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Antique Diamond Silver Top and Gold Cluster Necklace

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.

Antique Diamond  Silver Top and Gold Cluster Necklace

Antique Diamond, Pearl and Gold Locket Necklace

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.

Antique Diamond, Pearl and Gold Locket Necklace

Antique 18 karat Gold, Enamel and Lapis Lazuli Cross

An Antique 18 karat gold and enamel pendant cross with lapis lazuli. The pendant cross is designed in a Renaissance Revival style, intricately enameled and backed with lapis lazuli and inlaid gold. Hair locket. Inscribed "HAC" and "Obit July 6th, 1877".

Antique 18 karat Gold, Enamel and Lapis Lazuli Cross

Antique Diamond Gold and Silver Top Pendeloque Earrings

A pair of antique silver-top/18 karat gold rhodium plated earrings with diamonds. The earrings have 96 Old European-cut diamonds with an approximate total weight of 8.70 carats, (including large diamonds, approximate weight .75 carat each), H/I/J color, SI clarity. In the late 19th century, a revival of Georgian and French 18th-Century design took place. These pendeloque ear pendants exemplify this revival, as the majority of ear pendants of this age were set entirely with diamonds or a combination of diamonds and pearls. Similar examples of these earrings are illustrated in Earrings, by Daniela Mascetti and Amanda Triossi, Thames & Hudson, 1990, pgs. 71-76.

Antique Diamond Gold and Silver Top Pendeloque Earrings

French Antique Turquoise, Enamel and Gold Locket Bracelet

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.

French Antique Turquoise, Enamel and Gold Locket Bracelet

Antique Diamond, Amber Silver and Gold Borzoi Brooch

An Antique 15 karat gold and silver top diamond brooch. The body of the Borzoi has 230 pavé rose and Old European-cut diamonds with an approximate total weight of 3.60 carats. The markings are created of intricately carved shades of amber.

Antique Diamond, Amber Silver and Gold Borzoi Brooch

Antique Moonstone and Diamond Dress Set

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).

Antique Moonstone and Diamond Dress Set

Antique Natural Pearl and Diamond Earrings

A pair of Antique 18 kt gold and oxidized silver earrings with diamonds and pearls. The earrings have 22 old mine-cut diamonds with an approximate total weight of 5.90 carats, K/L color, SI clarity, and 2 natural saltwater pearls measuring 11.91 x 11.27 x 9.23 mm; 11.90 x 11.05 x 8.54 mm. Gemological Institute of America Pearl Report #2165053962 stating "Natural Saltwater''. The earrings are composed in a classic cluster motif. The lever backs are newer.

Antique Natural Pearl and Diamond Earrings

Antique Demantoid Garnet, Diamond, Gold and Platinum Grasshopper Brooch

An Antique 18 karat gold and platinum brooch with demantoid garnets, diamonds and ruby. The brooch has 38 demantoid garnets with an approximate total weight of 1.10 carats, 34 diamonds with an approximate total weight of .60 carat, and a ruby eye. The 3 dimensional grasshopper brooch is positioned in a perched position.

Antique Demantoid Garnet, Diamond, Gold and Platinum Grasshopper Brooch

Antique English Ruby and Diamond Cluster Ring

An Antique English 18 karat gold and oxidized silver ring with ruby and diamonds. The ring has an oval ruby with an approximate weight of 2.13 carats, and 10 old mine-cut diamonds with an approximate total weight of 2.00 carats. The ring is composed in a classic English Raj cluster motif with bezel-set ruby and floral bezel-set diamonds. The shoulders of the ring are composed in an open work lyre motif. SSEF Swiss Gemmological Institute Report #76870 stating no heat indications and of Burma origin, dated 29 September 2014.

Antique English Ruby and Diamond Cluster Ring

Antique Emerald Diamond Platinum and Gold Cluster Ring

An Edwardian 18 karat gold and platinum ring with emerald and diamonds. The ring centers on a Colombian emerald with an approximate weight of 4.50 carats, which is framed with two rows of old mine-cut diamonds with an approximate total weight of .77 carat. The emerald is certified by the American Gemological Laboratory certificate # CS 69904 which states the emerald has "insignificant traditional treatment" and the country of origin is Colombia.

Antique Emerald Diamond Platinum and Gold Cluster Ring

Antique Diamond, Emerald, Ruby Baroque Pearl Silver and Gold Brooch

A Victorian silver-top 18 karat gold, diamond, emerald, ruby and pearl brooch, featuring a depiction of the penultimate scene from the fable "Jack and the Beanstalk" in which Jack lures the giant by stealing the mermaid''s harp. A baroque pearl forms the tail of a sculpted 18-karat gold mermaid decorating the base of a lyre outlined with old mine-cut diamonds. The strings of the lyre are accented with emeralds, rubies, diamonds and a sapphire weighing approximately .30, .30, 1.75, and .05 carats respectively.

Antique Diamond, Emerald, Ruby Baroque Pearl Silver and Gold Brooch

French Art Nouveau Side Chairs by Vallin

A pair of French Art Nouveau side chairs by Vallin, featuring a carved mahogany "Wheat" patterned motif and leather upholstery. Similar chairs are pictured in: "The Paris Salons, 1895-1910, Volume III: Furniture" by Alastair Duncan, Antique Collectors'' Club, Publishers, page 555 (Dining room, collection of Eugène Corbin, Le Salon d''Automne, 1910).

French Art Nouveau Side Chairs by Vallin

Art Nouveau Bronze and Favrile Glass Table Candelabrum by Tiffany.

An American Art Nouveau patinated bronze and favrile glass mounted table candelabrum by Tiffany Studios New York. The candelabrum has six arms. Each candle holder is decorated with green favrile jewels. A similar candelabrum is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 385, plate 1571.

Art Nouveau Bronze and Favrile Glass Table Candelabrum by Tiffany.

Louis Majorelle French Art Nouveau "Orchid" Table

A French Art Nouveau two-tiered ""Caltha des Marais" table with ormolu mounts by Louis Majorelle. The table was created at the height of Majorelle''s most fertile period. While pastiches marked Majorelle''s early career, Majorelle''s mature style reduced the excessive ornament of the ancien regime into the fluid line of modernity. This reduction is most apparent in the table''s skirt, where the baroque swag motif transforms into a graduating concave form. The table''s ormolu mounts are bereft of foliate scrolls and grotesque motifs. Instead, Majorelle''s sophisticated naturalism takes inspiration from the flowers of his native Nancy. Marsh marigolds form the top of each mount. Among the few flowers to grow in the caliginous marshes, their yellow petals are a welcome respite to the eye. So loved was the marsh marigold that Shakespeare proclaimed they grew at heaven''s gate, "Hark, hark! The lark at heaven''s gate sings...His steeds to water at those springs, On chaliced flowers that lies; And winking Mary-buds begin, To ope their golden eyes." The marsh marigolds terminate in "saggitaire fleche d''eau" or arrowhead leaves. Both flowers were endemic to lakes in the Vosges region. The tabletop is set with Amboyna burl veneer. Amboyna veneer is among the world''s rarest and most expensive veneers — holding the distinction of being the original wood used on Rolls Royce dashboards. ... Against the sobriety of the walnut skirt, the Amboyna burl gives the table an air of luxury. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396 (Chairs and tables Salon, 1904); and in: "Louis Majorelle: Master of Art Nouveau Design," by Alastair Duncan, New York: Harry N. Abrams, Inc., 1991, plate 57.

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Louis Majorelle French Art Nouveau 'Orchid' Table

Tiffany Studios New York "Five-Light Lily" Wall Sconces

A pair of Tiffany Studios New York patinated bronze and favrile glass "Five-Light Lily" sconces. The five curved stems are spaced around the wall fixture. They terminate in gold lily-shaped shades. Similar sconces are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 351, plate 1454.

Tiffany Studios New York 'Five-Light Lily' Wall Sconces

Hunt & Roskell London Antique Diamond, Pearl, Gold and Enamel Bracelet

An Antique English 18 karat gold, diamond, natural pearl and enamel hinged bracelet by Hunt & Roskell of London. The bracelet features 84 old mine- and rose-cut diamonds that have the approximate total weight of 2.70 carats. The natural pearl center plaque of the bracelet is removable and can be worn as a brooch. The center pearl measures 8.55 mm. with 4 additional pearls that measure 5.9 mm. With original brooch attachments and original signed fitted box. Selected as jewelers and goldsmiths to Her Majesty in the 1840s, Hunt & Roskell of New Bond Street were prominent participants in the Crystal Palace Exhibition of 1851, the first of the competitive international expositions that provided dynamic impetus to creativity and accomplishment in the fine and decorative arts. Their work ran from glamorous (diamond and gem-set tiaras convertible into necklaces) to exotic (bracelets set with rare Indian portrait diamonds), and they were owners for a time of the legendary Hope blue diamond. In keeping with the firm''s tradition of versatility, this chic bracelet, with its creamy natural pearls set off by sparkling antique-cut diamonds, conceals a brooch fitting under the velvet interior of its original morocco leather box.

Hunt & Roskell London Antique Diamond, Pearl, Gold and Enamel Bracelet

Antique Essex Crystal and Gold Dog Brooch

An English Antique 15 karat gold brooch. The Victorian round Essex Crystal brooch portrays a terrier wwaring a red collar, with his tongue hanging out. An affectionate portrait of a beloved companion.

Antique Essex Crystal and Gold Dog Brooch

French Art Nouveau Ceramic "Gourd" Vase by Ernest Bussière

A French Art Nouveau ceramic "Gourd" vase designed by Ernest Bussière and produced by Keller et Guérin, featuring stylized high-relief berries on the gourd form, with green and purple enameled glazes. This vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.261).

French Art Nouveau Ceramic 'Gourd' Vase by Ernest Bussière

French Art Nouveau Ceramic Vase by Bussière

A French Art Nouveau vase designed by Ernest Bussière and produced by Keller et Guérin, depicting two lizards in high relief wrapped around the rim. The vase features iridescent milky-green and mauve glazes with iridescent highlights. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.260).

French Art Nouveau Ceramic Vase by Bussière

French Art Nouveau Ceramic Vase by Bussière

A French Art Nouveau vase by Keller and Guérin, from a design by Ernest Bussière, featuring the form of a closed flower in relief, with iridescent milky-green and mauve glazes. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p. 260).

 French Art Nouveau Ceramic Vase by Bussière

French Art Nouveau "Ombellifère" Ceramic Vase by Bussière

A French Art Nouveau iridescent glazed ceramic "Ombellifère" vase designed by Ernest Bussière and produced by Keller et Guérin, depicting ombelle blossoms in low relief, with six flowers whose stems extend away from the body of the vase to form delicate handles. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.260).

