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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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2
This eye miniature brooch is a wonderful painting on ivory of a woman's eye. Gold and pearls. Dated 1845.
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3
Georgian eye miniature enameled mourning ring. Neo-classical design with two urns poised horizontally on the shank. The face panel has an outer rim of black enamel with finely looped gold inlay in a continuous pattern. The center chamber features a beautiful painted eye miniature. Inscription on the inside of the ring is too faint to read, but you can make out the date of 1817.
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4
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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7
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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9
Hand-painted blue eye miniature ring circa 1800.
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10
Lover's eye pendant--hand-painted on ivory and set in 18K gold. C early to mid 1800s. Back of pendant has a compartment for hair. Chain is not original. I believe it to be French from the design of the frame. The reverse side opens as a locket and may have contained a lock of hair at one time. The pendent measures 1 inch long by 7/8th inches wide.
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11
Combination pin/pendant lover's eye surrounded by pearls and with removable pearl bale, circa 1820. Back compartment with blond hair and inscribed: Anne Dodsworth Died Jan 13, 1876 Aged 75.
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12
Lover's eye ivory patchbox with painting 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. c. 1790.
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13
Same box without any Photoshop....
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14
Georgian ivory patch box with eye
Circa early 1800s
Oval ivory patch box with an eye miniature painted on card.
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15
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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19
Lover's eye pendant of a woman's brown eye with a few soft curls framing it. You can see it is a large size from the quarter sitting next to it -- almost 1 inch across. It is beautifully painted with fine detail. It is uncommon to find an eye of this size. It is mounted under a beveled glass and set in a pendant mounting.
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20
Lover's eye handpainted on ivory of a beautiful woman with a hazel eye, surrounded by brown curls. Mounted in gold shell pendant. Note the direction the eye will hang when worn.
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21
Back of lover's eye pendant. Enameled flower and "In Memory Of." Engraved on the bottom: "Edw.d Lantsbery died 12th Oct 1849 aged 4 years." Engraved on the top (probably added later): "M Lantsbery died Dec 26th 1857." I assume M. Lantsbery is the woman in the picture.
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22
Lover's eye
C. 1820
Light blue man's miniature eye, hand painted on ivory, set in a yellow gold round pendant mounting, surrounded by wire strung seed pearls. Shows signs of an old repair on back. Suspended by chains from an added rectangular hair brooch, which is surrounded by split seed pearls. The hair pin has some separation in the metal on back. O rings have been added to the hair pin so it can be worn as a pendant.
Eeeww, cat hair in picture....
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23
Lover's Eye Memorial Brooch
c 1817
Rare Georgian eye miniature commemorating the death of the popular Princess Charlotte Augusta of Wales, only child of George IV, who died after giving birth to a stillborn child in November 1817. The miniature features the Princess's eye and a wisp of her hair, with clouds to the right. It is set under crystal in a gold and foil backed garnet frame and inscribed to the reverse ' Ps Charlotte'. It measures 1 and 1/8 inches by 1 and 1/8 inches and is in completely original condition.
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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
1905
Late for eye miniatures, it is dated 1905 and is also quite unusual that it is a man's eye.
Each line of the face, brow, nose and complexion is worked in almost ultra realism. His blue gray eyes fixed to the side.
Also fascinating to note that the artist chose to border it with a surround of black paint, then actually paint another border which looks like tousled hair. The ivory is then set beneath glass and into a gilt metal pcture frame, with velvet back and small paper roundel. It is mounted at this point for hanging in a shadow box, or on a watch stand, but could be worn as well.
On the bottom are the initials "GSH" and the date of "1905". This measures just over 1 3/4 inches long by 1 3/8 inches across.
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27
Close-up showing signature and date.
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28
Next to a ruler.
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29
Lover's eye
Circa 1800
An enigmatic enamel eye in the overall eye shape referred to as a shuttle shape, used only for a few years around 1790-1800 or a touch later.
The enameled eye is surrounded by a row of pearls. It measures 1 1/16 inches long by 9/16 inches high, so is quite petite. It is set into rose gold. The eye is blue, with tiny lashes and detail down to the corner of the eye, and lifelike skin and all. A touch naïve and so personal.
Its condition is good, but not perfect as there are a few surface scratches on the eye. The pearls are a lovely gray green, all appear original although always hard to be certain. The hinge base has had a reinforcement with silver solder.
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Another view of the enigmatic eye.
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31
Georgian eye miniature ring
Circa 1800, English
Beautiful lover's eye miniature painted on ivory in a tear-drop shape, surrounded by natural pearls.
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Back of ring showing typical Georgian closed back setting.
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33
Georgian eye miniature brooch
Circa 1830
Round lover's eye miniature of a female blue eye with hair painted on ivory under rock crystal. Gold frame is enameled in white with natural pearls set in a wheel formation.
Ivory has a fracture and bail appears to have had work done to it or has been replaced.
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34
Georgian eye miniature brooch
Circa 1820s
Lover's eye miniature painted on ivory set in 18K gold enhanced by blue enamel. This lovely lady is a rarity due to her red-gold hair. A lock of hair is encased in the locket in the back.
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35
Back of the eye miniature showing the lock of hair.
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36
Lover's eye miniature pendant
Georgian
C. 1790
Expressive brown female eye miniature, watercolor on ivory, set in a modified heart motif surrounded by garnets.
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Lover's eye miniature pin
Georgian
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
Victorian
C. 1850s
Mourning eye miniature of a grey-brown female eye hand painted on ivory, mounted in a black enamel-trimmed brooch in a ribbon motif.
