Renaissance Cameo Pendant

The legendary Michelangelo's Moses is meticulously recreated in this 19th-century cameo brooch. Crafted of beautiful onyx, the intricate cameo resides in ...

Featuring a combination of both exquisite intaglio and relief carving, this cameo pendant combines the glory of the Classical age with the refinement of the Victorian era. The pendan...

Art Nouveau pioneer and gifted American artisan Louis Comfort Tiffany created this Victory favrile glass medallion in celebration of the Allied victory in World War I. Tiffany's majestic iridescent art glass highlights the patriotic motif featuring an eagle, with its wings outstretched, holding aloft the Liberty Bell above the banner inscribed "VICTORY" above the year 1918. It is believed that this medallion was commissioned by Tiffany as an invitation to an exclusive party celebrating the end of the war. Few of these remarkable objets d'art are known to exist, making them not only exceptional works of Tiffany Studios artistry, but also stunning artifacts of world history. Set in a gilt bezel, this medallion can be worn as a pendant. Inspired by the fluidity and translucence of ancient Roman and Middle Eastern glass...

This beautiful French watch pendant features a sublime, organic floral motif indicative of Art Nouveau jewelry design. Crafted of 18K gold, this elegant timepiece is enveloped in graceful angel...

Displaying a desirable deep red hue, the central ruby in this elegant pendant necklace weighs 1.03 carats. Accented by diamonds totaling 0.15 carats. Set in 18K yellow gold. Pendant...

Taking the form of a blossoming flower, this pendant features a 0.28-carat fancy pinkish purple diamond at its center. The remarkable gemstone i...

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

Oval-shaped, the cover set with an agate cameo male portrait bust, the grille a fine floral spray and initial name "B", with suspension ring. 1 in. (25 mm.) long without suspension r...

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...

This large 1860's Austro-Hungarian antique cross pendant is set with many turquoise and garnet gemstones. The four cabochon cut garnet stones on front of the cross are all set in rai...

This exceptionally crafted and beautiful piece of art is unlike anything you will find in the world. The artists write up on the technical aspects of the piece are below. Enamel engraving was created on a very rare ornamental lathe from 1875. Old world artisans like Faberge used these machines for their works. This is a truly impressive creation and wow piece of jewelry and objet de"art! This Red Guilloché enamel Kaleidoscope Pendant...

Superb pendant cameo mounted as a pendant surrounded by fine pearls total weight: 10.10 g oval shape: 4.5 cm by 3.5 cm period 19th century