Personal collection of (mostly) fine jewelry from a variety of periods. Includes my favorites: eye miniatures and other miniature portraits, Stuart Crystals, demantoid garnets, superb turquoise Victorian jewelry, memento mori and other mourning jewelry.
Date(s): March 19, 2004. Album by Cathy Gordon. 1 - 687 of 687 Total. 21865 Visits.
1 Stunningly beautiful eye miniature pendant hand-painted on ivory surrounded by pearls and with a pearl bail. Expressive brown eye with rare peek at lady's hair. Back compartment with braided hair.
2 This eye miniature brooch is a wonderful painting on ivory of a woman's eye. Gold and pearls. Dated 1845.
3 Georgian eye miniature enameled mourning ring. Neo-classical design with two urns poised horizontally on the shank. The face panel has an outer rim of black enamel with finely looped gold inlay in a continuous pattern. The center chamber features a beautiful painted eye miniature. Inscription on the inside of the ring is too faint to read, but you can make out the date of 1817.
4 Side view of the ring.
5 View of the neo-classical urn.
6 Georgian period eye miniature mourning ring dated 1780. Courtesy of Lenore Dailey of Lenore's.
7 Side view of the ring showing fine enameling. Courtesy of Lenore Dailey of Lenore's.
8 Inscription: Lady Lucy Douglas Died 13th Feb. 1780 Age 28. Courtesy of Lenore Dailey of Lenore's.
9 Hand-painted blue eye miniature ring circa 1800.
10 Lover's eye pendant--hand-painted on ivory and set in 18K gold. C early to mid 1800s. Back of pendant has a compartment for hair. Chain is not original. I believe it to be French from the design of the frame. The reverse side opens as a locket and may have contained a lock of hair at one time. The pendent measures 1 inch long by 7/8th inches wide.
11 Combination pin/pendant lover's eye surrounded by pearls and with removable pearl bale, circa 1820. Back compartment with blond hair and inscribed: Anne Dodsworth Died Jan 13, 1876 Aged 75.
12 Eye miniature set in ivory patch box Georgian Circa 1790
Ivory patch box with rare full face eye miniature hand-painted on ivory framed by a band of rose gold.
Box is 3/3/4" x 1 1/4" and the portrait (which is superb) is 1 3/4" x 3/4". Hinged box has a velvet lined interior with a mirror inset into the lid.
13 Another photos of the patchbox.
14 Georgian ivory patch box with eye Circa early 1800s
Oval ivory patch box with an eye miniature painted on card.
15 Lover's eye painted on ivory. I think this is a man's eye. Back has replacement pin catch.
16 Lover's eye pin painted on ivory dated 1785 set in 18K gold. Inscription on reverse "OB 6 Mar 1785 at 53."
17 Pin in original leather box.
18 Box, showing size.
19 Lover's eye pendant of a woman's brown eye with a few soft curls framing it. You can see it is a large size from the quarter sitting next to it -- almost 1 inch across. It is beautifully painted with fine detail. It is uncommon to find an eye of this size. It is mounted under a beveled glass and set in a pendant mounting.
20 Lover's eye handpainted on ivory of a beautiful woman with a hazel eye, surrounded by brown curls. Mounted in gold shell pendant. Note the direction the eye will hang when worn.
21 Back of lover's eye pendant. Enameled flower and "In Memory Of." Engraved on the bottom: "Edw.d Lantsbery died 12th Oct 1849 aged 4 years." Engraved on the top (probably added later): "M Lantsbery died Dec 26th 1857." I assume M. Lantsbery is the woman in the picture.
22 Lover's eye C. 1820
Light blue man's miniature eye, hand painted on ivory, set in a yellow gold round pendant mounting, surrounded by wire strung seed pearls. Shows signs of an old repair on back. Suspended by chains from an added rectangular hair brooch, which is surrounded by split seed pearls. The hair pin has some separation in the metal on back. O rings have been added to the hair pin so it can be worn as a pendant.
Eeeww, cat hair in picture....
23 Lover's Eye Memorial Brooch c 1817
Rare Georgian eye miniature commemorating the death of the popular Princess Charlotte Augusta of Wales, only child of George IV, who died after giving birth to a stillborn child in November 1817. The miniature features the Princess's eye and a wisp of her hair, with clouds to the right. It is set under crystal in a gold and foil backed garnet frame and inscribed to the reverse ' Ps Charlotte'. It measures 1 and 1/8 inches by 1 and 1/8 inches and is in completely original condition.
24 Back of pin showing engraving.
25 Lover's eye miniature hand-painted on ivory surrounded by a double row of pearls. Brown eye of a lady with brown hair painted down the side of her face. Circa 1820.
26 Eye Miniature Portrait Gerald Sinclair Hayward (1845-1926), a Canadian miniature painter 1905
Late for eye miniatures, it is dated 1905 and is also quite unusual that it is a man's eye.
Each line of the face, brow, nose and complexion is worked in almost ultra realism. His blue gray eyes fixed to the side.
Also fascinating to note that the artist chose to border it with a surround of black paint, then actually paint another border which looks like tousled hair. The ivory is then set beneath glass and into a gilt metal pcture frame, with velvet back and small paper roundel. It is mounted at this point for hanging in a shadow box, or on a watch stand, but could be worn as well.
On the bottom are the initials "GSH" and the date of "1905". This measures just over 1 3/4 inches long by 1 3/8 inches across.
27 Close-up showing signature and date.
28 Next to a ruler.
29 Lover's eye Circa 1800
An enigmatic enamel eye in the overall eye shape referred to as a shuttle shape, used only for a few years around 1790-1800 or a touch later.
The enameled eye is surrounded by a row of pearls. It measures 1 1/16 inches long by 9/16 inches high, so is quite petite. It is set into rose gold. The eye is blue, with tiny lashes and detail down to the corner of the eye, and lifelike skin and all. A touch naïve and so personal.
Its condition is good, but not perfect as there are a few surface scratches on the eye. The pearls are a lovely gray green, all appear original although always hard to be certain. The hinge base has had a reinforcement with silver solder.
30 Another view of the enigmatic eye.
31 Georgian eye miniature ring Circa 1800, English
Beautiful lover's eye miniature painted on ivory in a tear-drop shape, surrounded by natural pearls.
32 Back of ring showing typical Georgian closed back setting.
33 Georgian eye miniature brooch Circa 1830
Round lover's eye miniature of a female blue eye with hair painted on ivory under rock crystal. Gold frame is enameled in white with natural pearls set in a wheel formation.
Ivory has a fracture and bail appears to have had work done to it or has been replaced.
34 Georgian eye miniature brooch Circa 1820s
Lover's eye miniature painted on ivory set in 18K gold enhanced by blue enamel. This lovely lady is a rarity due to her red-gold hair. A lock of hair is encased in the locket in the back.
35 Back of the eye miniature showing the lock of hair.
36 Lover's eye miniature pendant Georgian C. 1790
Expressive brown female eye miniature, watercolor on ivory, set in a modified heart motif surrounded by garnets.
37 Lover's eye miniature pin Georgian C. 1820s
Interesting kidney-bean shaped gold pin frame with a brown eye and curls painted on ivory.
38 Lover's eye miniature pin Victorian C. 1850s
Mourning eye miniature of a grey-brown female eye hand painted on ivory, mounted in a black enamel-trimmed brooch in a ribbon motif.
39 Garnet Pansy Necklace Georgian C. 1820
Wonderful Georgian necklace of closed back garnets set to resemble pansies. Necklace extender is a later add-on, but very skillfully done.
40 Close-up of the garnet pansies.
41 Necklace and bracelet of cabochon and rose cut Bohemian garnets, low karat metal, circa 1900. See 100 Years of Collectible Costume Jewelry, Lillian Baker, 1991 ed pg 29 and 30.
42 Back of garnet set showing construction.
43 French diamond necklace Circa 1870
18K yellow gold necklace made of curved links, each with a diamond at the hinge. The large centerpiece is mounted with 23 old European cuts and 46 rose cut diamonds (approx 3 crats). French hallmarks.
44 Back of necklace. The center section has a screw mechanism -- it comes off the necklace and can be screwed into a hair-clip.
45 Victorian bride's bracelets Circa 1870s
Gorgeous gold-filled pair of matching Victorian bangle bracelets. The body of the bracelets is woven top quality and in excellent condition. The ends are Etruscan Revival decorated with Victorian Bohemian garnets. Sometimes called bride's bracelets and hard to find as the original pair.
46 Victorian 14K yellow gold bangle bracelet with black and white enamel and a large oval garnet cabachon in the center.
47 Enameled and engraved gold cuff bracelet Georgian C. 1810
18K bracelet shaped in the form of a a shirt or coat cuff with an elaborate enameled "ribbon" on the top. Entire bracelet is beautifully engraved with perfect enamel.
48 Another view of the cuff bracelet.
49 Superb pique parure bought from Dinah Taylor. Unusual color for the tortoiseshell. Set is inlaid with abalone and sterling silver. Initials (possibly) AF. Ear wires are a replacement.
50 French Circa 1800
Hand-painted miniature on ivory of a mother mourning at the tomb of her infant. The sepia tones of the paint were often derived using macerated hair as a pigment. The willow tree leaves are bits of the baby's hair. Inscription reads: "C'est tout ce qui m'en reste." loosely translated as "This is all I have left." There are intertwined initials at the top of the tomb.
Some damage to the bottom of the painting.
51 Back of mourning pendant (so sad!) of an adorable child with wings and a background of clouds indicating heaven.
52 Portrait of a child in the clouds wearing a coral necklace, painted enamel on porcelain, 18 K gold, and rose-cut diamonds. C late 1800s. The porcelain base has had a lacquer coating to protect the painting. This is undoubtedly original. The painting is set in a silver frame on an 18K gold base and surrounded by 35 rose cut diamonds. The pin is original but I believe the clasp is a later replacement.
53 Portrait miniature of a child Circa 1900
The most beautiful child, hand-painted on ivory, with blond curly hair, blue eyes and wearing a coral necklace. Because there are clouds in the background, this is a mourning piece. The miniature is set in a yellow gold frame and can be worn as a pendant.
54 Handpainted porcelain miniature of child in the clouds Edwardian
Beautiful portrait of a little girl in her blue dress in the clouds. She is handpainted on porcelain, surrounded by graduated pearls with a central diamond at the top. Set in rhodium.
55 Portrait miniature of young girl C. 1900-1910
Adorable portrait miniature painted on ivory of a young girl holding a sterling rattle. She has a coral necklace and bracelet.
56 Handpainted miniature on ivory Circa 1900-1910
Young child in the clouds set in gold marked 9 ct, probably English.
57 Handpainted sepia miniature of 3 chldren Circa 1760
Three young children painted in sepia on ivory in original shagreen case. Based on clothing styles, circa dated to 1760. Just about 2" x 2"
58 Portrait miniature of a young girl Circa 1820s American?
This wonderful portrait on ivory came in a wooden frame, but I am going to have it remounted into a pendant. The painting is exceptional in its detail.
59 Lovely portrait of a young girl hand-painted on ivory, rose-gold frame, marked MJ and dated 179? at the bottom right of the portrait.
60 Portrait painted on ivory of a young girl, circa early 1800s.
The portrait is surrounded by braided hair and the back has sprays of the same hair glued onto alabaster glass with a small blue glass piece with seed pearls (at one time there were initials). Rose gold frame.
61 Hand painted miniature on ivory pendant brooch with 14 cushion-cut diamonds, 15 K gold, c 1890. (Streaks on bottom are glare from scanner.)
62 Stunning portrait bracelet of a young woman painted on ivory. 18K engraved gold, hinged cuff. Portrait is 1 3/4" x 1 1/2". Inscribed M.T. to J.B. 16th Sept 1851. Back has woven silk inset where a hair lock could go.
63 Another view of bracelet. Colors are fresh and pristine.
64 Side of bracelet.
65 Back of the bracelet showing silk insert and elaborate safety chain.
66 Portrait miniature on ivory. Inscribed on the side of the frame: Lady Harriet D'Orsay 1740.
67 Veiled lady potrait painted on ivory, circa 1880. It is mounted in a 14k brooch with pearls, black enamel accents, and with garland surrounding it. The C clasp has been repaired and some of the dangles have been replaced.
68 Back of veiled lady portrait.
69 Victorian hand-painted miniature on ivory of a lovely lady wearing superb jewelry: a pearl dogcollar with drop, pearl earrings, a large floral corsage and a hair ornament. Based on the clothing this is early Victorian or even Georgian period.
70 Georgian two-sided portrait miniature Circa 1780-1810
Portrait miniature painted on ivory and set in rose gold of a wealthy (but rather homely) young woman, wearing a fashionable gown in the high-waisted empire style.
71 Georgian two-sided portrait miniature Circa 1780-1810
Back side of miniature is a sepia and hair work picture with symbols of love -- constancy, doves of Venus tying a love knot, an alter offering of love, cupids, arrows & quiver.
72 Portrait miniature of a fine gentleman, hand-painted on ivory. This is from the Victorian era, but the subject is from the 1700s.
