17th Century Pendant Necklaces

XVII-XVIII Capucine Cross in Yellow Gold, rose Diamonds & Onyx Black enamel Conical Chatons. Measures: 70x53mm / 2.75x2.08in Regional French Cro...

Atocha Two Tone Coin Pendant. The pendant measures 28mm x 43mm (including bail). The coin shows quite a bit of wear, the markings on the coin are not readable and there are no markin...

Gemstone Type : Tourmaline Weight : 9.90 Carats Dimensions : 11.6x11.5x9.9 Mm Origin : Kunar Afghanistan Clarity : Eye Clean Shape: Cushion Color: Mint Seafoam Certificate: On Demand...

Very rare ca. early 17th century likely Italian or Spanish 19K Yellow Gold Cross Pendant with 24 Diamonds, all of table cut about 2 ctw. Hand - engraved decorations on the back side....

Loose Emerald Weight: 1.50 Carats Dimension: 8.6x7.1x5 Mm Origin: Swat Pakistan Mine Shape: Pear Treatment: Non Certificate: On Demand . Wearing an emera...

Original Atocha Coin 4 Reale Grade 2 Mexico Mint Unmounted #85A-159726. Complete with the original Mel Fisher signed certificate from Treasure Salvors INC....

18k yellow gold framing this natural turquoise cut in round cabochon shape and decorate with white enamel to created the ultimate summer look, color and vibe.

Original Atocha Shipwreck silver coin 8 Reale Potosi Mint grade 3 unmounted. Complete with the original Treasure Salvors Inc., signed by Mel Fisher. Grade 2-3 dictates that the coin was retrieved from the middle of the pack in the wreckage with less corrosion compared to Grade 3 or 4. Grade 1 coins are of the finest quality with minimal corrosion. The Potosi Mint signifies that the coin was minted in northern Peru, modern-day Bolivia. An 8 Reales silver coin was approximately equivalent to one month’s pay for a sailor in the 1600’s. Atocha Coin...

Original antique Atocha Coin 8 Reale Grade 1 with the original Mel Fisher certificate. Grade 1 dictates that the coin was retrieved from the very middle ...

Original Atocha Shipwreck coin grade 2 Potosi mint 4 Reale Assayer "Q" Philip. Complete with the original Treasure Salvors INC. certification. Signed by Mel Fisher. Fixed on a 14k solid gold bezel set pendant. Assayed by Augustin de la Quadra ("Q", 1613-1616) in Potosi. 4 Reale Denomination growing increasingly rare: Most of the coins on board the Atocha were of the 8 Reale denomination. Due to their smaller size, 2 and 4 Reale coins didn't survive the shipwreck as well as the larger 8 Reale coins did. Grade 2 dictates that the coin was retrieved from the middle of the pack in the wreckage with less corrosion compared to Grade 3 or 4. The Potosi Mint signifies that the coin was minted in northern Peru, modern-day Bolivia. Coin Details: - Type: Atocha Coin...

Original Atocha Shipwreck coin unmounted complete with the original certificate from Treasure Salvors INC. Signed by Mel Fisher. Grade 1 dictates that the coin was retrieved from the almost middle of the pack (motherload) in the wreckage with minimal corrosion. An 8 Reales silver coin was approximately equivalent to one month’s pay for a sailor in the 1600’s. Atocha Coin...

Original authentic Atocha Coin 8 Reale Grade 2 unmounted coin with original Treasure Salvors Inc. certificate, signed by Mel Fisher. Grade 2 dictates tha...

Original Atocha shipwreck silver coin 8 Reale Grade 3 Potosi mint with the original certificate from Treasure Salvors Inc. Signed by Mel Fisher. Sold loose or can be mounted on custom pendant. Grade 2-3 dictates that the coin was retrieved from the middle of the pack in the wreckage with less corrosion compared to Grade 3 or 4. Grade 1 coins are of the finest quality with minimal corrosion. The Potosi Mint signifies that the coin was minted in northern Peru, modern-day Bolivia. An 8 Reales silver coin was approximately equivalent to one month’s pay for a sailor in the 1600’s. Atocha Coin...

Large, unusual museum quality Spanish Baroque period ruby, rock crystal, gold and silver topped gold cross 17th Century A clear rock crystal crucifix,...

