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.
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".
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.
A French Art Nouveau 18 karat gold and enamel pendant by André Rambour. The pendant depicts a maiden within an enamel iris which is suspended by fancy link chain and an enameled foliate top.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
A pair of Late-20th Century 18 karat gold earrings. The chandelier-style earrings are composed of polished and textured scalloped gold overlapping rings. The pendant elements of the earrings are articulated.
A pair of French Mid-20th Century platinum earrings with diamonds. The earrings have 82 round-cut diamonds with an approximate total weight of 4.20 carats, and 48 baguette diamonds with an approximate total weight of 3.00 carats, H/I color, VS clarity. The design of the earrings represents the post war 1950''s ''return to glamour'' style of pendant earrings, reminiscent of rainfalls and cascades with articulated tassels. Similar pictured and discussed in Earrings From Antiquity to the Present, by Daniela Mascetti, Amanda Triossi, Thames & Hudson, 1999, pages 172-175.
A French Art Nouveau 18 karat gold, plique-a-jour enamel, diamond and pearl brooch. The brooch centers a relief portrait of a young woman with flowing hair among flowering vines on a plique-a-jour enamel ground with foliate old mine and rose-cut diamond accents weighing approximately 0.25 carat, suspending a freshwater pearls.With French assay mark.
A French Art Nouveau 18 karat gold pendant with diamonds, pearls and peridots. The pendant features a plique-à-jour background with rose-cut diamonds with an approximate total weight of .60 carat, 3 freshwater pearls and 3 pear and round-cut peridots with enamel decoration surrounding the profile of Juliet.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
An Art Nouveau 14 karat gold and enamel pendant locket with diamonds. The pendant is decorated with 10 old mine- and single-cut diamonds with the approximate total weight of .30 carats. The relief cover depicts a winged nymph blowing two horns. Engraved in script, "BJ June 29, 1904" on back cover. Chain is a later period addition.Pictured in Masterpieces of American Jewelry, by Judith Price, Echo Point Books & Media, LLC, 2004, page 28.
A pair of Late-20th Century platinum earrings with diamonds and kunzites by Verdura. The earrings have 104 round-cut diamonds with an approximate total weight of 12.40 carats with a G/H/I color and VS clarity grade. They have two oval kunzite gemstone drops with an approximate total weight of 36.00 carats. The kunzite pendant drops are detachable. The pendants are signed "Verdura". With authenticity certificate from Verdura for the pendants. With signed Verdura box.
An 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.
An American Art Nouveau 18 karat gold and enamel pendant brooch with opals and chrysoprase by Marcus & Co.. The pendant brooch has 6 cabochon white opals, 63 cabochon chrysoprase stones and plique-à-jour enamel. Suspended from the brooch is an opal and chrysoprase pendant drop. Detachable brooch finding and flip-down bail.The multi-generational New York firm of Marcus & Co was founded by an ambitious young German immigrant who had trained at a prominent Dresden court jeweler. In 1892, after working with Charles Lewis Tiffany, Hermann Marcus and his sons William and George together set up a business that soon became a glittering New York society institution renowned not only for its superb diamonds, colored stones and pearls, but also its instantly recognizable, original design style. The firm produced great jewels in the Art Nouveau and Arts & Crafts sensibility, with George, the artist/designer, drawing inspiration from sources as diverse and exotic as the contemporary French masters, the Moghuls and Maharajahs, the garland style of the Ancien Regime, and the genius of Renaissance goldsmiths. George''s distinctive, confident hand was always discernible in Marcus creations. Working as a team with George, his brother William was a gem and pearl connoisseur who travelled the world hunting fine gem material, including purchasing the entire production of never-before-seen black
opal in Lightning Ridge Australia in 1908. Marcus exhibited at the 1900 Exposition Universelle in Paris, and their work won prizes at the prestigious Society of Arts & Crafts of Boston. Plique-a-jour enamel was an art in which Marcus & Co. excelled, creating jewels with unprecedented three-dimensional depth in this medium. The firm and family were well-known for their charitable activities and promotion of young jewelers such as Raymond Yard.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
A French Art Nouveau gold and plique-à-jour enamel pendant with opals, freshwater and natural pearls by Georges Fouquet. The pendant has 11 opals, 13 freshwater pearls and one natural saltwater pearl. The pendant is designed in a flowing foliate motif with plique-à-jour enamel leaves floating over translucent opals and decorated with clusters of pearls. With signed G. Fouquet box.Shown in the Poster House (New York) exhibition "Alphonse Mucha: Art Nouveau./Nouvelle Femme," June 20-October 6, 2019.