73 Another view showing the fine bale on the pendant.
74 A fine quality Georgian portrait miniature of a gentleman measuring 2 1/4 inches in height (actual portrait) and housed in the original gold frame with hairwork reverse. Dates to about 1805. The photos have made it difficult to distinguish his jacket from the background, but in normal light he wears a dark blue jacket, and the background is of the dark 'stormy sky' variety.
There's quite a lot to describe condition wise. The actual portrait is in excellent condition. The ivory is nice and flat and the colours are strong. There is one tiny area of paint loss at 5 o'clock near the very edge, probably where the portrait has shifted slightly in the frame. No chips or cracks. There are a couple of minor scuffs on the glass at 9 o'clock. Overall a very nice looking item from the front.
76 The reverse does look a little tired. There is the remains of the attachment pin at 12 o'clock which could easily be renewed by a jeweller. The worst problem is at 2 and 10 o'clock where another pin and catch plate have been removed. This has left the surface looking a little 'scratchy' and there are small traces of lead solder. The hairwork is basically intact although some of the gold wires and seed pearls have come detached. The hair and pearls are stuck onto opalescent glass with a foiled back which is cracked. I think that the wires and pearls could be re-attached quite easily, although again you would need a jeweller to dismantle the frame. If you did decide to do this, you could also find out if there was a signature on the back.
77 Close up of pearls and hair.
78 Georgian 15ct gold naval memorial pendant on ivory with lock of hair
A very rare Georgian naval memorial pendant unmarked but tested as at least 15ct gold. Possibly a memorial pendant for Nelson after the battle of Trafalgar in 1805 as the uniform is right as is the period and a very popular subject during this time. The pendant frame has a gold rope twist border and pendant loop to top with the reverse opening up to reveal a lock of brown and grey hair. The painting is on ivory with a naval officer in full uniform and a British man of war just in the background.
79 Close-up showing the man of war.
80 Stuart Crystal Portrait Pendant circa 1690s
Stuart crystals were first popularized in 1649, when Charles I, the martyred King of England, was executed under Cromwellian rule. Royalists wishing to show their sympathy for the fallen monarch would wear small slides set with the King's portrait underneath a faceted crystal, or a swatch of hair with the King's initials beneath worked in fine gold wire.
These earliest of "memento mori" jewels created a fashion among the aristocracy for memorial crystals of their own. These crystals were usually fashioned as slides to be strung through a ribbon, but were also made as pendants and earrings. Most Stuart crystals which survive today are of the slide variety.
This 300+ year old heart shaped Stuart Crystal Portrait Pendant has everything.
The front of the gold heart shaped pendant is topped by a rose diamond bow, which is set in silver, and covered by a multi-faceted rock crystal that reflects light b...
81 Another picture of the front.
82 The back of the heart is convex and engraved "Mon Coeur Toujours Fidelle"- roughly translated - "My Heart Always Faithful".
83 The best part is when you lift the heart shaped back and see the hand painted portrait miniature under convex crystal. It appears to be a young man, 25 to 30, wearing a wig and dressed in finery.
84 Another picture of the portrait.
85 Portrait brooch painted on ivory and set in sterling silver (marked 800).
86 Georgian navette-shaped brooch dated 1787. Hand-painted sepia miniature on ivory of a woman mourning at the tomb with an angel hovering above. Accented with dissolved hair, inscribed on the tomb: M.S. OB 9 OCT 1787 AE 23. G. Selleron inscribed on reverse. 9-10K gold mounting with cobalt blue enamel surround.
Enamel bow watch pin was purchased separately but matches perfectly!
87 Close up of pin.
88 Pendant of a hand-painted miniature on vellum of an army officer, Georgian period or early Victorian.
89 On the other side is a hand-painted sepia miniature on ivory of a maiden sitting in a garden. The ivory is cracked.
90 Portrait minitature on ivory "Friendship the Fountain of Love" c. 1860.
91 Sentimental scene of a woman and lamb, hand-painted miniature on ivory with gold-filled mounting. Hair is in the back. Circa 1800.
92 Sentimental hand-painted miniature on ivory of three doves on a pillar marked in French SACRÉ A L’AMITIÉ. 14K frame. Large size at 3" x 2 3/8". Circa 1800.
93 Victorian Circa 1840
Superb Victorian manor house, hand-painted on parchment and set in a 15 ct gold setting. The detail is fabulous and given depth as the edges are set higher than the middle of the picture. Heavy gold frame. Pin is 2 3/4" by 2".
94 Brooch of an enamel painting of a King Charles spaniel standing on a colorful blue rug, mounted in 14k, circa 1860.
95 Pin of an enamel painting of a spaniel on black glass with snake surround.
96 Back. Tube hinge, simple "C" clasp.
97 Reverse carved intaglio Male Yorkshire Terrier Circa 1860-1870
Erroneously called Essex crystals, reverse carved crystal intaglios, as many labor intensive processes, existed in their purest form, for only a few decades. First seen around the mid 1800’s, they faded out toward the turn of the century, and then transformed into a lesser variety of pressed glass as the new century progressed. Rock crystal is painstakingly carved out from the back in an image and finely painted. The back is then sealed with gold, or mother of pearl and when viewed from the front are miniature paintings in three dimensions. Finer pieces entail deep carving and realistic carving as well as superb painting with multitudes of color. You can often judge their value not only but their lifelike qualities, colors but if you turn them to the side, their striking depth.
Depicting a male Yorkshire terrier or possibly a cairn or skye terrier (complete with his blue bow around his neck), we have a ...
98 Reverse carved intaglio Female Yorkie Circa 1860s-1870s
Here we have an irresistible Yorkie or Yorkshire terrier dog. She is one of two purchased together and seem to have been a pair. The female is unadorned, but with a pert lively expression typical of the real animal’s character. Her ears are pointed and alert, and her fur and coat are rendered with charcoals, browns, whites and gold. She is even a snaggle tooth or biting her little pink tongue which stick out slightly from her mouth. Precision carving and painting demarcate individual hairs around the face and neck. Perfectly smooth, the cabochon rock crystal is in mint condition with no chips or scratches (other than very tiny surface wear expected with age). The crystal is set in 15k gold plain bezel and then within a twisted gold border. The pendant has an additional and possibly later oval ring to allow a chain to fit with more ease.
Measuring 7/8 inches across by 3/8 inches deep. Taking up the entire depth...
99 Reverse carved rock crystal intaglio 1915
Reverse carved rock crystal intaglio of a bulldog wearing a spiked collar, mounted on a 14 K gold riding crop. Engraved on the back: "MW from MI Dec. 23 -15"
100 Reverse carved rock crystal intaglio bluebird on a gold stickpin. Some damage to the crystal.
101 French bangle circa 1870. 18kt gold with a central plaque of two young lovers, handpainted enamel on ivory. There is amazing cutwork in a number of levels, four pearls and taille d'épargne enameling in elaborate patterns.
103 Side view of the bangle.
104 Taille d'épargne enameling on the bangle. This type of enameling was popular in Victorian times, in which black enamel was used to fill patterns incised against a background of gold onto which a repeated pattern had been engraved.
105 Victorian mourning bracelet. Celluloid cuff with vulcanite motif.
106 Victorian mourning bracelet, back.
107 Victorian garnet comet pin.
108 Halley's comet watch pin with pearls. Circa early 20th c.
109 Niello silver cross with original matching bail with finely detailed geometric pattern. The cross is fabulous and is 2 /34" long, 1 3/4" wide and 1/4" thick. Marks are unfamiliar--see next two pictures.
Niello link long watch or muff chain, laternating with rose gold overlay links. Large niello spring ring.
110 Niello cross marks -- one direction.
111 Niello cross marks -- rotated 180 degrees.
112 Demantoid garnet and pearl pendant necklace with elaborate clasp in 15K gold. Came in original leather presentation box, marked Mallett, The Octagon, Bath. Circa 1890. -------------------- Twenty-eight years after it was discovered in 1868, George Kunz, was in the Ural Mountains of Russia, demantoid’s prime source, buying every piece of demantoid rough he could find. Kunz, on leave from Tiffany’s where he served as the store’s chief gem buyer, was financed by banker/tycoon J. Pierpont Morgan, an avid gem collector. For more than a decade, Kunz had been a devotee of the Russian green garnet, so much so that Tiffany’s made more extensive use of the gem than any other jewelry store of the age. Thanks to Kunz, demantoid achieved, and still retains, an importance far disproportionate to its availability. “Maybe one in every 10,000 pieces of Victorian jewelry used demantoid,” says jewelry historian Joseph Gill. ”Yet you’d never think how little of it there actually wa...
113 Pin/pendant of demantoid garnets and seed pearls. Marks are SB&SLD and 9 CT. Also some hand-scratched initials. Use of 9 CT means British. Two references to the maker's mark, but nothing found so far on them.
114 English -- Art Nouveau Circa 1900
Demantoid garnet and seed pearl necklace set in 18 ct gold. These are particularly fine demantoids, both large and a brilliant green color.
115 Demantoid figural swallow Circa 1895
Swallow brooch of demantoid garnets set in14K rose gold with ruby drop. Russian hallmarks.
116 Back of brooch. Clasp has been replaced.
117 Georgian (c. 1820s) slide watch chain with swivel hand.
118 Hungarian silver gilt parure (necklace, bracelet, earrings and ring) with faceted amethyst glass stones in several sizes. Supposed to be circa 1870s. Came in original box which is labeled Hungarian Jewelry Gellert Budapest IV Naris Bazar 1. All pieces have maker's marks: B GK and a hallmark: a dog's head used for silver and silver gilt jewelry between 1866 and 1937.
119 Back of Hungarian parure.
120 Hungarian silver gilt bracelet with sapphires (large stones), pearls and blue glass. Marked with Hungarian dog's head.
121 Victorian pendant (probably mourning jewelry) consisting of three onyx graduated circles, each with tiny seed pearls surrounding a mine cut diamond and a matching bar pin. Both pieces marked 14K.
Vauxhall glass quiver with arrows. To quote Terri Carl: "Red (ruby) glass was made by adding gold to the glass formula (actually gold chloride --you can't just drop a piece of gold in, because it wouldn't integrate.) It doesn't turn red, though, until the glass is heated a second time -- the lovely pieces of English and American Victorian art glass that are amber or clear or blue that shades into ruby are just reheated at one spot rather than all over."
In researching Vauxhall glass, one reference indicates it refers to a special kind of mirrored-back glass jewelry that was first made at Vauxhall in London in the 1770s, and continued in production through the 1830s, echoing the popularity of paste jewelry of the same era.
Another reference refers to Vauxhall glass being a sideline of a mirror factory in the Vauxhall region of London. Dawson Bowles & Co. was located near Vauxhall Gardens in London and were glass makers from Venice.
123 Back of quiver.
124 Vauxhall Glass earrings Circ 1850s
Superb pair of earrings in the wonderful red color. From Roger....
125 Back of earrings.
126 Victorian circa 1870-1880
Pavé-set small Persian turquoise cabochons were used extensively both in the 1840s and then, in the 1870s.
Superb turquoise necklace with motifs of hearts, flowers with pearl centers and birds (with ruby eyes), originally gilt over silver. Marked 800D.
127 Close-up of the central motif. Notice the varying colors of the turquoise indicating its age.
128 Victorian turquoise silver bangle with bird and flowers. Marked 900.
129 Persian turquoise bird brooch in gold and with a ruby eye.
130 Victorian Circa 1880
Set of ivory bracelets and matching belt each with a buckle motif. Strung on elastic (elastic has been replaced!).
131 Serpent with turquoise stones Victorian c. 1845
Sir Hiss! Isn't he splendid?? A bangle bracelet in the form of a serpent (undying love to the Victorians).
Serpent bangle is entwined with its tail wrapping underneath and around in front of the head. It has hundreds of pave set natural turquoise cabochons set in silver and backed with a gold wash. There are a couple of replacement stones.
Finely detailed metalwork holds rose cut diamonds that decorate the serpent's head and surround the tear drop shaped turquoise stone in the center. Ruby cabochon stones are used for the eyes and are collet set in yellow gold.
There are no hallmarks. Serpent came in a Russian box.
132 Another view of Sir Hiss.
133 Victorian serpent bracelet Circa 1840s Serpent bracelet with Persian turquoise and rose diamonds inset into its head, cabochon garnet eyes, turquoise cabs in tail, 18K yellow gold bangle. Probably English.
134 Top view
135 Side view.
136 Victorian serpent bracelet Circa 1840 18K yellow gold snake bracelet with blue enamel, seed pearls and garnet eyes, with a blue enamel, gold and seed pearl drop hanging from its mouth. The underside of the drop contains hair beneath a crystal.
This bracelet came in its original formed box.
137 French enameled serpent bracelet Victorian C. 1860s-1870s
Beautifully enameled gold serpent bracelet set with opals and ruby eyes. Diamond tongue. French hallmark.
138 Victorian serpent necklace Circa 1840s
14K serpent necklace with cabochon garnet inset into its head and with a gold garnet-set heart drop in its mouth.