OCTAGONAL RELIQUARY PENDANT Probably Italy, c. 1600 Fire-gilded brass, glass, velvet, ink on paper Weight 63.2 grams; dimensions 82 × 47 × 21 mm (with loop) Physical description: Double-sided pendant in octagonal form made of fire-gilded brass. Both sides of the pendant with deep profiled frames with glass. The slightly indented side panels comprise openwork friezes with symmetrical scrollwork. On the front is dark red velvet, onto which tiny bone relics of saints (now missing) would have been attached. Labels on a lace-like paper silhouette remain, with names written in ink, mostly faded; only “S. Agnes” is legible. The back is hinged and when opened reveals a velvet-lined interior and paper insert with floral decorations on a turquoise ground, on which fragments of bones are attached. Baluster shaped base for shield-like pendant loop and ring. This reliquary pendant is difficult to situate historically because it is a composite object. It represents traditional handwork in the form of a paper cutout, combined with a jeweler’s beautiful fire-gilt brass case. The work of paper cutting, painting, and ornamentation, sometime combined with needlework, is comparable to work still being done in the nineteenth century by nuns and pious ladies. It is prayerful work, a devotional exercise in itself, and shows reverence to the tiny relic fragments that it would have framed and honored. Early versions of this sort of handiwork might be found in the meticulous displays sometimes called “Paradise Gardens.” These were made, beginning in the sixteenth century, by the nuns at Mechelen, in northern Belgium, in multimedia handwork displays of sewing and gluing, combining relics with paper, cloth, glass, metal wire, and found materials. These textured and pious displays were then combined with paintings and cases by professional artists and artisans, as in the example in Cassel. Unfortunately, because of water damage, only one of the labels of the original relic displayed in this reliquary is legible, inscribed “S. Agnes” at the center top; the other names are faded. Presumably the deep velvet-lined box would have also held an assortment of relics other than the ones that were visible through the glass, and perhaps there would have been another display in the glass on the other side of the pendant. There is a second paper insert, this one decorated with a turquoise ground and silhouette flowers to which bone fragments seem to be still attached. The octagonal case, in contrast to the paper cutout, is not at all “home-made.” It has an openwork frieze in scrollwork patterns familiar from enamel work and other metalwork done for European courts and nobility. It is not unlike cases for expensive watches...

Journey to the Past This intriguing gentleman portrait miniature is mid to end of 17th century, 1670 ca Skilfully painted featuring a gentleman with curly hair and lace jabot, miniat...

Antique 17th-century Silver and iron seal fob/pendant. O side with an inscription with archaic English words saying '' Bethouf faitful unto death '' - "Th...

Faceted Mandarin Citrine Weight : 10.55 Carats Dimensions : 14.4x14.4x10.2 Mm Clarity : Loupe Clean Origin : Brazil Color: Orange Shape: Round Certificate: On Demand Month: Novembe...

18k yellow gold pendant completely hand done framing a natural Pearl with granulated art work. An ideal size to complete your layering pendants.

The cameo at the center of this exceptional pendant is a stunning example of the art of gem engraving during the Renaissance. It likely dates to the early 17th century and features a sacrificial scene inspired by the Greco-Roman era. The central flaming altar is flanked by two figures preparing to sacrifice a ram, while a figure in a lion skin blowing horns stands in the left corner. The carver brilliantly uses the natural layers of the stone to achieve the illusion of shadow and musculature on the figures. A second, smaller cameo is set at the top of the pendant, while a myriad of multi-colored gems, pearls and enamel adorns the 18K gold setting. A large Baroque pearl suspended from an enamel dragon finishes the design, which embodies the opulence and theatricality of jewels from the Renaissance age. Cameos and intaglios were highly popular amongst wealthy connoisseurs in Renaissance Italy, and owning the finest pieces was the privilege of princes. Although they were often elaborately mounted for display alone, cameos were also frequently worn as pendants, surrounded by enameled and stone-set gold frames. Such pieces were particularly prized by the Medici and Lorraine families, many of which can now be seen at the National Archeological Museum in Florence. Very few Renaissance cameos...

