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.
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.
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 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).
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.
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.
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.
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