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.
A late Victorian 18 karat gold and silver pendant with diamonds. The pendant has approximately 140 old European cut diamonds with a total weight of 4.70 carats. The pendant is an open scroll motif, and has a bale that opens and closes.
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.
An Edwardian platinum sautoir necklace with diamonds and seed pearls. The necklace is comprised of a chain with five rows of seed pearls, interspersed with complex decorative filigree work and studded with diamonds. It has a hanging pendant encrusted with diamonds, cut with open work and replete will delicate millgraining. The piece has 235 old mine- and rose-cut diamonds with an approximate total weight of 5.50 carats, including the chain. The center of the pendant is one old European-cut diamond with an approximate total weight of .75 carat.
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.
A French Belle Epoque 18 karat gold, platinum, diamond, pearl and Paillet enamel pendant watch necklace. The pendant watch has 26 old European-cut diamonds with an approximate total weight of 1.05 carats, 70 rose-cut diamonds with an approximate total weight of .70 carat, and 28 seed pearls. The back of the pendant has a Paillet enamel depicting putti, Aphrodite with doves in hand and Pandora. It can be counted as an example of the virtuoso enameling Paillet is known for. The platinum chain is composed of 4 diamond-set plaques. Similar pictured in Boucheron Le Joaillier Du Temps, by Gilles Neret, Conti, 1992, pages 49-50.
A Tiffany Studios New York "Olive" covered box by, executed by the Enamelware Department of Stonebridge Glass Company, New York. This fabulous masterpiece is composed of enameled copper. The cover is decorated with olives, purple-brown copper branches and deep green leaves. From Paul Doros: "This enameled covered box clearly reveals the quality and innovative artistry that led to the company winning a gold medal at that world''s fair. It is of a familiar form but features an unusual motif and palette. Both the cover and slightly ribbed body have a repoussé design of ripening olives and pendant leaves on sinuous branches, one of them forming an irregular sculptural handle. The gold background is particularly noteworthy. Most Tiffany enamels of this type have a ground in shades of either red or blue. The background used in this object is perfectly suited, as it suggests olives ripening under a warm, golden sun. Hints of gold glimmer and sparkle through the slightly iridescent aubergine and purple olives, as well as the green leaves, adding to the illusion. It was pieces such as this one that caused contemporary critics to proclaim Tiffany''s enamels as "rare works of art" as well as "visions of delight." Paul Doros is former curator of glass at the Chrysler Museum of Art (Norfolk, Virginia) and author of The Art Glass of Louis Comfort Tiffany (New York: Vendome Press)
, 2013. PROVENANCE Parke-Bernet Galleries Inc., New York Private Collection, New York, circa 1965 Thence by descent to the present owners LITERATURE Martin Eidelberg and Nancy McClelland, "Behind the Scenes of Tiffany Glassmaking: The Nash Notebooks," New York, 2001, pp. 21 and 178 (for the model executed in pottery) Alastair Duncan, "Louis C. Tiffany: The Garden Museum Collection," Woodbridge, Suffolk, 2004, pp. 466 (for the model executed in pottery) and 471 (for the model executed in bronze pottery)
An American Art Nouveau enamel, 14 karat bloomed gold and diamond pendant locket. The figure on the heart-shaped pendant locket wears an old European-cut diamond ''earring'' with an approximate weight of .04 carat. The uniquely-shaped pendant locket has double-sided compartments.
