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 Cathy Gordon | Home > 
Georgian, Victorian, other
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.
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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.

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This eye miniature brooch is a wonderful painting on ivory of a woman's eye.  Gold and pearls.  Dated 1845.

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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.

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Side view of the ring.

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View of the neo-classical urn.

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Georgian period eye miniature mourning ring dated 1780.  Courtesy of Lenore Dailey of Lenore's.

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Side view of the ring showing fine enameling.  Courtesy of Lenore Dailey of Lenore's.

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Inscription:  Lady Lucy Douglas Died 13th Feb. 1780 Age 28.  Courtesy of Lenore Dailey of Lenore's.

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Hand-painted blue eye miniature ring circa 1800.

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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.

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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.

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Eye miniature set in ivory patch box
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.

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Another photos of the patchbox.

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Georgian ivory patch box with eye
Circa early 1800s

Oval ivory patch box with an eye miniature painted on card.

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Lover's eye painted on ivory.  I think this is a man's eye.  Back has replacement pin catch.

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Lover's eye pin painted on ivory  dated 1785 set in 18K gold.  Inscription on reverse "OB 6 Mar 1785 at 53."

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Pin in original leather box.

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Box, showing size.

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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.

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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.

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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.

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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....

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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.

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Back of pin showing engraving.

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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.

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Eye Miniature Portrait
Gerald Sinclair Hayward (1845-1926), a Canadian miniature painter

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.

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Close-up showing signature and date.

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Next to a ruler.

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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.

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Another view of the enigmatic eye.

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Georgian eye miniature ring
Circa 1800, English

Beautiful lover's eye miniature painted on ivory in a tear-drop shape, surrounded by natural pearls.

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Back of ring showing typical Georgian closed back setting.

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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.

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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.

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Back of the eye miniature showing the lock of hair.

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Lover's eye miniature pendant
C. 1790

Expressive brown female eye miniature, watercolor on ivory, set in a modified heart motif surrounded by garnets.

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Lover's eye miniature pin
C. 1820s

Interesting kidney-bean shaped gold  pin frame with a brown eye and curls painted on ivory.

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Lover's eye miniature pin
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.

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Garnet Pansy Necklace
C. 1820

Wonderful Georgian necklace of closed back garnets set to resemble pansies.  Necklace extender is a later add-on, but very skillfully done.

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Close-up of the garnet pansies.

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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.

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Back of garnet set showing construction.

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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.

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Back of necklace.  The center section has a screw mechanism -- it comes off the necklace and can be screwed into a hair-clip.

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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.

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Victorian 14K yellow gold bangle bracelet with black and white enamel and a large oval garnet cabachon in the center.

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Enameled and engraved gold cuff bracelet
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.

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Another view of the cuff bracelet.

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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.

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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.

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Back of mourning pendant (so sad!) of an adorable child with wings and a background of clouds indicating heaven.

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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.

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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.

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Handpainted porcelain miniature of child in the clouds

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.

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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.

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Handpainted miniature on ivory
Circa 1900-1910

Young child in the clouds set in gold marked 9 ct, probably English.

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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"

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Portrait miniature of a young girl
Circa 1820s

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.

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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.

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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.

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Hand painted miniature on ivory pendant brooch with 14 cushion-cut diamonds, 15 K gold, c 1890.  (Streaks on bottom are glare from scanner.)

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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.

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Another view of bracelet.  Colors are fresh and pristine.

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Side of bracelet.

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Back of the bracelet showing silk insert and elaborate safety chain.

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Portrait miniature on ivory. Inscribed on the side of the frame:  Lady Harriet D'Orsay 1740.

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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.

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Back of veiled lady portrait.

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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.

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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.

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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.

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Portrait miniature of a fine gentleman, hand-painted on ivory.  This is from the Victorian era, but the subject is from the 1700s.

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Another view showing the fine bale on the pendant.

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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.

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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.

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Close up of pearls and hair.

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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.

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Close-up showing the man of war.

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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...

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Another picture of the front.

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The back of the heart is convex and engraved "Mon Coeur Toujours Fidelle"- roughly translated - "My Heart Always Faithful".

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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.

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Another picture of the portrait.

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Portrait brooch painted on ivory and set in sterling silver (marked 800).

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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!

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Close up of pin.

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Pendant of a hand-painted miniature on vellum of an army officer, Georgian period or early Victorian.