RELIQUARY PENDANT WITH PEARL Spain or Spanish Netherlands, c. 1620 Gold, rock crystal, enamel, pearl, bone relics Weight 12.9 grams; dimensions 40 ...

Gemstone Type : Rubellite Tourmaline Weight : 197.45 Carats Dimensions : 45x45x11 Mm Origin : Africa Clarity : SI Shape: Heart Color: Pink Red Certificate: On Demand The rubellit...

Faceted Yellow Citrine Weight : 20.45 Carats Dimensions : 20x15.4x12.9 Mm Clarity : Eye Clean Origin : Brazil Color: Yellow Shape: Pear Cut: Laser Certificate: On Demand Month: Nove...

Gemstone Type : Peridot Weight : 10.10 Carats Dimension: 12.8x12.7x8.4 Mm Origin : Suppat Valley Pakistan Clarity : Included Certificate: On Demand Color: Green Treatment: Non Shape...

SKU# 4006142 Introducing a Cushion-Cut pendant crafted in luxurious 18K rose gold, adorned with exquisite white enamel and featuring a 1.01 carat champagne color cushion cut diamond. This stunning pendant exudes elegance and sophistication, perfect for any special occasion. The pendant features a captivating design with straight gold lines on the pristine white enamel surface, adding a touch of geometric flair to the piece. The contrast between the warm tones of the rose gold and the pristine white enamel creates a harmonious balance, making it a truly eye-catching piece of jewelry. The pendant has a matching ring and earrings that complement each other perfectly, allowing you to complete your look with a cohesive and coordinated style. The set is designed to suit any occasion, whether it's a formal event or a special celebration. This pendant is a part of our Venice collection, a tribute to the Baroque style of Venice during the 17th century. The collection draws inspiration from the city's ornate architecture and grand art, creating a sense of opulence and luxury that is reminiscent of the Baroque era. One of the key features of our Venice Jewelry...

This exquisite authentic vintage Van Cleef & Arpels necklace is from the elegant Nerval collection and features a 5-petal flower crafted in 18k yellow gold and green chalcedony and p...

AMULET PENDANT WITH FIGA Spain, c. 1620–1630 Jet, silver, and enamel Weight 60.7 grams; dimensions 85 × 49 × 18 mm Large pendant in the shape of a hand carved from jet with a clinched fist in the figa (Spanish higa) gesture. In the palm of the hand is a heart carved in relief and on the back a six-ray star in a circle. The silver mount covers the wrist like a cuff and is decorated with a frilled border, and on the front with collet-set bosses with silver C-scrolls against blue enamel; on the back is a roundel in relief with floral motif. Domed base for the pendant loop in pea-pod form. The figa (also fica or higa) represents an age-old symbol of protection against the evil eye and other demonic threats. Its origins were pagan and buried deep in antiquity. Roman examples, such as one found recently in an archeological excavation in London, also make it clear that the protective qualities are based in a sexual symbolism–particularly the power of the phallus. The Roman bone figa/phallus in effect represents the phallus twice; that is, the gesture made by the figa hand is generally explained as fingers representing the female genitalia (vulva) penetrated by the phallus of the thumb. But other interpretations are less specific, including explanations that the left hand is the feminine principle, and the right hand is the masculine. In Spain, jet figa are common; we see one in the portrait of Anne of Austria the infanta (p. 75). That is not to say that the objects are not sumptuous or treasured. Jet was a very valuable material, and in many examples like this one, the figa is embellished with beautiful enameling or is even gem-studded. Comparable objects occur in equally sumptuous materials such as rock crystal. The enameled setting allows a dating of these objects that otherwise might prove difficult, given that the production of such objects in Spain is so consistent over centuries. Indeed, there is another, even more elaborately carved example in this collection, attached to the “magic belt” (no. 9). That example may belong to an earlier group. That figa includes deeply excavated carving, including on the upper surface, an M-shaped design that Walter Leo Hildburgh links to the heart shape (as it occurs more explicitly on this example). Hildburgh argues that its presence is especially common on these objects and that it originally represented the Sacred Heart of Mary...

Large and imposing pendant presenting an agate slice studded with a root motif in yellow gold. Dimensions: 67.49 x 86.51 x 11.20 mm ( 2.657 x 3.406 x 0.44...

