design element of their own.
A French gem-set sautoir by Van Cleef and Arpels. The necklace is a textured 18 karat gold link chain with collet-set oval coral cabochons alternating with chrysoprase cabochons. A detachable pendant/brooch of rosette "Delphe" design is suspended from the necklace. The sautoir can be converted into four bracelets.
An antique 14 karat gold bracelet with horse charms. The oval fancy link chain suspends a variety of equestrian charms including stirrups with leathers, horseshoes, snaffle bits, and a horse on a lunge line "at the passage." This early charm bracelet was made by the New York City firm Sloan & Company, founded in 1895 and distinguished for their whimsical sporting jewelry including sailing, fishing, and riding motifs, as well as purebred sporting dogs. Their amusing and original charms are highly sought after by collectors of this jewelry genre.
A French Late 20th Century 18 karat gold convertible necklaces/ long chain, by Soubrenie et Bois, Paris, composed of freely shaped navette form links highlighted by round briliiant-cut diamonds, joined by shaped trace link chain, separable to form nesting necklaces. The necklace has 60 brilliant-cut diamonds with an approximate total weight of 9.00 carats.The firm of workmasters Soubrenie et Bois manufactured for such high style Parisian makers as Cartier, Boucheron and Fred.
Signed: Soubrenie et Bois (maker''s marks), with French control marks.
A pair of Art Deco moonstone and gem-set cuff links. Each cuff link is designed as a carved moonstone scarab with circular-cut emerald markings and ruby eyes, joined by trace link chain to rounded bars, with 2 rubies having an approximate total weight of .08 carat and 30 emerald accents with the approximate total weight of .60 carat. Mounted in 18 and 14 karat gold .
Dimensions: 1/2'''' length x 1/4'''' width x 1/4'''' depth
A Macklowe Gallery original opal, sapphire, rock crystal and diamond rondele necklace. Composed of 70 graduating opal alternating with 71 sapphire beads, interspersed with 67 faceted rock crystal beads and platinum rondeles set with round brilliant-cut diamonds, approximate total weight 2.20 carats, completed by a platinum and diamond cylindrical clasp.
A Mid-20th Century 18 karat gold bracelet with diamonds. The bracelet has two strands of rope chain with diamond bar accents. There are a total of 76 round single and mixed diamonds with an approximate total weight of 2.25 carats.
A contemporary platinum, 18 karat white gold, moonstone, sapphire and diamond long chain. Composed of 69 cabochon moonstones, approximate total weight 248 carats, interspersed with cabochon sapphires, approximate total weight 117 carats, and 49 sapphire beads, approximate total weight 55 carats, all mounted in platinum and joined by trace link chain, further highlighted by 7 pave-set round brilliant-cut diamond and sapphire boules.
A Victorian necklace featuring 30 graduating natural pearls, each surrounded by old mine-cut diamonds set in silver-topped 15 karat gold. The diamonds have the approximate total weight of 18.30 carats. The natural pearls range in size from 9.00 mm to 5.00 mm. With Gem and Pearl Laboratory #10280 certificate. The beautiful luster of the pearls is made brilliant by the sparkle of the 399 diamonds that halo them, resulting in an eye-catching and decidedly romantic statement piece.
A Victorian 15 karat gold necklace with pearls and black enamel. The necklace is composed of gently arched bar links centering lines of natural split seed pearls flanked by delicate wire work and bands of black enamel, all joined by circular links, and centering a link to suspend a pendant. The 16.75" necklace has a 1.25" inch extension link that hangs from the center.
Dimensions: 16.75" length not including 1.25" extension
An Art Deco platinum necklace with turquoise, rock crystal, chalcedony and diamonds by Mauboussin. There are 72 round-cut diamonds that have the approximate total weight of 5.96 carats. The house of Mauboussin was considered the leader in design innovation and luxury creation in the Art Deco period, so much so that Maurice Dauzalle, the famed art critic, wrote of the firm's 1930 exhibition in "L'Illustration:" 'All the creations on display radiate the same artistic brilliance, the influence of a strong personality, a decisiveness.... In all of [Georges Mauboussin]'s work there is a lively intelligence, a driving inspiration....' This striking collar features a strong, solidly Deco design that, unusually, centers on the cool interplay of color provided by the evenly-matched turquoise and the deeply black onyx. Interspersed with sleek slivers of architecturally-striated rock crystal and diamond-studded platinum accents, this industrially elegant piece demonstrates the height of design from the well-celebrated house of Mauboussin. With certificate of authenticity from Mauboussin.
A French mid-20th century 18 karat gold necklace by Frederic Boucheron. The necklace, which elegantly and seamlessly breaks apart into two wearable bracelets, is comprised of highly polished rounded triangular section links, with two mirroring section lying smoothly and luxuriously on the neck, and another section of the link vertically aligned, so as to create fabulous visual interest in the piece's repetitive design.
A French 18 karat gold pendant necklace with diamonds by Van Cleef & Arpels, Paris. The necklace is composed of triple bar links joined by multiple strands of oval trace link chains, highlighted by arched bars set with 35 round brilliant-cut diamonds with an approximate total weight of 1.40 carats. suspending a detachable pendant of conforming design. The necklace has a detachable segment allowing it to be converted from 19" to 16". This necklace is accompanied by a certificate of authenticity from Van Cleef & Arpels. With its contemporary sensibility and soft flexibility, this necklace is unmistakably French modern. The dynamic geometric motifs are creatively extended and completed by the draping, flexible swags of trace link chains, while the smooth, polished gold is counterbalanced by the contrasting lines of brilliants.
An American Late-20th Century platinum and 18 karat white gold necklace with sapphires and diamonds by David Webb. The necklace is composed of graduating sapphire beads with an approximate total weight of 500 carats, completed by a cabochon sapphire clasp, with an approximate weight of 5-1/2 carats, spaced by rondels with round brilliant-cut diamonds with an approximate total weight of 15 carats.Chic and beautifully made, this rich blue cache of sapphire beads, strung as a gently braided torsade necklace, sits softly on the neck, accentuated by sparkling rondels of diamonds. The Madison Avenue workshops of the David Webb boutique, staffed by generations of artisan families, have been crafting glamorous, wearable jewels based on Webb's bold and original designs since the 1940s.
A French Mid-20th Century "Four Seasons" 18 karat gold and platinum bracelet with rubies, emeralds, sapphires, citrines and diamonds by Van Cleef & Arpels. The bracelet from which the charms hang is attractively comprised of two-part links that appear to be bound by twisted gold cord, providing a compelling aesthetic base for the four charms. Each charm depicts a scene that encapsulates the beauty of one of the four seasons, framed by the same twisted gold motif featured in the chain of the bracelet. The winter charm features holly leaves studded with ruby and emerald berries; the spring scene shows two sapphire bluebirds watching the sunrise on an emerald and diamond leafed branch; the summer scene captures a sapphire and diamond sailboat sailing into the sunset; and the fall scene is comprised of three small citrine birds perched on a textured park bench. Each of the charms and the bracelet itself are signed Van Cleef and Arpels. Each charm is 1-1/4" diameter The length of the bracelet is 8"
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