A French Antique 18-karat gold and enamel bracelet with turquoise. The bracelet is composed of 4 strands of woven gold rope with clover-shaped enamel and turquoise set slides. The enamel work is designed as Moorish arabesques set with cabochon turquoise. The hanging locket has a similar clover-shaped motif. This piece can be seen as an ancestor of Van Cleef & Arpels''s iconic "Alhambra" jewelry.
An Antique 18 karat gold bracelet with turquoise and diamonds. The bracelet has 24 Old Mine-cut diamonds with an approximate total weight of 1.50 carats, 50 rose-cut diamonds with an approximate total weight of .70 carat, and 15 turquoise cabochons. The ''offered'' linking bracelet is detachable and the center panel becomes a pendant. Pictured in Understanding Jewellery, by David Bennett & Daniela Mascetti, Antique Collectors'' Club, 1989, page 185, Plate 247.
An French Antique 18 karat gold bangle bracelet, the hinged form set with buff-top turquoise and split seed pearls in an interlocking geometric motif. Alfred Robin and his father are mentioned by Henri Vever in his history of French Jewelers of the 19th Century as successful designers of the post Franco-Prussian War period (1870-1871).
A pair of English Victorian 18 karat gold and gutta-percha hinged bangle bracelets. The pair of hinged bangle bracelets are banded with gold stripping. "The most interesting substitute for jet was a composition rubber called gutta-percha, also known as vulcanite. Unlike jet and bog oak, which were worked by carving, gutta-percha was molded and mass produced to convincing effect in many of the same styles as jet and bog oak. It is a hard black substance that smells like rubber when it is rubbed and turns brown when exposed to sunlight for long periods of time." From "Victorian Jewelry", by Ginny Dawes and Corinne Davidov, Abbeyville Press, 1991. Pictured in "Victorian Jewelry", by Ginny Reddington Dawes and Corinne Davidov, Abbeyville Press Publishers, 1991, page 134.
An English Victorian 18 karat gold bangle bracelet with amethyst, diamonds and pearls. The hinged bangle bracelet centers on a cabochon amethyst with a ribbon of 9 rose-cut diamonds with an approximate total weight of .26 carat. The center cluster is framed by 26 seed pearls. With antique fitted box.
Dimensions: Interior circumference: 6-1/2"; the graduated cuff measures 1-1/4" to 1/4" width.
A Victorian 14 karat gold bangle bracelet with diamonds and rubies. The delicate gold bangle features alternating diamonds and rubies, framed by intricate scroll work settings that can be seen from either side of the gems. The bangle bracelet has 8 old mine-cut diamonds with an approximate total weight of 1.35 carats, 9 oval-cut rubies with an approximate total weight of 1.05 carats. Marked 585 on tongue.
A Victorian 15 karat gold bracelet with turquoise and diamonds. This is a large bangle, to be worn either on the wrist or as an arm band, It has the form of a serpent dynamically wrapped upon itself and seemingly caught in motion, covered in tightly-set cabochons of turquoise and replete with striated gold on the reverse side to complete the appearance of a snake. The head of the reptile features a large tear drop-shaped cabochon of turquoise framed by twelve old mine-cut diamonds that have approximate total weight of 1.14 carats, and has a lovely pair of diamond eyes. Turquoise was mistakenly named as such during the Victorian times because it was believed by most Western Europeans that the blue stone came from Turkey, when in fact it merely passed through Turkey on its way westward from Iran. Because of its color, turquoise was associated by Britons in the Victorian Age with the Forget Me Not flower, which, in the very sophisticated and well known "language of flowers," was a symbol of undying love. The snake, when depicted in a continuous loop, was also understood during this period as a potent emblem for eternal affection, largely due to the fact that Prince Albert presented Queen Victoria with a snake band with a gemstone head as a wedding ring.
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