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39
Garnet Pansy Necklace
Georgian
C. 1820
Wonderful Georgian necklace of closed back garnets set to resemble pansies. Necklace extender is a later add-on, but very skillfully done.
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40
Close-up of the garnet pansies.
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41
Necklace and bracelet of cabochon and rose cut Bohemian garnets, low karat metal, circa 1900. See 100 Years of Collectible Costume Jewelry, Lillian Baker, 1991 ed pg 29 and 30.
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42
Back of garnet set showing construction.
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43
French diamond necklace
Circa 1870
18K yellow gold necklace made of curved links, each with a diamond at the hinge. The large centerpiece is mounted with 23 old European cuts and 46 rose cut diamonds (approx 3 crats). French hallmarks.
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44
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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45
Victorian bride's bracelets
Circa 1870s
Gorgeous gold-filled pair of matching Victorian bangle bracelets. The body of the bracelets is woven top quality and in excellent condition. The ends are Etruscan Revival decorated with Victorian Bohemian garnets. Sometimes called bride's bracelets and hard to find as the original pair.
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46
Victorian 14K yellow gold bangle bracelet with black and white enamel and a large oval garnet cabachon in the center.
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47
Enameled and engraved gold cuff bracelet
Georgian
C. 1810
18K bracelet shaped in the form of a a shirt or coat cuff with an elaborate enameled "ribbon" on the top. Entire bracelet is beautifully engraved with perfect enamel.
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48
Another view of the cuff bracelet.
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49
Superb pique parure bought from Dinah Taylor. Unusual color for the tortoiseshell. Set is inlaid with abalone and sterling silver. Initials (possibly) AF. Ear wires are a replacement.
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50
French
Circa 1800
Hand-painted miniature on ivory of a mother mourning at the tomb of her infant. The sepia tones of the paint were often derived using macerated hair as a pigment. The willow tree leaves are bits of the baby's hair. Inscription reads: "C'est tout ce qui m'en reste." loosely translated as "This is all I have left." There are intertwined initials at the top of the tomb.
Some damage to the bottom of the painting.
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51
Back of mourning pendant (so sad!) of an adorable child with wings and a background of clouds indicating heaven.
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52
Portrait of a child in the clouds wearing a coral necklace, painted enamel on porcelain, 18 K gold, and rose-cut diamonds. C late 1800s. The porcelain base has had a lacquer coating to protect the painting. This is undoubtedly original. The painting is set in a silver frame on an 18K gold base and surrounded by 35 rose cut diamonds. The pin is original but I believe the clasp is a later replacement.
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53
Portrait miniature of a child
Circa 1900
The most beautiful child, hand-painted on ivory, with blond curly hair, blue eyes and wearing a coral necklace. Because there are clouds in the background, this is a mourning piece. The miniature is set in a yellow gold frame and can be worn as a pendant.
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54
Handpainted porcelain miniature of child in the clouds
Edwardian
Beautiful portrait of a little girl in her blue dress in the clouds. She is handpainted on porcelain, surrounded by graduated pearls with a central diamond at the top. Set in rhodium.
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55
Portrait miniature of young girl
C. 1900-1910
Adorable portrait miniature painted on ivory of a young girl holding a sterling rattle. She has a coral necklace and bracelet.
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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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57
Handpainted sepia miniature of 3 chldren
Circa 1760
Three young children painted in sepia on ivory in original shagreen case. Based on clothing styles, circa dated to 1760. Just about 2" x 2"
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Portrait miniature of a young girl
Circa 1820s
American?
This wonderful portrait on ivory came in a wooden frame, but I am going to have it remounted into a pendant. The painting is exceptional in its detail.
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59
Lovely portrait of a young girl hand-painted on ivory, rose-gold frame, marked MJ and dated 179? at the bottom right of the portrait.
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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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63
Another view of bracelet. Colors are fresh and pristine.
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Side of bracelet.
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65
Back of the bracelet showing silk insert and elaborate safety chain.
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66
Portrait miniature on ivory. Inscribed on the side of the frame: Lady Harriet D'Orsay 1740.
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67
Veiled lady potrait painted on ivory, circa 1880. It is mounted in a 14k brooch with pearls, black enamel accents, and with garland surrounding it. The C clasp has been repaired and some of the dangles have been replaced.
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Back of veiled lady portrait.
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69
Victorian hand-painted miniature on ivory of a lovely lady wearing superb jewelry: a pearl dogcollar with drop, pearl earrings, a large floral corsage and a hair ornament. Based on the clothing this is early Victorian or even Georgian period.
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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 fasionable gown in the high-waisted empire style.
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71
Georgian two-sided portrait miniature
Circa 1780-1810
Back side of miniature is a sepia and hair work picture with symbols of love -- constancy, doves of Venus tying a love knot, an alter offering of love, cupids, arrows & quiver.
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Portrait miniature of a fine gentleman, hand-painted on ivory. This is fron the Victorian era, but the subject is from the 1700s.
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73
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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75
Close-up
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76
The reverse does look a little tired. There is the remains of the attachment pin at 12 o'clock which could easily be renewed by a jeweller. The worst problem is at 2 and 10 o'clock where another pin and catch plate have been removed. This has left the surface looking a little 'scratchy' and there are small traces of lead solder. The hairwork is basically intact although some of the gold wires and seed pearls have come detached. The hair and pearls are stuck onto opalescent glass with a foiled back which is cracked. I think that the wires and pearls could be re-attached quite easily, although again you would need a jeweller to dismantle the frame. If you did decide to do this, you could also find out if there was a signature on the back.