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On the other side is a hand-painted sepia miniature on ivory of a maiden sitting in a garden.  The ivory is cracked.

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Portrait minitature on ivory "Friendship the Fountain of Love" c. 1860.

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Sentimental scene of a woman and lamb, hand-painted miniature on ivory with gold-filled mounting.  Hair is in the back.  Circa 1800.

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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.

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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".

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Brooch of an enamel painting of a King Charles spaniel standing on a colorful blue rug, mounted in 14k, circa 1860.

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Pin of an enamel painting of a spaniel on black glass with snake surround.

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Back.  Tube hinge, simple "C" clasp.

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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 ...

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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...

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Reverse carved rock crystal intaglio

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"

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Reverse carved rock crystal intaglio bluebird on a gold stickpin.  Some damage to the crystal.

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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.

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Side view of the bangle.

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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.

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Victorian mourning bracelet.  Celluloid cuff with vulcanite motif.

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Victorian mourning bracelet, back.

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Victorian garnet comet pin.

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Halley's comet watch pin with pearls. Circa early 20th c.

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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.

circa 1885.

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Niello cross marks -- one direction.

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Niello cross marks -- rotated 180 degrees.

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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...

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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.

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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.

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Demantoid figural swallow
Circa 1895

Swallow brooch of demantoid garnets set in14K rose gold with ruby drop.  Russian hallmarks.

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Back of brooch.  Clasp has been replaced.

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Georgian (c. 1820s) slide watch chain with swivel hand.

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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.

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Back of Hungarian parure.

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Hungarian silver gilt bracelet with sapphires (large stones), pearls and blue glass.  Marked with Hungarian dog's head.

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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.

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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.

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Back of quiver.

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Vauxhall Glass earrings
Circ 1850s

Superb pair of earrings in the wonderful red color.  From Roger....

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Back of earrings.

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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.

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Close-up of the central motif.  Notice the varying colors of the turquoise indicating its age.

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Victorian turquoise silver bangle with bird and flowers.  Marked 900.

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Persian turquoise bird brooch in gold and with a ruby eye.

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Circa 1880

Set of ivory bracelets and matching belt each with a buckle motif.  Strung on elastic (elastic has been replaced!).

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Serpent with turquoise stones
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.

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Another view of Sir Hiss.

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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.

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Top view

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Side view.

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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.

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French enameled serpent bracelet
C. 1860s-1870s

Beautifully enameled gold serpent bracelet set with opals and ruby eyes. Diamond tongue. French hallmark.

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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.

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Serpent Necklace
Circa 1840

15K gold with scale-like links and semi-precious stones set on the head and the heart-shaped charm.

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Close-up of head

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Side view showing fangs.

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Heart charm has a hair momento set under glass.  Glass is damaged.

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Cut-steel bracelet
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.

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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.

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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.

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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.

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Sterling bulldog watch pin with ruby eyes.

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Victorian watch pin
Circa 1895

Watch pin with wings and crown, pearls and turquoise stone.

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Watch charm of natural pearls and 14K gold.

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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.

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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".

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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.

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Two cameos

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Backs of cameos

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Dragon bracelet and sash pin with topaz glass.

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Victorian sash or kilt pin--lion holding clear stone in mouth with metal claws.

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Back of pin.

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Victorian banded agate necklace (needs repair).

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Moss agate, banded agate pins--probably Victorian.  Bottom pin has a trombone clasp.

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Large agate brooch set in sterling. 1 1/2" x 2 1/4"

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c. 1890 to 1900

Cut-out, pear-shaped polished steel waist plaque suspending five flat strip and circle ring chains with swivel hooks and appendages (from left to right):

- 2 1/2" scissor scabbard
- 1 1/4" diameter steel and velveteen pincushion
- 1 1/2" x 2" ivory-leafed notepad with steel covers
- 1" lined thimble bucket
- 3/4" tape measure sphere (inoperative)

See Romero 3rd edition pg 74.

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Victorian Aluminum Glasses Case

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...

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Close up of the glasses holder showing the blue velvet liner.

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Aluminum brooch with attached chains to hold the glasses case.

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Back of the case and brooch.

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Back of the brooch.

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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.

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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...

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Back of mosaic showing gold mount and black glass.

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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...

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Back of the micromosaic showing the blue glass pattern.

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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.

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Reverse carved rock crystal intaglio pin of a pheasant

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Victorian Etruscan Revival tiger brooch.

