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.
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.
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.
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.
Dimensions: Ring size 9-1/2; this ring can be sized.
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.
A Tiffany Studios New York "Harp" floor lamp with patinated bronze base and green blown-glass "Damascene" shade. This "Damascene" floor lamp is composed of a transparent green, "Dychroide" glass and iridized glass decoration. Of particular note is the complexity of the iridization on the lamp that uses two distinct metallic oxides applied in two different techniques. Initially, a shell of transparent green glass was blown onto a core of opaque white glass core, forming the lamp''s white interior and thin transparent green exterior. Subsequently, "Dychroide" glass was carefully trailed twenty-nine times around the form. This particular variety of "Dychroide" glass, an innovation by Arthur J. Nash, production manager at Tiffany Furnaces, has the unique quality of appearing green in reflected light and amber in transmitted light. This innovation gives a dynamic quality to Tiffany''s lamps that proved to be a true unification of form and function. When lit, the amber of the "Dychroide" glass causes the green to perceptually vibrate, further amplifying the effect of radiation in the lamp. The network of threads was subsequently marvered into the glass and evenly iridized with gold metallic oxides in the top half of the lamp and platinum metallic oxides in the bottom half of the lamp. Gold metal oxides that transition into strokes of platinum metallic oxides were then painted o
bliquely around the form. The piece was then blown and tooled into a dome shape. Evidence that the glass was first iridized then blown can be found in the subtle craquelure of the iridescence towards the base of the lamp. The double iridization creates a high luster and an added depth to the piece. A comb with twenty-nine teeth (equivalent to the number of "Dychroide" glass trails) was evenly raked through the semi-molten glass. The combing was purposefully offset from the trails so that they could still be seen in the final wave pattern. The green trails without "Dychroide" threads transmit the most light, creating a vivid amber starburst pattern when lit. The lamp shade is surmounted by a cast bronze aperture ring with three ball screws and a liliform heat cap, terminating in a ball-shaped finial. The ventilation holes in the heat cap are subtly concealed by the five petals of the flower. The heat cap holds a light bulb and pull chain that terminates in an acorn pendant. The heat cap is supported on both sides by a harp with two component parts, a double ogee shoulder, and a single ogee base. The two parts of the harp are held together with a pin that allow the user to change the position of the light if they so wish. This mechanism is fitted with rosette motif side knobs that beautifully complement the liliform socket holder. The base of the harp splays into petals, connecting to the globular molding of a five-foot stem which swells, tapers, reswells, straightens, then reswells at the base. The stem is supported by five dartform feet. The cast bronze stem, harp, and base all have acid etched finishes giving them a red-speckled green patina. A similar base and shade are pictured separately in: "Tiffany Lamps and Metalware: An illustrated reference to over 2000 models," by Alastair Duncan, Woodbridge: Suffolk: Antique Collectors'' Club, 1988. Shade: p. 211, plate 827; base: p. 210, plate 821.
An 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.
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.
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