A pair of earrings with aquamarines and diamonds by Tiffany & Co. The earrings have 6 pear-shaped aquamarines with an approximate total weight of 10.00 carats, and 82 round and rose-cut diamonds with an approximate total weight of 4.00 carats with an F-G color and VVS-VS clarity grade.
A carved aquamarine polar bear sculpture in miniature by famed gem carver Gerd Dreher. Gerd Dreher is a German from the Idar-Oberstein region. His family has been carving gems for five generations. The bear''s coat has detailed textured carving. The sculpture''s color recalls that of glacial ice in Arctic fjords.
A platinum and 14 karat gold necklace with aquamarines and diamonds. The necklace has one kite-cut aquamarine with an approximate total weight of 17.39 carats, and a triangle aquamarine with an approximate total weight of 1.80 carats. The pendant is suspended from an 18.5" white gold chain that is set with 8 round-cut bezel-set diamonds that have the total weight of .45 carat.
A pair of American Estate 18 karat yellow and white gold earrings with aquamarines, sapphires and diamonds by Zwikker & Zacher. These earrings have 4 oval aquamarines with an approximate total weight of 34.00 carats, 28 oval sapphires with an approximate total weight of 10.00 carats, and 34 round-cut diamonds with an approximate total weight of .68 carats. Detachable drops. With original box. Beloved as the birthstone for the month of March, the name aquamarine is derived from the Latin word for sea water. Known and treasured since before modern times, the 1st Century A.D. historian and philosopher Pliny the Elder wrote of the stone, "the lovely aquamarine, which seems to have come from some mermaid''s treasure house, in the depths of a summer sea, has charms not to be denied." Roman legend had it that the stone absorbed and preserved young love, and was the most popular stone for marriage and morning gifts. (A morning gift is an object presented to the bride by her groom the morning after their wedding.) In fact, this custom may well be the origin of the "something blue" that is traditionally presented to a bride before her nuptials. The stone was also believed to protect travelers, particularly sailors, and is often associated with the far-traveling St. Thomas the Apostle. From ancient through Medieval times aquamarine was the preferred stone for the making of fortune-tell
ing crystal balls for its supposed "divining power," and similarly used as an antidote to eye illnesses for the same reason. This particular piece exemplifies the beauty of blue aquamarine, especially with its stunning blue sapphire and diamond accents.
"L''Anémone des Bois", A French Art Nouveau masterwork by René Lalique. Created in 1897, this 18 karat gold brooch showcases Lalique''s mastery of "plique-à-jour" enamel and also represents one of his earliest explorations of the art of molded glass. The brooch is accented by two oval faceted aquamarines weighing approximately 8.10 and 3.75 carats. More than any technical mastery or gemological import, the brooch is distinguished by its aesthetics and its deep meaning. This exquisite "Anémones des Bois" Brooch is an important example of René Lalique''s early work, predating his international debut at the Exposition Universelle of 1900. While his most prolific version of the anemone motif was the "Anémone couronnée" or poppy anemone, only a few choice pieces depict the "Anémone des Bois" or wood anemone. Unlike the poppy anemone, which grew in the balmy Mediterranean summer, the Anémone des Bois was known to the French as the harbinger of spring. While the forest floor lay dormant, the wood anemone alone reared its small head. Areas where the poor could pick this humble flower were demarcated with signs reading "Les Halles." The Anémone des Bois lined the border of the forest, enticing promenading couples into the forest''s embrace for an afternoon tryst. Pure white anemones thus became a symbol of virginal purity, mourning its imminent profanity by carnal desire. Lalique
knew these traditions well from spending his childhood and summer holidays in the commune of Aÿ in Marne, located on a plateau overlooking the hillsides of Champagne. Two forests dominated the Marne landscape. To the west lay the old-growth forest of Sermiers, and to the east lay La forêt domaniale du Chêne à la Vierge. Promenading in the forest was a popular Sunday pastime for locals, especially as a way to escape the unrelenting dry heat of the noonday sun. Lalique expanded upon the theme of carnal desire, using the anemone to allegorize the stages of courtship. Our Anémone des Bois marked the beginning of this five-year-long exploration. With its petals slightly closed, the flower embodies the initial "rejet" or rejection of love. Fitting of a depiction of "rejet" the work epitomizes divine symmetry and youthful vigor. The flower''s posture relates to local wisdom: villagers could tell rain was coming when the Anémone des Bois closed its petals. By closing its petals, the flower rebuffs the words and sexual advances of the man. The second anemone in the series has its petals in disarray but receptive to potential pollination. An anemone in this position embodied "l''acceptation de l''amour" or the acceptance of love. The third anemone is the most sensual of the series, two anemones approach a passionate kiss, embodying the "consommation" or consummation. The final anemone in the series was completed in 1901. Titled "Mort de l''anémone" it is Lalique''s only