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.
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.
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.
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.
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.
Dimensions: Ring size 6-1/2; this ring can be sized.
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.
A French Art Nouveau silvered bronze figural sculpture by Agathon Léonard, featuring a woman dancing and playing a tambourine. This figure is one of "Le jeu d''écharpe" (The Scarf Set), originally produced and cast by Sèvres, and awarded a Gold Medal at the 1900 Paris Exposition Universelle. The series was later cast in bronze by the Susse Frères foundry, with special limited editions in silvered bronze, such as this piece. Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. Le jeu d''echarpe was inspired by the dancer Loïe Fuller. Pictured in "Agathon Léonard: Le geste Art Nouveau" by Ingelore Bostge, page 68 cat. 49.
A Portuguese Georgian style 18 karat gold and oxidized silver brooch with diamonds. The brooch has 250 rose-cut diamonds with an approximate total weight of 5.50 carats, and 23 old European-cut diamonds with an approximate total weight of .50 carat. The blossoms of the brooch are en tremblant, in the Georgian style of floral brooches.
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.
A French Art Nouveau sculpture, "Four Peacocks," by Léopold Savine, depicting the bust of a woman surrounded by four peacocks whose tails form the pedestal on which her bust sits. Executed in patinated and silvered bronze. Pictured in: "Art Nouveau" by Judith Miller, p. 201; "Bronzes: Sculptors and Founders 1830-1930" by Berman, p. 775 # 2854; "Art Nouveau The French Aesthetic" by Victor Arwas page 249; and in: "Dynamic Beauty: Sculpture of Art Nouveau Paris" by Macklowe Gallery, The Studley Press, 2011, p.236.
A French Art Nouveau silvered bronze figural sculpture by Agathon Léonard featuring a woman dancing titled "Danseuse chantant" (singing dancer). This figure is one of "Le jeu d''écharpe" (The Scarf Set), originally produced and cast by Sèvres, and awarded a Gold Medal at the 1900 Paris Exposition Universelle. The series was later cast in bronze by the Susse Frères foundry, with special limited editions in silvered bronze, such as this piece. Le jeu d''écharpe, created by Agathon Léonard at the turn of the 20th century, consists of 15 sculptures of young women in various poses. Some women dance with scarves; others hold musical instruments or carry flaming torches. Each of the 15 dancers is unique in terms of her pose, hair style and dress. Their dresses exhibit fluid drapery with flowing sleeves. Le jeu d''echarpe was inspired by the dancer Loïe Fuller. A similar model is pictured in "Agathon Léonard: Le geste Art nouveau," by Ingelore Boestge, Somogy editions d''art, Paris 2003, p.62, Plate number 35. Provenance: Elizabeth Taylor
A French Art Nouveau silver and enamel vase by Eugène Feuillatre. The vase is decorated with leafed branches holding pink and gold cloisonné flowers and buds against a sky blue background. It rests on a braided silver stand with three carved feet. The rim is decorated with silver scarabs. A similar vase is pictured in: "Art Nouveau: The French Aesthetic", by Victor Arwas, London: Andreas Papadakis, 2002, p. 397.
An Austrian Art Nouveau porcelain and silvered clock by Paul Follot. This clock prominently features the arabesquing line of the Art Nouveau movement, both in shape and in the relief decoration. Abstract blue flower buds decorate the clock in panels at the top and behind the clock face. The silvered clock face and pendulum are also decorated in the whiplash motif, which makes this clock a complete and total work of Art Nouveau. A similar clock is pictured in: "Art Nouveau: The French Aesthetic," by Victor Arwas, London: Andreas Papadakis, 2002, p. 333; a similar clock is also pictured in the 1904 Louis Majorelle catalog, in the "Les Algues" Chamber, near the end of the catalog.
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.
A bluish green Favrile glass vase by Louis Comfort Tiffany featuring a pulled silver iridescent border. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.
A French Napolean III 18 karat gold and oxidized silver brooch with diamonds. The brooch has 163 old mine-cut diamonds with an approximate total weight of 12.40 carats. Designed with double festoon and floral motifs.