139 Serpent Necklace Circa 1840
15K gold with scale-like links and semi-precious stones set on the head and the heart-shaped charm.
140 Close-up of head
141 Side view showing fangs.
142 Heart charm has a hair momento set under glass. Glass is damaged.
143 Cut-steel bracelet Victorian c. at least 1850 or later
An ornate cut-steel bracelet with a raised oval central rosette.
Cut-steel pieces were manufactured starting in the early 1700s, but much of it dates from the middle of Queen Victoria's reign. Accoding to Anne Clifford, in her book Cut-Steel and Berlin Iron Jewellery, there isn't any literature, such as pattern books or advertisements so dating is imprecise. The jewelry is not marked, but it follows the fashions of the time.
144 Close up of the central motif. the cut-steel studs are made of steel (duh!) and were formed with minute rivets protruding from the back of each stud. The tops of the studs were faceted and polished, then set into metal, often at angles in order to catch the light. The studs rust, but this bracelet is in almost perfect condition.
145 Back of the bracelet showing construction. Thin sheets of metal, often brass, low grade silver alloy or even tin, were cut into shapes which were then covered with densely packed studs. The studs were secured to the base plate by the minute rivets protruding from the back of each stud. This particular design is made of several base-plates, with interlocking faces, adding to the richness of its appearance. You can see a small "girder" of metal holding the different base-plates together.
146 Another picture of the construction. In general appearance, cut-steel jewelry can look very much alike to marcasite jewelry. The easiest way to tell them apart is in the mounting, as cut-steel studs are never mounted (as with marcasites), but always rivetted into place.
147 Sterling bulldog watch pin with ruby eyes.
148 Victorian watch pin Circa 1895
Watch pin with wings and crown, pearls and turquoise stone.
149 Watch charm of natural pearls and 14K gold.
150 Victorian two-color hairwork necklace with cross. The same hair in tiny braids is inserted into the cross with four pearls in the center. In very good condition except for one repair at top.
151 Victorian hairwork watch fob. Hair is in perfect condition. Some enamel missing on the metalwork on the right. Initial on the fob is an "M".
152 Victorian mourning brooch in gold and enamel with center section of braided hair under glass. Written around the glass--In Memory Of. On the back, signed CM OB 27 March 1845.
153 Two cameos
154 Backs of cameos
155 Dragon bracelet and sash pin with topaz glass.
156 Victorian sash or kilt pin--lion holding clear stone in mouth with metal claws.
Gold and silver have been used to create beautiful jewels since ancient times. During the Edwardian era of the early 1900s, platinum became a metal of choice among fine jewelers. But for a brief period there was a fourth precious metal ..... aluminum!
In the 1850's and 1860's aluminum was a fashionable new metal. First introduced to the public at the 1855 Exposition Universelle in Paris, aluminum was celebrated as a scientific marvel and became an instant fashion sensation. Often combined with high-karat gold, aluminum was crafted into ornate bracelets and brooches. This miracle metal was lighter than silver, did not tarnish and could be beautifully engraved. For a few decades, no fashionable woman's jewelry wardrobe was complete without a few pieces of shiny aluminum.
Then, in 1886, new methods of mass producing aluminum were invented an...
163 Close up of the glasses holder showing the blue velvet liner.
164 Aluminum brooch with attached chains to hold the glasses case.
165 Back of the case and brooch.
166 Back of the brooch.
167 Micromosaic of a spaniel and duck C. 1820-1830s
A superb micromosaic of a water spaniel flushing a duck from the reeds. Set in a 18K gold frame, the pin is 2 1/2" by 2" (the black glass and mosaic section is 2" x 1 3/4". The tiles are curved in order to create the fluid lines in the dog's fur and the reeds.
Perfect condition and it came in its original box.
168 Another view, taken with a flash.
The best book on micromosaics is "Micromosiacs" by Jeanette Hanisee Gabriel,the curator of The Gilbert Collection, and published by Philip Wilson Publishers Ltd in 2000.
She describes in great detail how these works of art are made, with the earliest recorded micromosaic created by G. Raffaelli in 1779. Titled "The Doves of Pliny" it had square or rectangular tesserae set in parallel rows, and little atempt to follow contours. By the 1820s, artists attempted to create greater naturalism by varying the angle at which the tesserae was set, as well as using graduated colors to induce more dimensionality. Gaps became more limited, but were filled with appropriately colored wax. Clemente Ciuli is considered the master of sculptural modeling, creating imitations of marble statues, with the mosaics executed en grisaille.
The most extraordianry artist with animals is Antonio Aguatti, who worked from 1810 until his death in 1846. &nbs...
169 Back of mosaic showing gold mount and black glass.
170 Floral micromosaic and millefiori brooch in blue glass C. 1850s ?
A lovely micromosaic bouquet with the surround and pin in back in at least 14K gold.
Apparently, blue glass was used in earlier micromosaics than those with the black glass surround.
Millefiori (literally, 'a thousand flowers') is the method in which different colored glasses were fused together to create a single cane with the same pattern throughout. The canes or threads of glass were arranged vertically, side by side, in the desired pattern, heated until they fused, then pressed together to remove air from between the threads. The resulting cane was pulled to the required thinness and sliced to produce slivers of uniform design.
Check the bluebells on the top. They are tulip shaped millefiore with lighter and darker blues and yellow insides. The flowers that look white aren't. They are millefiore and two different types. One has a blue cen...
171 Back of the micromosaic showing the blue glass pattern.
172 Micromosaic bracelet, flowers and birds C. 1870s ?
Micromosiac bracelet with black glass plaques and a variety of flowers and birds. Flowers have some millefiori tiles. Gold surround and links.
Not in my possession right now, so can't measure the tiles....
Click on "original size" to view a close-up.
173 Reverse carved rock crystal intaglio pin of a pheasant Victorian
174 Victorian Etruscan Revival tiger brooch.
I love it, Rene!
175 Victorian micromosaic bracelet spelling SOUVENIR. It is damaged, but very unique and lovely! Thank you Carolyn!
176 Other end of SOUVENIR micromosaic bracelet.
177 Gold enameled bow watch pin Georgian
18K gold watch pin with turquoise enamel. Interesting because the hook for the watch is in the front (at the 6 o'clock position).
178 Ivory patch box Circa 1790
Ivory patch box with a (nonworking) counter surrounded by rose gold.
179 Pink tourmaline and diamond gold bangle Circa 1890
4 carat bezel-set pink tourmaline bangle with fine gallery work accented with rose cut diamonds and triple split skate blade gold work.
180 Side view.
181 Gold watch pin with rubies and diamonds Victorian
Lovely Victorian watch pin in 18K gold with a crown and inset diamonds and rubies. 7/8" x 1 1/4"
182 Wedgwood enameled festoon necklace Circa 1890
Festoon necklace with three black and white Wedgewood plaques surrounded by blue guilloche enamel inset with white leaf sprays, all set in silver, and with pearls in the chains.
183 Close up of the Wedgwood plaques.
184 Parure of imitation turquoise and clear paste Circa 1840 - 1850
This museum quality suite includes a necklace, pendant cross, two bracelets, and a pair of earrings of imitation stones in gilt metal. The necklace has oval imitation turquoises, rimmed with colorless pastes, all in open back settings. A similar necklace can be seen in "Antique Paste Jewellery" by M.D.S. Lewis, color plate opposite page 72, as well as in Brilliant Impressions, An Exhibition of Antique Paste and Other Jewellery by Diana Scarisbrick, page 45.
The imitation turquoise may be odontolite, which is fossil bones, teeth or tusks of fossil animals, such as mammoths, that are either naturally or artificially stained blue or greenish blue by hydrous phosphates of iron. The use of this material in jewelry of this time period is mentioned in "Jewellery The International Era 1789-1910" by Shirley Bury, page 374.
185 Back of necklace and bracelets, showing clasps.
As can be seen in the picture, the backs of the turquoise stones in this set are a light neutral color.
186 Back of cross and earrings.
187 Jack Russell terrier painted on porcelain Victorian 1883
Gold bar pin of painted terrier by British portrait artist William Bishop Ford (1832-1922). Ford, known for his superb portraits of dogs was a pupil of WM Essex whom he assisted for 10 years. He painted in enamel on porcelain, copper, and gold.
188 Mourning ring with hair and diamonds Georgian Dated 1732
Early Georgian English mourning ring, most likely 15K gold. On the top is a rectangular crystal under which is the hair of the decedent. Flanking the crystal are a pair of old diamonds. Along the shank are five enameled areas marked as follows: A HAGAR OB 10 OCT 1732 AET 34.
189 Top of ring showing crystal and diamonds.
194 Watch pin C. 1890-1900
14K gold watch pin with pave pearls and wings with center diamond.
195 Watch pin C. 1890
14K gold watch pin wings and crown set with pearls.
196 Foil-backed paste and Persian turquoise pansy necklace Georgian
197 Close up of the flowers.
198 Back of the necklace
199 Necklace clasp
202 Memorial ourboros pendant for Elizabeth Ann Petrie Georgian 1828
Georgian memorial pendant with wrapped hair and seed pearls surrounded by enamel serpent with diamond eyes. The serpent depicts an ourboros, from the Greek - a serpent devouring its tail. The ouroboros symbolises the cyclical nature of the universe : creation out of destruction, life out of death, the cycle of eternal renewal.
Engraved inscription on back:
Hair belonging to Elizabeth Anne, the beloved wife of Henry Petrie Esq. & the eldest daughter of E.J. Glynn Esq. of Glynn Cornwall, who was married July 7 1818 and died deeply lamented at Dunkin Hall Lancashire September 13 1828 aged 38, four days after giving birth to a daughter still born; and has left issue two sons Henry born August 17th 1821 and George Glynn born September 4th 1822.
203 Portrait miniature of a young girl Watercolor on Ivory Victorian, dated 1847
204 Micro mosaic brooch of St. Peter's Square Victorian C. 1840s
Very fine oval micro mosaic set in black glass and surrounded by a 14K mounting. Scene is of St. Peter's Square with its two fountains and central Egyptian obelisk from Nero's Circus. Sky is changing from blue to dusk. Red-coated Vatican Guards in the foreground. Very fine tesserae showing curved glass, a skill developed in the 1830s. Size of micromosaic: 1 7/8" wide x 1 1/2" tall. Overall size: 2 5/8" x 1 7/8". In original box, but cannot make out jeweler's name.
205 French Egptian Revival demi-parure C. 1870s
Substantial 18K gold pendant and earrings incorporating many significant Egyptian motifs in fine gold work and detailed enamel. Carved hanging scarabs. All pieces marked with French hallmarks and E. Phillippe maker's marks.
206 Cross of the Portuguese Order of Christ 18th century
Silver set with foil-backed garnets and colorless crystals known in Portugal as minas-novas. According to Lewis, the Portuguese rarely, if ever, used paste. See M.D.S. Lewis, Antique Paste Jewellery plates 18 and 22. Bail is not original.
207 Back of cross.
208 Gold and turquoise snake necklace Victorian Circa 1840
14K gold, Persian turquoise and gem-set snake necklace, the head pave-set with turquoise cabochons, ruby and diamond accents completed with flexible links resembling scales.
Mixed metal chain, 65 inches long, of 14K rose gold and platinum. Close-up.
212 Rose Gold and Platinum chain C 1915
Mixed metal chain, 65 inches long, of 14K rose gold and platinum.
213 Eye Miniature Pendant Circa 1830-1840
Magnificent miniature of a blue eye painted on ivory surrounded by brown curls and covered by a raised crystal. The entire piece is approximately 1 1/2" across; cannetille gold set with Persian turquoise and garnets with a pearl set in the pendant bail; compartment in the back is for hair, though empty; painting is incredible, much finer than most and very representative of Henry Bone.
214 Close up of the eye.
215 Back of eye pendant showing hair compartment.
216 Stuart Crystal clasp 1708
Extraordinary Stuart Crystal clasp attached to a ribbon (not original) and used as a bracelet.
The amazing scene depicts a cherub (or putti) on a bench with an anvil. He rests his elbow on a skull. The word "Hope" is underneath as well as the initials JC in gold wire thread. The background is tightly woven hair.
217 Back of the clasp. Marked:
JC dyed 20 June 1708 Aged 31
218 Picture of bracelet showing size.
219 Stuart Crystal slide -- Queen Mary of England Circa 1690s
Large gold slide of Queen Mary of England set with her cypher and with a gold crown held by cherubs. The crystal is surrounded by Scottish pearls.
220 Another picture of the Queen Mary crystal.
221 Back of the Queen Mary slide -- the Tudor rose in gold.
222 Stuart Crystal -- Memento Mori of a Skeleton Circa 1688?
Large Stuart Crystal brooch set on the diagonal. A full skeleton is painted in enamel on tightly woven hair. It holds an hourglass and a bone. The gold wire cypher appears to be the initials B W and below them it appears to say Oct (or At?) 88. The crystal is surrounded by Scottish pearls set in gold.
223 Unusual back to the skeleton crystal, painted in white enamel with paisleys, perhaps some initials. Pin stem is a later addition.