RELIQUARY PENDANT IN BOOK FORM Probably southern Germany, 1630–40 Gilded silver, verre églomisé Weight 13.2 grams; dimensions 42 × 25 × 12 mm; opens to 40 mm Gilded silver pendant in book form with hinged, lid, corded wire surround, and engraved spine. The front cover of the book is set with a plaque depicting Moses receiving the Law in verre églomisé, and the back cover shows the Sacrifice of Abraham. The scenes are in gold against a red background. When opened, the book reveals two portraits, probably of a husband and wife, wearing seventeenth-century dress. The costumes suggest a date c. 1630-40; the wife holds a daisy. Trefoil-shaped pendant loop on top and bottom, and book clasp. As in the scenario described for the assemblage of these pendant miniature books (see no. 34), this book may have satisfied the desires of a particular patron, perhaps even one of the Jewish faith. The images that have been chosen for the four verre églomisé inserts are somewhat unusual within the group of comparable objects; on the front is Moses, on the back is the Sacrifice of Isaac. On the inside, instead of an iconic or doctrinal image, one sees portraits of the patron and his wife, in their finest dress, contents reminiscent of a modern locket...

Ornate Baroque period museum quality gold cross with cabochon carnelian rondels on each of the arms and an engraved floral center depicting a stylized rose. 17th Century The Rose is a symbol of Rosicrucianism, a spiritual and cultural movement believed to have been founded by the legendary Christian Rosenkreuz. It was influential on numerous societies including the Freemasons, the Hermetic Order of the Golden Dawn and its successor AMORC. The Golden Dawn counted among its members Sir Arthur Conan Doyle, W.B Yates, Arthur Machen, Aleister Crowley...

Cross Pendant with Rock Crystals Spain or Portugal, late 17th - early 18th century Silver, gold, rock crystal Weight 9.1 gr.; Dimensions 56.3 × 38.8 mm. An elaborate and elegant cross pendant made of silver with rock crystals in closed settings. The center consists of a larger round gemstone surrounded by five irregular-shaped stones forming the cross. The openwork arms have a triangular shape and are formed of facetted rock-crystals in foliate settings. The obverse side of the cross consists of a layer of gold. An extension with two stones and an angular shaped frame is hooked into the pendant loop, probably to be worn on a velvet band. The pendant is in good, wearable condition. After the Reformation, cross pendants were worn mainly in Catholic countries by men, women, and children. During the seventeenth century, the designs became ever more intricate, and the crosses were often embellished with gemstones, such as rock crystals in this example. These were sourced along the Alpine regions of France, Switzerland, Austria, and Southern Germany. The stones gave the appearance of diamonds. The foliate settings are characteristic of late seventeenth- and eighteenth-century jewelry made in Spain...

Large silver Italy Genoa coin 1670. Impressive to say the least, not just for its generally large size but also for its noteworthy preservation. Its grade and overall survivorship is simply remarkable--aside from a few planchet cracks along the edges to indicate the difficulty of producing such an issue, wear is kept to a minimum, Madonna and the cherubs remaining expressive and evocative. Mounted in gold and silver chain...

A high karat yellow gold devotional pendant centering a painted enamel of Saint Joseph with a blossoming staff, to the reverse a lily. The ename...

A stunning vintage cultured pearl and 5.32 carat diamond, 18 karat white gold necklace; part of our diverse gemstone jewelry and estate jewelry collections. This stunning, fine and impressive vintage pearl necklace has been crafted in 18k white gold. The main setting displays a feature cultured pearl drop. The cluster style drop is embellished with thirty-nine individually claw set modern brilliant round cut diamonds. The drop suspends from a chevron shaped setting embellished with a further nineteen individually collet set modern brilliant round cut diamonds, graduated in size. The articulated 17" flat chain secures to the reverse with a push fit clasp and hinged safety catch. The tongue of the clasp is hallmarked with the 18k gold fineness mark 750 and maker's mark. This vintage cultured pearl and diamond necklace is supplied with an independent diamond grading report card. Images do not always reflect the true color and brilliance of gemstones and diamonds. The video however provides a truer representation of the actual color and showcases each stone. Condition This stunning vintage gemstone necklace...