A French Art Nouveau silver and plique-à-jour enamel coupe d''ornement by Eugène Feuillâtre. This exceptional compote features delicate and stylized floral patterns on the upper and lower portions. Green leaves encircle the base of the piece and the sinewy stem of the petite cup appears to grow out of the foliage below, and a spray of pink flowers blooms at the top of the compote. Feuillâtre complimented the deeply rooted organic motifs of his quintessentially Art Nouveau compote by adorning the piece with small green enamel buds on the top and bottom of the stem. This compote is particularly remarkable because it is made almost entirely of plique-à-jour enamel. Eugene Feuillâtre (1870-1916) was a sculptor, enamelist, silversmith and jeweler. He worked for Lalique at the end of the 19th century and established his own firm in 1899, specializing in plique-à-jour decorated objects. He also perfected the technique of enameling on silver and platinum. Provenance: the Collection of Joseph R. Ritman. A nearly identical coupe d''ornement resides in the Musee D''Orsay in Paris.
A silver colored Cypriote vase by Tiffany Studios New York. The body of the vase is subtly ribbed. The ribs extend into the vase''s neck, where they are more pronounced. Cypriote is a textured glass achieved at Tiffany Glass and Decorating Company by rolling glass over a marble or iron surface covered with pulverized bits of the same glass. Its iridescence and bubbles resembled the decomposed surface of Roman glass discovered during archeological explorations on the island of Cyprus, hence its name. A vase with similar decoration is pictured in:" Timeless Beauty: The Art of Louis Comfort Tiffany," Atglen, PA: Schiffer Publishing, 2016, p. 66.
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.
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.
A French Art Nouveau marquetry vase by Émile Gallé. The vase features crocus flowers in hues of orange and purple against a cream ground with stripes in pink and red. The vase is accented with an applied band of tendrils backed by silver foil inclusions. A similar vase is pictured in: Émile Gallé et le Verre, la Collection du musée de l''École de Nancy, Parks: Somogy editions d''art, 2004, p. 137, ca. not. 222.
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.
A suite of three English Victorian silver-plated objects by Elkington & Co. The suite comprises a pair of four-light candelabra and an epergne. Each candelabrum is decorated with three sphinxes that sit atop a splayed paw-footed platform. The stem and arms are adorned with a classic foliage decoration. The epergne is ornately decorated and accented with enamel work surrounding the "Three Graces;" daughters of Zeus who were said to represent youth, beauty, mirth and elegance. The graces presided over banquets and gatherings, to delight the guests of the gods. Elkington & Co. was founded by George Richards Elkington and his brother Henry Elkington in the 1830''s. The company, over the years, was very successful and known to be a prime producer of silver-plated objects. Elkington received various royal warrants of appointments including an appointment from the emperor of Austria.
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.
A Victorian silver and 14 karat gold ring with diamonds. The ring has 31 old mine-cut diamonds set in silver and fetchingly arranged in three rows, with a decorative scallop edge on the band. The approximate total weight of the stones is 1.15 carats.
Dimensions: Ring size is 10 and it can be resized.
A pair of Victorian 14 karat gold and silver earrings with turquoise and pearls. The earrings each have a center row of 7 turquoise cabochons framed with 10 freshwater pearls and an articulated gold bead hanging from a decorative back.
An Art Nouveau 18 karat gold sweet pea brooch in pink and green shaded enamel. On the open petal of the charming pink bloom is a silver-topped gold insect studded with 14 rose-cut diamonds weighing .15 carat and 2 cabochon ruby eyes that weigh .04 carat. With fitted box.
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.
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.
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.
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.
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 forrighteousness 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.
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.
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 Tiffany Studios New York Favrile glass bowl with Byzantine decoration. This delicate translucent bowl is decorated in the colors of silver, gold and green. It sits on three scroll-shaped glass feet. Favrile is the trade name Tiffany gave to his blown art glass. The name derives from the Latin word fabrilis, meaning "made by hand." The technique was developed at the Tiffany Glass and Decorating Company in the mid-1890s using filaments from batches of differently colored glass and working the material while the glass was still molten. Ornamentation was added before the piece had its final shape, so that the decoration became fully integrated into the vessel. The technique was used in both decorative vases and functional pieces such as tableware (bowls, goblets, carafes) and lamp shades. Tiffany intended the favrile designation as a guarantee to current customers and future collectors of the fine quality of these objects.
