18th Century and Earlier Jewelry

Ring in 18kt yellow gold decorated Chnoubis on a column Chnoubis is an Egyptian Gnostic solar icon, found most often on gnostic gems and amulets for protection against poison and disease. It is a composite figure with the head of a lion and the body of a serpent, usually with seven rays emanating from the head. On the reverse, lines inscribed. Rare. These kind of stones were used in antiquity to repel the demons and the dangers. Group of roman magic intaglios...

An Incredible and Quite Rare 18th/19th Century Islamic/Mogul Blued Steel and Gold Inlay Rock Crystal Double Rams Head Handle Cane/Swagger Stick. This elegant cane features blued steel adorned with a delicate floral motif and gold inlay, complemented by a meticulously hand-carved and hand-polished rock crystal double ram's head handle. Additionally, this cane holds a concealed dagger...

An exquisite early 18th century Stuart rock crystal ring. Inlaid with a knotted gold wire cypher and flashes of berry-pink foil underneath, this ring is steeped with English history and is a remarkable example of Stuart period jewellery. The group of political jewellery...

A stunning example of a Western European renaissance ring dating to around 1650! A high table-cut rock crystal is mounted in a closed back rub over box setting. The square bezel with...

PENDANT WITH THE CRUCIFIXION AND ST. JOHN THE BAPTIST Italy (Lombardy), c. 1550–80 Silver rock crystal, gold foil, verre églomisé Weight 23.7 grams; dimensions 47 × 32 × 10 mm Double-sided octagonal pendant with two verre églomisé plaques made of rock crystal with beveled edges, backed with gold foil and engraved and painted from the reverse. The obverse with a Crucifixion scene with the Virgin Mary and John the Evangelist, the reverse with John the Baptist kneeling in a landscape and holding a staff. Both framed in gold borders with a red and gold dotted frieze. The plaques are held in a silver frame with pendant loop and engraved foliate settings. On each side of this pendant, an individual octagonal stone has been faceted and beveled to make an integral frame for a picture that is painted on its reverse. The technique of verre églomisé, deployed here in a full range of colors, is used to virtuoso effect. The “frame” is created with gold leaf. But first (in reverse painting) an inner border was articulated in red and green pigment. Within this “frame” on each side of this jewel is a tiny illusionistic scene painted with great delicacy (with, again, each color and detail laid down in reverse order). In the final result, the sense of looking into a deep space is amplified by the recessive colors of the landscape in contrast to the frame which sparkles and changes tone depending on the angle at which the light strikes the object. The effect can only be called scintillating. The two subjects presented on the pendant are the Crucifixion and John the Baptist. The portrait of John in particular can be compared to the depiction of the same saint on a pendant in the Metropolitan Museum of Art. In both pendants, the rock crystal is faceted and a fictive frame as well as the scene are painted in verre églomisé. The New York jewel has what is thought to be a Spanish setting, as opposed to the Italian origin of this piece’s setting. The strong similarities in the reverse-painted crystals speak to the international commonalities in high-quality jewels made for courts, although it is also possible that ready-painted rock crystal octagons were traded internationally. Unlike the John in the New York pendant, who stands holding a tiny lamb on a book, this John actively proclaims his prophecy of Christ...

RENAISSANCE MARRIAGE RING Western Europe, c. 1600-1620 Gold, rock crystal and white enamel Weight 5.9 gr., US size 5.25, UK size K This gol...

Designed as the traditional Aretinian so called “Fede Chianina” with collet set garnet and rock crystal table cut. The term "fede chianina", used to describe traditional family ...

This is one the first Georgian memorial rings I added to my heart because the affection and sentiment clung to me with its words "Affection Weeps Heaven Rejoices", then on the revers...

Designed as the traditional Aretinian so called “Fede Chianina” with collet set garnet and rock crystal table cut. The term "fede chianina", used to describe traditional family ring...

A superb early Georgian period solitaire ring. 9 carat rose gold example with a single foiled rock crystal. The stone to measure 9.3mm x 11.5mm. Circa 1770. CONDITION ; Very good fo...

Victorian 15k Yellow Gold, Scottish Agate and Rock Crystal Locket Late 1800s Additional Information: Period: Victorian Year: Late 1800s Material: ...

A gold ring set with a table cut rock crystal in a box setting which sides are decorated with black enamel and scrolls on the shank, marked with a star, Netherlands, circa 1600. PAN...