A Tiffany Studios New York "Harp" floor lamp with patinated bronze base and green blown-glass "Damascene" shade. This "Damascene" floor lamp is composed of a transparent green, "Dychroide" glass and iridized glass decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic oxides were then painted o
bliquely around the form. The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The lamp shade is surmounted by a cast bronze aperture ring with three ball screws and a liliform heat cap, terminating in a ball-shaped finial. The ventilation holes in the heat cap are subtly concealed by the five petals of the flower. The heat cap holds a light bulb and pull chain that terminates in an acorn pendant. The heat cap is supported on both sides by a harp with two component parts, a double ogee shoulder, and a single ogee base. The two parts of the harp are held together with a pin that allow the user to change the position of the light if they so wish. This mechanism is fitted with rosette motif side knobs that beautifully complement the liliform socket holder. The base of the harp splays into petals, connecting to the globular molding of a five-foot stem which swells, tapers, reswells, straightens, then reswells at the base. The stem is supported by five dartform feet. The cast bronze stem, harp, and base all have acid etched finishes giving them a red-speckled green patina. A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827; base: p. 210, plate 821.
A platinum 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 platinum Art Deco lavalier necklace with diamonds and pearls. The lavalier pendant and tapered plaques have 117 round old European-cut diamonds with an approximate total weight of 3.00 carats and 2 natural saltwater pearls which hang from the diamond set plaques designed in a classic Art Deco motif. The natural white pearl measures 10.1 x 9.4 mm and the dark gray natural pearl measures 8.8 x 8.6 mm. The necklace has 376 seed pearls connected with a platinum chain weave. Gemological Institute of America report #6173345278.
An Edwardian diamond and amethyst necklace set in 18 karat white gold. The necklace''s double chain is comprised of a repeating pattern of white gold diamond-studded plaques and cabochon amethysts, while the two central chandelier pendants both feature substantial cabochon amethysts and detailed frames studded with white diamonds. This necklace has 290 rose-cut diamonds that have the approximate total weight of 7.30 carats. The weight of the 2 large amethysts is 29.00 carats and 21.00 carats. With additional 30 oval cabochon amethysts. With documentation of this necklace designed with fire opals made by A.Marx & Co jewelers London
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.
A French Egyptian Revival 18 karat gold pendant necklace with boulder opal, diamond, freshwater pearl and enamel by Antoine Bricteux, Paris. Designed as a winged scarab carved in boulder opal, measuring 11.89 mm by 4.06 mm, within a surround of white en plein and indigo plique-a-jour enamel wings, with 21 old mine-cut diamond highlights, approximate total weight of 1.00 carat, and a freshwater pearl drop measuring approximately 5.50 mm, suspended from oval and rectangular trace link chain, convertible to a brooch, with original fitted box.Note: Exquisitely modeled and finished, this Egyptian Revival winged scarab necklace by Maison Bricteux, Paris, exemplifies the total freedom of imagination that characterized the Art Nouveau period. Centering a scarab carved from a boulder opal still in its seam of ironstone, within a surround of translucent plique-a-jour enamel feathers, the jewel demonstrates Art Nouveau''s restless exploration of unusual techniques and materials.The jeweler Antoine Bricteux ran a small boutique firm in the neighborhood of the Palais Royale, a center of the artistic luxury trade in Paris. Mention of his work appears in Henri Vever''s history of French jewelry, where Maison Bricteux is described as a "distinguished firm" which created "charming jewelry of modern inspiration." Bricteux collaborated with the designer G. Landois -along with the great firm
of Louis Aucoc -until Landois'' sudden death. Egyptian motifs such as the scarab have appeared prominently in European art since the Renaissance. Worn over the millennia in many societies as a favorite amulet, the scarab is identified with purity of heart. During the Art Nouveau period, it was a highly popular design motif along with winged women, who represented the imaginative liberty of the age.
A French Art Nouveau 18 karat gold and silver 4 inch pendant with diamonds and freshwater pearls suspended from a 29 inch 18 karat gold chain with 8 freshwater pearls. The pendant has 40 rose-cut diamonds with an approximate total weight of .40 carat, and 13 freshwater pearls. The articulated pendant is designed in a stylized wisteria motif.
Signed: French Import mark
Dimensions: Chain: 29" length; pendant 3-3/4" length x 1-7/8" maximum width
A pair of American Mid-20th Century enamel and 18 karat gold earrings by David Webb. The earrings are designed in an articulated ''door knocker'' motif. The open oval drops are suspended from rectangular-shape gold and enamel tops."The ear pendants may look simple, but that''s just the jeweler''s sleight of hand, for in fact there is a knowing interplay of materials and textures here...the deep black enamel and the polished gold," Ruth Peltason in David Webb.Discussed in David Webb The Quintessential American Jeweler, by Ruth Peltason, Assouline, 2013.