French Art Nouveau 'Ombellifère' Ceramic Vase by Bussière

French Art Nouveau Ceramic Vase by Lachenal

A French Art Nouveau ceramic vase by Edmond Lachenal, featuring a stylistic depiction of leaves and vines with intricate piercing and carving in a graduated light green to green glaze. A similar vase is pictured in: "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass" by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p. 266 (Grès vase, from La Société Nationale des Beaux-Arts, 1898); and in: "Edmond Lachenal and His Legacy," by Martin Eidelberg and Claire Cass, New York: Jason Jacques Gallery Press, 2007, p. 81, cat. no. 12.

French Art Nouveau Ceramic Vase by Lachenal

French Art Nouveau Ceramic Vase by Bussière

A French Art Nouveau ceramic vase designed by Ernest Bussière and produced by Keller et Guérin. The vase is decorated with vegetal forms and has a glaze of pale green with traces of purple. A similar vase was shown at the Exposition de l''Ecole de Nancy in Paris in 1903 (see "The Paris Salons 1895-1915, Vol. IV: Ceramics and Glass," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1998, p.260).

French Art Nouveau Ceramic Vase by Bussière

Marsh Mid-20th Century Steel and Pearl Dress Set

A Mid-20th Century patinated steel and gold dress set with cultured pearls by G.T. Marsh. The full dress set is composed of double sided cuff links, three dress studs and two dress buttons. The set is in a square geometric step motif with a pearl at the center. In the original signed Marsh box. G.T. Marsh & Co. was a San Francisco-based Asian art dealer known for their distinctive jewels. As a boy infatuated with Asian culture, George Turner Marsh apprenticed with a Japanese tea merchant, remaining there alone while his Australian family continued on to San Francisco, where they settled. Young George used his time in Yokohama to become conversant in Japanese art and aesthetics, and after re-joining his family, established an Asian art gallery using the expertise he had acquired. During the 1930s, 40s and 50s, his family began designing jewelry based on their interpretation of masterful Japanese metalwork together with the favored gems of the region, jadeite, coral and pearls. The firm''s unique steel jewelry was produced by bluing and sandblasting techniques, which gave the metal its matte finish, an extraordinary base for its sparkling, gleaming gems. "Marsh had a jeweler that worked exclusively for them. He was Italian, but he also liked shotguns and, because of his interest in shotguns, he had an interest in iron and metallurgy and what they did to rifles and shotguns t ... o keep them from rusting. And the Marsh''s jewelry is steel that''s been treated with gun bluing. He sandblasted the steel before he gun blued it, that gives it this marvelous matte finish. And nowadays I don''t think there is anything more chic than the idea of black jewelry where the diamonds and the white gold absolutely pop and these marvelous pearls that he suspended have motion...The firm closed its doors in 2001." Barry Weber on the Antiques Road Show.

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Marsh Mid-20th Century Steel and Pearl Dress Set

French Art Nouveau Games Table by Gallé

A French Art Nouveau games table by Emile Gallé, featuring inlaid fruitwood marquetry depicting thistles and card suit symbols. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 130, plate 1.

French Art Nouveau Games Table by Gallé

French Art Nouveau "Aux Pins" Armchair by Majorelle

A French Art Nouveau carved walnut upholstered armchair, "Aux Pins," by Louis Majorelle. The chair has carved wooden sections depicting pine cones, a recurring motif in Majorelle''s naturalist vocabulary. A similar chair appears in "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue), as Cabinet de Travail "Les Pins", and in "The Paris Salons, 1895-1910, Volume III: Furniture," by Alastair Duncan, Antique Collectors'' Club, Publishers, page 407.

French Art Nouveau 'Aux Pins' Armchair by Majorelle

French Art Nouveau Wooden "Ombelle" Table by Emile Gallé

A French Art Nouveau "Ombelle" carved walnut table, by Emile Gallé. The table is decorated with fruitwood marquetry featuring a butterfly alighting on an ombelle blossom and has three carved feet. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 202, plate 182.

French Art Nouveau Wooden 'Ombelle' Table by Emile Gallé

French Art Nouveau Pedestal by Selmersheim

A French Art Nouveau rosewood two-tiered pedestal by Anthony Selmersheim. While the top tier is circular, the lower shelf has four symmetric lobes. The four supports are sinuous and carved. A similar pedestal is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 464.

French Art Nouveau Pedestal by Selmersheim

French Art Nouveau Games Table by Gallé

A French Art Nouveau games table in cedar and walnut by Emile Gallé, featuring inlaid marquetry when closed and open. When closed, the marquetry decoration is of tree branches with buds and flowers and can serve as an end table. Opened, the motif is more foliate. A similar table is pictured in: "Gallé Furniture" by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 134, plates 8 and 8a.

French Art Nouveau Games Table by Gallé

French Art Nouveau Side Table by Edouard Colonna

A French Art Nouveau mahogany side table with carved decoration in an abstract curvilinear vegetal motif by Edouard Colonna (1862-1948). Along with Louis Comfort Tiffany, Edouard Colonna was one of the main designers who worked for Siegfried Bing and who, under Bing''s guidance, was responsible for the creation of what is known today as the Modern Style, or Art Nouveau. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. Colonna furniture, jewelry and designs for small objects like scarf and money holders would become the backbone of Bing''s business. By 1898 a number of his works were on display at Bing''s L''Art Nouveau. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 109.

French Art Nouveau Side Table by Edouard Colonna

Antique Diamond and Sapphire Cluster Ring

An English Antique 15 karat gold/silver top ring with sapphire and diamonds. The ring centers on a no heat oval-cut sapphire with an approximate weight of .95 carat, 14 old mine-cut diamonds with an approximate total weight of 1.40 carats, and 19 rose-cut diamonds with an approximate total weight of .19 carat. Designed in a classic oval cluster motif.

Antique Diamond and Sapphire Cluster Ring

Tiffany Wheel Carved Favrile Glass Vase

A Tiffany Studios New York wheel carved Favrile glass vase. The vase is globe shaped and features a band of red nasturtiums and green lily pads against an opalescent glass ground. A vase with similar motif is pictured in: "Louis Comfort Tiffany" by Jacob Baal-Teshuva, New York: Taschen, 2001, p. 287; and in: Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection", Woodbridge, Suffolk: Antique Collectors'' Club, 2004, p. 245 (top left).

Tiffany Wheel Carved Favrile Glass Vase

"Tulip" Tiffany Lamp

A Tiffany Studios New York "Tulip" table lamp. The shade features brilliant red tulips with green leaves against a blue ground and sits atop a gilt bronze "Mock Turtle" base. The flowers are recreated with stunning realism. In some cases, all six petals of some of the blossoms can be seen. The tulips are ingeniously overlapped to create the illusion of depth. Because of the sky blue ground on the upper portion of the shade and the earthy tones present throughout the lower apron, one has the impression of gazing at a tulip bed on a sunny afternoon. The lamp base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors'' Club Ltd.: base, p. 110, cat. 454, base # 587; shade, p. 179, cat. 682, shade # 1546. A similar shade is also pictured in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 150, plate 212.

'Tulip' Tiffany Lamp

Tiffany Studios New York "Nasturtium" Paperweight Vase

A Tiffany Studios New York "Nasturtium" Paperweight vase featuring purple nasturtium blossoms with green leaves set within a golden, translucent ground. Provenance: The Garden Museum Collection, Matsue, Japan. The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was but into thin pieces and were then worked into clear glass. This vase is pictured in: "Louis C. Tiffany: The Garden Museum Collection," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 2004, p. 260.

Tiffany Studios New York 'Nasturtium' Paperweight Vase

"Counter Balance" Tiffany Lamp

A Tiffany Studios New York "Counter Balance" glass and bronze table lamp, featuring a green Favrile glass "Damascene" shade on a patinated turtleback counter balance base. A similar shade and base 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. 87, plate 342; base: p. 87, plate 341.

'Counter Balance' Tiffany Lamp

"Crocus" Tiffany Lamp

A Tiffany Studios New York "Crocus/Tulip" leaded glass and patinated bronze table lamp. A bouquet of deep amber, red, gold and yellow hued crocus blossoms with hints of red in various stages of bloom decorates this shade with a sunset ground. The shade sits atop a four footed "Pineapple" base decorated with green glass cabochons. A similar base and shade are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 137, plate 575; base: p. 64, plate 247.

'Crocus' Tiffany Lamp

Edwardian Diamond, Seed Pearl and Gold Heart Pendant/Brooch

An English Edwardian 15 karat gold pendant/brooch with diamond and seed pearls. The pendant/brooch has a bezel-set old mine-cut diamond with an approximate weight of 1.25 carats, and prong-set natural seed pearls. The heart-shape pendant/brooch has a fold-down bale and pendant watch fitting. "The heart-shaped jewel...emblem(s) of sacred and profane love..." Geoffrey C. Munn. Discussed in "The Triumph of Love Jewelry 1530-1930", by Geoffrey C. Munn, Thames and Hudson, London, 1993.

Edwardian Diamond, Seed Pearl and Gold Heart Pendant/Brooch

French Art Nouveau silver and plique-à-jour "Capucines" Enamel Clock

A rare French Art Nouveau silver and plique-à-jour enamel "Capucines" clock with butterflies and nasturtiums by Eugène Feuillâtre. The front and sides of the clock are decorated with enameled orange flowers and green leaves. The top and back are gold-washed and heavily engraved with flowers and vines. The clock face features two painted butterflies. Provenance: Collection of Jerome Shaw, Florida A similar clock is pictured in: "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 255. Exhibited: La Société des Artistes Français, 1902.

French Art Nouveau silver and plique-à-jour 'Capucines' Enamel Clock

"Nasturtium" Tiffany Floor Lamp

A Tiffany Studios New York "Nasturtium" glass and bronze table lamp. The shade, depicting red, orange and pink blossoms on a variegated translucent green ground, sits atop a Tiffany Studios New York patinated bronze "Junior Onion Decorated" floor lamp base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 155, plate 218. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 206, plate 801.

