A pair of French Mid-20th Century platinum earrings with diamonds. The earrings have 82 round-cut diamonds with an approximate total weight of 4.20 carats, and 48 baguette diamonds with an approximate total weight of 3.00 carats, H/I color, VS clarity. The design of the earrings represents the post war 1950''s ''return to glamour'' style of pendant earrings, reminiscent of rainfalls and cascades with articulated tassels. Similar pictured and discussed in Earrings From Antiquity to the Present, by Daniela Mascetti, Amanda Triossi, Thames & Hudson, 1999, pages 172-175.
A pair of Late-20th Century platinum earrings with diamonds and kunzites by Verdura. The earrings have 104 round-cut diamonds with an approximate total weight of 12.40 carats with a G/H/I color and VS clarity grade. They have two oval kunzite gemstone drops with an approximate total weight of 36.00 carats. The kunzite pendant drops are detachable. The pendants are signed "Verdura". With authenticity certificate from Verdura for the pendants. With signed Verdura box.
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.
A Tiffany Studios New York "Harp" floor lamp with patinated bronze base and green blown-glass "Damascene" shade. This "Damascene" floor lamp is composed of a transparent green, "Dychroide" glass and iridized glass 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 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 o
bliquely 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 and a 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 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 Retro 18 karat gold, platinum and diamond clip brooch, Monture Cartier. The brooch is designed as a stylized ropetwist floral spray with diamond blossoms and gold leaves, highlighted by 21 Old European-cut and cushion-shaped diamonds, approximate total weight 5.00 carats, suspending a ropetwist tassel with acorn pendant. The diamonds have a VS/SI clarity and H/I color grade. Mounted in 18 karat gold and platinum. The clip brooch was manufactured by the Cartier workshop Dubois, who produced some of the most remarkable pieces of "tutti fruitI" and other Indian inspired jewelry for the firm.
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