A French Art Nouveau 18 karat gold pendant/brooch with freshwater pearl drop and plique-à-jour enamel, depicting a maiden in profile against a sky with clouds and framed with pink poppy blossoms by Louis Zorra. The serpentine clouds, the woman''s abundant tresses, and the flower tendrils all follow the organic curvilinear line associated with Art Nouveau. Nature, flowers and women are themes that were often explored in tandem by fin-de-siècle artists. Here they function together to create a harmonious and picturesque scene that delights the eye. Pictured in "The French Aesthetic, Art Nouveau", by Victor Arwas, Andreas Papadakis, page 346.
A pair of French 18 karat textured gold "Chevalerie" earrings by Van Cleef & Arpels. The pendant hoop earrings designed with a complex geometric patterning that lends them significant visual interest. Circa 1972. Together with a letter of authenticity from Van Cleef & Arpels dated 14 February 2019. In the 1970s, Van Cleef & Arpels moved away from the gem-studded opulence of the post-war years and instead focused their efforts on creating dynamic forms out of precious metals. Inspired by the moon landing, simple, forms such as these earrings were modeled so as to appear "cratered." Important, too, as an influence was kinetic art, inspiring a new dynamism and sense of movement and patterning of the famed firm''s designs, strongly represented in these earrings. Voluminous but not overly heavy, the earpendants, with their unusual surface texture, represent a subtly different interpretation of the classic hoop design.
A French Retro 18 karat gold, platinum and diamond clip brooch, Monture Cartier. The brooch is designed as a stylized ropetwist floral spray with diamond blossoms and gold leaves, highlighted by 21 Old European-cut and cushion-shaped diamonds, approximate total weight 5.00 carats, suspending a ropetwist tassel with acorn pendant. The diamonds have a VS/SI clarity and H/I color grade. Mounted in 18 karat gold and platinum. The clip brooch was manufactured by the Cartier workshop Dubois, who produced some of the most remarkable pieces of "tutti fruitI" and other Indian inspired jewelry for the firm.
A French Art Nouveau 18 karat gold and platinum pendant brooch with diamonds and freshwater pearl. A remarkable early use of platinum, this Art Nouveau pendant features intricate, sinuous scrolls of gold in a psuedo-Celtic design, terminating in blooming branches of diamond-studded platinum. These rose cut diamonds have the approximate total weight of .20 carat. The piece features one old European-cut center diamond that has the approximate weight of .25 carat and a hanging 3.5mm freshwater pearl drop. Attributed to Maurice Dufrène
Signed: French Control Mark
Dimensions: Chain Length 19". Pendant 2" length x 1-1/2" width.
A French Art Nouveau 18 karat gold, enamel, pearl and diamond ginkgo leaf pendant, centering an oval pearl within a surround of ridged swirling vines, suspending a cascade of leaves and buds in iridescent green enamel with orange tones, accented by an old European-cut diamond weighing approximately 0.07 carat.
A French 18 karat gold pendant necklace with diamonds by Van Cleef & Arpels, Paris. The necklace is composed of triple bar links joined by multiple strands of oval trace link chains, highlighted by arched bars set with 35 round brilliant-cut diamonds with an approximate total weight of 1.40 carats. suspending a detachable pendant of conforming design. The necklace has a detachable segment allowing it to be converted from 19" to 16". This necklace is accompanied by a certificate of authenticity from Van Cleef & Arpels. With its contemporary sensibility and soft flexibility, this necklace is unmistakably French modern. The dynamic geometric motifs are creatively extended and completed by the draping, flexible swags of trace link chains, while the smooth, polished gold is counterbalanced by the contrasting lines of brilliants.
An American Contemporary 18 karat gold brooch with diamonds, emeralds, amethysts, turquoise and coral by Henry Dunay. The piece is a beautiful and playful array of cabochon amethyst, turquoise and coral set in twisted gold bezels, accented with raised, gold-framed diamonds and organized in an arresting organic lozenge shape. The brooch has 34 white round brilliant-cut diamonds with an approximate total weight of 3.40 carats, 10 cabochon emeralds with an approximate total weight of 1.50 carats, 16 cabochon amethysts, 12 cabochon turquoise, 4 cabochon coral. Pendant attachment on back.
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