Eugene Fontenay Necklaces

Necklace Specifications: Brand: Tiffany & Co. Metal: 18k Yellow Gold Pendant Measurements: 0.55" x 0.55" Chain Length: 16" ​ Total Weight: 2.5 Grams Stamped: "Tiffany & Co." "75...

A superb Portuguese necklace with incredible cannetille gold work in 19.2 karats. The necklace has a luxurious design of heavy woven gold that glow...

- 24" length - 4.5" x 4" pendant - Gold plated - Faux turquoise cabochon - Double strand chain - Clasp closure - By Cadoro (signed on verso) - Made in New York - circa 1970s CONDITI...

This vintage 18k gold Italian charm is encrusted with vivid green aventurine set among Etruscan Revival wirework and granulation. The ornate vintage ...

18K Solid Gold Ball Etruscan Revival Necklace. Unique design links 51 yellow gold balls together in an oval spring ring with no open clasp. Gold ball dimensions: 7.48 mm long x 9 mm ...

A beautiful preloved 18 karat gold Venetian Etruscan Revival fob charm pendant. The charm is set with a cabochon cut moonstone at the bottom of th...

Diamond Anchor Necklace in 18k White Gold / Rose Gold / Yellow Gold. Delicate dainty anchor charm necklace with natural diamond set in 18k so...

Diamond Lotus Necklace made of 18k solid gold available in three colors, White Gold / Rose Gold / Yellow Gold. Natural genuine round cut diamon...

A very fine gold Etruscan Revival pendant charm. In 18k yellow gold. In the form of a hollow sphere with filigree flower petal sections and smooth round turquoise cabochons set around a center sphere that is supported by a gold coil pedestal...

Stunning example of Etruscan Revival craftsmanship, this 15k antique Victorian locket is substantial in size with exquisite details. The center boasts a beautiful rose gold locket door with etched floral motifs. The detail continues on to the ail and the raised gold ball design that surrounds the outside border of the piece. We love this one on an antique guard chain...

Precious Art Magnificent large locket from the Victorian period, artfully crafted by Carlo Giuliano One of the leading jewellery masters during the Victorian period, rewarded by Quee...

Italian Etruscan revival locked. This is a gorgeous antique medallion-locket created in Italy in the 19th century, circa 1870. The locket has been made up in an oval shape in the Etruscan revival style and carefully crafted in 18kt gilded brass with high polished finish. The medallion locket is decorated with the inlaid portrait of an ancient Etruscan queen, which is dressed with colorful robes, crowned with a diadem and wearing earrings accented with two rose cut diamonds. The profile of the queen is fully decorated with the difficult polychrome enamel technique, called Peinture sur émail. It is fitted with a three-barrels hinge with a snap lock to open and close and a ring bale to wear in a chain. The craftsmanship of this one-of-a-kind piece of jewelry, is exceptional and well done, and surely this will be a great conversation piece. Country: Europe, Italy. Period & Style: Etruscan Revival 1870. Diamonds: Mount in inlaid settings, with 2 European rose cut diamond, 0.07 carat, white colorless F/G color, VS/SI clarity. Weight: 26.95 Grams, (17.30 Dwt). Measurements: 31 mm by 52 mm by 6 mm (1.22 x 2.05 x 0.24 Inches). Hallmarks: Unmarked as usual. Peinture sur émail technique Peinture sur émail is a French type of painting with enamels. It was developed at the end of the 15th century in Limoges, France. In this technique, a slightly convex, metal plate is covered with a fondant of uniform color which was fired to produce a vitreous base for the drawing. On this, the artist starts applying color after color in thin layers onto the base color with a paintbrush. It is vital that one starts with the colors of the highest flowing temperature to avoid the diffusing of colors at a later stage. Between every step, the intermediate depiction needed to be fired in the oven to fixate the colors, sometimes up to 20 rounds of heating are needed for the final result. In this manner, one was able to rival the oil painters of the day and artists such as Leonard Limousin were in high regard, often even employed by the patrons of the arts. Needless to say, that this type of enameling was no longer in the realm of goldsmiths but belonged to those with exceptional drawing skills. At the end of the 16th century the abundance of workshops that produced these artifacts – these could be a meter high – created a decline in craftsmanship which is usually associated with popular cultures. Like Castellani rescued the micro mosaics from general decline by giving it a new impulse so did Jean Toutin from Blois, France give a new incentive to painted enamel in the early 17th century by introducing miniature paintings on enamel of high quality. In Geneva, Switzerland, there was a culture of painting enamels from the late 15th century as well, but the industry only really started to flourish mid-17th century. They specialized in portraits as in scenery images which soon attracted the attention of customers from all over Europe and beyond. Famous Genevan names of the day were Jean Petitot, Jean Etienne Liotard...