I love it, Rene!

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Victorian micromosaic bracelet spelling SOUVENIR.  It is damaged, but very unique and lovely!  Thank you Carolyn!

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Other end of SOUVENIR micromosaic bracelet.

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Gold enameled bow watch pin

18K gold watch pin with turquoise enamel.  Interesting because the hook for the watch is in the front (at the 6 o'clock position).

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Ivory patch box
Circa 1790

Ivory patch box with a (nonworking) counter surrounded by rose gold.

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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.

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Side view.

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Gold watch pin with rubies and diamonds

Lovely Victorian watch pin in 18K gold with a crown and inset diamonds and rubies.  7/8" x 1 1/4"

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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.

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Close up of the Wedgwood plaques.

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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.

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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.

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Back of cross and earrings.

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Jack Russell terrier painted on porcelain

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.

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Mourning ring with hair and diamonds
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.

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Top of ring showing crystal and diamonds.

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Watch pin
C. 1890-1900

14K gold watch pin with pave pearls and wings with center diamond.

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Watch pin
C. 1890

14K gold watch pin wings and crown set with pearls.

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Foil-backed paste and Persian turquoise pansy necklace

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Close up of the flowers.

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Back of the necklace

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Necklace clasp

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Memorial ourboros pendant for Elizabeth Ann Petrie

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.

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Portrait miniature of a young girl
Watercolor on Ivory
Victorian, dated 1847

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Micro mosaic brooch of St. Peter's Square
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.

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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.

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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.

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Back of cross.

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Gold and turquoise snake necklace
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.

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Side view of the snake necklace

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Victorian Acrostic Hair locket

Spells AMITE (friendship) using these stones:


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Rose Gold and Platinum chain
C 1915

Mixed metal chain, 65 inches long, of 14K rose gold and platinum. Close-up.

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Rose Gold and Platinum chain
C 1915

Mixed metal chain, 65 inches long, of 14K rose gold and platinum.

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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.

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Close up of the eye.

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Back of eye pendant showing hair compartment.

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Stuart Crystal clasp

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.

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Back of the clasp.  Marked:

JC dyed 20 June 1708 Aged 31

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Picture of bracelet showing size.

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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.

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Another picture of the Queen Mary crystal.

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Back of the Queen Mary slide -- the Tudor rose in gold.

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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.

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Unusual back to the skeleton crystal, painted in white enamel with paisleys, perhaps some initials.  Pin stem is a later addition.

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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.

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Back of skull slide

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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.

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Eye Miniature pendant
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.

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Cut steel butterfly pin

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Cur steel earrings

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Halley's Comet pin
C 1860

Rose cut diamond set in 14K gold with black enamel.

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Regimental brooch
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)

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Moonstone and diamond brooch that converts to a hair ornament.

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Blackamoor brooch set in silver with enamel and surrounded by garnets; coral stone in his turban.
Circa 1860s

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Grisaille enamel and cut steel button.

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Grisaille enamel and cut steel button.

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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

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Back of cross.  At one point, a small metal bar was added (see center of the cross), but it was removed by Sonja Webber.

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Gold earrings with emeralds, beryl and diamonds
C. 1770-1780

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Back of earring

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Eye Miniature painted on ivory
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)

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Back of eye locket

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Grisaille enamel, onyx and seed pearl brooch

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.

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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.

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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

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Top of the ring showing the skull.

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The winged hourglass -- fleetness of life, mortality.

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The coffin or pall -- mortality, mourning.

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Pick and shovel -- gravedigger's tools -- death, mortality.

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Skull and crossed bones -- Death, crucifixion.

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Crown -- Glory of life after death.

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Inscription: Fr Dickenson

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Inscription: Dickenson  Arn.(?)

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Inscription: ob. 13 Nov 1747 at 46

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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.

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Vermeille 800 sterling earrings with coral grape clusters

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Lavender enamel with seed pearls watch pin

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Eye miniature handpainted on ivory
C. 1800

Gorgeous blue eye with brown curls set  in gold.  Approximately one inch in diameter.

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Back of eye miniature.

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Eye Miniature Mourning Ring
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.

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Another view of the eye.

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Side view showing enameling.

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Back of ring.

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Amuletic Stuart Crystal -- Lord's Prayer
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.

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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]

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Horned Helmet shell cameo in a high-carat gold mount, circa 1840. The cameo is after a painting by Joseph Severn in Rome [1826] 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.