'Nasturtium' Tiffany Floor Lamp

Tiffany Glass and Bronze "Dragonfly" Chandelier

A Tiffany Studios New York "Dragonfly" glass and bronze chandelier. This elegant chandelier is composed of a choice selection of glass, which makes this an exceptional example of Tiffany''s iconic dragonfly lamp. The dragonflies are composed of dark green glass bodies, variegated blue glass wings and red glass eyes. The cabochon glass jewels that surround this chandelier depict emeralds, sapphires and topaz. The two top and three bottom borders are made up of various colors of rippled glass. This exciting glass composition rests upon a ground of green, green/blue and brown glass. While Tiffany was largely credited for his company''s glass innovations during his lifetime, recent archival research has shed light on the unsung heroes behind his genius. Two such figures were responsible for the astounding effects of this dragonfly lamp: Tiffany had gone through four chemists before he landed on Arthur J Nash, a chemist previously employed at the White House Glass Works in Stourbridge. England. It was Nash''s formulas, developed from before his employment at Tiffany, that became the core of Tiffany''s palette. Nash was no stranger to experimentation, adding unconventional materials such as birch bark and burnt oats to create his amber glass. Clara Driscoll, head of the Tiffany Studios Women''s Glass Cutting Department, designed the dragonfly lamp, earning much acclaim for h ... er artistic prowess in her time. (For more information on her work see "A New Light on Tiffany: Clara Driscoll and the Tiffany Girls," by Martine Eidelberg, Nina Gray, and Margaret K. Hofer, 2007.) Louis Comfort Tiffany''s "Dragonfly" lamps have become so iconic and loved because the artisans who made them were not limited in color as they were when making floral and geometric shades. We can imagine that the dragonflies that adorn the lower edge of the shade are flying low across a verdant field. Similar chandeliers are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 230, plate 891-893.

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Tiffany Glass and Bronze 'Dragonfly' Chandelier

"Three-Light Piano Lily" Tiffany Lamp

A Tiffany Studios New York glass and bronze piano table lamp featuring a "Three-Light-Lily" with golden Favrile glass shades suspended above a patinated bronze decorated "Artichoke" base. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 212.

'Three-Light Piano Lily' Tiffany Lamp

French Art Nouveau Wooden Armchair by Edouard Colonna

A French Art Nouveau armchair, by Edouard Colonna, in carved mahogany with green upholstery. A similar chair is pictured in "The Paris Salons, 1895-1910, Volume III: Furniture," by Alastair Duncan, Antique Collectors'' Club, Publishers, page 108.

French Art Nouveau Wooden Armchair by Edouard Colonna

Antique English Diamond and Gold 5-Stone Ring

An Antique English 18 karat gold ring with diamonds. The ring has 5 old mine-cut diamonds with an approximate total weight of 5.30 carats, K-L color, SI clarity. The diamond center is approximately 1.60 carats, then descending diamonds each weighing approximately 1.25, 1.15, .65 and .65 respectively. The diamonds are K/L color, SI clarity. The shoulders of the ring are carved with a flame motif which swirls into the deeply carved open work swirl gallery.

Antique English Diamond and Gold 5-Stone Ring

"Tale of Genji" Commode by Émile Gallé

A French Art Nouveau marquetry commode by Émile Gallé. With original key. The syncretic influence of Japanese art is keenly felt in Gallé''s commode. The beginning of Galle''s fascination with Japanese art can be traced back to his friendship with Hokkai Takashima (1850-1931), a fellow botanist and member of the École de Nancy. Their botanical dialogue was facilitated by the Shokobutsu mei-i, a book of Japanese names for botanical species. It is from Hokkai that Gallé gained a spiritual and symbolic understanding of nature. Along with other École de Nancy artists, Hokkai and Gallé exhibited together in the display window of René Wiener''s papeterie. The store served as the office of Wiener''s arts journal, the Nancy artiste, which regularly featured on its covers contemporary examples of Gansai (Japanese watercolor), Byobu (folding screens) from the Rinpa school, Sumi-e (ink painting), and Ukiyo-e (woodblock prints). As a show of gratitude, Hokkai bequeathed a vast art book collection to Wiener. It is from this record that we know with certainty of which Japanese artists Gallé had knowledge. One of the books in Hokkai''s collection was Hokusai''s Les cent paysages du Fuji (Fugaku hyakkei.) This 1835 expansion of Hokusai''s 36 views of Mount Fuji contained more elaborate iterations of his original compositions. The commode features two drawers and four cabriole legs. ... The front of the drawers features a marquetry panel with mountains, unkai (sea of clouds) and usugumo (wisps of clouds) motifs. It is likely from works like Hokusai''s Yama mata yama (Mountains Upon Mountains) that Gallé assimilated the unkai (??) motif. The Yama mata yama is the album''s only zenithal view, allowing this phenomenon which is normally only visible from high elevations. On the top of the commode, a sunset mirage overlooks the entire scene. Meanwhile in the foreground, Gallé has included a usugumo motif rendered in warm brown wood. The wisps of cloud motif originates in a stanza in the Tale of Genji in his mourning for Fujitsubo. Those thin wisps of cloud trailing there over Mountains caught in sunset light Seem to wish to match their hue To the sleeves of the bereaved. There is a distinct temporal quality in the commode''s composition. The left side panel depicts a diurne while the right side panel depicts a nocturne. The juxtaposition of day and night in Japanese ukiyo-e was a subject much beloved by Hokusai and Hiroshige and was termed chuya (chu meaning day and ya meaning night). The Japanese nocturne was clearly a subject of great fascination to Gallé as well as evidenced by his "Nuit Japonais" vase. A similar commode is pictured in: "Gallé Furniture", by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 329, plate 15.

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'Tale of Genji' Commode by Émile Gallé

"Geometric Brick" Tiffany Chandelier

A Tiffany Studios New York "Geometric" leaded glass and bronze chandelier. The green- and sunset-hued mottled glass shade features a geometric "brick" pattern. The shade hangs from a patinated bronze suspension. A similar hanging shade is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 310, plate 1244.

'Geometric Brick' Tiffany Chandelier

French Art Nouveau Dragonfly Table by Émile Gallé.

A French Art Nouveau two tiered table by Émile Gallé. The table''s four legs are the carved bodies of dragonflies, their wings outstretched and frozen mid-flight. The table top rests on the dragonflies'' heads and wings, with a fluid curvature in the corners creating a crown for the winged creatures'' heads. Marquetry on the table top depicts flowers on long-leafed stems, with shadows of foliage in the background. Decoration in darker tones and larger, starker motifs, decorate the lower tier, playing on the shadows in which it is naturally shrouded. The dragonfly works of Gallé''s provoked very strong critical reaction when they were debuted in 1900, with champions of Art Nouveau lauding the modernity of the dragonfly as caryatid, while detractors were horrified by the very idea of insects as table legs. Time has certainly found favor with this design, as it has found pride of place in museum collections worldwide. A similar table is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 207, plate 192a.

French Art Nouveau Dragonfly Table by Émile Gallé.

French Art Nouveau Vitrine by Emile Gallé

A French Art Nouveau "le cerisier" (cherry tree) vitrine by Emile Gallé featuring marquetry and carving throughout with original stylized fleur-de-lys brass shelf rests and a key with floral decoration. The mirrored vitrine backing enables one to view the backside of the collection housed within. This unusual piece was originally electrified when manufactured. The beginning of Gallé''s fascination with Japanese art can be traced back to his friendship with Hokkai Takashima (1850-1931), a Japanese nobleman, fellow botanist and member of the École de Nancy. Takashima introduced Gallé to a mesmerizing world of Japanese woodblock prints and textile designs, which he frequently incorporated into his work. Gallé''s early success at the 1900 Paris Exposition Universelle was with his "Japonisante" vitrine, a piece that featured "cherry blossom" openwork. In Gallé''s personal life, the cherry blossom held sentimental value, reminding him of his trips to Saillon, Switzerland. In his journal, Gallé mused "the cherries ripen in the snow falling from the dandelions." The gentle dark wood ripples in the marquetry evoke alpine mist and clouds taking the viewer to this enchanting scene. A similar vitrine is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 295, plate 17.

French Art Nouveau Vitrine by Emile Gallé

A French Art Nouveau Wooden Pedestal by Emile Gallé

A French Art Nouveau two-tiered square pedestal with carved and marquetry decoration by Emile Gallé. The pedestal has two marquetry shelves depicting leaves. Its four sinuous legs are enhanced with carved arch supports. A similar selette is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 253, plate 18.

A French Art Nouveau Wooden Pedestal by Emile Gallé

Antique English Emerald and Diamond Cluster Necklace

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.

Antique English Emerald and Diamond Cluster Necklace

Georges Fouquet French Art Nouveau Opal and Silver Peacock Cloak Clasp

A French Art Nouveau silver cloak clasp with opals by Georges Fouquet. The cape clasp is decorated with 14 bezel-set crystal opal plaques. The clasp is designed as two intertwined peacocks with extravagant whiplash ''feathers''. Inspired by a noted collaboration with the renowned Art Nouveau innovator Alfonse Mucha, this cloak clasp in all its exquisite detail and voluptuous lines perfectly encapsulates the spirit of the period. Its peacock theme was a favorite motif of Fouquet and Mucha. A similar piece is pictured in Alastair Duncan''s, The Paris Salons, 1895-1914: Volume I, Antique Collectors'' Club, Woodbridge, Suffolk, 1994, page 251.

Georges Fouquet French Art Nouveau Opal and Silver Peacock Cloak Clasp

"Nasturtium" Tiffany Lamp

A Tiffany Studios New York "Nasturtium" leaded glass and bronze table lamp, featuring a leaded glass shade depicting red, orange and yellow blossoms on a striking translucent green and blue ground. The shade sits on a patinated bronze base carved with flowers and curling tendrils reminiscent of fern fronds. A similar shade and base are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 155, plate 642; base: p. 107, plate 434. A similar shade, in a different color palate, is also pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p.155, plate 218 ; and in: "The Lamps of Tiffany Studios," by William Feldstein, Jr. and Alastair Duncan, New York: Harry N. Abrams, Inc., 1983, p. 119.

'Nasturtium' Tiffany Lamp

"Aux Nénuphars" Two-Tier Table by Majorelle

Table Aux Nénuphars – A French Art Nouveau two-tier mahogany, tamarind wood and gilt bronze table by Louis Majorelle in the "water lily" motif, featuring applied bronze lily pad and vine decoration. The organic shape and rounded dip in each of the table''s two tiered planes mimics the appearance of a water lily suspended in water, creating a beautiful cohesion in the design. Known as the master furniture maker of the Art Nouveau style, Louis Majorelle was the recipient of the Grand Prize at the St. Louis World''s Fair, and international acclaim at the Paris Exposition Universelle of 1900. He remains among the most sought after designers of the early 20th century, and the most celebrated of the Nancy Art Nouveau artists. Those works by Majorelle that feature gilt bronze accents, produced by his team of highly skilled craftsman with the utmost attention to detail, are considered the most exceptional of the artist''s oeuvre, and are among the most collectible. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture", by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 382, and in: "Majorelle - Nancy: décorations d''intérieurs: meubles, tentures, bronzes, ferronneries" (the 1906 Majorelle catalogue) -- see Cabinet de Travail "Nénuphars".