224 Stuart Crystal Memento Mori skull Circa 1680
English Memento Mori ( Remember you too will die) memorial jewelry slide. High carat gold containing woven hair on pink silk, an enamel skull and bones, gold wire border and cypher 'A C' set beneath faceted rock crystal.
225 Back of skull slide
230 This page from a Sotheby's catalog is shown in Vivien Becker's book, Antique & Twentieth Century Jewellery on page 95. "Five examples of the painted eye miniature, one kidney-shaped, another excircled by a gold serpent. From the Heckett Collection." Sold at Sotheby's in 1977.
I believe that my kidney-shaped eye is from this collection.
237 Eye Miniature pendant Georgian C. 1790
Blue eye hand-painted on ivory under rock crystal with foiled garnets and white enamel marked IL DON DE L'AMITE.
Pendant is hinged at the top and there is an compartment on the back.
Some damage to the enamel and rock crystal.
238 Cut steel butterfly pin Victorian
239 Cur steel earrings Victorian
240 Halley's Comet pin C 1860
Rose cut diamond set in 14K gold with black enamel.
241 Regimental brooch Victorian Dated 1869
Brooch consisting of 2 tiger claws with 14K gold ends, centered above is an elephant with a howdah on a blue enamel background in white and yellow gold. Between the claws is a fine reverse carved rock crystal intaglio crystal painting of a tiger. Above the elephant is a white enamel ribbon inscribed with three Indian battles: Amboor, Assaye, Ava
Inscribed on the back: inscription: From WC to SC In remembrance of the many happy years passed in the old 10th Reg't M.N.I 2nd Feb 1869
(MNI=Madras Native Infantry)
242 Moonstone and diamond brooch that converts to a hair ornament.
245 Blackamoor brooch set in silver with enamel and surrounded by garnets; coral stone in his turban. Victorian Circa 1860s
246 Grisaille enamel and cut steel button.
247 Grisaille enamel and cut steel button.
250 Early 18th c gold chain with emeralds and rose diamonds. Married with a Spanish triple section cross set with emeralds and rose cut diamonds c 1770
254 Back of cross. At one point, a small metal bar was added (see center of the cross), but it was removed by Sonja Webber.
255 Gold earrings with emeralds, beryl and diamonds Spanish C. 1770-1780
256 Back of earring
257 Eye Miniature painted on ivory Georgian C. 1790
Blue eye miniature hand painted on ivory under ovoid rock crystal with foiled garnets and pearls frame, hinged at the top, surmounted by a pearl-set flower motif and bail. (see pg 35 Romero 3rd)
258 Back of eye locket
259 Grisaille enamel, onyx and seed pearl brooch Victorian
Brooch of a cherub (painted en grisaille) driving a chariot drawn by a butterfly, flanked by seed pearls and onyx panels. 14K gold with both pin and watch hook.
260 Micromosaic (Vatican quality) depicting bird on chariot pulled by butterflies set in Etruscan Revival gold frame marked J.COLA. Giacinto (Jacinto) Cola was a mosaicist active in Rome in the beginning of the XIX century and listed as one of the best ( Domenico Petochi: I Mosaici Minuti Romani dei secoli XVIII e XIX
Circa early 1800s.
264 Memento Mori ring dated 1747
A superb mourning ring, enameled in white with symbols of mortality engraved on the 5 panels. The center is set with a faceted rock crystal enclosing an enameled skull.
The ring is inscribed on the inside: Fr Dickenson Arn.(?) ob. 13 Nov 1747 at 46 Maker's mark MC
265 Top of the ring showing the skull.
266 The winged hourglass -- fleetness of life, mortality.
267 The coffin or pall -- mortality, mourning.
268 Pick and shovel -- gravedigger's tools -- death, mortality.
269 Skull and crossed bones -- Death, crucifixion.
270 Crown -- Glory of life after death.
271 Inscription: Fr Dickenson
272 Inscription: Dickenson Arn.(?)
273 Inscription: ob. 13 Nov 1747 at 46
274 Inscription: Maker's mark MC A friend looked up these initials in the Goldmsiths book and it appears to be a London maker, Matthew Cooper.
275 Vermeille 800 sterling earrings with coral grape clusters
276 Lavender enamel with seed pearls watch pin
277 Eye miniature handpainted on ivory Georgian C. 1800
Gorgeous blue eye with brown curls set in gold. Approximately one inch in diameter.
278 Back of eye miniature.
281 Eye Miniature Mourning Ring Georgian Circa 1800
Blue eye miniature on ivory painted in the clouds with black enameling on the surround and shank. See Georgian Jewellery by Ginny Reddington Dawes, pg 164.
283 Another view of the eye.
284 Side view showing enameling.
285 Back of ring.
286 Amuletic Stuart Crystal -- Lord's Prayer English Dated 1692
Stuart Crystal slide, dated 1692, with a ground of royal blue enamel, gold wire and plaited hair, overlaid with a miniature version of the Lord's Prayer, written by hand on a tiny disc of paper less than one centimeter in diameter, all set beneath a cabochon rock crystal.
This slide measures 3/4" x 3/4". There is some loss to the blue enamel and there is a 19th brooch fitting to the back with the original slide fittings removed.
287 Detail of the Lord's Prayer
Designed to demonstrate the astonishing skill of the calligrapher, the writing is barely decipherable without the aid of magnification.
Miniature writing samples of this type showed the characteristic 17th century interest in scientific experiment and technical virtuosity. Masters in the art trained for seven years to develop their calligraphy skills in miniature. Such pieces held more than curiosity value, as religious inscriptions were often held to protect the owner against misfortune.
A similar example, in a ring, is in Case 20, Religion and Ritual, in the Enlightenment Gallery of the British Museum. Evidently considered a remarkable piece early in its history, it was acquired by Sir Hans Sloane, whose collections became the foundation of the British Museum in 1753. It is the only example of this work in the museum.
[Text written by Michele Rowan, rowanandrowan.com]
288 Horned Helmet shell cameo in a high-carat gold mount, circa 1840. The cameo is after a painting by Joseph Severn in Rome  of the mischievous sprite Ariel, from Shakespeare's The Tempest, riding on a bat's back.Though not signed, the cameo is identical in material, subject and style of carving to Cameo No 84 in Tommaso e Luigi Saulini by De Petra and Barberini.This is a cabinet collection piece, not deisgned to be worn, but to be viewed in its presentation case from the eminent London jewellery retailer Joseph Heming. The cameo measures 5 cm by 4 cm [ 2 inches by 1.5 inches]. There are light stresses in the ground of the shell on this well executed cameo of a charming subject.
292 Painting by Joseph Severn -- "Ariel on a Bat"
303 A photo of an enameled slide from the book Joyaux Renaissance published by J. Kugel, Plate 131
Caption from book:
Plaque: Memento Mori France vers 1630 Or émaillé H. 24 mm; L 33 mm
La plaque rectangulaire à angles amortis présente en son centre une tệte de mort en appliqué en haut-relief de trois quarts devant deux os entrelacés sur fond noir semé de larmes blanches. La plaque est encadrée d’un motif de cordelière ajourée formant des tresses et des “lacs d’amour” alternés émaillés en blanc et noir (manques). Le revers présente un contre email bleu turquoise orné de l’inscription “Atan L’heure”
304 Opal necklace with foiled backing set in 14K gold Victorian
305 I have never seen this subject on a Stuart crystal slide before, cannot find the same in any reference books and consider it to be extremely rare. A plump slide, circa 1680, with vivid blue enamel ground, depicts Cupid, having shot his arrow through a lover's heart, above a leaping stag -a visual pun, as Cupid has shot a heart above a hart [male stag]. Below the scene is the motto 'Varreste Love' a corruption of the Latin verb voliere, meaning 'to be worthy', hence the motto is 'worthy of love'. The scene is set under a facteded rock crystal to a border of foiled table-cut garnets and river pearls. The reverse is as exquisite as the obverse, enamelled in a pink, black and white botanical design much favoured in the 17th century. A later gold brooch fitting has been added to the original slide fittings. The whole measures 3 cm by 3 cm [1 and 1/4 inches by 1 and 1/4 inches]. There is slight discolouration on the enamel motto but the piece is in amazingly good ...
311 Bog Oak Irish Harp with Shamrocks Victorian
312 Austro-Hungarian enameled and gilt bracelet. Marked with a dog's head and 3P (1837 – 1933)
313 Close-up of the Austro-Hungarian bracelet. Stones are (tested as) emeralds, glass and (faux?) pearls.
314 Stuart Crystal slide. Marked 90 (1690)
Woven hair with gold sawtooth bezel under faceted rock crystal.
315 Back of slide marked "ob June 9 90"
325 Long gold guard chain, 15 K, probably english Georgian circa 1820
326 Victorian moonstone and enamel link bracelet
329 Tortoise shell necklace. Scanner did some weird stuff with some of the pieces (the ones that appear to be striped--nope, don't have stripes).
330 Portrait brooch of a lady. Supposedly painted on ivory and tests 14K but I can't find any marks.
331 Ivory pin of a dove and flowers, marked Crystal Palace. The Great Exhibition of 1851 in London was conceived to symbolize the industrial, military and economic superiority of Great Britain, and was held in the Crystal Palace.
332 Russian nielo brooch. Marked 84 with a left-facing head and some initials that look like HC, but probably aren't. I suspect this was a belt buckle as the clasp has been added.
333 The mark on the right is an example of the stamping on the niello brooch. Moskow 1896-1908 from assayer Ivana Sergeevicha Debedkina (Postnikova-Loseva #3878)
334 Superb 7-strand hairwork bracelet with 16K gold clasp. Three different styles of braiding. Circa 1850s.
335 Back view of hairwork bracelet showing different braid styles.
336 Miniature portrait of cat set between two agate slices Georgian
Hand-painted cat, reverse painted on agate, mounted in gold.
337 Eye miniature Georgian C. 1790
Hazel eye miniature painted on ivory surrounded by garnets with hair in compartment on the back.
349 Vulcanite cameo
351 Demantoid garnet earrings Circa 1900
Back to front earwires.
352 Hummingbird mounted in gold pendant Victorian Circa 1870s
Pristine example of a piece of jewelry I find rather sad -- a real hummingbird's head mounted in a superb Etruscan revival pendant/brooch. The beak is gold and it has pearl eyes.
353 The Victorian fascination with jewelery in forms of flora and fauna extended to the use of fauna itself, as in the case in this brooch made from the head of a hummingbird. Hummingbird jewelery was exhibited at the London International Exhibiiton of 1872 by the the firms of Ward and Co. and A. Boucard : 'Birds and insects have been utilised and treated as personal ornaments by A. Boucard. As specimens of beautiful colour one can scarcely see anything better than this.'
The hummingbird on this gold brooch has the typical gold beak added, scarlet head feathers and an iridescent amber throat. It is set to a gold bar with foliate and pearl decoration. The brooch is 5 cm [2 inches] long, the bird is 3.2 cm [ 1 and 1/4 inches] across and stands 2 cm [3/4 of an inch] high. A rare item of the Victorian taste for the naturalistic in jewelery, in excellent, undamaged condition. For similar see Colour Plate 90, page 372 in Jewellery The International Era by Shirley Bury.
354 French (or in the French style) Amatory Brooch c. late 1700s
Navette-shaped brooch with a blue enamel background and a seed pearl bouquet and with a blue and white enamel surround.
355 Victorian long chain 18K 68" long
356 Close-up of links.
357 Long Victorian 15K chain, 60" with "paperclip" links and wheels in center.
358 Close-up of links.
359 Rose-cut diamond and Persian turquoise fringe necklace, rose gold French c. 1870
360 Close-up of necklace.
361 Serpent bracelet wiht turquoise C. 1840
14K w/ scale-like links, head stones are set with turquoise and garnet eyes.
362 Portrait miniature pendant Victorian c. 1870
Profile of young woman, watercolor on on ivory, with hair comb, lace collar, set in rose gold.
363 Portrait miniature brooch Victorian
Miniature on ivory, young girl with ringlets, earrings, chain, 14K, initials on back CEF to AF.
364 Victorian 18K short chain w/ added swivel hook
365 Close-up of links.
366 Mourning pendant Georgian
Miniature on ivory, typically in sepia tones, this is unusual as it is a colored mourning scene, two women at tomb with gilt, dated 1790-1837, lock of hair in back.
367 Back of pendant.
368 18th Century Rococo Flat-cut Garnet Necklace Circa 1760
Lovely flat-cut garnet necklace in the Rococo manner, circa 1760, of vibrant almandine garnets foiled cherry-red and set in silver closed- back settings. The necklace consists of foliate and floral cluster panels with a central stylized flowerburst. The necklace is 42 cm [16.5 inches] long and the flowerburst center measures 4 cm by 3.2 cm [ 1.5 inches by 1 and 1/4 inches]. In wonderful bright condition, except for a small chip to one garnet and three old patches to silver reverse.