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77
Close up of pearls and hair.
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78
Georgian 15ct gold naval memorial pendant on ivory with lock of hair
A very rare Georgian naval memorial pendant unmarked but tested as at least 15ct gold. Possibly a memorial pendant for Nelson after the battle of Trafalgar in 1805 as the uniform is right as is the period and a very popular subject during this time. The pendant frame has a gold rope twist border and pendant loop to top with the reverse opening up to reveal a lock of brown and grey hair. The painting is on ivory with a naval officer in full uniform and a British man of war just in the background.
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79
Close-up showing the man of war.
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80
Stuart Crystal Portrait Pendant
circa 1690s
Stuart crystals were first popularized in 1649, when Charles I, the martyred King of England, was executed under Cromwellian rule. Royalists wishing to show their sympathy for the fallen monarch would wear small slides set with the King's portrait underneath a faceted crystal, or a swatch of hair with the King's initials beneath worked in fine gold wire.
These earliest of "memento mori" jewels created a fashion among the aristocracy for memorial crystals of their own. These crystals were usually fashioned as slides to be strung through a ribbon, but were also made as pendants and earrings. Most Stuart crystals which survive today are of the slide variety.
This 300+ year old heart shaped Stuart Crystal Portrait Pendant has everything.
The front of the gold heart shaped pendant is topped by a rose diamond bow, which is set in silver, and covered by a multi-faceted rock crystal that reflects light b...
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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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84
Another picture of the portrait.
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85
Portrait brooch painted on ivory and set in sterling silver (marked 800).
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86
Georgian navette-shaped brooch dated 1787. Hand-painted sepia miniature on ivory of a woman mourning at the tomb with an angel hovering above. Accented with dissolved hair, inscribed on the tomb: M.S. OB 9 OCT 1787 AE 23. G. Selleron inscribed on reverse. 9-10K gold mounting with cobalt blue enamel surround.
Enamel bow watch pin was purchased separately but matches perfectly!
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87
Close up of pin.
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88
Pendant of a hand-painted miniature on vellum of an army officer, Georgian period or early Victorian.
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89
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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90
Portrait minitature on ivory "Friendship the Fountain of Love" c. 1860.
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91
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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92
Sentimental hand-painted miniature on ivory of three doves on a pillar marked in French SACRÉ A L’AMITIÉ. 14K frame. Large size at 3" x 2 3/8". Circa 1800.
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93
Victorian
Circa 1840
Superb Victorian manor house, hand-painted on parchment and set in a 15 ct gold setting. The detail is fabulous and given depth as the edges are set higher than the middle of the picture. Heavy gold frame. Pin is 2 3/4" by 2".
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94
Floral micro-mosaic with the surround and pin in back are in gold. At least 14K, but it may be higher karat weight. It is a very old micromosaic in extremely good condition, with no missing tesserae.
The blue glass was used in earlier micromosaics than the black, and I would estimate the age of this piece to be over 150 years old.
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 center, and the outer rims of the millefiore petals are white, but the interior is increasingly dark gray, till you come to a center dot that is.... blue? Hard to tell, it is so tiny. The other "white" flower has a yellow center, white on the outside of the millefiore petals, and then millefiore of light blue, then a STRIPE of darker blue in the center of the petal. T...
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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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The most superb Victorian micro-mosaic I have ever seen 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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97
Another picture...
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98
Pin of an enamel painting of a spaniel on black glass with snake surround.
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99
Back. Tube hinge, simple "C" clasp.
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100
Essex crystal
Male Yorkshire Terrier
Circa 1860-1870
Essex crystals, 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 divine Essex Crystal pendant. Dogs were a frequent theme, as ot...
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101
Essex crystal
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 is the im...
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102
Essex crystal
1915
Essex crystal 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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103
Essex crystal bluebird on a gold stickpin. Some damage to the crystal.
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104
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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105
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Side view of the bangle.
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107
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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108
Victorian mourning bracelet. Celluloid cuff with vulcanite motif.
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109
Victorian mourning bracelet, back.
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110
Victorian garnet comet pin.
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111
Halley's comet watch pin with pearls. Circa early 20th c.
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112
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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113
Niello cross marks -- one direction.
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114
Niello cross marks -- rotated 180 degrees.
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115
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.
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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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116
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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117
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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118
Demantoid figural swallow
Circa 1895
Swallow brooch of demantoid garnets set in14K rose gold with ruby drop. Russian hallmarks.
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119
Back of brooch. Clasp has been replaced.
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120
Georgian (c. 1820s) slide watch chain with swivel hand.
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121
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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122
Back of Hungarian parure.
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123
Hungarian silver gilt bracelet with sapphires (large stones), pearls and blue glass. Marked with Hungarian dog's head.
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124
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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125
Victorian
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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126
Back of quiver.
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127
Vauxhall Glass earrings
Circ 1850s
Superb pair of earrings in the wonderful red color. From Roger....
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128
Back of earrings.
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129
Victorian
circa 1870-1880
Pavé-set small Persian turquoise cabochons were used extensively both in the 1840s and then, in the 1870s.
Superb turquoise necklace with motifs of hearts, flowers with pearl centers and birds (with ruby eyes), originally gilt over silver. Marked 800D.
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130
Close-up of the central motif. Notice the varying colors of the turquoise indicating its age.
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131
Victorian turquoise silver bangle with bird and flowers. Marked 900.
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132
Persian turquoise bird brooch in gold and with a ruby eye.