 'Aux Nénuphars' Two-Tier Table by Majorelle

"Three-Light Piano Lily" Tiffany Lamp

A Tiffany Studios New York "Three-Light-Lily" glass and bronze piano lamp. The lamp features three golden Favrile glass shades suspended above a patinated bronze decorated "Artichoke" base. PROVENANCE: From a Los Angeles, CA Collection. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 59, plate 212.

'Three-Light Piano Lily' Tiffany Lamp

French Art Nouveau Vitrine by Emile Gallé

A French carved and fruitwood marquetry inlaid Ombelliféres vitrine by Emile Gallé. The vitrine has marquetry ombelle flowers in its interior and on the panel below the bottom shelf. The interior has two small carved half shelves. The top and bottom have elaborately carved ombelle decorations. It sits on four sinuously carved feet. The vitrine''s front marquetry panel features three Berce des prés composed in a similar manner to Kitao Shigemasa''s Tree peony and Finch. Through Takashima Hokkai, Gallé was able to borrow a copy of Fleurs, oiseaux par Shigemasa (Kachoe shashin zue). Like Shigemasa, Gallé worked in the aesthetic of kacho-e (birds and flower painting) with a thorough understanding of the grammar of ikebana (flower arrangement). Gallé''s expertise was so great that he was entrusted with organizing an ikebana retrospective for the 1900 Exposition Universelle. Ikebana is composed of three elements: shin (heaven, sun, male), soe (earth, female), and hikae/tai (humanity, child.) Gallé has arranged his flowers according to the Moribana school, a style of ikebana that came at the apex of the Meiji restoration. Shigemasa had his peonies according to Moribana principles: the right most "soe" flower leans at 45°, the middle "shin" flower at 10° and the leftmost "hikae" flower at 75°. Pivotal to ikebana is the principles of harmony and balance. It is the function of the 4 ... 5° soe flower through angle to balance out the 75° hikae flower. While Gallé did not follow the rigid rules of Moribana, this should not be seen as an indication of inferiority. Rather, Gallé has merely solved the problem of balance in a different manner. While Shigemasa created a sense of balance through angle, Gallé made rendered the leftmost flower in madagascar ebony . The dark value serves as a visual weight, balancing an arrangement that otherwise approaches imbalance. Next to the Berce des prés is an Écaille martre (Tiger moth). Native to the same prairies as the Berce des prés, the inclusion of the Écaille martre gives the vitrine the crepuscular setting that Gallé loved so much. Literature: Alastair Duncan and Georges de Bartha, "Gallé Furniture," Woodbridge, Antique Collector''s Club, 2012, p. 307, pl.42, for a similar example.

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French Art Nouveau Vitrine by Emile Gallé

English Victorian Amethyst Pearl and Diamond Cuff Bracelet

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.

English Victorian Amethyst Pearl and Diamond Cuff Bracelet

Antique Pearl Gold and Enamel Parrot Pendant

An Antique European 18 karat gold and enamel pendant with pearls. The pendant contains 7 freshwater pearls. The pendant is designed as a realistic dimensional perching parrot.

Antique Pearl Gold and Enamel Parrot Pendant

French Art Nouveau Triangular Table by Louis Majorelle

A triangular French Art Nouveau table by Louis Majorelle. This two-tiered triangular table is made of mahogany. Its carved legs are finished with gilt bronze sabots. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 413 (Pedestals, La Société des Artistes Décoratuers, 1910).

French Art Nouveau Triangular Table by Louis Majorelle

Antique English Diamond Silver and Gold Earrings

A pair of English Antique 15 karat silver-top gold earrings with diamonds. The earrings have 96 rose-cut diamonds with an approximate total weight of 10 carats. The earrings are designed in the style of 18th Century girandole earring so popular in Marie Antoinette''s France. Newer backs. Similar pictured in Earrings From Antiquity to the Present, by Daniela Mascetti and Amanda Triossi, Thames & Hudson, 1990, page 76-77.

Antique English Diamond Silver and Gold Earrings

Tiffany Studios New York "Stalactite" Chandelier

A Tiffany Studios New York golden stalactite chandelier with iridescent gold pulled feather decoration. A similar fixture is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models" by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 294, plate 1161.

Tiffany Studios New York 'Stalactite' Chandelier

"Peony" Tiffany Lamp

Tiffany Studios New York "Peony" leaded glass and patinated bronze table lamp. The shade features red, pink and purple peonies with mottled green leaves against a striated blue and lavender ground. The shade sits atop a decorated patinated bronze library base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 140, plate 199. a similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 74, plate 286.

'Peony' Tiffany Lamp

"Geometric Brick" Tiffany Chandelier

A Tiffany Studios New York leaded glass and bronze "Geometric" chandelier. The glass shade features a geometric "brick" pattern and is decorated in hues of green, flame orange and amber mottled glass. The shade hangs from a patinated bronze suspension. A similar hanging shade is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007, p. 310, plate 1244.

'Geometric Brick' Tiffany Chandelier

"Peony" Border Tiffany Floor Lamp

Tiffany Studios border "Peony" floor lamp with peony blossoms ranging in color from pink to pink/red to pink/purple, surrounded by leaves in various shades of green. The background culminates at the top of the shade with rows of multihued red/blue/cyan glass. The shade is further accented by two rectangular bottom border rows. The upper one is of mottled amber/green glass, and the bottom one is of rippled green glass. The shade sits atop a patinated bronze decorated senior floor base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 29, cat. no. 111; and in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 204, plate 786. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 200, plate 777.

'Peony' Border Tiffany Floor Lamp

"Flowering Water Lily" Tiffany Lamp

A Tiffany Studios New York "Flowering Water Lily" leaded glass and bronze table lamp. This very rare shade reveals the designer''s clever use of perspective in the handling of the lily pads. While the artist''s forking angle foreshortens all those at the lower edge, turning them into ovals and ellipses, their true roundness is observed in the upper reaches of the shade. One, right off center, has an uplifted edge, as if caught in a gust of wind. The pads are constructed of green glass, mottled with pink and orange. The pattern also contains numerous large lilies, with pink-white petals supported by round pinkish-brown stems. Flower buds are visible. All are laid against a mysterious blue glass watery ground. A band of green rippled glass, interrupted by an occasional bud, rims the aperture. A similar band, broken by both leaves and stems, encircles the shade almost at its bottom edge. The design, which is repeated three times, resumes below this row and continues right down to the lower border. Its depth of color, brilliance of design, and relative rarity combine to make this Flowering Water Lily one of the most impressive of all Tiffany lamp shades, fully entitled to the dash number (indicating a special order) awarded it. The shade sits atop a patinated bronze "cat tail" base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fai ... rfield Press, 1970, p. 181, plate 146. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 104, plate 414. A similar base is pictured in:" Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 94, plate 374.

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'Flowering Water Lily' Tiffany Lamp

Victorian Austro-Hungarian Etruscan Revival Necklace

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.

Victorian Austro-Hungarian Etruscan Revival Necklace

"Eighteen-Light Lily" Tiffany Lamp

A Tiffany Studios New York Favrile glass and patinated bronze "Eighteen-light Lily" lamp with 18 golden iridescent glass "Lily" shades suspended over a patinated bronze "Lily Pad" base. Tiffany took this model to the Paris and Turin World''s Fairs around the turn of the century, where the American lamp made waves in the French Art Nouveau movement. Praised for its elegance, the Tiffany "Lily" has been called the "Aristocrat of the Garden." This particular lamp is of special historical importance, even compared with other models of the same design, because it is one of the earliest examples of the "Eighteen-Light Lily." It is outfitted with shades of particular delicacy and iridescence that would have accommodated the weak light from the then newly-invented light bulbs. The shades are mounted on slender curving stems that grow out of a base in the shape of water lily flowers and pads. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 80, plate 313.

'Eighteen-Light Lily' Tiffany Lamp

Antique Diamond Emerald Ruby Sapphire and Gold Butterfly Brooch

An Antique 18 karat gold butterfly brooch with diamonds, emeralds, rubies and sapphires. The dimensional butterfly brooch centers on an old European-cut diamond with an approximate weight of 1.00 carat. The brooch has an additional 82 Old European-cut diamonds with an approximate total weight of 2.00 carats. The brooch is further detailed with 7 bezel-set emeralds with an approximate total weight of .45 carat, 7 bezel-set rubies with an approximate total weight of .45 carat, and 2 bezel-set sapphires with an approximate total weight of .20 carat. The brooch has ruby-set knife-wire antennae.

Antique Diamond Emerald Ruby Sapphire and Gold Butterfly Brooch

Antique Gold Long Chain

An Antique 18 karat gold long chain. The chain is composed of interlocking pairs of polished gold circular links edged by small polished gold balls.

Antique Gold Long Chain

Armchair by Louis Majorelle

A French armchair by Louis Majorelle. This gracefully-proportioned chair has simple linear carvings on its legs. It is upholstered in green velour. A similar chair is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 396.

Armchair by Louis Majorelle

"Venetian" Tiffany Lamp

A Tiffany Studios New York "Venetian" glass and bronze desk lamp with geometric and floral motif in gold, blue, red, and green hues. The lamp features three rows of graduated medallions framed in deep golden colored glass. The bottom row has green stylized trees with red accents on a blue ground. The middle row has golden and green geometric designs on a blue ground. The top row has green stylized leaves, also on a blue ground. The shade sits on a gilt bronze base decorated with open scrolling work, dark green glass cabochons and a series of small animals on the lower edge. All of the leading on the shade has gilt patina matching the gilt patina on the base. An interesting fact about this lamp is that Venetian lamps, when first offered for sale, had a list price of $250, while the Wisteria lamps were priced at $400, giving an indication of the importance of this design style. This was stated in the J. Walter Thompson price list of 1906. A similar lamp is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970 p.72, plate 104. "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 102, plate 403.

'Venetian' Tiffany Lamp

Antique Emerald and Diamond 3 Stone Ring

An Antique 18 karat yellow gold ring with emerald and diamonds. The ring has an emerald-cut emerald with an approximate total weight of .80 carat, 4 old European-cut diamonds with an approximate total weight of .70 carat, and 2 rose-cut diamonds with an approximate total weight of .02 carat. The ring is designed in a classic 3-stone motif. The ring shank is later.

Antique Emerald and Diamond 3 Stone Ring

Antique Tiffany & Co. Diamond and Gold Cuff Links

A pair of Antique 18 karat gold cuff links with diamonds by Tiffany & Co. The heavy, lozenge-shaped cuff links have 4 old European-cut diamonds with an approximate total weight of 1.50 carat, H-I color, VS clarity. Double-sided. With later, signed, Tiffany & Co. box.