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.
A rare French Art Deco ovoid-shaped vase by Claudius Linossier. This geometric vase is constructed with silver-domed brass heel and patinated fire decoration and silver inlays on a hammered brown background. Claudius Linossier (1893-1953) was a highly important French Art Deco metal artist who chose to work in the very old and very difficult technique of dinanderie, which involved decorating hand-raised copper vessels with specially-made metal oxides that were hammered into the surface, and, when heated, produced subtle and beautiful colors. For more information about Linossier and this technique, have a look at our bio of him. His pieces can be found in many museums and private collections. Bibliography: "Claudius Linossier dinandier" - Jean Gaillard, Lyonnaise Editions of Art and History, Lyon, 1994. Our vase, appearing on an archive photograph reproduced on page 166, referenced 605 (year 1925) and accompanied by a note of the artist: [Black vase, red copper, silver. 60 Dollars. Very beautiful ovoid shape]
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.
A rare and important French Art Nouveau silvered metal coffee and tea service by Paul Follot. The set includes a tray, tea and a coffee pots, and containers for sugar and cream. The set is decorated with whiplash curves, fabric-like folds and a spray of monnaie du pape ("the Pope''s money") leaves. This set was manufactured by Metallwarren Fabrik, F.w. Quist, Esslingen, Germany. All five pieces are signed "Follot". The service was exhibited at the Salon Décorateurs in 1904. The model is in the Musée d''Orsay, the Victoria and Albert Museum, and the Brohan Museum (Berlin). In the year 2000, an identical set was exhibited in Art Nouveau 1890-1914 at the Victoria & Albert Museum and the National Gallery of Art in Washington, DC. Provenance:Purchased in Wiesbaden, Germany from a prominent lady who is now in her late sixties. This tea service, with its original box, was her mother''s wedding gift.Similar set pictured in:"Art Nouveau: The French Aesthetic," by Victor Arwas, p. 393Art Nouveau Belgium France, by Yvonne Brunhammer, p. 206, pl. 306 "Art Nouveau: 1890-1914," by Paul Greenhalgh, p. 234, pl. 14.13. "The French Decorative Arts, the Societé des Artistes Décorateurs 1900-1942," by Cf. Y. Brunhammer + S. Tise, Paris 1990, p. 16-17."Art Nouveau," by Judith Miller, page 180.Dimensions: 16¾" wide x 24¼" long (tray)
An abstract figural "Lava" Favrile vase by Louis Comfort Tiffany. The cone shaped cylindrical vase features an upward spiral in gold metallic glass in high relief against a purplish-blue lava ground. Tiffany''s "Lava" glass was inspired by a trip to the Eastern Mediterranean, during which Tiffany visited Mount Etna in Sicily. The transformation of glass into volcanic "Lava" was achieved in the following manner: lustered glass was gathered on a blow pipe, rolled with chemical particles, and then worked in flame. The heat from the fire generated a reaction in which miniature basaltic-type craters and pitting formed on the surface of the glass, which was then coated with metallic lustered glass to create the purplish-blue ground imitative of lava. Next, free-form trails of glass were applied, each piece worked in a reduction flame (one starved of oxygen), and finally sprayed with metallic oxide. When a silvered finish fully developed it was sprayed with tin oxide and, depending on the artists, finished in blue, mauve, or gold tones. The production of Lava glass was the most risky of any Tiffany technique because it incorporated metallic oxides with different coefficients of expansion. When these were blended together during numerous high-temperature firings they created hazards for the annealing process that often flawed the pieces in their final moment of creation. The powerf
ul form of the vase and the clean articulation of the different metallic finishes make this piece incredibly rare.A similar vase is pictured in: The Tiffany Collection of the Chrysler Museum at Norfolk, by Paul E. Doros, Richmond, VA: W. M. Brown & son, Inc., 1978, p. 53, cat. no. 64.
A French Art Nouveau silver foil-backed molded glass brooch set in brass. The molded glass features a motif of embracing pheasants with elongated, twisting tail feathers. Signed LALIQUE. Pictured in René Lalique maitre-verrier 1860-1945, by Felix Marchilhack, Les editionsde l/amateur, 1989, page 549, Plate 1391.
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