369 18th Century Rococo Flat-cut Garnet Necklace
back of necklace
370 Acrostic "Dearest" bracelet Georgian C. 1820
Lovely gold Georgian link chain with stamped stars with an elaborate clasp set with gems spelling "dearest." Diamond, emerald, amethyst, ruby, emerald, sapphire, turquoise.
371 Clasp with gems.
372 Cut steel link bracelet C. 1820s-1840s
373 Blackamoor seal Georgian Circa mid-18th c.
Carved hardstone blackamoor or Nubian seal with diamonds and garnets. The bottom has not been carved.
374 Side view of seal.
375 Another view showing true color of head.
376 Foiled garnet necklace set in gilt copper Circa 1750
An early garnet necklace set in closed gilt copper settings.
377 Necklace of hand-painted cherubs in gold on a black background Georgian circa 1790s
See Georgian Jewellery pg 37 top for a necklace with similar chains.
378 Close-up of cupids -- each is different.
379 Vienna tourmaline and diamond bracelet C. 1900
14k yellow gold bracelet with Vienna hallmark, old European and rose-cut diamonds with a central rectangular cut tourmaline.
380 Side view of bracelet.
381 Blackamoor parure (necklace, bracelet, earrings) set in silver gilt, enameled. Victorian
Some repairs, replaced clasps and ear wires
382 Enameled pendant with large cabochon garnet center Victorian
383 Victorian hummingbird brooch Circa 1860-1870
A hummingbird head perched on a gold arrow which appears to be piercing his breast, the arrow is two inches long. Gold covered bill and garnet eye. The bird himself is 1 and 1/4 inches long and 3/4 of an inch wide.
384 He has a slight bald spot, perhaps from wear.
386 Coral and diamond necklace Victorian
The coral is a splendid color, much more pink than orange.
387 Portuguese gold mourning watch key Circa 1780
Obverse set with a sepia on ivory miniature of two hands joined over a burning flame inscribed amor firme [love fixed or set or unending] and surrounded by the most delicious foiled chrysolites. The key measures 2 and 1/4 inches [total length], the panel is 1 and 1/2 inches in length and it is 1 and 1/8 inches wide.
388 Back of Portuguese watch key
The reverse has a center ivory plaque set with tiny flowers made from hair and seed pearls and is surrounded by a twist of plaited hair under the crystal. the reverse again set with foiled chrysolites.
389 Georgian Sterling Long Chain Circa 1820
The long chain, with plain or decorated links, was a quintessential item of Georgian jewelry. The rarest of these chains are in silver, far more predominant are the gold or pinchbeck versions. This Georgian silver long chain, circa 1820, is made up of large, plump textured belcher links interspersed with bars worked in the filigree fashion. The ornate barrel clasp is studded with turquoise.The chain is 117 cm [46 inches] long. The filigree bars measure 1 and 1/8 inches by 1/4 inch and the round belcher links measure 1/4 inch by 1/8 inch [across their fronts]. The chain is the most wonderful muted steely color, a patina achieved over time. A rare and impressive Georgian silver long chain in immaculate condition.
393 Victorian period French banded agate cameo carving of a bacchante, female follower of Bacchus, 3 strata carving, with enameled surround and pendant bale. Pin stem and bale are removable.
394 Cameo with its original 18 ct snake chain.
397 Fringed pendant with cabachon garnet and diamond star Victorian 18 ct.
398 Gold chain Victorian circa 1880
9k gold chain. Unusual chain with pierced out star design links.
399 Clasp and detail of links
400 Gold fringe brooch with central emerald and pearls Victorian
401 9 ct gold muff chain
402 Glass sulphide stickpin of horse and rider -- 18 ct.
403 Rose gold chain
404 Tiger's eye and 18 ct gold brooch Victorian
405 Berthon Family Mourning Miniature Dated 1793
A beautifully executed sepia and watercolor on ivory miniature, under a domed crystal and set to a gold and enamelled brooch, originally a clasp, dated 1793. A female in classical dress mourns at a tomb with four initialled urns. The tomb is set under a weeping willow with a ground of pulverised hair. The brooch is inscribed to reverse : Daniel Berthon Esq Obt 13th Aug 1793 At 30.
The Berthon family were a French Huguenot family who came to London in the early 18th century and became vastly wealthy. The four urns in the scene commemorate the deaths of four members of this family.
The urn initialed PB refers to Paul Berthon, who died in London in March 1743 and whose will was 'translated out of French'. The urn initialed IPB refers to Isaac Berthon who died in May 1747 and left his cousin Anne Berthon a bequest of £1000 in his will. The urn initialed AB refers to the same Anne Berthon [date of death unknown]....
408 Hummingbird brooch Victorian C. 1870s
Ruby-Topaz Hummingbird (Chrysolampis mosquitis) head set to a high-carat gold brooch of crossed arrows. More often found in gilt-metal mounts, such items were exhibited at the London Exhibition of 1872,a natural extension of the fashion for hummingbird cases of taxidermy ubiquitous in the Victorian house. 'Birds and insects have been utilized and treated as personal ornaments by A.Boucard. As specimens of beautiful color one can scarcely see anything better than this.' An interesting example of Victorian zoomorphic jewelery. For similar see p.372 Jewellery The International Era by Shirley Bury.
411 Sentimental brooch with rose cut diamond surround French c. 1780s-1790s
Sepia miniature of a lovely young woman twining a floral garland around a tree. Tiny paper flowers are scattered throughout with a pale rose colored paper ribbon surrounding the standing figure and tiny flowers under curved glass. Miniature is set on foiled backing. The word 'Gage' at the top is French for 'token' as in 'gage d'amour' - token of love. Gold frame.
412 Amethyst and gold swag necklace c. 1890s
Intricate gold (14K) necklace set with large amethyst stones (3 ovals and 5 teardrops together with 3 pearls.
414 Portrait miniature of Captain John Hutt Frederick Buck (1771-1840) C. early 1790s
Captain John Hutt (1746-1794) of the Royal Navy wearing the undress uniform of a captain, c. early 1790s with blue enamel, hairwork, and initials J.C.H. on the reverse. Hutt commanded the HMS Queen at Lord Howe's victory over the French at the Third Battle of Ushant on the Glorious 1st of June 1794. He lost his leg in combat and died of his wounds on 30 June 1794. He was memorialized by a large monument at Westminster Abbey and commemorated in an engraving by Francesco Bartolozzi.
Frederick Buck was born in Cork where he worked as a prolific miniaturist of decent skill. During the Pennisular War, Cork was a major port of embarkment, and he kept numerous ivories readied with red coats painted so that he need only add the head and regimental details of his sitters as required. This miniature is in great condition, single crack to enamel. Size: 2.75" X 2"
415 Reverse of Captain John Hutt miniature
416 Portrait Miniature E. Taylor 1827
Portrait miniature of an English gentleman signed by "E. Taylor 1827." Silver frame with black enamel band, hairwork in back.
E. Taylor 1802-1830
Born in London, he was also a goldsmith and a jeweler and exhibited at the Royal Academy in 1825. He probably crafted this silver brooch with the black enamel band specifically for this miniature.
421 Pave Persian turquoise bracelet Victorian c. 1860s-1870s
423 Pave turquoise pansy brooch Victorian
424 Portrait miniatures of Mr. and Mrs. Ramsford Pierre Pasquier Jr. French c. 1830
Porrait miniatures of Mr. and Mrs. Ramsford, watercolor on card, circa 1830, signed "Pasquier," and housed in silver metal cabinet frames.
Portrait of Mrs. Ramsford with mourning inscription for her son, "Chas. Ramsford/ob./19 Apl. 1843/Aet. 3." In excellent condition. Size: Both 3.5" X 3"
Signed by Pasquier Thought to be the son of miniaturist, Pierre Pasquier, an excellent well know miniaturist from Paris. Worked in France from 1810-1835. Exhibited at the Paris Salon from 1822-1833.
428 Pinchbeck Long Chain C. 1820
Lovely plump Georgian pinchbeck guard chain, circa 1820, an alloy of copper and zinc, with a design of circles impressed into fine sheeting and almost seamlessly joined together. The chain is 115 cm [45 inches] long and each round link measures 1/4 inch by 1/4 inch, with integral barrel clasp. Immaculate condition.
430 Georgian silver link chain bracelet c. 1820
Silver bracelet consisting of mixed pattern links (smooth and textured with an integral ornate barrel clasp.
431 Ivory toothpick box with small gold nailheads
432 Iridescent glass stickpin of a skull
433 Side view of the glass skull
434 Portrait miniature locket Circa 1790
Miniature of a young girl, hand-painted on ivory and set on a background of hair. A lamb below her is made of tiny seed beads (damaged). Set in a 15K navette-shaped mounting with blue and white enamel surround.
435 Repaired portrait miniature Work done by Jerry Litmer of Wiebold Studios
437 Reverse carved intaglio of a spaniel or setter with gold surround of a dog collar.
438 Carved moonstone baby in bonnet. Circa early 1900s.
439 Carved moonstone face ring Circa early 1900s
Hand-carved moonstone ring with two side diamonds set in 14k. Hallmarked.
444 Shell cameo set in original case Circa 1830-1840
Necklace, brooch and day-and-night earrings, cameos set in high carat gold. Cameos on necklace from left to right:
- Omphale (queen of Lydia, married to Hercules with the pelt of the Nemean lion on her head) - Cupid and Psyche - Victory - Dying Adonis with dog - Hercules Earrings: butterflies, symbolic of Psyche Brooch: Medusa
Earrings are 3 3/8 inches long and about 1 inch at the widest. Brooch is 1 7/8 by 1 5/8. Necklace is about 18 inches.
Largest cameo on necklace is 2 1/8 by 2 inches. Smallest cameo is 1 3/4 by 1 1/4.
446 Dark shells are Bull's Mouth and the lighter ones are Horned Helmet.
447 Armillary Sphere Ring c. 1780
Amazing gold ring circa 1780, of interlocking hinged hoops which unfold into a miniature armillary sphere, with a crystal covered bezel containing a lock of hair. The interlocking hoops are concealed when the ring is closed. Armillary spheres were used to show the movement of the planets around the sun, but the ring would not have been usable as such and illustrates the interest in science common in the 18th century.
For other examples, see Victoria and Albert Museum Collection Number M.368-1923, Plate 96A in Oman's British Rings and No. 193 in Scarisbrick's Historic Rings.
451 Georgian Gold Long Chain c. 1820
A superb example of a Georgian long chain in two toned high carat yellow and lemon gold, circa 1820.
Designs with this degree of intricacy took weeks to make. The chain is composed of long pierced bar links, alternating with textured gold loops holding intricate gold pierced balls. The clasp is a stylised dolphin's head set with turquoise and garnets. It is 94 cm [ 37 and 1/4 inches] long, each bar links measures 2.5 cm [1 inch], each textured section measures 3 cm [ 1 and 1/8 inches] and the clasp is 3 cm [ 1 and 1/8 inches] long.
454 Aluminum and gold long chain Victorian C 1880
A long chain, circa 1880, of oval plain and textured aluminum links, interspersed with gold links and set to a large barrel aluminum clasp. The chain is 95 cm [37.5 inches] long and each link measures 1/4 inch by 1/4 inch and the barrel clasp measures 3/4 of an inch by 3/4 of an inch across the front. A rare surviving aluminum chain in immaculate condition.
458 King George I Mourning Ring Dated 1727
A silver, gold and black enamel ring set with a skull under crystal, dated 1727, commemorating the death of King George I.
George I [1660-1727] was spectacularly unsuited to rule England. From Hanover, he spoke little English and was ridiculed for this by his subjects and for his succession of German mistresses, which earned him the nickname Geordie Whelps. He divided his time between England and Hanover and died at Osnabruck in 1727.
This ring, in memory of the King, is silver, enameled in black with the words Pour Le Roy [for the King] and GR with a crown. The bezel is set with a table-cut rock crystal containing a skull on a white ground. The back of the bezel is rayed, in gold and the band is inscribed within : GR obt 11 June 1727 aet 68. The ring is size L and 1/2 [US 5 and 7/8] and the band is 1/8 of an inch wide. I cannot find another example of this ring in any reference book or collection. There is some enamel da...
459 According to an expert in London, this ring is a Royal household piece, i.e., it would have been given to a member of the King's staff, such as an equerry, as a memento of George. Very few such rings would have been made, as George I was not a popular king and thus there was not a huge souvenir market after his death [as was the case for Princess Charlotte etc.] for the general public. The expert said he has never seen such a ring before and it is incredibly rare.
467 Marked on the outside: "Sacred to the Memory of a Dear Mother" and on the plinth: "Cath. Gilbert Ob 1778 Agd 48" There is an elaborate engraved cipher on the back.
This locket was passed down through the generations to the eldest daughter of the family. It comes from an ancestor related to Sir Humphrey Gilbert, half-brother to Sir Walter Raleigh. Sir Humphrey Gilbert (1537-1583) was issued the first charter for a system of colonial governance in North America by Queen Elizabeth on June 11, 1578. Gilbert, a supporter of the Northwest Passage, was committed to permanent settlement in North America and annexed Newfoundland in 1583. He died at sea on the return trip to England. He was the father of several children, among whom were John, Bartholemew and Raleigh Gilbert, all of whom were interested in the settlement of America.