Antique Tiffany & Co. Diamond and Gold Cuff Links

Antique Gold "Whippet" Dog Bracelet

An Antique 18 karat gold "Whippet" dog bangle bracelet. The hinged bangle bracelet depicts 2 whippet heads capping the twisted gold bracelet.

Antique Gold 'Whippet' Dog Bracelet

Antique Turquoise Diamond and Gold Bracelet/Pendant

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.

Antique Turquoise Diamond and Gold Bracelet/Pendant

Antique Irish Double Sided Gold and Enamel ''Shamrock'' Cuff Links

A pair of Irish Antique 18 karat gold and enamel shamrock cuff links. The double-sided cuff links have detailed enamel depicting shamrocks on the front. The back oval is not enameled.

Antique Irish Double Sided Gold and Enamel ''Shamrock'' Cuff Links

French Art Nouveau Desk by Louis Majorelle

A French Art Nouveau desk in walnut, veneer wood fruit and bronze by Louis Majorelle. The three drawers of the desk are decorated in marquetry with flowers. The same pattern is repeated on the desk''s upright piece, which features letter holders on both sides. The pulls on the two upper drawers are in the shape of flowers. The desk''s legs are deeply carved and sinuous. A similar desk is pictured in Alastair Duncan, "The Paris Salons Volume III, Furniture", Antique Collectors'' Club, England, 1996 variant reproduced on page 403 and in Alastair Duncan, "Louis Majorelle," Abrams, New York, 1991, page 99.

French Art Nouveau Desk by Louis Majorelle

Antique Turquoise and Pearl Pendant Necklace

An Antique 14 karat gold pendant necklace with turquoise and pearls. The pendant necklace has 50 cabochon turquoise stones and 30 freshwater pearls set into the fringed pendant.

Antique Turquoise and Pearl Pendant Necklace

Late-19th Century Moonstone, Ruby and Gold Pendant

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.

Late-19th Century Moonstone, Ruby and Gold Pendant

"Bamboo" Tiffany Lamp

A Tiffany Studios New York "Bamboo" leaded glass and bronze table lamp, featuring a leaded glass shade depicting bamboo leaves and stems in mottled green and brown glass against an opaque white ground The shade sits atop a "Bamboo" base and is adorned by a "Bamboo" finial. The base is decorated with fronds and is segmented like a bamboo stem. Provenance: Private Collection, North Carolina, circa 1970 Thence by descent to the present owner, 2004 Pictured in: "Tiffany Lamps and Metalware," by Alastair Duncan, Antique Collectors'' Club, 2007, page 99.

'Bamboo' Tiffany Lamp

Antique Diamond Demantoid Garnet and Gold Lorgnette

An Antique 15 karat gold lorgnette with diamonds and demantoid garnets. The lorgnette contains 8 round-cut diamonds with an approximate total weight of .10 carat, and 4 round-cut demantoid garnets with an approximate total weight of .10 carat. The lorgnette is decorated with dimensional shell and swag elements. Hinged mechanism.

Antique Diamond Demantoid Garnet and Gold Lorgnette

"Jonquil-Daffodil" Tiffany Lamp

A Tiffany Studios New York gilt bronze and Favrile glass "Jonquil-Daffodil" lamp featuring a dome-shaped shade divided into an upper section comprising sixteen downturned trumpet narcissi blossoms in mottled yellow and creamy white colored glass surrounded by mottled blue and green colored stems against a mottled blue, green and blue geometric band.The lower section is decorated with three undulating rows comprising forty-eight daffodil blossoms, with opalescent and creamy white colored petals and yellow orange centers, continuing to a mottled green and blue geometric border. The shade rests upon a gilt bronze "Twisted Vine" base. Pictured in "The Lamps of Tiffany" by Egon Neustadt, page 143. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. base: p. 94, plates 373-374.

'Jonquil-Daffodil' Tiffany Lamp

Tiffany Studios "Bouquet" Chandelier

A Tiffany Studios New York "Bouquet" leaded glass and patinated bronze chandelier. This particular shade has a remarkable range of multi-colored red hued peony blossoms on swirled blue and purple background with a beaded top and bottom rim. Tiffany Studios manufactured a number of 28" hanging cone chandeliers. Each depicted an artist''s vision of a "dream garden," rather than reproducing natural forms and colors. These shades are among the most vibrant and colorful produced by the Studios. Although the variety of colors employed gives the impression that all these shades are unique in fact they use a single design. A similar shade is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 216, plate 851. 

Tiffany Studios 'Bouquet' Chandelier

Edwardian Diamond Drop Earrings

A pair of Antique platinum drop earrings with diamonds. The earrings have a delicate graduating drop of four stones and a delicate downward-facing leaf motif garnishing the top of a dramatic tear drop housing a 2.00 carat old European-cut diamond. The earrings have approximately 5.5 carats of diamonds in total. Try

Edwardian Diamond Drop Earrings

Tiffany Studios "Arrowhead" Jardinere

A Tiffany Studios New York patinated bronze "Arrowhead" jardiniere with favrile mosaic glass and a copper interior. The beautifully striated blue and green glass mosaic arranged in stark geometric patterning is elegantly juxtaposed in this stunning piece by the flowing natural forms executed in bronze. A similar jardinere is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 396, plate 1608.

Tiffany Studios 'Arrowhead' Jardinere

Gold and Platinum Maple Leaf Brooch with Diamonds

An Antique 18 karat gold and platinum-topped gold brooch with diamonds. The open maple leaf motif has delicate diamond accents down the center stem, and three stunning round old European-cut diamonds with an approximate total weight of 0.95 carats hanging dynamically from the piece. The 30 rose-cut diamonds have an approximate total weight of .30 carat.

Gold and Platinum Maple Leaf Brooch with Diamonds

Tiffany Studios New York "Three-Light Lily" Wall Sconces

A pair of Tiffany Studios New York "Three-Light Lily" patinated bronze sconces with gold favrile shades. The fetching sconces are made visually interesting by the unusual decision to fashion a downward-facing bloom, giving off warm halos of light to the scenes in the room they occupy, rather than to the ceiling. Similar sconces are pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 350, plate 1451.

Tiffany Studios New York 'Three-Light Lily' Wall Sconces

Tiffany Studios New York Glass and Bronze Gimbal Candlestick with Snuffer

A Tiffany Studios New York favrile and turtleback tile glass and patinated bronze gimbal candlestick with snuffer. The shade features green pulled feathers on a cream background. It sits above a round iridescent leaded turtleback glass ball. A similar piece is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors'' Club Ltd., p. 377, cat. 1544, #1208.

Tiffany Studios New York Glass and Bronze Gimbal Candlestick with Snuffer

"Daffodil" Tiffany Lamp

A Tiffany Studios New York "Daffodil" leaded glass shade featuring a bouquet of daffodil flowers with mottled green leaves and stems branching down from the top of the shade and set against a mottled golden ground. The shade is further decorated with a two-tone green and gold mottled glass brick pattern border. It sits on a patinated bronze rib base. A similar shade and base 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. 153, plate 634; base: p. 77, plate 297. The shade is also pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 106, plate 154.

'Daffodil' Tiffany Lamp

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 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.

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

"Counter Balance" Tiffany Lamp

A Tiffany Studios New York "Favrile" glass and patinated bronze desk lamp with a highly rare iridescent blue glass "Wave" design shade. This richly decorated shade is Dichroic, meaning it appears purple with silver highlights in reflected light, then changes to turquoise and royal blue when illuminated. The lamp base''s counterweight is decorated with a band of Tiffany''s famous "Turtleback" iridescent glass. The bottom of the base has an "artichoke feather" design. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," A. Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 87, plate 341.

'Counter Balance' Tiffany Lamp

Jeweled Bronze Candlestick by Tiffany Studios New YorK

A jeweled bronze candlestick by Tiffany Studios New York featuring a decorated foot and a slender stem. The stem branches out in three arms with candle cups adorned with iridescent glass jewels. The candle stick includes a snuffer and bronze bobeche inserts for each candle cup. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar candlestick is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 384, plate 1566.

Jeweled Bronze Candlestick by Tiffany Studios New YorK

"Poinsettia" Tiffany Lamp

A Tiffany Studios New York "Poinsettia" leaded glass and bronze table lamp. The shade features brilliant red poinsettias surrounded by multicolored green leaves and stems with yellow and yellow/orange centers on a mottled yellow ground. The shade also features a mottled green glass border at the bottom rim of this shade. The shade sits atop a patinated bronze bump base. A similar shade is pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 80, plate 112. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988: p. 75, plate 289.

'Poinsettia' Tiffany Lamp

Edwardian Ring featuring Pearls and Diamonds

An Edwardian ring featuring two pearls and 22 diamonds set in platinum, with an 18 karat gold shank. The two pearls, which stack up the finger, are elegantly framed by a naturalistic motif echoing the form of a clover made of pear-cut diamonds. The ring is further accented by leaf-like scroll forms studded with old European-cut stones in refined Edwardian brilliance. The diamonds have an approximate total weight of 1.5 carats.

Edwardian Ring featuring Pearls and Diamonds

Bronze Humidor by Tiffany Studios New York

A patinated bronze humidor by Tiffany Studios New York with cedar lining and interior cover with bronze knob. The top edge of the humidor is decorated with stylized flowers. The body has textured bumps all around. The top of the humidor has a sculpted design reminiscent of a volcanic crater. A similar humidor is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 450, plate 1793; and in: "Louis Comfort Tiffany at Tiffany & Co.," by John Loring, New York: Harry N. Abrams, Inc., 2002, p. 238.

Bronze Humidor by Tiffany Studios New York

Tiffany "Maple Leaf" Floor Lamp

A Tiffany Studios New York "Maple Leaf" leaded glass and bronze floor lamp. The shade sits atop a Tiffany Studios New York patinated bronze "Decorated Junior" floor lamp base with Onion Bulb design. The Glass Selector at Tiffany Studios chose "mottled" glass in hues of green, blue and orange to depict the leaves of a Sugar Maple tree in dappled sunlight. The shade has a powder blue background meant to evoke the sky. Maples must be about 30 years old before they start seeding, so Tiffany chose to represent a mature tree in autumn, with three rows of green and orange samaras dropping through the sky to the ground, ensuring the species''s survival to the next generation. This rare and unusual "Maple Leaf" design was one of the last created at the Tiffany Studios, debuting in the 1915 Price Catalog. A similar shade and base are pictured separately in: A Tiffany Studios New York "Favrile" glass and patinated bronze desk lamp with a highly rare iridescent blue glass "Wave" design shade. This richly decorated shade is Dichroic, meaning it appears purple with silver highlights in reflected light, then changes to turquoise and royal blue when illuminated. The lamp base''s counterweight is decorated with a band of Tiffany''s famous "Turtleback" iridescent glass. The bottom of the base has an "artichoke feather" design. A similar shade and base 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. 196, plates 768-769. Base: p. 206, plates 801-802.