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133
Victorian
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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134
Serpent with turquoise stones
Victorian
c. 1845
Sir Hiss! Isn't he splendid?? A bangle bracelet in the form of a serpent (undying love to the Victorians).
Serpent bangle is entwined with its tail wrapping underneath and around in front of the head. It has hundreds of pave set natural turquoise cabochons set in silver and backed with a gold wash. There are a couple of replacement stones.
Finely detailed metalwork holds rose cut diamonds that decorate the serpent's head and surround the tear drop shaped turquoise stone in the center. Ruby cabochon stones are used for the eyes and are collet set in yellow gold.
There are no hallmarks. Serpent came in a Russian box.
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135
Another view of Sir Hiss.
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136
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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137
Top view
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138
Side view.
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139
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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140
French enameled serpent bracelet
Victorian
C. 1860s-1870s
Beautifully enameled gold serpent bracelet set with opals and ruby eyes. Diamond tongue. French hallmark.
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141
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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142
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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143
Close-up of head
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Side view showing fangs.
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145
Heart charm has a hair momento set under glass. Glass is damaged.
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146
Cut-steel bracelet
Victorian
c. at least 1850 or later
An ornate cut-steel bracelet with a raised oval central rosette.
Cut-steel pieces were manufactured starting in the early 1700s, but much of it dates from the middle of Queen Victoria's reign. Accoding to Anne Clifford, in her book Cut-Steel and Berlin Iron Jewellery, there isn't any literature, such as pattern books or advertisements so dating is imprecise. The jewelry is not marked, but it follows the fashions of the time.
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147
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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148
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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149
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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150
Sterling bulldog watch pin with ruby eyes.
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151
Victorian watch pin
Circa 1895
Watch pin with wings and crown, pearls and turquoise stone.
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152
Watch charm of natural pearls and 14K gold.
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153
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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154
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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155
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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156
Two cameos
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157
Backs of cameos
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158
Dragon bracelet and sash pin with topaz glass.
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159
Victorian sash or kilt pin--lion holding clear stone in mouth with metal claws.
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160
Back of pin.
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161
Victorian banded agate necklace (needs repair).
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162
Moss agate, banded agate pins--probably Victorian. Bottom pin has a trombone clasp.
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163
Large agate brooch set in sterling. 1 1/2" x 2 1/4"
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164
Chatelaine
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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165
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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166
Close up of the glasses holder showing the blue velvet liner.
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167
Aluminum brooch with attached chains to hold the glasses case.
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168
Back of the case and brooch.
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169
Back of the brooch.
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170
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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171
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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172
Back of mosaic showing gold mount and black glass.
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173
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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174
Back of the micromosaic showing the blue glass pattern.
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175
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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176
Essex crytal pin of a pheasant
Victorian
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177
Victorian Etruscan Revival tiger brooch.
I love it, Rene!
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178
Victorian micromosaic bracelet spelling SOUVENIR. It is damaged, but very unique and lovely! Thank you Carolyn!
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179
Other end of SOUVENIR micromosaic bracelet.
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180
Gold enameled bow watch pin
Georgian
18K gold watch pin with turquoise enamel. Interesting because the hook for the watch is in the front (at the 6 o'clock position).
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181
Ivory patch box
Circa 1790
Ivory patch box with a (nonworking) counter surrounded by rose gold.
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182
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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183
Side view.
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184
Gold watch pin with rubies and diamonds
Victorian
Lovely Victorian watch pin in 18K gold with a crown and inset diamonds and rubies. 7/8" x 1 1/4"
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185
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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186
Close up of the Wedgwood plaques.
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187
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.
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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188
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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189
Back of cross and earrings.
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190
Jack Russell terrier painted on porcelain
Victorian
1883
Gold bar pin of painted terrier by British portrait artist William Bishop Ford (1832-1922). Ford, known for his superb portraits of dogs was a pupil of WM Essex whom he assisted for 10 years. He painted in enamel on porcelain, copper, and gold.
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191
Mourning ring with hair and diamonds
Georgian
Dated 1732
Early Georgian English mourning ring, most likely 15K gold. On the top is a rectangular crystal under which is the hair of the decedent. Flanking the crystal are a pair of old diamonds. Along the shank are five enameled areas marked as follows: A HAGAR OB 10 OCT 1732 AET 34.
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192
Top of ring showing crystal and diamonds.
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193
Inscription
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194
Inscription
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195
Inscription
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196
Inscription
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197
Watch pin
C. 1890-1900
14K gold watch pin with pave pearls and wings with center diamond.
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198
Watch pin
C. 1890
14K gold watch pin wings and crown set with pearls.
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199
Foil-backed paste and Persian turquoise pansy necklace
Georgian
| 
200
Close up of the flowers.
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201
Back of the necklace
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202
Necklace clasp
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203
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204
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205
Memorial pendant for Elizabeth Ann Petrie
Georgian
1828
Georgian memorial pendant with wrapped hair and seed pearls surrounded by enamel snake with diamond eyes. 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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206
Portrait miniature of a young girl
Watercolor on Ivory
Victorian, dated 1847
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207
Micro mosaic brooch of St. Peter's Square
Victorian
C. 1840s
Very fine oval micro mosaic set in black glass and surrounded by a 14K mounting. Scene is of St. Peter's Square with its two fountains and central Egyptian obelisk from Nero's Circus. Sky is changing from blue to dusk. Red-coated Vatican Guards in the foreground. Very fine tesserae showing curved glass, a skill developed in the 1830s. Size of micromosaic: 1 7/8" wide x 1 1/2" tall. Overall size: 2 5/8" x 1 7/8". In original box, but cannot make out jeweler's name.