468 Medusa Agate Intaglio
The Medusa intaglio relates in style and material to a 2nd century BC work in the Hermitage collection (inv.# 623). The carving style and the lapidary character of the "blank" cause this work to be attributed to the late 17 century, European origin. The intaglio is older than the mounting which is third quarter of the 19th century
469 Carved moonstone harlequin stickpin Circa 1890-1910
Carved moonstone stickpin of a harlequin face, black enamel hair and reticulated collar of diamonds and a ruby.
471 Hummingbird with silver wings, tail and feet Victorian Circa 1870s
472 Child holding basket of white roses, strawberries and cherries
Possibly by Mrs. Moses B. Russell (Clarissa Peters) (1809-1854)
Characteristics of Mrs. Russell's work from a description of a child holding cherries:
These include the hatched striated background, here a blend of brown, blue, and yellow that creates an eggshell-like color, although Mrs. Russell also favored gray green, and purple backgrounds. The skylike opening gives the work an atmospheric effect and creates the illusion of depth, counterbalancing the flat features of the subject. The eyelids and irises are heavily outlined, making the eyes the most prominent facial feature. By contrast the mouth seems pinched, set off by small marks at each corner with a shadow below the lower lip. Upon close scrutiny one can see that the hairs of the eyebrows are individually delineated as are the fingerails. The large head and broad forehead, as well as the fine line that separates and disti...
473 Aluminum and gold long chain Victorian Circa 1880
A long chain, circa 1880, of oval plain and textured aluminum links, interspersed with gold links and set to a large barrel aluminum clasp. The chain is 95 cm [37.5 inches] long and each link measures 1/4 inch by 1/4 inch and the barrel clasp measures 3/4 of an inch by 3/4 of an inch across the front. A rare surviving aluminum chain in immaculate condition.
Aluminum, when first discovered in the nineteenth century, was classed as a precious metal. Items of aluminum jewelery were displayed at Great Exhibitions, reflecting the Victorian fascination with this lightweight silver-white metal.
475 Agate cameo of a bare-breasted woman Circa 1590s Italian
A finely carved agate cameo circa 1590s with a later blue, white and black floral enameled mounting (circa 1600s). The gold surrounding mount has been clearly made for the cameo. Enamel loss to the mount. See photo of similar cameo in Christie's auction picture.
477 SILVER, GOLD, OBJECTS OF VERTU, RENAISSANCE AND LATER JEWELS Lot 218 Christie's auction - June 15, 2004
Description of cameo at 3:00 position (not marked with lot number, but from lot 218)
An oval agate cameo depicting the bust length profile of a woman with elaborate coiffure, her robe slipping from her shoulder exposing her right breast, in a later gold frame with openwork scrolling border decorated with blue and white enamel floral and foliate motifs, cameo possibly late 16th century, 4.0 cm, some enamel loss.
480 Portrait miniatures of six children French? Circa 1760s
These children appear to be from the same family. Lovely portrait miniatures with three girls and three boys, all with powdered hair.
Suggestions on country have been French, Irish, Scandinavian.
481 Portrait of Duc de Berry Jean Baptiste Jacques Augustin Circa 1820
Portrait of the Charles-Ferdinand, Duc de Berry (1778-1820) by Jean Baptiste Jacques Augustin (1759-1832), a leading French painter.
(b Saint-Die, Vosges, 1759; d Paris, 1832). French painter. After receiving instruction in art from Jean Girardet (1709-78) and Jean-Baptiste-Charles Claudot (1733-1805), he went to Paris in 1781, where he won recognition as a miniature painter. The miniatures he painted in the 1790s, for example his portrait of Mme Vanh?e, n?e Dewinck (1792; Paris, Louvre), are among his most animated works; often portraying figures in a landscape setting, they develop the exuberant style of Niclas Lafrensen and Peter Adolf Hall. He also admired the work of Jean-Baptiste Greuze, whose Bacchante (Waddesdon Manor, Bucks, NT) in his own collection he copied in miniature (London, Wallace) and in enamel (Paris, Louvre).
During the French Revolution he traveled to Brittany, Swi...
482 Mourning Portrait Miniature French? Circa 1820
An exquisite enamel miniature of a young girl, circa 1820. The hint of dark clouds and rose-cut diamond wings denote it as a most poignant mourning piece for a young child. It measures 1 and 1/8 inches by 1 and 1/3 inches and is immaculate.
Possibly by Jean Baptiste Jacques Augustin? See prior picture for reference.
485 Caroline of Brunswick acrostic ring Circa 1820
Most rare ring, circa 1820, in support of Caroline of Brunswick [1768-1821], Queen Consort of King George IV.
Though the King despised his wife, she was popular with the British people and also had many supporters of noble rank. George wished to divorce Caroline for her alleged adultery with an Italian manservant whilst traveling abroad, though he himself had many mistresses. The King insisted a bill be put before parliament to dissolve the marriage. The debate over this bill lasted for over three months and was effectively a most public trial of his wife. Eventually the bill was defeated but on the day of the coronation, Caroline was refused entry to Westminster Abbey - the door was literally shut in her face. Poor Caroline died two weeks later, she seems to have relinquished the will to live. On her coffin, a gilt plate was affixed with her own epitaph - here lies Caroline of Brunswick, the injured Queen of England. ...
487 Pinchbeck long chain Georgian
42" pinchbeck long chain with embossed stars and an elaborate clasp with foil-back amethyst paste stones.
488 Pinchbeck chain clasp
489 Pinchbeck chain links showing stars
490 Pinchbeck chain and elaborate clasp
496 Emerald and diamond ring Circa late 18th century or more recent(?)
Emeralds and old cut diamonds set in silver and gold. French import marks used with non-treaty countries (Owl-gold) and swan (silver) used from 1983-1990. Another mark looks older, but is poorly stamped.
499 Gold long chain with 15K plain rounded links Circa 1830-1835
46" long with possible replaced clasp
505 Gold long chain with bright cut stars Georgian Circa 1830
15 ct 48" long in fitted box
508 Hummingbird on sterling leaf Victorian Circa 1870s
513 Garnet parure Circa 1830
Parure of foiled almondine garnets with closed backs set in 15K yellow gold. Brooch can be hung from the central element of the necklace.
514 Parure came in its original fitted box.
515 Portrait miniature pendant with chrysolite (chrysoberyl) frame Portuguese Circa mid to late 1700s
Double-sided portrait miniatures set in a clock key frame. On this side is a man with powdered hair sporting a fancy tied cravat. The surround is a border of foiled sea-green chrysolite stones. At the bottom of the frame, the winding mechanism has been removed.
516 Portrait miniature pendant with chrysolite (chrysoberyl) frame Portuguese Circa mid to late 1700s
Obverse of the pendant, a lady with an aigrette hair-ornament and a necklace with a bow. Surround is a repeat of the foiled chrysolite stones.
517 Memorial Ring for Major Francis Peirson -- Hero of the Battle of Jersey Dated 1781
A white enamel and gold mourning band of unusual ridged construction, dated 1781. The ring is historically significant, inscribed: In Memory of Major Fra. Peirson Died at Jersey 6 Jan 1781 Ae : 24.
Major Francis Peirson, born in Yorkshire, entered the British army at a young age and rose to the rank of major by April 1780. On January 5th 1781 he was stationed in Jersey, when a French army landed on the island and marched on the capital, St. Helier. The young major led the British defence and at the moment of British victory Peirson was killed by a musket ball through the heart. He was immediately avenged by his black manservant, Pompey, who killed the major's French attacker. Peirson became a posthumous hero, akin to Nelson, for his heroic actions and for saving England from a humiliating defeat at the hands of the French. Poetic epitaphs were published in periodicals throughout the ...
523 Portrait of Major Frances Peirson
524 His death was immortalised in a painting by the American artist John Singelton Copley in 1783. His painting, The Death of Major Francis Peirson In The Battle of Jersey now hangs in the Tate Gallery London and when it was first exhibited in 1784 crowds turned out to view it.
Perison was buried with full military honours on Januray 10th 1781 in the church of St. Helier. The coffin plate on his tomb is inscribed ;
The remains of major Francis Peirson, who by his courage rescued the island of Jersey from the hands of a rapacious army on the 6th day of January 1781, are here deposited. He fell at the head of his conquering troops in the 25th year of his age.
525 Reverse carved rock crystal intaglio brooch of a West Highland White Terrier (?).
526 Gold link bracelet with padlock clasp Georgian
527 Bracelet clasp turned into a brooch Georgian Circa 1825
Georgian bracelet clasp with a large pink topaz center stone, surrounded by chrysoberyls and Persian turquoise.
530 Cobalt blue enamel and pearl serpent necklace with unusual 18K link chain Victorian
532 Reverse intaglio stickpin of a tabby cat Circa 1890 English
Rare reverse intaglio crystal of a tabby cat, surrounded by rose-cut diamonds, set in 15K gold.
533 Unusual small link gold long guard chain Georigan Circa 1820.
The yellow gold belcher links are textured and embossed with gold stars, with an integral textured hand clasp set with a ruby and diamond. The chain is 47 inches in length, the links are 1/8 of an inch wide and the clasp measures 3/4 of an inch by 1/4 inch.
537 Archaeological Revival Gold Beads Victorian Circa 1870
High-carat gold bead necklace, circa 1870, the hollow beads overlaid with corded gold wire decoration. This fashion was inspired by archaeological discoveries during the 18th and 19th centuries and reflected the classicizing of taste during the period. This type of work, based on Etruscan models, was technically extremely difficult to achieve. These beads are unusually large in size and strung on gold chain to an integral clasp. The necklace is 15 and 1/4 inches long and the beads graduate in size from 2/3 of an inch to 2/3 of an inch at the front to 1/4 inch by 1/4 inch at the back. Immaculate condition. For similar see Bury, Jewellery The International Era 1789 -1910, Volume 2, color plate p. 147.
540 Amethyst and Chrysoberyl brooch Georgian Circa 1825-1835
Large 18K gold two-tier brooch with faceted oval amethyst in the top surrounded by chrysoberyls set in gold foliate surround. Bottom drop is a teardrop-shaped amethyst cabochon with chrysoberyls. Bottom pendant can be removed. Closed back setting -- stones may be foil-backed.
541 Back of brooch -- some dings to the gold.
542 Banded agate, amethysts and enamel pendant Carlo Giuliano Circa 1860-1870s
Fabulous polished, banded agate cabochon surrounded by amethyst cabs and white and green enamel. Signature Giuliano black and white enameled dots. A young girl's portrait and blond hair are in a compartment in the back. 18K gold. Fitted leather box -- label is faint but you can see: Giuliano, 15 Frith Street, Soho Square London.
The Sotheby's catalog for the Castellani and Giuliano auction of the Judith H. Siegel Collection says in its notes:
Carlo Giuliano (c. 1831-1895) moved to London from his native Italy in about 1860. It is now understood that he accompanied Alessandro Castellani to London with the intention of managing a branch of the latter's firm in Frith Street, Soho. ... The Giulianos are most famous for their Renaissance inspired jewelry decorated with polychrome enamels and set with diamonds and colored gemstones, often carved en cabochon.
543 Pendant in its original leather fitted box.
544 Reverse of pendant showing the fine gold work and a portrait of a young girl surrounded by blonde hair.
545 Fitted leather box -- label is faint but you can see: Giuliano, 15 Frith Street, Soho Square London.
546 Witches Heart brooch Circa 1780-1820
Unusual witches heart of cobalt blue glass surrounded by white enamel inset with diamonds. Locket enclosure on back.
547 Back of witches heart.
548 Gold convertible chain Victorian Circa 1870
Elaborate Victorian chain that can convert to two bracelets, a dog collar or as a 20" long chain. Links are 1/2" in diameter.
549 Sterling chain and locket Victorian Circa 1880s
Lovely wide sterling chain and etched locket with portrait of young boy inside.
550 Turquoise necklace China Circa late 1800s-early 1900s
Lovely necklace of matrix turquoise cabochons surrounded by smaller turquoise set in silver. Marked China on the clasp.
551 Silver metal brooch with handmade compass set in a glockenspiel Victorian
An interesting piece! The brooch on the top has a raised anchor surrounded by etched branches and with a ribbon marked "Hope Ever". It is highly likely that this brooch was added and not original to the piece.
Hanging from the brooch is a metal glockenspiel (lyre) surrounding a hand-marked magnetic compass. Dangling from the glockenspiel are a tuning fork, a tassel and the striker.
What is this? Where might it be from?
552 Close-up of the bottom part.
553 Brooch top.
554 Mark on the swivel hook. Rearing horse?
556 Black micro-bead chain Victorian
Mid 19th century woman’s mourning long watch chain in micro glass beads. It is 90” long with its original gilt brass hardware.
The piece is constructed of 1.5 MM micro glass beads woven to create a round 5 MM cord that is 90” long. There are literally thousands of beads in this necklace. We cannot find any missing. It is soft and pliable- showing no damage to the beadwork. The hardware is in perfect order with only lots of patina.