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Painting by Joseph Severn -- "Ariel on a Bat"

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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”

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Opal necklace with foiled backing set in 14K gold

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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 ...

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Bog Oak Irish Harp with Shamrocks

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Austro-Hungarian enameled and gilt bracelet.  Marked with a dog's head and 3P (1837 – 1933)

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Close-up of the Austro-Hungarian bracelet.  Stones are (tested as) emeralds, glass and (faux?) pearls.

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Stuart Crystal slide.
Marked 90 (1690)

Woven hair with gold sawtooth bezel under faceted rock crystal.

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Back of slide marked "ob June 9 90"

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Long gold guard chain, 15 K, probably english
circa 1820

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Victorian moonstone and enamel link bracelet

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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).

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Portrait brooch of a lady.  Supposedly painted on ivory and tests 14K but I can't find any marks.

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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.

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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.

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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)

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Superb 7-strand hairwork bracelet with 16K gold clasp. Three different styles of braiding.  Circa 1850s.

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Back view of hairwork bracelet showing different braid styles.

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Miniature portrait of cat set between two agate slices

Hand-painted cat, reverse painted on agate, mounted in gold.

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Eye miniature
C. 1790

Hazel eye miniature painted on ivory surrounded by garnets with hair in compartment on the back.

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Vulcanite cameo

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Demantoid garnet earrings
Circa 1900

Back to front earwires.

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Hummingbird mounted in gold pendant
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.

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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.

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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.

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Victorian long chain 18K 68" long

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Close-up of links.

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Long Victorian 15K chain, 60" with "paperclip" links and wheels in center.

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Close-up of links.

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Rose-cut diamond and Persian turquoise fringe necklace, rose gold
c. 1870

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Close-up of necklace.

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Serpent bracelet wiht turquoise
C. 1840

14K w/ scale-like links, head stones are set with turquoise and garnet eyes.

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Portrait miniature pendant
c. 1870

Profile of young woman, watercolor on on ivory, with hair comb, lace collar, set in rose gold.

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Portrait miniature brooch

Miniature on ivory, young girl with ringlets, earrings, chain, 14K, initials on back CEF to AF.

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Victorian 18K short chain w/ added swivel hook

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Close-up of links.

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Mourning pendant

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.

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Back of pendant.

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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.

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18th Century Rococo Flat-cut Garnet Necklace

back of necklace

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Acrostic "Dearest" bracelet
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.

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Clasp with gems.

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Cut steel link bracelet
C. 1820s-1840s

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Blackamoor seal
Circa mid-18th c.

Carved hardstone blackamoor or Nubian seal with diamonds and garnets.  The bottom has not been carved.

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Side view of seal.

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Another view showing true color of head.

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Foiled garnet necklace set in gilt copper
Circa 1750

An early garnet necklace set in closed gilt copper settings.

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Necklace of hand-painted cherubs in gold on a black background
circa 1790s

See Georgian Jewellery pg 37 top for a necklace with similar chains.

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Close-up of cupids -- each is different.

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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.

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Side view of bracelet.

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Blackamoor parure (necklace, bracelet, earrings) set in silver gilt, enameled.

Some repairs, replaced clasps and ear wires

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Enameled pendant with large cabochon garnet center

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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.

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He has a slight bald spot, perhaps from wear.

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Coral and diamond necklace

The coral is a splendid color, much more pink than orange.

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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.

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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.

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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.

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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.

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Cameo with its original 18 ct snake chain.

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Fringed pendant with cabachon garnet and diamond star
18 ct.

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Gold chain
Victorian circa 1880

9k gold chain. Unusual chain with pierced out star design links.

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Clasp and detail of links

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Gold fringe brooch with central emerald and pearls

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9 ct gold muff chain

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Glass sulphide stickpin of horse and rider -- 18 ct.

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Rose gold chain

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Tiger's eye and 18 ct gold brooch

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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]....

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Hummingbird brooch
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.

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Sentimental brooch with rose cut diamond surround
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.

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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.

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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"

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Reverse of Captain John Hutt miniature

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Portrait Miniature
E. Taylor

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.

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Back of portrait miniature with hairwork.

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Victorian baby bracelets, gold-filled, turquoise glass.