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208
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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209
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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210
Back of cross.
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211
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212
Gold and turquoise snake necklace
Victorian
Circa 1840
14K gold, Persian turquoise and gem-set snake necklace, the head pave-set with turquoise cabochons, ruby and diamond accents completed with flexible links resembling scales.
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213
Side view of the snake necklace
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214
Victorian Acrostic Hair locket
Spells AMITE (friendship) using these stones:
amethyst
malachite
iolite
turquoise
iolite
emerald
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215
Rose Gold and Platinum chain
C 1915
Mixed metal chain, 65 inches long, of 14K rose gold and platinum. Close-up.
| 
216
Rose Gold and Platinum chain
C 1915
Mixed metal chain, 65 inches long, of 14K rose gold and platinum.
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217
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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218
Close up of the eye.
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219
Back of eye pendant showing hair compartment.
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220
Stuart Crystal clasp
1708
Extraordinary Stuart Crystal clasp attached to a ribbon (not original) and used as a bracelet.
The amazing scene depicts a cherub (or putti) on a bench with an anvil. He rests his elbow on a skull. The word "Hope" is underneath as well as the initials JC in gold wire thread. The background is tightly woven hair.
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221
Back of the clasp. Marked:
JC dyed 20 June 1708 Aged 31
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222
Picture of bracelet showing size.
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223
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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224
Another picture of the Queen Mary crystal.
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225
Back of the Queen Mary slide -- the Tudor rose in gold.
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226
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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227
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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228
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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229
Back of skull slide
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231
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232
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233
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234
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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235
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236
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237
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238
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239
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240
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241
Eye Miniature pendant
Georgian
C. 1790
Blue eye hand-painted on ivory under rock crystal with foiled garnets and white enamel marked IL DON DE L'AMITE.
Pendant is hinged at the top and there is an compartment on the back.
Some damage to the enamel and rock crystal.
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242
Cut steel butterfly pin
Victorian
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243
Cur steel earrings
Victorian
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244
Halley's Comet pin
C 1860
Rose cut diamond set in 14K gold with black enamel.
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245
Regimental brooch
Victorian
Dated 1869
Brooch consisting of 2 tiger claws with 14K gold ends, centered above is an elephant with a howdah on a blue enamel background in white and yellow gold. Between the claws is a fine reverse painted Essex 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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246
Moonstone and diamond brooch that converts to a hair ornament.
|
247
| 
248
| 
249
Blackamoor brooch set in silver with enamel and surrounded by garnets; coral stone in his turban.
Victorian
Circa 1860s
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250
Grisaille enamel and cut steel button.
| 
251
Grisaille enamel and cut steel button.
| 
252
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253
| 
254
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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255
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256
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257
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258
Back of cross. At one point, a small metal bar was added (see center of the cross), but it was removed by Sonja Webber.
|
259
Gold earrings with emeralds, beryl and diamonds
Spanish
C. 1770-1780
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260
Back of earring
| 
261
Eye Miniature painted on ivory
Georgian
C. 1790
Blue eye miniature hand painted on ivory under ovoid rock crystal with foiled garnets and pearls frame, hinged at the top, surmounted by a pearl-set flower motif and bail. (see pg 35 Romero 3rd)
|
262
Back of eye locket
| 
263
Grisaille enamel, onyx and seed pearl brooch
Victorian
Brooch of a cherub (painted en grisaille) driving a chariot drawn by a butterfly, flanked by seed pearls and onyx panels. 14K gold with both pin and watch hook.
| 
264
Micro mosaic (Vatican quality) depicting bird on chariot pulled by butterflies set in Etruscan Revival gold frame marked R.COLA. Circa early 1800s.
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265
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266
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267
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268
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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269
Top of the ring showing the skull.
| 
270
The winged hourglass -- fleetness of life, mortality.
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271
The coffin or pall -- mortality, mourning.
| 
272
Pick and shovel -- gravedigger's tools -- death, mortality.
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273
Skull and crossed bones -- Death, crucifixion.
|
274
Crown -- Glory of life after death.
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275
Inscription: Fr Dickenson
| 
276
Inscription: Dickenson Arn.(?)
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277
Inscription: ob. 13 Nov 1747 at 46
| 
278
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.
| 
279
Vermeille 800 sterling earrings with coral grape clusters
|
280
Lavender enamel with seed pearls watch pin
| 
281
Eye miniature handpainted on ivory
Georgian
C. 1800
Gorgeous blue eye with brown curls set in gold. Approximately one inch in diameter.
| 
282
Back of eye miniature.
|
283
| 
284
| 
285
Eye Miniature Mourning Ring
Georgian
Circa 1800
Blue eye miniature on ivory painted in the clouds with black enameling on the surround and shank. See Georgian Jewellery by Ginny Reddington Dawes, pg 164.
|
286
| 
287
Another view of the eye.
| 
288
Side view showing enameling.
|
289
Back of ring.
| 
290
Amuletic Stuart Crystal -- Lord's Prayer
English
Dated 1692
Stuart Crystal slide, dated 1692, with a ground of royal blue enamel, gold wire and plaited hair, overlaid with a miniature version of the Lord's Prayer, written by hand on a tiny disc of paper less than one centimeter in diameter, all set beneath a cabochon rock crystal.
This slide measures 3/4" x 3/4". There is some loss to the blue enamel and there is a 19th brooch fitting to the back with the original slide fittings removed.