557 Close-up of the watch chain mechanism
558 Cameo family portrait Attributed to John Nicholson c. 1845
Cameo family portrait c. 1845 by John Nicholson of Dorking, "Cameo engraver in Ordinary to Her Majesty Queen Victoria and H.R.H. The Duchess of Kent". Nicholson exhibited at the Royal Academy in 1848 and 1850 and likewise contributed to the Art Manufactures Exhibit of the Society of Arts organized by Henry Cole in 1848
559 Cameo Profile of English Gentleman Attributed to Richard Cockle Lucas (English 1800 - 1883) c. 1820
560 Eye of God sepia hairwork pendant Circa late 1700s
Pendant (with added pin stem) representing the allegory of love features a hairwork altar with two hearts aflame pierced by Cupid’s arrow beneath the eye of Providence on ivory and surrounded by beautiful cannetille work.
561 Maternal allegory possibly the work of Charles Hayter (1761-1835) Circa 1795
A full color miniature that otherwise resembles sepias in their visual and thematic composition. This watercolor on ivory miniature, circa 1795, represents a mother with her son, dressed like Gainsborough's "Blue Boy," and daughter, dressed like Lawrence's "Pinky," resting on a bench in an Arcadian landscape.
562 Gentleman's silhouette from a pair painted on ivory John Miers (fl. 1760-1810) Circa 1800
Pendant with two silhouettes painted in ivory, signed "Miers" under the truncation. John Miers was the master of delineating the finely detailed diaphanous features of clothing.
563 Lady's silhouette from a pair painted on ivory John Miers Circa 1800
564 Portrait miniature on ivory -- Officer of the 1st Royal Dragoons Richard Crosse Circa 1770
A portrait miniature in excellent condition, with the paint retaining excellent color (as reds tend to fade). Watercolor on ivory of an officer of the 1st Royal Dragoons, set in gold, with a braided brown hair surround and with braided blond hair set in the back.
Richard Crosse (1742–1810) was a leading English painter of portrait miniatures. He was a contemporary of John Smart, George Engleheart, Richard Cosway and William Wood. Richard Crosse was, like one of his sisters, completely deaf and never able to speak.
Crosse began painting as a hobby, as was the fashion amongst the gentry. At the age of 16 he won a premium at the newly created 'Society for the Encouragement of Arts, Manufactures and Commerce' (the Society of Arts) in London. He then moved to London and, like Richard Cosway and John Smart, he studied at the new drawing school of Wi...
565 Back of Crosse miniature with braided blonde hair.
566 Portrait miniature of a gentleman in a blue coat Attributed to Richard Crosse Circa 1770s
Portrait miniature of a gentleman in a blue coat with gold buttons. Watercolor on ivory and attributed to Richard Crosse. This was originally a bracelet clasp but it has been converted to a pendant.
567 Portrait miniature on ivory, probably representing Miss M. Wilson John Opie (1761-1807) Circa 1805
A beautiful portrait watercolor miniature painted on ivory, probably representing Miss M. Wilson with hairwork and foil backed blue enamel with gold initials, “M.W.”
The miniature is signed “Opi-,” the signature being partially erased by a small spot of water damage along the bottom edge of the ivory.
From Kyle Karnes: The miniature bears Opie’s characteristic rendering of female faces, especially the penetrating eyes and soft shading. Her mouth is delicately modeled with lips slightly parted, as if she is about to speak, which gives the painting a sense of character and spontaneity. Opie primarily painted in oil on canvas, and since he rarely painted in miniature, few examples of his hand in this medium exist. In fact, Foskett incorrectly stated that it remains uncertain as to whether or not he painted miniatures. However...
568 Back of the portrait miniature showing elaborately braided blond hair and cobalt glass with gold cipher initials "MW".
569 Portrait miniature of Ann James Powele (1811-1833) Sir William John Newton 1833
Portrait miniature of Ann James Powele (1811-1833)of Punfunon, Radnor, Cheshire, signed on reverse, "The Late Mrs. David Powele/ Wm. J. Newton pinxit (painted) /Miniature Painter in Ordinary to Their Majesties/ 6 August 1833/ A Duplicate."
David Powele was the first son of a father by the same name and Margaret Lewis. He was born on 18 March 1807 at Brocho, Radnor, Cheshire and died on 19 December 1854. David Powele and Ann James married in 1832. Ann died a year later at the age of 22, probably due to complications in child birth.
This miniature is a mourning duplicate of an earlier (probably matrimonial) miniature also painted by Sir William John Newton c. 1832. Newton exhibited at the Royal Academy and the British Institute from 1808-1863. He was appointed miniature painter to William IV and Queen Adelaide in 1833, and painter to Queen Victoria who knighted him in 1837, t...
570 Mourning miniature Joseph Adolf Schmetterling dated 1803
Elaborate mourning sepia miniature on ivory composed of macerated hair in two colors. Central plinth with initials CL. The trees are incredible! Two colors of hair in the back. Signed JA Schmetterling / 1803 on the front.
571 Mourning sepia on ivory Dated April 10, 1791
Detailed mourning sepia with mourner dressed in classical garb, a weeping willow, urn, chopped hair ground, and inscription on the plinth, “DANL. LEGATE JUN. OB: 10TH April 1791.”
The cameo-like portrait medallions surrounding the memorial were a popular addition to cemetery monuments in the 1790s. The spirit of Daniel Legate reclines wrapped in clouds above the mourner and next to the inscription on the upper left edge, “WEEP NOT FOR ME.” The reverse composed of a hairwork ground covered with tiny gold stars.
572 The reverse composed of a hairwork ground covered with tiny gold stars.
573 Pinchbeck bow chain Victorian Circa 1840
Continuous long chain in the form of large, hollow stylised bows, circa 1840. The chain is made from pinchbeck - an alloy of copper and zinc. It is 44 inches long and each bow measures 1 and 2/3 inches by 1/3 of an inch.
576 Gold necklace converted from belt India Circa 1800 - Moghul period
Incredibly fine and heavy necklace -- 22k gold and 220 grams. At some point, it was a belt and then cut-down to a necklace. Chain is most likely from Southern India -- he chains themselves are described as being knitted - they are all hand made by twisting wire and after being constructed it is then pulled through a draw plate.
Due to the significant trade via India, it is possible this was Sri Lankan, Persian or Turkish. Fred Rezazadeh's book, Collectible Silver Jewelry, page 171, shows a very similar belt, with a maker's mark in Persian.
579 Gold long chain with open work and pearls Circa 1800
580 Gold long chain with open work and pearls Circa 1800
581 Portrait miniature -- young woman with spectacles Attributed: Mrs. Moses B. Russell, nee Clarissa Peters Circa late 1840s, probably Massachusetts
A lovely portrait miniature, watercolor on ivory, of a young woman with spectacles. Wire-rimmed eyeglasses frame her blue eyes, a lace wrap is held closed with a jewelled clasp, and the rose color of her cheeks is mirrored by the small flowers that adorn her loops of braided hair.
582 Scarab beetle necklace Circa 1870s (?)
583 Micro-mosaic floral brooch Italian Circa 1840-1850
Lovely floral micro-mosaic floral brooch set in black glass and in high carat gold frame.
584 Handpainted sepia brooch Circa 1790s
Sepia painting on ivory with woman and plinth marked "Friendship", hair in back.
586 Memento Mori Skull Pendant Sicilian (?) Circa mid 1700s
Fabulous memento mori skull pendant carved from coral, probably Sicilian, mid-18th century. The well-modelled skull has a rose-cut diamond serpent entwined around it, symbolic of death and eternity. It is 1 and 1/8 inches in height, with a circumference of 3 and 1/4 inches.
590 Portrait Miniature ring - young Napoleon French Circa 1800
A portrait ring, Paris, circa 1800, of Emperor Napoleon Bonaparte, [Napoleon 1st of France]. Twice emperor of France, his military endeavours and sheer force of personality dominated Europe for a decade. The portrait is unusual in that it depicts the young Napoleon during his period as First Consul of France [1799 - 1804]. Napoleon used rings bearing his effigy as a means of securing loyalty and as a reward for services rendered. The portrait is watercolour on ivory under crystal, set to a tapering gold ring mount, depicting Napoleon in military attire. It is size P [US 7 and 1/2]
594 First Consul Bonaparte, oil on canvas, c. 1802 by Antoine-Jean Gros:
595 Portrait Ring -- Maximilien Robespierre French Circa 1790
A rare portrait ring, Paris, circa 1790, of Maximilien Robespierre [1758 - 1794], French lawyer and politician and author of the 'Reign of Terror'. The events of the French Revolution were marked by rings worn by those who supported it and those who opposed it. Following the execution of Louis XVI in 1793, control of France passed to the Committee of Public Safety, of which Robespierre was a member. He rapidly became the dominant force on the committee. The Reign of Terror lasted from 1793 - 1794 and estimates of how many people were sent to the guillotine range from 16,000 to 40,000. Robespierre's autocracy and ruthlessness made him increasingly unpopular and on 28 July 1794 he and 21 of his closest supporters met their fate at the guillotine. This portrait of Robespierre is watercolour on ivory, under crystal and set to a tapering gold ring mount. He is depicted in fashionable dress of the day...
599 Portrait de Maximilien de Robespierre Ecole Française Musée du Château de Versailles
600 Miniature Telescopic Ring French Circa 1820
A French gold ring, circa 1820, which pulls open to reveal a so-called Galilean telescope with a combination of a convex or converging lens and a dispersing lens.
Designed as 'toys' or amusements for the wealthy, these miniature telescopes were found hidden in fans and perfume bottles as well as in pieces of jewellery. A pendant with telescope is in the British Museum and a similar ring is in the Koch collection.
602 The smaller lens fits below the larger lens.
605 Portrait miniature on ivory Joseph Adolf Schmetterling Circa late 1700s-early 1800s
606 Portrait miniature on ivory Joseph Adolf Schmetterling Circa late 1700s-early 1800s
607 Portrait miniature on ivory Joseph Adolf Schmetterling Circa late 1700s-early 1800s
608 Portrait miniature on ivory Joseph Adolf Schmetterling Circa late 1700s-early 1800s
609 Cameo of Minerva in battle armor Victorian Circa 1870
Finely carved Queen Conch shell cameo of Minerva (Athena), goddess of War and Wisdom. She wears a dragon-plumed helmet bearing an image of her father, Zeus and the aegis, a goat-skin shield with the head of Medusa to ward off evil. Cameo frame is 14K gold.
Queen Conch shell is a rarer material for cameos and has a soft pink ground.
610 Bulls Mouth shell cameo of Mercury Italian cameo, setting origin unknown Circa 1860-1870
Bulls Mouth shell cameo of Mercury (Hermes), god of eloquence and reason, divine messenger and herald of the gods; he wore a petasus (brimmed, winged hat) and taleria (golden winged sandals), carried a caduceus, a magic rod, (a staff bearing entwined serpents), a magic rod, symbol of the messenger of peace, prosperity and commerce.
Cameo most likely carved in Italy and then set in high carat gold.
611 Chalcedony pendant and earrings Regency period Circa 1820
Chalcedony pendant and torpedo-shaped earrings with Persian turquoise flowers and yellow, rose, and green gold settings. Set is in original box marked Hancock (London jewelers).
612 Pendant with natural pearls and diamonds Victorian Circa 1860
Victorian pearl, diamond and ruby pendant/brooch circa 1860; 135 well-matched pearls set in pave with diamonds, diamond birds and flowers set with rubies. 18 karat yellow gold and sterling silver settings.
613 Side view showing diamonds set in pave (total of 246 rose cut diamonds in the pendant).
614 Hummingbird Earrings Victorian Circa 1890
A rare item of zoomorphic jewelery, circa 1890, a pair of ruby-topaz hummingbirds mounted as earrings.
The Victorians embellished their dresses with beetle carcasses and colorful feathers, hats were covered with bird menageries and goldsmiths used smaller birds such as these to make into items of fashionable jewelery.
These hummingbird earrings have gold beaks and glass eyes and are hanging from articulated gold tops. They are are in their original box from Wards, Naturalists, of Piccadilly. The earrings are 1 and /3 inches long including wire, 1 and 1/8 inches long excluding wire and 3/4 of an inch wide at their widest point.
The Ward company made its name in the late 19th century in the field of taxidermy, specializing in African big game animals. Responding to popular demand, the company expanded into organizing safaris and retailing all types of goods with a naturalistic theme. It is most unu...
615 Hummingbird earrings in their original box.
616 Back of Hummingbird earring. Tops were removed at some time and the earrings mounted with brooch fittings. They have been returned to earrings.
617 Ward & Co Naturalists 158 Piccadilly (2nd location of Rowland Ward's business circa 1875). Unusual to find the original box.