representation of the blue anemone. Through the consummation, its petals have been dyed and its purity defiled. In macabre detail, the skeletal structure of the anemone''s rhizomes, or underground stems, are put on full view. The plant has been uprooted, and the encounter has finished. Contemporary novelist Émile Pouvillon related the death of the anemone to the act of deflowering in his 1895 short story "Les Anémones sont Mortes." The story''s heroine, a young country girl, loses herself in a bout of unrestrained euphoria with her lover. In their rolling about, "Anémones des Bois" are ripped out and bruised. At the 1898 Salon, the first Anémone des Bois was a critical triumph. Displayed with the second and third anemone in the series, the first was favored for its fully articulated plique-à-jour leaves. In the premier French decorative arts magazine Art et Décoration, the Anémone des Bois was praised for its "candid whiteness" and leaves that suggest "an infinitely complicated and precious architecture."Our Anémone des Bois is resplendent with the technical acuity that made Lalique known as the "master of modern bijoux (jewelry.)" In his early years, Lalique personally designed and modeled each mold for his creations in clay. These molds were then cast in iron and coated with a paste of resin and beeswax, hand-tooled for detail. The finish pressed-glass jewel was submerged in a bath of hydrofluoric acid, frosting the exterior. A thin layer of "jade green" powdered enamel was sifted and annealed onto the piece. The venation of each petal was painstakingly cut, revealing the plain crystal underneath. The warm glow of the gold backing gives the piece a breathtaking amber hue.
A set of two of French Art Deco 18 karat gold "lilac-leaf" clip brooches,the larger set with oval-cut green tourmalines, yellow heliodor beryls, yellow-gray beryls and aquamarines, highlighted by a single-cut diamond stem set in platinum, the second set with circular and oval-cut pink tourmalines, pale amethysts, and green tourmalines, both with medium-relief naturalistic modeling, by René Boivin. Executed under the leadership of famed Boivin designer Juliette Moutard, these spectacular pieces are as significant in the history of high jewelry as they are beautiful. These elegant brooches demonstrate the height of Moutard''s particular style: the refined, geometrically-rendered organic shape of the lilac leaf, the sensitive and masterful employment of color gradation, and the interplay of complementary shapes are all hallmarks of Moutard''s work for Boivin. The brooches have oval-cut tourmalines, green and yellow beryl, which together have and approximate total weight of 42.25 carats; aquamarines with an approximate total weight of 17.00 carats; and 30 single-cut diamonds with an approximate total weight of .70 carat. With authenticity report from expert Francoise Cailles. Boivin''s work is a remarkable exception to many of the presiding trends of the 1930s. For one, the house eschewed the stark, monotonous, and highly geometric Art Deco stye. While other firms continued
to churn out architecturally clean designs in diamond and platinum, Boivin maintained their commitment to celebrating color and the organic forms of the natural world. Also notable, and unusual for the time, is that Boivin was an all-female led firm. After the premature death of René Boivin in 1917, the firm would be led until its dissolution by his widow, Jeanne Boivin, and a host of brilliant female designers, among them Suzanne Belperron, Juliette Moutard and Germaine Boivin,
A French late Art Deco platinum brooch with diamonds and aquamarine by Cartier Paris. The brooch has 80 round, square and baguette-cut diamonds with an approximate total weight of 5.90 carats, centering on a hexangular aquamarine with an approximate total weight of 35.20 carats.
A Tiffany Studios New York monumental glass "Aquamarine" vase, featuring iridescent yellow, blue and brown marsh marigolds against an iridescent aquamarine ground. The vase's featured flower, the marsh marigold (Caltha palustris), was a common spring wildflower that was often seen in the marshy areas on the grounds of Tiffany's garden estate, Laurelton Hall. While the marsh marigold motif was previously used in Tiffany's Metalwork and Enameling Department, what distinguished Tiffany's aquamarine vases was the decision to view an above-ground flower through a lens of water. Like many of his fellow fin-de-siècle aesthetes, Tiffany frequently vacationed in the Bahamas, at Nassau, on New Providence Island. Inspired by the island's lush marine and aquatic life, Tiffany sent Arthur Sanders, one of his gaffers, to tour the island in a glass-bottomed boat. Invented in 1878, the glass-bottomed boat consisted of two or three decks and almost no bottom, in place of which were great panes of glass or windows. No longer impeded by the water's optically erratic surface, tourists could view the ocean's bottom through the boat's floor, similar to the view through a scuba diver's mask. The glass-bottomed boat thereafter became a popular tourist attraction in many island locales. Tiffany encased his designs in thick layers of green glass to emulate the intimate view of the glass-bottomed boat.
The complex process of internal decoration meant few vases survived the vase's cooling stage. The artistic value and technical difficulty of the Aquamarine vases were reflected in their high price of $300.
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