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291
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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292
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.
| 
293
| 
294
|
295
| 
296
Painting by Joseph Severn -- "Ariel on a Bat"
| 
297
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298
| 
299
| 
300
|
301
| 
302
| 
303
|
304
| 
305
| 
306
|
307
17th Century Slide - Mortality and Immortality
Incredible gold slide, circa 1640, enameled in black and white, the front with symbols of mortality and reverse with symbols of immortality. The front features symbols of death - a skull and crossbones. an hour glass [tempus fugit] the lamp of the last supper and a serpent-entwined staff [death and evil]. The slide measures 2.6 cm by 2 cm [1 and 1/8 inches by 3/4 of an inch]. For similar, see Joan Evans History Of Jewellery Plate 125 [also in the jewelery collection of the Victoria and Albert Museum]. There is some damage to enamel on both sides on this incredibly rare and finely executed memento mori slide.
There is a similar slide in Joyaux Renaissance-Une Splendour Retrouvee published by J. Kugel, plate 131. This piece has a larger skull and is circa dated 1630.
| 
308
To reverse are the initials 'MM' for 'memento mori' and symbols of immortality - a serpent forming a circle of eternity, a flower symbolizing immortality and lover's knots.
| 
309
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”
|
310
Opal necklace with foiled backing set in 14K gold
Victorian
| 
311
Gorgeous Georgian drop earrings, circa 1820, of creamy chalcedony enclosed in cages of two colour high-carat gold, in a foliate and floral design, with swagged detail. The earrings are 7.5 cm [ 3 inches] long in total and measure 3cm [1 and 1/4 inches] across at their widest point. An excellent example of the finest quality Georgian earrings in immaculate condition.
| 
312
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 ...
|
313
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314
| 
315
|
316
| 
317
Bog Oak Irish Harp with Shamrocks
Victorian
| 
318
Austro-Hungarian enameled and gilt bracelet. Marked with a dog's head and 3P (1837 – 1933)
|
319
Close-up of the Austro-Hungarian bracelet. Stones are (tested as) emeralds, glass and (faux?) pearls.
| 
320
Stuart Crystal slide.
Marked 90 (1690)
Woven hair with gold sawtooth bezel under faceted rock crystal.
| 
321
Back of slide marked "ob June 9 90"
|
322
| 
323
| 
324
|
325
| 
326
| 
327
|
328
| 
329
| 
330
|
331
| 
332
| 
333
|
334
| 
335
| 
336
Long gold guard chain, 15 K, probably english
Georgian
circa 1820
|
337
Victorian moonstone and enamel link bracelet
| 
338
| 
339
|
340
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).
| 
341
Portrait brooch of a lady. Supposedly painted on ivory and tests 14K but I can't find any marks.
| 
342
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.
|
343
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.
| 
344
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)
| 
345
Superb 7-strand hairwork bracelet with 16K gold clasp. Three different styles of braiding. Circa 1850s.
|
346
Back view of hairwork bracelet showing different braid styles.
| 
347
Miniature portrait of cat set between two agate slices
Georgian
Hand-painted cat, reverse painted on agate, mounted in gold.
| 
348
Eye miniature
Georgian
C. 1790
Hazel eye miniature painted on ivory surrounded by garnets with hair in compartment on the back.
|
349
Inscription
| 
350
| 
351
|
352
| 
353
| 
354
|
355
| 
356
| 
357
|
358
| 
359
| 
360
|
361
| 
362
| 
363
|
364
| 
365
Vulcanite cameo
| 
366
|
367
Demantoid garnet earrings
Circa 1900
Back to front earwires.
| 
368
Micromosaic earrings
Victorian
Black glass surrounds with micromosaic scene of trees and water. Original earwires.
| 
369
Hummingbird mounted in gold pendant
Victorian
Circa 1870s
Pristine example of a piece of jewelry I find rather sad -- a real hummingbird's head mounted in a superb Etruscan revival pendant/brooch. The beak is gold and it has pearl eyes.
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370
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.
| 
371
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.
| 
372
Pique tortoiseshell earrings
Victorian
C. 1860-1880
Long blonde tortoiseshell pique earrings set with gold stars.
|
373
Victorian long chain 18K 68" long
| 
374
Close-up of links.
| 
375
Long Victorian 15K chain, 60" with "paperclip" links and wheels in center.
|
376
Close-up of links.
| 
377
Rose-cut diamond and Persian turquoise fringe necklace, rose gold
French
c. 1870
| 
378
Close-up of necklace.
|
379
Serpent bracelet wiht turquoise
C. 1840
14K w/ scale-like links, head stones are set with turquoise and garnet eyes.
| 
380
Portrait miniature pendant
Victorian
c. 1870
Profile of young woman, watercolor on on ivory, with hair comb, lace collar, set in rose gold.
| 
381
Portrait miniature brooch
Victorian
Miniature on ivory, young girl with ringlets, earrings, chain, 14K, initials on back CEF to AF.
|
382
Victorian 18K short chain w/ added swivel hook
| 
383
Close-up of links.
| 
384
Mourning pendant
Georgian
Miniature on ivory, typically in sepia tones, this is unusual as it is a colored mourning scene, two women at tomb with gilt, dated 1790-1837, lock of hair in back.
|
385
Back of pendant.
| 
386
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.
| 
387
18th Century Rococo Flat-cut Garnet Necklace
back of necklace
|
388
Memento Mori ring
Dated 1710
Simple gold band inscribed with skull. Marked C.J. ob. 24 Apr 1710
| 
389
| 
390
Enamel slide depicting the Shroud of Turin?
Circa late 1600s?