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Tiffany 'Maple Leaf' Floor Lamp

Tiffany Studios ''Wire Mesh Poppy'' Lamp

A Tiffany Studios New York "Wire Mesh Poppy" leaded glass and patinated bronze table lamp. The shade features crimson red poppy blossoms in various stages of bloom and a band of green leaves against a mottled blue-green and brown hued ground, evocative of radiance. Wire mesh centers delineate the pistils and stamens of the blossoms in full bloom and wire mesh is also applied as the veining for the leaves. The shade is further decorated with a lower multicolored blue and deep blue brick border and sits atop a patinated bronze "Twisted Vine" base. Similar shades are pictured in: "The Lamps of Tiffany," by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, pp. 108-109; and in "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 162, plate 667. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 98, plate 392.

Tiffany Studios ''Wire Mesh Poppy'' Lamp

Bronze Bud Vase by Tiffany Studios New York

A patinated bronze bud vase by Tiffany Studios New York. The piece has seven small vases, six of which surround a raise seventh vase. Its six curving supports rest on a base in the shape of a water lily. PROVENANCE: From the Unreserved Estate of Lynda Cunningham. A similar bud vase is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 370, plate 1517.

Bronze Bud Vase by Tiffany Studios New York

Victorian Silver Topped Gold Diamond Brooch

An Antique silver-topped 14 karat gold brooch with diamonds. The brooch has 1 old European-cut diamond with an approximate total weight of 0.75 carats, 10 old European-cut diamonds with an approximate total weight of 1.50 carats, and 139 old mine-cut and rose-cut diamonds with an approximate total weight of 4.00 carats.

Victorian Silver Topped Gold Diamond Brooch

Antique French Gold Long Chain with Joan of Arc Medallion

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.

Antique French Gold Long Chain with Joan of Arc Medallion

Antique Black, White Enamel and Gold Ring featuring a Red Intaglio Carving

An Antique 22 karat gold ring with a black and white enamel band with gold accents, prominently featuring a reddish intaglio that predates its setting. The intaglio depicts a touching scene of mother and child, executed in sparse, elegant brush strokes.

Antique Black, White Enamel and Gold Ring featuring a Red Intaglio Carving

Antique Silver-topped Gold and Diamond Pendant

An Antique silver-topped gold pendant with a diamond-studded pendant loop featuring two rings of old European-cut diamonds surrounding one exceptional, significant center stone. The center diamond is approximately 2.35 carats, surrounded by 10 old European-cut and old miners-cut diamonds with an approximate weight of 2.50 carat. There are an additional 15 old European-cut and old-miners cut diamonds on the exterior ring with an approximate weight of 7.50 carats. The detachable bail is set with 3 old European-cut and old miners-cut diamonds with an approximate weight of 0.65 carats, Overall VS-SI clarity, H-J color. This timelessly elegant piece can be worn as a pendant, a brooch or a hairpin. With fitted box.

Antique Silver-topped Gold and Diamond Pendant

Antique Diamond, Gold and Silver Maltese Cross Brooch

An English Antique 15 karat gold and oxidized silver Maltese cross brooch with diamonds. The brooch has 130 old European-cut and old mine-cut diamonds with an approximate total weight of 18.00 carats including the center old European-cut diamond weighing approximately 2.25 carats. Fold down bale. Antique box. The Maltese cross, in Italy also known as the Amalfi cross, is the cross symbol associated with the Knights Hospitaller (the Knights of Malta) and, by extension, with the island of Malta. The cross is eight-pointed and has the form of four "V"-shaped elements, each joining the others at its vertex, leaving the other two tips spread outward symmetrically. Its design is based on crosses used since the First Crusade. The 15th Century Crusaders adopted the Cross of Malta as their insignia because its eight points represented the eight Beatitudes prescribed in the Sermon on the Mount. Those, in effect, declare (1) blessed are the poor in spirit, (2) the meek, (3) the pure, (4) the merciful, and (5) the peacemakers; (6) blessed are they that mourn, and (7) seek righteousness, and (8) blessed are they who are persecuted for righteousness sake. The Cross of Malta had a religious origin but the Knights of St. John also made it their battle standard for the liberation of all men, women and children who suffered oppression. The ideals for which the original Crusaders fought parallel the principles of democracy today, freedom and justice.

Antique Diamond, Gold and Silver Maltese Cross Brooch

Victorian Diamond and Pearl Necklace

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.

Victorian Diamond and Pearl Necklace

Boulder Opal and Multi-colored Garnet Necklace

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.

Boulder Opal and Multi-colored Garnet Necklace

Antique 15kt gold Bow Brooch with Diamond

An English Victorian 15 karat gold brooch with diamond. Executed in the shape of a bold architectural bow, the highly polished piece offers a stark, strongly design-oriented alternative to the ultra-delicate and ultra-feminine bows of the later Edwardian period. The brooch has an old European-cut diamond with an approximate total weight of .40 carat.

Antique 15kt gold Bow Brooch with Diamond

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

An American Art Deco platinum and enamel watch/brooch with diamonds, rubies and emeralds by Tiffany & Co. The watch/brooch has 215 round-cut diamonds with an approximate total weight of 4.65 carats, and 14 baguette diamonds with an approximate total weight of 1.00 carat, 20 square-cut diamonds with an approximate total weight of .90 carat, 6 cabochon rubies and 1 carved bead ruby with an approximate total weight of .52 carat and 11 cabochon and calibre-cut emeralds with an approximate total weight of .33 carat. "The style for decorative arts of the 1920''s was streamlined; form was reduced to basic geometry and the color palette was made strong and bold as opposed to the delicate pastels that were fashionable in the decades before the war. This trend became solidly established at the 1925 Paris Exposition des Arts Décoratifs, Industriels et Modernes, where visitors were electrified by the explosion of contrasting primary colors, geometric pattern and stylized natural subjects that burst on the scene," Falino and Markowitz. Similar pictured and discussed in American Luxury Jewels from the House of Tiffany, by Falino and Markowitz, editors, Antique Collectors'' Club, 2009, page 144, Plate 91. Exhibited at "Anything Goes: The Jazz Age" at the Nassau County Museum of Art, 24 March 2018 - 8 July 2018.

Tiffany & Co. Art Deco Diamond, Ruby, Emerald and Platinum Watch/Brooch

Tiffany Studios Golden Stalactite Chandelier

A Tiffany Studios New York golden stalactite chandelier with stalactite shades in pulled feather motif 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 created 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 t ... he muqarnas walls that 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.

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Tiffany Studios Golden Stalactite Chandelier

French Art Nouveau Pedestal by André

A French Art Nouveau walnut pedestal attributed to Emile André, featuring sinuous legs with understated organic carvings. A similar pedestal is pictured in "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 40 (Exposition de l''Ecole de Nancy, Paris, 1903).

French Art Nouveau Pedestal by André

Antique Diamond and Gold Double Serpent Ring

An Antique 18 karat gold, double serpent ring with diamonds. The ring has a 2 old European-cut pear diamonds with an approximate total weight of 1.00 carat, and 4 rose-cut diamonds with an approximate total weight of .04 carat. The ring is designed in a double serpent motif. Serpents and their symbolism are discussed in The Triumph of Love Jewellery 1530-1930, by Geoffrey C. Munn, Thames and Hudson, 1993,. "...this ancient symbol stressed the metaphor of eternal love. All kinds of snake jewels were popular gifts in the nineteenth century, not least because they carried this covert yet fundamental message to the recipient." Discussed in The Triumph of Love Jewellery 1530-1930, by Geoffrey Munn, Thames & Hudson, 1993.

Antique Diamond and Gold Double Serpent Ring

Tiffany "Turtleback Ball" Desk Lamp

A Tiffany Studios New York "Turtleback Ball" desk lamp with favrile glass shade and patinated bronze base. The base features a long swing arm culminating in a single blue iridescent tulip shade with green highlights. The incredible balance between the beautiful, undulating weight of the turtleback glass in the piece''s base and the light, feathery iridescent shade creates a work that is, as a whole, quite complex and incredibly special among Tiffany''s oeuvre. 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. Sh"ade: p. 100, plate 396; base: p. 97, plate 382.

Tiffany  'Turtleback Ball' Desk Lamp

A French Art Nouveau Wooden Pedestal by Emile Gallé

A French Art Nouveau selette by Émile Gallé. Gallé made very few selettes of this quality and design during his career, and even fewer of those with curved lower pieces that reunite in the middle, culminating in a gorgeous flower in full bloom. This model is very similar to the famous version with banana leaves, called Bananie. The marquetry on the top and middle sections of the selette, depicting flowers and leaves, is extremely bright and detailed. The variations of color emphasize the differences between the brighter lilies of the valley and the darker background. The curves and flowing details of the wood carving surrounding the top shelf come to challenge the stricter straight lines used for the contour of the piece. The balance between curves and straight line work in perfect harmony and together underline the subject matter. A similar selette is pictured in: "Gallé Furniture," by Alastair Duncan and Georges de Bartha, Woodbridge, Suffolk: Antique Collectors'' Club, 2012, p. 245, plates 4 & 4a.

A French Art Nouveau Wooden Pedestal by Emile Gallé

"Greek Key" Tiffany Lamp

A Tiffany Studios New York "Greek Key" table lamp. The shade features an orange and gold mottled glass ground with a Greek key border in highly contrasting tones of light green, cyan and honey colored glass. The shade sits atop a "Wave" bronze base with a warm brown patina given a Japonist touch by the gold highlighted waves at the top and bottom of the base. A similar shade and base 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. 184, plate 724; base: p. 110, plate 450.

'Greek Key' Tiffany Lamp

French Art Nouveau Table Attributed to Edouard Colonna

An exceptional French Art Nouveau fruitwood table attributed to Edouard Colonna with a black felt center, flanked by a scalloped decoration of vegetal carvings. The slightly curved legs adorn a rich decor of flowers and plants in relief. Colonna is remembered for his tasteful elegance and his use of abstract forms to create a graceful linear rhythm and dynamic intertwining lines. While he occasionally started with a floral motif, Colonna abstracted nature to create the impression of a flower bud or bloom held within a carefully constructed geometric scheme. This design scheme is evident in the delicate carvings ornamenting each leg of the table and in the overall rhythm of the piece. A similar table is pictured in: "The Paris Salons 1895-1915, Vol. III: Furniture," by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1996, p. 108.

