Catalog (2449)

A delightful Victorian 10K yellow gold figural ring in the form of a genie. The genie's hands are folded across his chest and grasp a old European cut yellow sapphire. The use of a fancy color sapphire in a piece such as this is quite original. The stone is graded as very light, very slightly grayish Yellow-Green (YG 2/3). The ring's shank is in the form of sinuous snake whose head peers over the genie's shoulder and gazes at the glimmering sapphire. The design is just beautifully thought out and the detailing is excellent. The interior of the shank is marked "10K".

Origin: America, ca. 1900. Condition: excellent, sharp detail; wear consistent with age to the facet junctions on the crown of the sapphire. Finger Size: 8-1/2. Size: 13/16" wide at widest. Weight: 9.1 grams. Approximate Total Gemstone Weight: 1.53 ct.

A handsome pair of Victorian 14K yellow gold double-sided cufflinks, the faces set with cabochon agates. The variety of agate is called “landscape agate” because the colors and markings resemble painted landscapes. These particular stones suggest colorful sunsets behind wooded landscapes. The bezel settings are finished with fine millegraining. The connectors are marked 14K and have an unknown American maker’s mark.

Origin: America, ca. 1890. Condition: excellent. Size: 5/8” x 9/16”. Weight: 10.4 grams.

A very good pair of doubled-sided 18K yellow gold cufflinks, the faces made from carved mother-of-pearl punctuated with gold “stitches” and finely-worked laurel wreath borders. The backs of the faces are beautifully decorated in an engraved foliate pattern. The faces are connected by chains. Fully marked with French “tete d’aigle” hallmarks for 18K.

Origin: France, ca. 1900. Condition: excellent, all original. Size: 9/16” diameter. Weight: 6.3 grams.

An attractive pair of Art Nouveau 10K yellow gold bean-back cufflinks, the faces decorated with a repousse design featuring a lion’s head. The great cat’s mouth is open in mid-roar and the edges of the cufflinks are decorated with sinuous grasses that mimic the lion’s flowing mane. The backs are marked “10K H.”

Origin: America, ca. 1900. Condition: excellent, sharp detail. Size: 1/2" x 3/4". Weight: 4.1 grams.

An extraordinarily fine pair of late Victorian or early Edwardian 18K yellow gold cufflinks, the faces in the form of navette-shaped buttons carved from crystal opal. The faces are accented with silver “stitches”, each accented with a five small rose cut diamonds. The opals have clear body color and the play-of-color is predominantly shades of green and blue with occasional flecks of orangy-red. The faces are connected by gold chains to gold torpedo backs. The use of carved opal as a button motif is most unusual, as is the use of crystal open rather than the more common white opal. The overall effect is subtle and very sophisticated. Tested and guaranteed 18K gold.

Origin: Continental Europe, ca. 1900. Condition: excellent. Size: 13/16” x 5/16”. Weight: 4.8 gr.

A lovely Art Nouveau 14K yellow gold pin in the form of a violet, each of the petals worked in soft shades of violet, rose, cream and green. The flower is centered with a 10-pt old European cut diamond. In the Victorian language of flowers, the violet represented faithfulness. The back is marked “14K”.

Origin: America, ca. 1910. Condition: excellent, no enamel damage, all original. Size: 1-1/8” x 7/8”.

A classic pair of Edwardian cufflinks by Krementz worked primarily in 14K yellow gold. Each face is formed from a carved mother-of-pearl disc set in an engraved platinum border and centering a cabochon blue sapphire. The sapphires, though small, have good blue color that nicely accents the irisdescent surfaces of the surrounding mother-of-pearl. The connectors are marked “14K” and have Krementz’ hallmark. The platinum portions are tested and guaranteed platinum.

Origin: America, ca. 1905. Condition: excellent. Size: 9/16” diameter. Weight: 7.1 grams. Approximate Total Sapphire Weight: .68 ct.