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Opal and rose cut diamond bracelet

14 K and silver.

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Pave Persian turquoise bracelet
c. 1860s-1870s

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Pave turquoise pansy brooch

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Portrait miniatures of Mr. and Mrs. Ramsford
Pierre Pasquier Jr.
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.

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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.

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Georgian silver link chain bracelet
c. 1820

Silver bracelet consisting of mixed pattern links (smooth and textured with an integral ornate barrel clasp.

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Ivory toothpick box with small gold nailheads

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Iridescent glass stickpin of a skull

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Side view of the glass skull

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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.

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Repaired portrait miniature
Work done by Jerry Litmer of Wiebold Studios

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Reverse carved intaglio of a spaniel or setter with gold surround of a dog collar.

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Carved moonstone baby in bonnet.
Circa early 1900s.

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Carved moonstone face ring
Circa early 1900s

Hand-carved moonstone ring with two side diamonds set in 14k.  Hallmarked.

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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.

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Dark shells are Bull's Mouth and the lighter ones are Horned Helmet.

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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.

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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.

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Aluminum and gold long chain
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.

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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...

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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.

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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.

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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

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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.

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Hummingbird with silver wings, tail and feet
Circa 1870s

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Child holding basket of white roses, strawberries and cherries

Possibly by Mrs. Moses B. Russell (Clarissa Peters) (1809-1854)

Circa 1840s

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...

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Aluminum and gold long chain
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.

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Agate cameo of a bare-breasted woman
Circa 1590s

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.

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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.

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Portrait miniatures of six children
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.

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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...

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Mourning Portrait Miniature
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.

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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.

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Pinchbeck long chain

42" pinchbeck long chain with embossed stars and an elaborate clasp with foil-back amethyst paste stones.

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Pinchbeck chain clasp

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Pinchbeck chain links showing stars

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Pinchbeck chain and elaborate clasp

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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.

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Gold long chain with 15K plain rounded links
Circa 1830-1835

46" long with possible replaced clasp

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Gold long chain with bright cut stars
Circa 1830

15 ct 48" long in fitted box

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Hummingbird on sterling leaf
Circa 1870s

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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.

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Parure came in its original fitted box.

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Portrait miniature pendant with chrysolite (chrysoberyl) frame
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.

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Portrait miniature pendant with chrysolite (chrysoberyl) frame
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.

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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 ...

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Portrait of Major Frances Peirson

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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.

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Reverse carved rock crystal intaglio brooch of a West Highland White Terrier (?).

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Gold link bracelet with padlock clasp

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Bracelet clasp turned into a brooch
Circa 1825

Georgian bracelet clasp with a large pink topaz center stone, surrounded by chrysoberyls and Persian turquoise.

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Cobalt blue enamel and pearl serpent necklace with unusual 18K link chain

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Reverse intaglio stickpin of a tabby cat
Circa 1890

Rare reverse intaglio crystal of a tabby cat, surrounded by rose-cut diamonds, set in 15K gold.

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Unusual small link gold long guard chain
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.

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Archaeological Revival Gold Beads
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.

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Amethyst and Chrysoberyl brooch
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.

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Back of brooch -- some dings to the gold.

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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.

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Pendant in its original leather fitted box.

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Reverse of pendant showing the fine gold work and a portrait of a young girl surrounded by blonde hair.

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Fitted leather box -- label is faint but you can see: Giuliano, 15 Frith Street, Soho Square London.

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Witches Heart brooch
Circa 1780-1820

Unusual witches heart of cobalt blue glass surrounded by white enamel inset with diamonds.  Locket enclosure on back.

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Back of witches heart.

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Gold convertible chain
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.

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Sterling chain and locket
Circa 1880s

Lovely wide sterling chain and etched locket with portrait of young boy inside.

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Turquoise necklace
Circa late 1800s-early 1900s

Lovely necklace of matrix turquoise cabochons surrounded by smaller turquoise set in silver.  Marked China on the clasp.

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Silver metal brooch with handmade compass set in a glockenspiel

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?

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Close-up of the bottom part.

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Brooch top.

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Mark on the swivel hook.  Rearing horse?

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Black micro-bead chain

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.

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Close-up of the watch chain mechanism

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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

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Cameo Profile of English Gentleman
Attributed to Richard Cockle Lucas (English 1800 - 1883)
c. 1820

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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.

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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.

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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.

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Lady's silhouette from a pair painted on ivory
John Miers
Circa 1800

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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...