Beautifully enameled slide possibly showing the Shroud of Turin. Leaning on the casket are two angels separated by a monstrance (symbolizes the body of Christ). Slide is 1 1/8" by 7/8"
At some point it was damaged and the crack subsequently stabilized.
Each corner of the slide has a rose-cut diamond set in silver collets.
|
391
Slide turned on its side
| 
392
Back of enameled slide
Back of the slide, beautifully enameled in black, pink and white and with large initials in the center GVL?
The 4 sides of the slide are also enameled in this pattern, as were the slide "handles" which are quite dented and missing much of the enameling.
| 
393
Double-sided pendant
Painted on vellum
Sir Rob Williams Baronet Born 3d May 1716
Lovely hand-painted work including flowers and two cherubs. George I was King of England.
1 1/2" x 1 1/8" not including bale.
|
394
Reverse of pendant
Sir Rob. Williams Baronet Ob the 11th November 1745
Symbols of death -- skull and bones, casket, shroud, with hair.
During 1745, Prince Charles Edward Stewart (Bonnie Prince Charlie) was attempting to seize the English throne -- perhaps Rob Williams was involved in the fighting?
| 
395
Memorial portrait of Queen Mary II
1662 - 1694
Queen Mary II co-ruled with her husband King William III (Prince William of Orange. She died of smallpox in 1694.
Pendant with portrait of Queen Mary, on left side against black field is a crown, the initials MR and a skull.
3/4" x 1/2" without bale.
| 
396
Another view of the portrait.
|
397
Back of the pendant. Appears to be hammered gold, not wear.
| 
398
Portrait miniature of King Charles II
Circa mid 1600s?
Charles II (29 May 1630 OS – 6 February 1685) became king of England, Scotland and Wales in what is known as The Restoration.
His father, Charles I, was executed at Whitehall on 30 January 1649, at the climax of the English Civil War. He was succeeded by Oliver Cromwell and England entered the period known as the English Commonwealth. Charles II, following his defeat at the Battle of Worcester in 1651, fled England for to the Continent, spending the next 9 years in exile.
A political crisis following the death of Cromwell in 1658 resulted in Charles being invited to return and assume the thrones. Charles II arrived on English soil on 25 May 1660 and entered London on his 30th birthday, 29 May 1660. After 1660, all legal documents were dated as if Charles had succeeded his father in 1649. Charles was crowned King of England and Ireland at Westminster Abbey on 23 April 1661.
This faceted ro...
| 
399
|
400
Back of pendant with engraved initials. Cannot tell what the letters are....
| 
401
Acrostic "Dearest" bracelet
Georgian
C. 1820
Lovely gold Georgian link chain with stamped stars with an elaborate clasp set with gems spelling "dearest." Diamond, emerald, amethyst, ruby, emerald, sapphire, turquoise.
| 
402
Clasp with gems.
|
403
Cut steel link bracelet
C. 1820s-1840s
| 
404
18th Century Skeleton / Posy Ring
C. 1700
A rare combination on this mourning ring, circa 1700, of a skeleton and symbols of mortality to exterior and a posy, a motto of love, to interior. This type of ring is known as a skeletal as the whole length of the skeleton is employed around the band, together with other symbols of mortality, a winged hourglass and gravedigger's pick and shovel, The ornamentation echoes that used on black borders printed on the title pages of funeral sermons. The center is set with a colorless crystal. To interior, a touching posy is inscribed in Italic script : God above increase our love [with archaic f for the letter s] and London goldsmith's mark wf, dating it to the first part of the 18th century. The posy is cited in Evans English Posies And Posy Rings.The ring is size M [US 6]. There is a chip on the crystal and traces of the original black enamel remain but this is a rare combination.
| 
405
|
406
| 
407
| 
408
|
409
| 
410
| 
411
Blackamoor seal
Georgian
Circa mid-18th c.
Carved hardstone blackamoor or Nubian seal with diamonds and garnets. The bottom has not been carved.
|
412
Side view of seal.
| 
413
Another view showing true color of head.
| 
414
Foiled garnet necklace set in gilt copper
Circa 1750
An early garnet necklace set in closed gilt copper settings.
|
415
Diamond drop earrings
Georgian
Rose-cut diamonds, replacement ear wires, 12-14K.
| 
416
Necklace of hand-painted cherubs in gold on a black background
Georgian
circa 1790s
See Georgian Jewellery pg 37 top for a necklace with similar chains.
| 
417
Close-up of cupids -- each is different.
|
418
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.
| 
419
Side view of bracelet.
| 
420
Blackamoor parure (necklace, bracelet, earrings) set in silver gilt, enameled.
Victorian
Some repairs, replaced clasps and ear wires
|
421
Enameled pendant with large cabochon garnet center
Victorian
| 
422
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.
| 
423
He has a slight bald spot, perhaps from wear.
|
424
| 
425
Coral and diamond necklace
Victorian
The coral is a splendid color, much more pink than orange.
| 
426
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.
|
427
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.
| 
428
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.
| 
429
|
430
| 
431
| 
432
Gold mourning ring with enamel
Dated 1712
A pristine mourning ring with black enamel decoration laid down on 18CT gold. The decoration shows a skull surrounded by floral motifs. The inside of the ring is engraved with "Sr. Wm. Hoskins Ob 13 Aug 1712 aet 83" followed by two hallmarks. Sir William Hoskins was Lord of the Manor of the Manor of Oxted, and owner of several other large properties.
|
433
| 
434
| 
435
|
436
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.
| 
437
Cameo with its original 18 ct snake chain.
| 
438
Fringed pendant with cabachon garnet and diamond star
Victorian
18 ct.
