Agate Pendant Necklaces

An 18k yellow gold "X" shaped clasp back-set with one oval 4.34 carat Australian Black Opal and hand engraved leaves and vines, on a Peruvian opal necklace, 325TCW, with 18k yellow g...

A multi earth tone strand, strung with peridot, straw topaz, pink tourmaline, glossular garnet, and zircon, with 18k rose gold modullyn parts, with a A brown and white druzy heart cl...

Vihari Jewel's five stone pendant necklace features 5 diamonds: 2 round brilliant diamonds (F color, VS+ clarity), 2 pear shape white diamonds (F color, VS+ clarity) and a 1.507 cara...

Beaded necklace style made in yellow gold showcasing a boomerang-shaped pendant micro-pave set with round brilliant diamonds. Finished with square emeralds and rubies bar set in the ...

This flexible diamond pendant features 0.39 carats of G VS diamonds set in 18K white gold. 5.7 grams total weight. Made in Italy. Viewings available in our NYC showroom by appointm...

Here's our aquarius zodiac carving cameo pendant necklace from the zodiac collection. The Cameo is made in Germany by an expert Cameo engraver on the re...

An 18 karat (18K) yellow gold charm pendant designed as a carved green aventurine quartz buddha. Unmarked but tested as 18 karat gold. Dimensions: 3.2 x...

18 karat gold Mother Mary agate carving cameo diamond pendant necklace This Virgin Mother Mary agate carving cameo pendant set in a simple 18 karat (18K) yellow gold collet, with a ...

Alex Jona design collection, hand crafted in Italy, 18 karat yellow gold flower pendant set with five citrine quartz petals weighing 3.97 carats in total and white diamonds weighing ...

The silver Whispering collection redefines the sumptuous luxury provided by its fine jewellery counterpart, with its exotic shapes derived from the decadent orchid flower. Whispering...

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...

This big ancient coin was issued by Amphipolis Mint dates in 336-323 B.C. in an excellent condition. The chain is made in 18k yellow gold. This gorgeous necklace is perfect for everyday wear and will always be a timeless and wearable work of art. _____________________________ Origin of antique Coin: Amphipolis Mint Date of issue: 336-323 B.C. Pendant diameter: 29.2mm Chain length: approx 63cm Weight: 39.48g Metal: 18K Yellow Gold Antique coin clasp mark: 750 _________________ The front side shows the head of Hercules, wearing a lion skin helmet. The other side shows the seated statue of Zeus...