French Art Nouveau Table Attributed to Edouard Colonna

Victorian Diamond and Pearl Necklace

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.

Victorian Diamond and Pearl Necklace

Rene Boivin Fishscale Design Bracelet Watch

An 18 karat gold and diamond bracelet "Fisch Scale" watch by René Boivin.The bombé band designed as a series of articulated "fishscale" links, set with 252 rose-cut diamonds interspersed with old mine, old European, and table-cut diamonds, approximate total weight of 42.25 carats, opening to reveal a circular watch signed Jaeger-Le Coultre. The bracelet is executed in Boivin''s famous fish-scale design, with angled, overlapping tiers of variously cut antique diamonds in a continuous motif concealing a watch. The elegant watch dial is covered by an invisibly hinged panel, creating a continuous elegant and functional design.

Rene Boivin Fishscale Design Bracelet Watch

"Chardons des Sables" Commode

A French Art Nouveau "Chardons des Sables" chest of drawers by Émile Gallé. The "Chardons des Sables" (sand thistle) commode is a moving meditation on mortality. Gallé created this piece in 1903, after he was diagnosed with leukemia. He died the following year. Gallé has rendered a vista redolent of a longing for return. The commode''s central "sand thistle" motif alludes to a passage in Victor Hugo''s poem Les contemplations, Paroles sur la dune (1854): Maintenant que mon temps décroît comme un flambeau Que mes tâches sont terminées; Maintenant que voici que je touche au tombeau Par les deuils et par les années, (...) Je regarde, au dessus du mont et du vallon, Et des mers sans fin remuées, S''envoler sous le bec du vautor aquilon, Toute la toisuon des nuées (...) Et je pense, écoutant gémir le vent amer, Et l''onde aux plis infranchissables; L''été rit, et l''on voit sur le bord de la mer Fleurir le chardon bleu des sables. Now that, like candlelight, my lifetime wanes And my tasks are complete; Now that I, passing years and faced with pains, Find the grave at my feet, (...) I watch, high over mountaintop and vale And ever-surging sea, Before the beak of that vulture the gale, The woolen clouds all flee. (...) So I reflect, hearing the wind''s harsh roar, And the wave''s boundless pow ... er Though summer smiles, and on the sandy shore, See the blue sand thistle flower. Like Victor Hugo in Les contemplations, Paroles sur la dune, the sand thistle figured on the marquetry frontispiece is towards the end of its bloom season. Most of the flower heads have turned dark brown and three have detached from their rosettes only to blow away in the ocean gale. To understand the extent of Gallé''s thematic dedication, one need only look at a blackened sand thistle leaf located in the center back of the commode top. The leaf is of the same value as the aqueous background, rendering it nearly imperceptible. Though seemingly a superfluous detail, the leaf''s inclusion completes the piece''s narrative: the plant, like the artist, fades into oblivion. Gallé''s pairing of image and poem is steeped in Japanese tradition. Gallé believed that Japanese artists painted with a "spirituel pinceau" (spiritual brush) and that marine plants were "bulleuse calligraphie" (blistered calligraphy). Unlike his previous Hugo-inspired furniture, Gallé has opted not to include the refrains of the poem that inspired this piece in the marquetry. Instead the work itself has become the poem. Gallé had previously synthesized land and sea in his 1889 Flora Marina, Flora exotica jardiniere. While his prior explorations of the theme relied heavily on allegory and ornate high relief carving, the "Chardons des Sables" commode is a prime example of Gallé''s aesthetic maturation into a thoroughly modern artist. Gone are the ink and shellac outlines and the sand-shaded wood. Rather, Gallé has taken advantage of the striations, figuring and coloration of the natural veneer. The "Chardon des sables" commode stands on four short legs with five long drawers in a carcass of walnut. The first and fifth drawer feature umbelliferae friezes. The second to fourth drawer fronts are veneered with marquetry panels showing "Chardon des sables" in front of the sea. The sky background of the second and third drawer utilizes Burmese rosewood. While rays are a cell type present in all hardwoods, woods in which the rays appear as parallel minute dark stripes of wood are rare. This feature, termed "storied rays," are only found in choice species of tropical hardwoods. For the background of the commode''s frontispiece, the ray patterning serves as a secondary pattern to the dominant dark veining. In this way, although the sky and sea are represented by different wood species, the storied rays imbue the piece with a visual harmony. The Burmese rosewood used in the sky was selected so that the height between each striation decreased as it approached the horizon thereby creating a depth of field. The striation terminates two-thirds of the way down the third drawer. The uniformity from this point until the horizon line mimics the way in which clouds merge into a continuous layer in the deep background. The Le Champ du Sang commode, a piece created three years prior to this one, for the Exposition Universelle de 1900, was designed in a similar compositional formula: foreground flowers and low horizon line. The horizon line was articulated as a hard edge with two contrasting pieces of wood spliced together. The stillness of the scene is palpably felt. As opposed to Le Champ du Sang, the Chardons des Sables commode features a remarkably seamless transition between the sky and the undulating ripples of the sea. Recent close examination has confirmed that the pattern was formed by cutting a single piece of veneer using two different methods. This is evidenced by the wood''s ray arrangement. The first quarter of the drawer is uniformly colored with horizontally storied rays. In the undulating dark brown pattern of the bottom three-quarters of the drawer, the ray arrangement becomes varied (horizontally, obliquely and vertically.) Horizontal storied rays only become visible in crown cut veneer where the wood is cut tangentially to the growth ring. Meanwhile, the varied "storied ray" arrangement only becomes visible when the wood is rotary cut, wherein, the log is centered on a lathe and turned against a broad cutting knife set into the log at a slight angle. To create the veneer''s pattern, the wood must have first been rotary cut. The log had to be subsequently removed from the lathe, and a steam-powered band saw had to rip the wood precisely a few millimeters to the left and right of the rotary cut''s terminus. The method used in the fourth drawer was an extremely time-consuming and precise method of cutting-- all done for the sake of capturing the artist''s compelling personal vision. The characteristic dark-veined swirled grain rotary cut pattern combined with the pommele markings present throughout distinguish the wood as Bubinga, a wood sourced from Equatorial Africa. The density of the pommele-figured Bubinga causes a chatoyant (changeable luster) effect. The resultant sheen simulates the way that light dapples across the water, ideal for Gallé''s representation of the ocean. The work stands out not only in its exceptional artistic technique but also marks the culmination of a scientific career. A lifetime as a botanist had given Gallé a penchant for morphological accuracy. Gallé had previously depicted other species of brittle stars, namely the Striped Ophiolepis superba. While Ophiolepis superba features short to non-existent arm spines, Gallé has chosen to depict the long arm spined Ophiothrix fragilis (hairy brittle star). Using an astounding economy of means, Gallé articulated these spines using the natural wood texture of the Cocos nucifera (Red Coconut Palm.) The contrasting red-brown, black and light gray-brown fibrovascular bundles of the Coconut Palm respectively articulate the negative space between the spines, the shadows of each spine, and the delicate mucosal spines themselves. In another instance of material specificity, the bumpy conceptacles (reproductive cavities) on a bladderwrack are rendered by Gallé using birdseye-figured Acer saccharum (Sugar Maple.) Gallé collected and preserved a variety of seaweed and shell specimens while in the Keller villa. Charles Keller (alias Jacques Turbin) was an anarchist, activist, poet and archaeologist. Keller had built a seafront villa in Carnac, Brittany after the excavation in 1862 of the Saint-Michel Tumulus, a megalithic grave mound. He regularly invited Gallé to this seaside retreat, and even when Gallé returned to Nancy, Keller was sure to send new species to add to Gallé''s burgeoning herbarium. Gallé''s choice of motifs on the commode''s top go far beyond scientific interest in morphological accuracy. Integral to Gallé''s macchia is the dissimilarity of the stiff and flexible, the brittle and fluid. Unlike the closely-related sea star, brittle stars have sinuous flexing arms, giving their legs an efflorescent appearance. This quality makes the brittle star an ideal object of representation. Conversely, the thick stem of the star thistle reads to the viewer as kelp in this underwater milieu. At the point in which the marine becomes flora and flora becomes marine, the conceptual unity of the piece reaches its culmination. Hugo, Victor, E. H. Blackmore, and A. M. Blackmore. 2004. Selected poems of Victor Hugo: a bilingual edition. Chicago: University of Chicago Press. Gallé, Emile. 1908. Écrits pour l''art: floriculture, art décoratif, notices d''exposition, 1884-1889. Paris: Renouard. https://archive.org/details/critspourlartflo00gall. Pictured in: "The Paris Salons 1895-1914 Volume III: Furniture," by Alastair Duncan, Antique Collectors Club, 1996, page 235.

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'Chardons des Sables' Commode

Tiffany Studios New York Bronze and Abalone Pen Wipe

A Tiffany Studios New York gilt bronze and abalone pen wipe. For the desk set: pieces in the "Abalone" pattern are pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, pp. 107-114. Various pieces are also picutred in: "Tiffany Desk Treasures: A Collector''s Guide," by George A. Kemeny and Donald Miller, New York: Hudson Hills Press, 2002, p. 50; and in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, pp. 470-472.

Tiffany Studios New York Bronze and Abalone Pen Wipe

Tiffany Studios New York Bronze and Abalone Inkwell

A Tiffany Studios New York gilt bronze and abalone inkwell. For the desk set: pieces in the "Abalone" pattern are pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, pp. 107-114. Various pieces are also picutred in: "Tiffany Desk Treasures: A Collector''s Guide," by George A. Kemeny and Donald Miller, New York: Hudson Hills Press, 2002, p. 50; and in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, pp. 470-472.

Tiffany Studios New York Bronze and Abalone Inkwell

Tiffany Studios New York Bronze and Abalone Rocker Blotter

A Tiffany Studios New York gilt bronze and abalone rocker blotter. For the desk set: pieces in the "Abalone" pattern are pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, pp. 107-114. Various pieces are also picutred in: "Tiffany Desk Treasures: A Collector''s Guide," by George A. Kemeny and Donald Miller, New York: Hudson Hills Press, 2002, p. 50; and in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, pp. 470-472.

Tiffany Studios New York Bronze and Abalone Rocker Blotter

Tiffany Studios New York Bronze and Abalone Stamp Box

A Tiffany Studios New York gilt bronze and abalone covered stamp box. For the desk set: pieces in the "Abalone" pattern are pictured in: "Tiffany Desk Sets," by William R. Holland, Atglen, PA: Schiffer, 2008, pp. 107-114. Various pieces are also picutred in: "Tiffany Desk Treasures: A Collector''s Guide," by George A. Kemeny and Donald Miller, New York: Hudson Hills Press, 2002, p. 50; and in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, pp. 470-472.