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Back of Crosse miniature with braided blonde hair.

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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.

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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...

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Back of the portrait miniature showing elaborately braided blond hair and cobalt glass with gold cipher initials "MW".

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Portrait miniature of Ann James Powele (1811-1833)
Sir William John Newton

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...

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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.

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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.

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The reverse composed of a hairwork ground covered with tiny gold stars.

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Pinchbeck bow chain
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.

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Gold necklace converted from belt
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.

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Gold long chain with open work and pearls
Circa 1800

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Gold long chain with open work and pearls
Circa 1800

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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.

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Scarab beetle necklace
Circa 1870s (?)

Real beetles!

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Micro-mosaic floral brooch
Circa 1840-1850

Lovely floral micro-mosaic floral brooch set in black glass and in high carat gold frame.

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Handpainted sepia brooch
Circa 1790s

Sepia painting on ivory with woman and plinth marked "Friendship", hair in back.

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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.

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Portrait Miniature ring - young Napoleon
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]

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First Consul Bonaparte, oil on canvas, c. 1802 by Antoine-Jean Gros:

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Portrait Ring -- Maximilien Robespierre
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...

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Portrait de Maximilien de Robespierre
Ecole Française
Musée du Château de Versailles

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Miniature Telescopic Ring
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.

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The smaller lens fits below the larger lens.

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Portrait miniature on ivory
Joseph Adolf Schmetterling
Circa late 1700s-early 1800s

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Portrait miniature on ivory
Joseph Adolf Schmetterling
Circa late 1700s-early 1800s

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Portrait miniature on ivory
Joseph Adolf Schmetterling
Circa late 1700s-early 1800s

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Portrait miniature on ivory
Joseph Adolf Schmetterling
Circa late 1700s-early 1800s

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Cameo of Minerva in battle armor
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.

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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.

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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).

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Pendant with natural pearls and diamonds
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.

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Side view showing diamonds set in pave (total of 246 rose cut diamonds in the pendant).

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Hummingbird Earrings
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...

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Hummingbird earrings in their original box.

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Back of Hummingbird earring.  Tops were removed at some time and the earrings mounted with brooch fittings.  They have been returned to earrings.

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Ward & Co Naturalists 158 Piccadilly (2nd location of Rowland Ward's business circa 1875).  Unusual to find the original box.

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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

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Opal and demantoid garnet pendant
Circa 1880-1900

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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.

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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...

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Shakudo button
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...

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Shakudo button
Circa 1880s

Shakudo button of a warrior encountering a genii or troll hiding in a crevice.

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Shakudo button
Circa 1880s

Two noblemen with fighting cocks.

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Pair of Fob Seals
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.

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Pair of Fob Seals
Circa 1820

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The cat is set with an amethyst intaglio of an owl.

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The goblin is set with a citrine intaglio of a running hound.

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In original box.

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Mortality and Immortality ivory pendant
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

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Mortality and Immortality ivory pendant
Circa 1800

the head of Christ.

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Mortality and Immortality ivory pendant
Circa 1800

Skull with hollow eyes.

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Garnet and diamond brooch
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.

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Garnet and diamond pendant
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.

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Gold and emerald salamander articulated bracelet
Circa 1880s

Articulated 18K gold salamander bracelet inset with emeralds with ruby eyes. French import mark.

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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

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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

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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...

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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.

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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.

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Gold and enamel brooch and earrings
Circa mid-1800s

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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...

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The plaque depicts a slave in chains, with motto :  Am I not a man and a brother? around its border.

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Silver engraved cuff bracelet with Shakudo panels
Circa late 1800s

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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.

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Portrait miniature of a Pekinese

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A pair of portrait miniature bracelets
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.

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Duke of Wellington Memorial ring
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.

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Arthur Wellesley
1st Duke of Wellington
April 29/May 1, 1769 – September 14, 1852

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Roulette wheel fob
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

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Gold hazelnut pendant with magnifier
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.

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Pinchbeck chain with barrel clasp
Circa 1840

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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

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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.

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Double-sided pendant

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.

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Double-sided pendant

Reverse of pendant showing a sentimental scene with a draped memorial urn, a wreath and doves with flowers dropped at its base.

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Portrait of Dr Josef Potocnik
Ship's physician
Painted in 1866 after the Battle of Lissa.

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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

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This portrait is a pair with the prior one of Dr Josef Potocnik.  His wife?

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