|
439
Gold chain
Victorian circa 1880
9k gold chain. Unusual chain with pierced out star design links.
| 
440
Clasp and detail of links
| 
441
Old European cut diamond earrings. Claw settings Yellow gold lever back ear wires
|
442
Gold fringe brooch with central emerald and pearls
Victorian
| 
443
15 ct gold tassel earrings
Victorian
In original box
| 
444
9 ct gold muff chain
|
445
Greenstone and 15 ct gold acorn earrings
Victorian
| 
446
Essex crystal stickpin of horse and rider -- 18 ct.
| 
447
Rose gold chain
|
448
Tiger's eye and 18 ct gold brooch
Victorian
| 
449
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]....
| 
450
|
451
| 
452
Hummingbird brooch
Victorian
C. 1870s
Ruby-Topaz Hummingbird (Chrysolampis mosquitis) head set to a high-carat gold brooch of crossed arrows. More often found in gilt-metal mounts, such items were exhibited at the London Exhibition of 1872,a natural extension of the fashion for hummingbird cases of taxidermy ubiquitous in the Victorian house. 'Birds and insects have been utilized and treated as personal ornaments by A.Boucard. As specimens of beautiful color one can scarcely see anything better than this.' An interesting example of Victorian zoomorphic jewelery. For similar see p.372 Jewellery The International Era by Shirley Bury.
| 
453
|
454
| 
455
Sentimental brooch with rose cut diamond surround
French
c. 1780s-1790s
Sepia miniature of a lovely young woman twining a floral garland around a tree. Tiny paper flowers are scattered throughout with a pale rose colored paper ribbon surrounding the standing figure and tiny flowers under curved glass. Miniature is set on foiled backing. The word 'Gage' at the top is French for 'token' as in 'gage d'amour' - token of love. Gold frame.
| 
456
Skeleton Memento Mori Band
Circa 1720
Rare Memento Mori ring, circa 1720, know as a skeletal, as the whole length of the skeleton is employed on the outside of the hoop, together with other emblems. The earliest noted example is dated 1659. The skeleton on this band is accompanied by a running hound and floral motif. The ring is size L and 1/2 [US 5 and 7/8] and in almost pristine condition.
|
457
| 
458
| 
459
|
460
| 
461
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.
| 
462
|
463
Day and night black enamel and pearl earrings set in 18K gold
French
c. 1830
| 
464
Day and night blue enamel earrings set in 15K gold
English?
c. 1820
| 
465
Natural pearl and gold bow earrings
Possibly Spanish or Portuguese
c. early 1800s
Gold tests at 15K
|
466
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"
| 
467
Reverse of Captain John Hutt miniature
| 
468
Portrait Miniature
E. Taylor
1827
Portrait miniature of an English gentleman signed by "E. Taylor 1827." Silver frame with black enamel band, hairwork in back.
E. Taylor 1802-1830
Born in London, he was also a goldsmith and a jeweler and exhibited at the Royal Academy in 1825. He probably crafted this silver brooch with the black enamel band specifically for this miniature.
|
469
Back of portrait miniature with hairwork.
| 
470
Victorian baby bracelets, gold-filled, turquoise glass.
| 
471
Opal and rose cut diamond bracelet
Victorian
14 K and silver.
|
472
| 
473
Pave Persian turquoise bracelet
Victorian
c. 1860s-1870s
| 
474
|
475
Pave turquoise pansy brooch
Victorian
| 
476
Portrait miniatures of Mr. and Mrs. Ramsford
Pierre Pasquier Jr.
French
c. 1830
Porrait miniatures of Mr. and Mrs. Ramsford, watercolor on card, circa 1830, signed "Pasquier," and housed in silver metal cabinet frames.
Portrait of Mrs. Ramsford with mourning inscription for her son, "Chas. Ramsford/ob./19 Apl. 1843/Aet. 3." In excellent condition.
Size: Both 3.5" X 3"
Signed by Pasquier
Thought to be the son of miniaturist, Pierre Pasquier, an excellent well know miniaturist from Paris. Worked in France from 1810-1835. Exhibited at the Paris Salon from 1822-1833.
| 
477
|
478
| 
479
| 
480
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.
|
481
| 
482
Georgian silver link chain bracelet
c. 1820
Silver bracelet consisting of mixed pattern links (smooth and textured with an integral ornate barrel clasp.
| 
483
Tiger claw earrings
Victorian 1860-1870s
Mounted in 14K gold.
|
484
Ivory toothpick box with small gold nailheads
| 
485
Iridescent glass stickpin of a skull
| 
486
Side view of the glass skull
|
487
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.
| 
488
Repaired portrait miniature
Work done by Jerry Litmer of Wiebold Studios
| 
489
|
490
| 
491
Mourning portrait of child in the clouds with basket of flowers.
c. 1850
[currently being reframed]
| 
492
Carved moonstone baby in bonnet.
Circa early 1900s.
|
493
Carved moonstone face ring
Circa early 1900s
Hand-carved moonstone ring with two side diamonds set in 14k. Hallmarked.
| 
494
| 
495
|
496
| 
497
Pendant in the Suffragette Colors
Circa 1910
A high-carat gold pendant set with an amethyst, rare green demantoid garnets and natural pearls. The colors are those of the Women's Suffragette movement, symbolizing green for hope, white for purity and purple for regal dignity.The pendant measures 4 cm by 3 cm [1 and 2/3 inches by 1 and 1/4 inches] and the chain is 18 inches long. A rare Suffragette piece in immaculate condition in its original case.
| 
498
|
499
| 
500
| 
501
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