Tiffany Studios New York Bronze and Abalone  Stamp Box

"Peony" Tiffany Lamp

A Tiffany Studios New York "Peony" table lamp. The shade features three different peony cultivars from Tiffany''s garden at Laurelton Hall: the Greek Peony (Paeonia parnassica), (Cup of Shining Night), and Shima Nishiki. This "Peony" lamp is an unusual variant featuring gold-Ruby drapery glass. This rare and costly glass variety was colored using gold chloride and produced in limited quantities between 1888 and 1890. Distinguishing this lamp is the nuance in coloration and texture. The palette of the lamp includes three different types of blue, five different types of green and three different types of red in a plethora of combinations and textures. The lampshade sits atop a rare Tiffany Studios New York patinated bronze lamp base with pierced Onion Bulb design. A similar shade is pictured in: "The Lamps of Louis Comfort Tiffany", by Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland, and Lars Rachen, New York: The Vendome Press, 2005, p. 21, plate 20. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 85, plate 330.

'Peony' Tiffany Lamp

"Peacock" Tiffany Lamp

A Tiffany Studios New York "Peacock" leaded glass and bronze table lamp. The peacock was one of Tiffany''s favorite motifs. Here, brilliantly vari-colored peacock feathers against a rich green/purple/blue/mauve/yellow-orange ground create the pattern of the shade, with the quills of the feathers prominently visible and the twenty peacock eyes arranged in two staggered rows. Brick borders of mauve, orange-yellow and cream/green glass and a scalloped apron further decorate the shade, which sits atop a patinated bronze "Peacock" base specially designed for it, with "Peacock" leaded mosaic glass in "eyes" at the foot of the base. The play of light through the mottled glass, with its regal color palate, imbues the shade with the beguiling mystery of real peacock feathers. A similar lamp is pictured in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 139, plate 197. The shade is also pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors'' Club Ltd., p. 142, cat. 592. Also pictured in: "The Lamps of Tiffany Studios", by William Feldstein, Jr. & Alastair Duncan. p. 130-131. Provenance: A prominent New York City surgeon 2019. With Macklowe Gallery New York 2015.

'Peacock' Tiffany Lamp

French Floriform Candlesticks by Paul Follot

A pair of French Art Nouveau silvered metal floriform candlesticks by Paul Follot. Follot was one of the main artists represented by "La Maison Moderne," a Parisian gallery that championed the avant-garde artists of the day. Follot was one of the few French artists to achieve success in both the Art Nouveau and Art Deco periods, and his work can be found in museum collections worldwide. Similar candlesticks are pictured in: "The Paris Salons 1895-1915, Vol. V: Objects d''Art and Metalware", by Alastair Duncan, Woodbridge, Suffolk: Antique Collectors'' Club, 1999, p. 263.

French Floriform Candlesticks by Paul Follot

"Aux Grenouilles" Umbrella Stand, by Emile Gallé

French Art Nouveau marquetry "Aux Grenouilles" umbrella stand, by Emile Gallé. This stand for umbrellas and walking sticks incorporates frog (Grenouille) handles and feet in cast bronze, a decorative fillip that provides an otherwise utilitarian piece of furniture with a novel and charming appeal. The cabinet''s feet are syntheses of the legs of a pickerel frog and the feet of a lion. While Galle''s artistic antecedents created chimeric creatures of their own, their fabrication was more of a fantasy than a representation of reality. By the turn of the century, the rapidly developing field of microbiology had rendered the creation of chimeras a foreseeable event. The writings and discoveries of Louis Pasteur added an entirely new class of symbols to Galle''s oeuvre. Galle wrote of Pasteur''s discoveries "we can decipher, behind the chimeric anatomies, the realities that have become manifest, submitted, cataloged, grown in test tubes." In 1892, Galle honored Pasteur for his contributions to science with a vase. The vase is decorated with all manners of mythological creatures and microorganisms. In the cabinet''s "Grenouilles" feet, the artist syncretizes the symbols of two different "currents." The morphology of the lion''s paw offers the viewer a "peaceful stream of our predilections." The lion paw with its hallowed history calls to mind the conservative values of nobil ... ity and honor. By comparison, the hind legs of the pickerel frog originate from the "fast...deep…[and] powerful" current of modernity that offers symbols free from prescribed values. In the hands of Galle''s genius, these symbols generate all manners of novel methods of furniture construction that are evident. The cabinet features two doors opening to reveal two shelves. The left door is veneered with two dragonflies that dart amongst the pickerel rush. This American aquatic plant was popular amongst French horticulturalists as a staple in ornamental fish ponds. Galle''s "Aux Grenouilles" design was the only instance in which Galle represented the pickerel rush. The Grenouille cabinet is a rare example of Galle''s use of sand shading. This eighteenth-century technique involves the submersion of veneer pieces in hot sand. This provides a subtle gradation that is visible in the outer serrated margin of the pickerel leaf and the background of the mushroom landscape. The upper right-hand drawer is decorated with a frieze of carved wood arrowheads that wraps around the cabinet''s sides. The arrowheads are furled into arabesques that echo the dragonflies in the gallery. Similar "Aux Grenouilles" umbrella stand pictured in Gallé Furniture, by Alastair Duncan and Georges de Bartha, Antique Collectors'' Club, Page 287, Plate 5.

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'Aux Grenouilles' Umbrella Stand, by Emile Gallé

"Belted Turtleback" Tiffany Lamp

A Tiffany Studios New York glass and bronze "Belted Turtleback" table lamp, featuring a large band of iridescent green "Turtleback" tiles against a mottled brick pattern ground, atop a rare Tiffany Studios New York green and red patinated bronze lamp base with pierced Onion Bulb design. "Turtleback" tiles were an early invention of Tiffany''s, consisting of amber or blue glass and coated with an iridescence. His experiments predated the founding of Tiffany Studios and distinguished him as a luminary of glass innovation. For the texture of his turtleback shells, Tiffany was inspired by the Neolithic Egyptian turtle carapace scale rings and bracelets excavated in Cyprus. For his Egyptian fete (party) in 1913, Tiffany served turtle along with suckling pig and frog legs. Shade pictured in Tiffany Lamps and Metalware, An Illustrated Reference to Over 2000 Models, by Alastair Duncan, p.131, plate #1434. A similar base is pictured in: Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 85, plate 330.

'Belted Turtleback' Tiffany Lamp

Tiffany Studios "Prism" Chandelier

A Tiffany Studios New York glass and bronze "Prism" chandelier, featuring a decorated Favrile glass shade hanging in a circular row of iridescent gold glass "Prisms," all of which are suspended from a gilt bronze crown with hanging beaded detail. The shade is encircled by six green Favrile tulip shades with pulled feather decoration. A similar fixture is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 318, plate 1271.

Tiffany Studios 'Prism' Chandelier

"Favrile" Tiffany Lamp

A Tiffany Studios New York "Damascene" Favrile glass and patinated bronze base. This "Damascene" table lamp is composed of 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 shade sits on a patinated bronze urn-shaped base with three arms supporting the shade. Provenance: Property from the Geyer Collection 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. 59, plate 209; base: p. 32, plate 89.

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'Favrile' Tiffany Lamp

Dutch Antique Gold Chain Necklace

A Dutch Antique 14 karat gold necklace. Composed of three lines of stacked rectangular links with rounded edges with spherical terminals, completed by a brickwork clasp, with retractable pendant bail.

Dutch Antique Gold Chain Necklace

"DogWood" Tiffany Lamp

A Tiffany Studios New York "Dogwood" leaded glass and patinated bronze table lamp. The shade features a bouquet of pink, white and lavender dogwood blossoms against an blue and green mottled glass ground and is textured with Tiffany''s subtle use of rippled glass. The shade sits atop a patinated bronze decorated cushion base where the vines entwine themselves around the shaft of the base, almost to replicate the feeling of tendril like roots which evokes flower bulbs with overlaid scrolling bronze vines that wrap around the stem. The Dogwood was a well recorded favorite of Tiffany, who believed that the white flowers "reliably brighten things." The symbolic tradition of these bright, white flowers is quite rich; in Victorian times Dogwood flowers were given to young women by doting young men as a symbol of his affection. If the dogwood flower was kept it was a widely understood sign of mutual interest, however, if it was returned, it was the surest symbol of unrequited love. A similar base is pictured in: Alastair Duncan, "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", Woodbridge, Suffolk: Antique Collectors'' Club Ltd., 2007: p.75, plate 229.

'DogWood' Tiffany Lamp

Tiffany & Co. Silver Bowl

Antique Tiffany & Co. New York, oval Sterling silver bowl with floral design.

Tiffany & Co. Silver Bowl

Antique Renaissance Revival Amethyst, Diamond, Natural Pearl, Gold and Enamel Necklace

An English Antique 15 karat gold necklace with amethyst, diamond and pearl. The necklace has an oval cut amethyst approximately 9.50 carats, 30 old mine-cut diamonds with an approximate total weight of .30 carats, and 24 natural pearls approximately 2mm. With enamel plaques in a Renaissance Revival motif.

Antique Renaissance Revival Amethyst, Diamond, Natural Pearl, Gold and Enamel Necklace

"Dragonfly" Tiffany Lamp

A Tiffany Studios New York leaded glass and patinated bronze "Dragonfly" table lamp. This shade features six dragonflies with green bodies and amber hued wings against a blue, green and yellow ground that fades into yellow at the top. Each dragonfly is adorned with crimson-colored glass eyes, and on one of the dragonflies the eyes are shifted so as to make it appear as if the insect is turning its head. The scene is contained in a lower border of yellow-green mottled glass with hints of blue. The shade sits atop a "Blown" glass base of alternating dark and lighter green, sitting on patinated bronze lily pads. Louis Comfort Tiffany''s "Dragonfly" lamps have become so iconic and loved because the artisans who made them were not limited in color as they were when making floral and geometric shades. Here we see the background fading from a bright green-blue to a yellow-green, and we can imagine that the dragonflies who adorn the lower edge of the shade are flying low across a verdant field. Similar shades, in various colors, are pictured in: "The Lamps of Tiffany", by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, pp. 102-105. A similar base is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models", by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988, p. 39, plate 130.

'Dragonfly' Tiffany Lamp

"Abalone Linenfold" Desk Lamp by Tiffany Studios New York

A Tiffany Studios "Abalone Linenfold" lamp on a gilt-bronze base, with mother-of-pearl decorative insets in the base and the top of the shade. The shade consists of yellow glass panels textured to resemble folded cloth. The leading is gilt to match the lamp base. A similar lamp is pictured in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors' Club, 1988, p. 192, plate 747.

'Abalone Linenfold' Desk Lamp by Tiffany Studios New York