A rare pair of Art Nouveau 14K yellow gold bean-back cufflinks, the oval faces with repousse decoration representing Poseidon (“Neptune”), god of the sea. The god is identifiable by the trident that forms his crown. The background at first appears to be a simple stippled pattern, but careful examination shows that the background is actually worked in a very fine pattern of fish scales. Mythollogical subjects were very popular in men’s jewelry at the end of the 19th century, but this is the first time we’ve seen cufflinks with the image of Poseidon. The bean backs are marked by an unidentified American maker and are stamped “14K”.

Origin: America, ca. 1880. Condition: excellent, sharp detail, no dings. Size: 11/16” x 1/2". Weight: 5.3 grams.

Extraordinary pair of early Cartier cufflinks, the round faces featuring brilliant green guilloche enamel in a starburst pattern, bordered with rose-cut diamonds set in delicate double-milgrained platinum borders. The enamel plaques are engraved in a manner that gives the enamel a distinct two-toned appearance and are set into 18K yellow gold backs that are attached to one another with gold chain links. The chains have a spring ring clasp, so one face can be removed for ease in attaching the cufflinks to a shirt. The backs are signed "Cartier Paris" and have serial numbers. The cufflinks are appropriately marked with "tete d'aigle" hallmarks for 18K gold (the cufflinks predate the law requiring marks for platinum). Enameled Cartier cufflinks of this quality simply do not appear on the market.

Origin: France, ca. 1900. Condition: excellent, light surface wear to enamel visible under 10x magnification. Weight: 9.9 gr. Approximate Total Diamond Weight: 1.52 cts.

Exquisitely rare Art Nouvean plaque pendant by master jeweler and enamelist Eugene Feuillatre. The overall bell-shaped outline mimics the shape of the flowers surrounded the golden maiden at the center of the pendant. The flowers are worked with en plein enamels in subtle shades of pale green and gold translucent enamels, and are surrounded by openwork filled with plique-a-jour enamels in milky opalescent shades of pale rose and blue. Every detail is perfectly worked. The best of the French Art Nouveau jewelers believed that a jewel should look as good from the back as from the front. The back of this piece features fine hand-engraved details showing the maiden's flowing hair and the delicate veining of the flowers' leaves and petals. the back is signed with Feutillatre's cartouche and is marked with a bigorne (a 19th century French guard against forgeries) and the "tete d'aigle" guarantee for 18K gold.

Eugene Feuillatre was born in Dukerque in 1870 and began exploring enameling techniques at the age of 18. He was hired by Lalique to execute his enamel designs and continued that association until around 1898 when he exhibited to great acclaim at the Paris Salon of the Societe des Artistes Francaises, where the Musee des Art Decoratifs (the decorative arts wing of the Louvre) acquired one of his works for its permanent collection. By the following year, he was exhibiting regularly at the New Gallery (London) and the Libre Esthetique (Brussels) alongside jewelry luminaries such as Lalique and Fouquet. Feuillatre exhibited successfully at the international expositions in Paris (1900) and Milan (1902). Today, he is considered among the greatest French fathers of Art Nouveau jewels.

Origin: France, ca. 1900. Condition: excellent, absolutely no enamel damage. Size: 1-1/4" x 2-9/16" (excluding bail). Weight: 13.7 gr.

A particularly elegant pair of double-sided cufflinks by Larter. The round mother-of-pearl faces are centered with small natural pearls and surrounded with platinum borders decorated with laurel leaf engraving. The backs are in 14K yellow gold. The mother-of-pearl has very nice luster with pinkish and greenish overtones. These cufflinks would be especially appropriate to be worn with white-tie. The connectors are stamped with Larter's hallmark.

Origin: America, ca. 1900. Condition: excellent, all original. Size: 17/32" diameter. Weight: 5.0 gr.

An elegant pair of sterling silver cufflinks, the faces depicting a long-haired maiden gazing at a star. The faces are hallmarked for London, 1902 and also have an unidentified maker’s mark “RF”. The faces were originally buttons and are now connected with silver chains to torpedo backs.

Origin: England, 1902. Condition: excellent, sharp detail. Size: 11/16” diameter. Weight: 9.5 gr.

