Rhodium Pendant Necklaces

Butani's necklace is made from two-tone 18-karat white and yellow gold and encrusted with 0.89 carats of pear-cut emeralds and 0.60 carats of pear-cut diamonds. A single rose-cut ro...

Brilliance Jewels, Miami Questions? Call Us Anytime! 786,482,8100 Type: Pendant Necklace Style: Art Deco Metal: Platinum (pendant) 14k White Gold (chain) Stones:...

Art deco style pendant necklace in Chrysophase, with brilliant cut diamonds and Onyx stone elements for decoration. The upper part of...

The necklace is finely crafted in 18k platinum, with diamonds weighing a total of 0.40 dwt and sapphires 0.30 dwt. Circa 1950

Sapphire Pink Chunky Chain Necklace 26" French Medal Silver Bronze J Dauphin Chain can be worn as shorter and is adjustable. Thick Gold Filled Chain. Fre...

Platinum Art Deco pendant with 2 carats of diamonds accented by specialty French calibre cut synthetic sapphires. Beautiful design with bows and a central rosette. There are about 11...

Vivid Pink Purple Untreated Sapphire 18k White Gold Pendant Necklace. A fine IGI certified 1.05 carat untreated sapphire with a beautiful vivid pink purple colour. The sapphire als...

This Natural Ruby Elephant Pendant is meticulously crafted from the finest materials and adorned with stunning ruby which enhances confidence, leadership qualities and attract career...

Natural pink brown color diamond slice pendant necklace. 1 pear slice pink/brown diamond slice with a halo of round white diamonds, accented with one round diamond on the bail. The ...

This heart shape pendant necklace has Natural Tapered Baguette Cut Diamonds that weigh 0.56 carats. The clarity and color of the necklace are VS-I. The approximate weight of this ne...

Clarity: VS Metal: White Gold Main Stone: Yellow Diamond 0.58ctw Side Stone Weight: Diamonds 0.43ctw Total Diamond Carat Weight: 1.1ctw

Silver and approx 85ct rock crystal. Signed and dated 1937. The pendant is 6,7 cm long on a 59 cm long chain. Wiwen Nilsson (1897-1974) - An Art Deco Silversmith in the Age of Modernism. Wiwen Nilsson was born in Copenhagen, Denmark in 1897. Born as Karl Edvin, but since he did not like his christening name, he was, within the family, called Wiwen. He was the son of Karolina and Anders and grew up with his sister Edith. In 1897 the family moves to Lund, Sweden when the father takes over the gold and silversmith company J.P. Hasselgren & Son. In 1906, Wiwen began at Katedralsskolan in Lund and finished school when he graduated fifth grade in 1912. It was common to continue up to sixth grade and then high school, but Wiwen who does not thrive in a school environment wants to become a pianist or aviator instead. However, as the father is a recognized jeweler and court supplier, the son's career is already marked. Instead, he embarks on an educational journey with the goal Königliche Zeichenakademie in Hanau am Main, Germany. The school is Germany's oldest and most prestigious goldsmith's school. Wiwen enrolled on the fourth of August in 1913 and studied drawing, workshop work, engraving and hammering work. The education comes to an abrupt end with the outbreak of the First World War in 1914, and he instead continues his education in his father's workshop, where he stays until 1919. He does, however, make two breaks, the first quarter of 1917 he enrolled at the Technical Society's School in Copenhagen where he studied modeling, among other things, and in 1917-1918 he did his military service in Stockholm. In 1919 he applied for and received his companion letter, at the same time he received the Swedish Craft Organization's large medal in silver for his professionalism. In 1920 he is again at the school in Hanau, Germany where he stays until 1921 and practices with the jewelry company Chr. Kissling also in Hanau. At school, he mainly studies drawing and chiseling, a type of relief technique that was very popular during the 17th century. Wiwen is driven by his own design language and thinks that the prevailing technique under the influence of Danish designers is a setback in the development of chiseling. During his time in Hanau, he visits several arts and craft exhibitions and comes into contact with the Wiener Werkstätte and the Wiener Werkbund, among others. At the same time as he is studying, he writes travel stories where it emerges that he believes that Sweden's conservatism inhibits the development of arts and crafts, something he himself wants to change. Back in Sweden in 1921, he was appointed the company's artistic designer. In 1923, the company participates in the Gothenburg exhibition, but here Wiwen receives devastating criticism. His creations are considered ugly and meaningless, a critic writes that it is a typical case of poor material sense. In 1924, Wiwen Nilsson travels to Paris. Just like in Hanau, he studies chiseling, silver, drawing and modeling at the Académie de la Grande Chaumiére (now Académie Charpentier). One of France's foremost art schools where, among others, Siri Derkert (1888-1973) and Bror Hjorth (1894-1968) have also studied. In Paris he became acquainted with Georg Jensen (1866-1935), in whose workshop he chiseled for a period. He also meets and hangs out frequently with Jules Schyl (1893-1977) and Gösta Adrian-Nilsson, GAN (1884-1965). The meeting with GAN becomes extremely important and came to influence and refine Wiwen's own design language and together they hold a joint exhibition in 1925 in Lund. From 1925 until the end of the 1920s, Wiwen Nilsson produces a large amount of church silver. He designs and manufactures for, among others, Allhelgonakyrkan in Lund, Knästorps and Tottarps kyrka in Skåne. In total, Wiwen's workshop manufactures 677 objects for churches, of which 483 are found in churches within the diocese of Lund and 194 in other Swedish churches. Some are also sent internationally to the Church of Sweden in Paris, Berlin, Copenhagen and churches in West Germany, Iceland and to Zululand in South Africa. His church silver unmistakably bears the same design language as his profane works. All with the same angular but harmonized and modernist shapes, not infrequently his vessels like jugs and lid boxes are often hexagonal or octagonal. In 1925 he participated in the Exposition Internationale des Arts Décoratifs et Industriels à Paris (World Exhibition) where he received a gold medal in Class 10, the category for crafts and art industry in metal. Other exhibitors included C.G. Hallbergs Guldsmeds AB and Jacob Ängman...