618 May 1959, South Kensington, London, England, UK --- It was head over heels for a stuffed giraffe in South Kensington this morning for upside down was the only way the half ton exhibit would go in through the doors of the Natural History Museum. The cost of this giraffe was met in part by a legacy left by the late Rowland Ward, famous taxidermist. Photo shows: Steady does it as the 15 feet stuffed giraffe is slowly toppled over as it arrives at the Natural History Museum in South Kensington this morning. 26/5/59 --- Image by Hulton-Deutsch Collection/CORBIS
619 Opal and demantoid garnet pendant Victorian Circa 1880-1900
623 Gold Bell Attributed to Castellani Circa 1880
A miniature gold bell, circa 1880, attributed to Castellani. It is a reduced copy of an ancient gold bell found on the Esquiline Hill in Rome in 1873, which entered the Castellani collection of ancient jewellery. It was described as a charm or jettatura to ward off the evil eye. The bell was inscribed in Greek : TOI COM MAC IN VNO TET AG MAI, which literally translates as 'I am subordinate to the eyes' but which should be translated as 'I am enslaved by your eyes'.
For three further versions of this bell, see Sotheby's New York December 2006 sale, 'Castellani and Giuliano : The Judith H. Siegel Collection, Lots 41, 42, 43.
This gold bell is 2/3 of an inch tall and immaculate.
625 Amuletic Shark-tooth Pendant Circa early 18th century
An early 18th century amuletic pendant of a fossilised shark-tooth set in an engraved silver mount. The obverse of the mount is decoratively engraved and the reverse is engraved with the sacred monogram IHS, a cross above and three nails below it. This example is 1 and 2/3 inches long and 3/4 of an inch wide.
Contemporary literature suggests that most of these teeth came from the Tertiary rocks of the Maltese Islands. The local populace called them 'serpent tongues' and believed the teeth were associated with St. Paul's shipwreck on their island. St. Paul was bitten by a serpent, blessed the island and cursed the viper. This purportedly rendered the local reptiles perpetually harmless. All courts in Europe used shark-teeth as amulets to detect poisoned food or drink and they were also believed to provide protection against the evil eye.
There are similar examples in the British Museum and a...
627 Shakudo button Japan Circa 1880s
Fabulous Shakudo button with 5 frogs with the central two appearing to be wrestling while the others watch. Two are gold, one is silver, one is copper and the final one is black with gold eyes.
Shakudo (赤銅) is an alloy composed of Copper (Cu) (93~98%) and Gold (Au) (2~7%) (Shakudo can have other metals in it, though their content is usually <1%). Its melting point is 1900°F. Shakudo is a durable metal most noted for purplish-black patina (coloration, tarnish). The color comes from the metallurgical properties, not from any use of a coloring solution (as is common in European colored metals). This property is used aesthetically for creating a contrast with inlays (most notably pure gold), primarily to decorate katanas, the swords of the Samurai. When the Japanese government outlawed the Samurai in 1876, the craftsmen who had been working these metals for many generations had to look for other outlets for their craft and je...
628 Shakudo button Japan Circa 1880s
Shakudo button of a warrior encountering a genii or troll hiding in a crevice.
629 Shakudo button Japan Circa 1880s
Two noblemen with fighting cocks.
630 Pair of Fob Seals Georgian Circa 1820
A boxed pair of high-carat yellow gold Georgian fob seals, circa 1820. One is in the form of a cat and the other in the form of a goblin. Both sides of each seal have identical faces.
The cat is set with an amethyst intaglio of an owl and the goblin is set with a citrine intaglio of a running hound.
They are 3/4 of an inch tall including loop, 1/2 an inch tall excluding loop and 1/3 of an inch wide across the base. They are in their original case, well modelled and immaculate.
631 Pair of Fob Seals Georgian Circa 1820
632 The cat is set with an amethyst intaglio of an owl.
633 The goblin is set with a citrine intaglio of a running hound.
634 In original box.
635 Mortality and Immortality ivory pendant Georgian Circa 1800
A double-headed ivory carving, circa 1800, an allegory of mortality and immortality.
One side depicts a skull with hollow eyes and the other the head of Christ. Probably originally a rosary bead, the carving has a silver pendant fitting.
It is 1 and 1/8 inches long, 3/4 of an inch wide and immaculate
636 Mortality and Immortality ivory pendant Georgian Circa 1800
the head of Christ.
637 Mortality and Immortality ivory pendant Georgian Circa 1800
Skull with hollow eyes.
638 Garnet and diamond brooch Victorian Circa 1850s
Bar pin with three carbuncle garnets. each star-set with old mine and rose-cur diamonds and gold mounts. Engraved E.H. Lewis.
639 Garnet and diamond pendant Victorian Circa 1850s
Pendant with a large carbuncle garnet, star-set with old mine and rose-cur diamonds and gold mounts. Engraved E.H. Lewis. Original chain. Hair in compartment in back.
647 Gold and emerald salamander articulated bracelet French Circa 1880s
Articulated 18K gold salamander bracelet inset with emeralds with ruby eyes. French import mark.
649 Wax Portrait Miniature of Mary Loring Johann Christian Rauschner Circa 1810
Miniature wax portrait silhouette, ''Mary Loring,'' circa 1810, attributed to Johann Christian Rauschner (changed name to John Christopher Rauschner) (American, 1784-1817), Handwritten inside box: Mary Loring Born May 12, 1784 Died Dec 3rd 1817 Portrait by Rauschner about 1810, sight: 3.25''h x 1.5''w, overall: 5''h x 3''w; nose was separated and repaired at some point
650 Close-up of a miniature wax portrait silhouette, ''Mary Loring,'' circa 1810, attributed to Johann Christian Rauschner (changed name to John Christopher Rauschner) (American, 1784-1817), titled and attributed inside of box top, sight: 3.25''h x 1.5''w, overall: 5''h x 3''w; nose was separated and repaired at some point
652 Mary Loring after repairs and cleaning. Superb work by Carol Aiken!
Repair summary: Mary’s nose had been attached with animal glue, an old fashioned adhesive made by boiling hides, hooves, etc. It is a sticky thick adhesive that often becomes deeply discolored over time. Among its advantages, however, it remains water soluble as it ages. The existing repair was crudely executed and unsightly, but nevertheless it effectively prevented the nose from disappearing altogether.
After the wax had been released from the velvet lining of the box, a damp compress was placed on the nose until the glue dissolved and the residues could be removed without damaging the wax. The clean break was then repaired using a modern adhesive that is less viscous (permitting a neater mend), and it will not discolor with age, so the repair should not change in the future.
The surface of the wax was lightly surface cleaned. The earring was cleaned so it is now bright gold instead of black...
653 Amuletic Magic Pendant Circa 19th c
A 19th century silver and gold amuletic pendant, engraved with a magic square. From the Middle Ages, magic squares were engraved on silver and sold as powerful talismans to bring good fortune and protect the wearer from harm. Their protective powers came from their property of symmetric resolution - every row, column and diagonal are balanced.
This magic square is based on variations of the number three, symbolizing success. Around the edge of the square is a Latin inscription, a citation from the Book of Common Prayer: Erubescant conturbentur in [saeculum] saeculi et confundantur et pereant, which translates thus : Let them [i.e., my enemies] be confounded and vexed ever more, and let them be put to shame and perish.
The pendant measures 1.25 inches by 1.25 inches.
654 Aluminum Bracelet Victorian, possibly French Circa 1860
Aluminum, first isolated in 1827, was for the next few decades prized more highly than gold. French jewellers, fascinated by its lightmess of weight and the fact it did not oxidise like silver, set aluminium in pieces of jewellery with gold or gilt metal. Pieces by Parisien jeweller Charles Henry Villemon, circa 1860, are especially lovely, with bright hammered engraving offset by gilt metal with a pink or yellow tinge. This bracelet, with a quatrefoil leaf motif, is 8 inches in length.
656 Gold and enamel brooch and earrings Victorian Circa mid-1800s
657 Jasparware Anti-slavery Medallion Josiah Wedgwood Circa late 18th c.
A rare 18th century Wedgwood jasperware anti-slavery cameo plaque, set to a later gold pendant. The plaque depicts a slave in chains, with motto : Am I not a man and a brother? around its border.
Members of the Society of Friends [Quakers] were among the earliest advocates of the slavery abolitionist movement in Britain and the Americas. When the Quaker-led Society for Effecting the Abolition of the Slave Trade met in London in 1787, a seal was designed to be used by the society, 'expressive of an African in chains in a supplicating posture'. The design was symbolic both artistically and politically.
Evoking classical art, the figure's nudity signified a state of nobility and freedom, yet he is supplicatory and bound in chains. Josiah Wedgwood, who was an active member of the society, produced the emblem as a jasper-ware cameo. In 1788 a consignment of the cameos were sh...
658 The plaque depicts a slave in chains, with motto : Am I not a man and a brother? around its border.
660 Silver engraved cuff bracelet with Shakudo panels Circa late 1800s
661 Reverse painted "Essex" crystal Circa 1870
Stunning Essex crystal of a rare subject, a leopard, mounted in 18K, backed with mother of pearl and then later framed in a gold-filled pendant mount with enamel flowers.
662 Portrait miniature of a Pekinese
663 A pair of portrait miniature bracelets Georgian Circa 1820
Two delightful portraits (sisters? mother and daughter?) hand-painted on ivory and set in 18K gold mounts. Angel-skin coral beads are a recent addition.
665 Duke of Wellington Memorial ring British Circa 1852
A rare gold and royal blue enamel ring, 1852, commemorating the death of one of Britain's greatest military heroes and prime minister, Arthur Wellesley, the first Duke of Wellington. The Duke is most famed for defeating Napoleon at the Battle of Waterloo in 1815. Thereafter he returned to politics and became prime minister in 1828. He died at Walmer Castle in 1852 and was given the honor of a state funeral, a magnificent affair and fitting tribute to a great military hero. The Iron Duke is buried in St Paul's Cathedral beside another hero, Lord Nelson.
This ring depicts a gold medallion bust of the Duke, set to a scrolled and royal blue enamelled shank with a border inscribed Waterloo. There is enamel damage to the ring. An identical example is in Oman's British Rings, plate 91F and a similar example is in the Museum of London collection.
670 Arthur Wellesley 1st Duke of Wellington April 29/May 1, 1769 – September 14, 1852
671 Roulette wheel fob Victorian Circa 1890
Gold fob seal circa 1890, on one side a cornelian, on the other a working enamel roulette wheel, if you put a pin in the bottom the roulette wheel spins. It's 1.5 inches by 1 and 1/8 inches
674 Gold hazelnut pendant with magnifier English Circa 1820
High-carat gold hazelnut pendant circa 1820, when you open it a miniature magnifying glass pops up and you can put tiny things in the pendant and magnify them. it would have been a toy for someone wealthy. It is also a visual pun as the hazelnut symbolized wisdom and learning. It is 1 and 1/8 inches long including loop, 3/4 of an inch long excluding loop and 1/2 an inch wide across the front.
677 Pinchbeck chain with barrel clasp Circa 1840
679 Wedgewood George III Jasper Ware Portrait Clasp Cica 1789
This is a blue jasper ‘dip’ cameo portrait of George III surmounted by a crown and ribbons featuring the legend ‘Health Restored’ was issued by Etruria in 1789 to celebrate the monarch’s apparent return to sanity. The bas-relief head is from the Academy Prize Medal entry by the artist Edward Burch dated 1785. See http://www.wedgwoodmuseum.org.uk/c llections/online/2219/object/2717
680 Fantasie Mask Ring Circa 1760
In the mid-18th century a new category of 'fantasie' rings reflected the amusements of pleasure loving society: gambling, the masquerade, sports and pastorals.
The masquerade, a popular form of evening entertainment, was attended by men and women wearing black velvet masks for anonimity, their faces dotted with black patches signalling flirtatious messages.
This masquerade ring, circa 1760, is gold and silver, set with an enamelled masked face with rose diamond eyes, surrounded by a border of foiled topaz and garnet. The front panel measures 1/2 an inch by 1/2 an inch. There is loss to the enamel on this very rare piece.
For similar, see Koch Collection, catalogue entries 852, 853, 854 and Historic Rings catalogue entry 252.
683 Double-sided pendant Victorian
Unique watercolor on ivory of two young boys (putti?) fighting with a floral border and pastoral background. At the twelve o'clock position is a winged putti peering down into the scene. Frame "rope" is 18K gold.
684 Double-sided pendant Victorian
Reverse of pendant showing a sentimental scene with a draped memorial urn, a wreath and doves with flowers dropped at its base.
685 Portrait of Dr Josef Potocnik Ship's physician Painted in 1866 after the Battle of Lissa.
686 Inscription on back of photo
Dr Josef Potocnik linienschiffs arzt der k.u.k. osterr kriegsmarine
Dieses bild nach der schlacht bei lissa (1866) unter tegethoff
Ur-grossvater von marili boyd geb. Podliessnig
Dr Josef Potocnik line the ship's doctor k.u.k. AUSTRIA Kriegsmarine
This picture painted after the Battle of Lissa (1866) under Tegethoff
Great-grandfather of Marili Boyd born Podliessnig
687 This portrait is a pair with the prior one of Dr Josef Potocnik. His wife?