An elegant Art Nouveau glass vase decorated with enameled poppies. The blossoms are worked in shades of cream, yellow, rose and violet, while the foliage is stained a reddish-purple and highlighted with complex lacy gilding. The upper rim is decorated with a band of stained and gilt flowers, as well. The vase is blown in pillar form with an optic paneled design. The workmanship is very fine. Unsigned, but definitely made by Mont Joye (also know as Verreries Saint-Denis and Legras).

Origin: France, ca. 1900. Condition: excellent, no cracks, no enamel or gilding wear. Size: 9-1/4”.

A handsome pair of Edwardian yellow gold cufflinks, the faces formed from barbell-shaped batons of green serpentine. The stone has an attractive semi-opaque pale green color flecked with black specks. Serpentine was often used as a substitute for jade. The gold backs are marked “9Ct”.

Origin: England, ca. 1900. Condition: excellent. Size: faces, 7/8" long. Weight: 4.8 grams.

A fine pair of late Victorian or early Edwardian cufflinks worked in 18K yellow gold. Each face comprises a large baroque pearl beautifully mounted in a variation of a buttercup setting. The pearls have fine, lustrous surfaces with pronounced orient in shades of green and rose over a light bluish-gray body color. The navette-shaped back faces are fashioned from plaques of mother-of-pearl set in milligrained gold borders. The mother-of-pearl is particularly nice, with luster and overtones equal to those of the baroque pearls. Because the mother-of-pearl faces are sufficiently large, this pair of cufflinks can be worn with either face on the outside, providing two completely different looks. Tested and guaranteed 18K.

Origin: probably American, ca. 1900. Condition: excellent. Size: front faces, 19/32” x 7/16”; back faces, 15/16” x 7/16”. Weight: 11.3 grams.

This unusual glass paperweight is filled with a devil’s fire motif worked in vibrant opaque shades of red, white and green. The glass of the design has a chalky texture similar to sulphides, but is randomly swirled and peaked in the typical devil’s fire style. The glass of the dome is particularly clear and bright for South Jersey paperweight. There is an incised ring around the periphery, just above the base, that is often found in Jersey weights. The base is concave and has a nice basal ring. The overall visual is very successful.

Origin: America, ca. 1880-1910. Condition: very good; there are three moons on the periphery, not visible from the top, and one shalllow fleabite that is visible from the top. Size: 2-5/8” diameter; 1-3/4” high.

A stunning cranberry-cut-clear cut glass claret jug with a hammered sterling silver collar and hinged lid with a palmate finial. The Aesthetic-style hammered silver makes are particularly nice counterpoint to the Gothic-inspired design of the cutting which combines tall arches of small diamond cutting divided at the top with elongated triangles of larger diamond cutting. The bottom of the jug is cut with a 36-point star. The applied handle is worked in clear crystal. The silver mounting is fully hallmarked by Martin Hall & Co., with a Birmingham city mark and the date letter for 1904.

Origin: England, 1904. Condition: excellent, no chips or cracks to glass; no dings or monograms to silver. Size: 10-3/4” tall.

A superb pair of late Victorian or Edwardian 14K yellow gold double-sided cufflinks, the faces set with reverse-carved and painted Essex crystals depicting a cockfight. Cufflinks depicting a cockfight are quite rare. The workmanship in this pair is outstanding. The carving is deep and the painting is expertly done. The mother-of-pearl backing is particularly lustrous with fine iridescence. The crystals are simply set in gold frames attached with bar connectors marked "14K".

At the turn of the century, cockfighting was considered a gentleman's sport and images from fights appeared on a variety of gentlemen's accessories and barware. The images tell the story of the whole match. One crystal shows the roosters meeting for the first time; the second shows one rooster attacking; the third shows the counter-attack; and the final crystal shows the winning rooster crowing over his vanquished enemy.

Origin: America, ca. 1900. Condition: excellent; one face has very faint moisture marks on the mother-of-pearl, but no paint loss. Size: faces, 11/16" x 9/16". Weight: 13.3 grams.