A French Mid-20th Century 18 karat white gold ring with diamonds and natural pearl by Pierre Sterlé. The ring has 90 round diamonds with an approximate total weight of 2.00 carats, and a natural pearl measuring 8.35 mm carats. The ring is designed as a dimensional swirl culminating with the natural pearl.
An Italian Estate 18 karat white and yellow gold ring with emerald and diamonds by Buccellati. The ring has an oval-cut Colombian emerald with an approximate total weight of 2.19 carats, and 30 round-cut diamonds with an approximate total weight of .80 carat. The ring is composed in a classic Mario Buccellati foliate design, set with round diamonds that center on the engraved bezel-set emerald. With certificate from Mario Buccellati dated June 14, 2012, stating the ring has ''''a Colombian emerald weighing 2.19 ct. and 20 diamond weighing .80 ct in total."
A modern 18 karat white gold Or Amour Et Trinity ring by Cartier. Unlike with the classic Trinity design, the Or Amour Et Trinity ring has bands of graduating size and features the eponymous text on one of the bands.
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.
An American 18 karat white gold ring with sapphire and diamonds. The ring centers on an unheated oval-cut Ceylon blue sapphire with an approximate total weight of 5.25 carats, surrounded by 30 round brilliant-cut diamonds with an approximate total weight of 1.28 carats. Accompanied by American Gemological Laboratory report #1093621 stating Ceylon origin, with no evidence of heat treatment.
A modern 18 karat white gold ring with diamond by Kauffman de Suisse. The ring is set with a emerald-cut diamond weighing 5.09 carats, flanked by sheild-shaped baguettes. Accompanied by GIA report no. 13564712 stating F color, VS1 clarity, no fluorescence.The emerald-cut diamonds have certificates from the Gemological Institute of America #13564712
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