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Two lovely and unique memorial brooches from the mid Victorian era executed in 15 Kt gold. The larger has an scalloped edge that is enameled with black scallops. An inner oval of black enamel frames a gold engraved border framing woven hair in perfect condition. The smaller Greek Key pin is rectangular with a black greek key pattern on white enamel. Two gold rectangles further in frame perfectly braided hair. Excellent condition. and original. The. Greek Key measures approximately 3/4 of an inch wide. The Scalloped Brooch...

French coiled brooch fashioned as a modified kilt pin in silvered metal, marked MADE IN FRANCE. 1960's France. Excellent condition. 3.75 x 1.5"

Artist: Henri de Toulouse-Lautrec Medium: Lithographic Poster, 1954 Dimensions: 30 x 20 in / 76,2 x 50,8 cm Classic Poster Paper - Perfect Condition A+ This lithographic poster was designed after Henri de Toulouse-Lautrec for an exhibition of the artist's graphic works at the Galerie Des...

French Empire style (19th Cent) bronze reclining sphinx figure mounted on a rectangular black marble base

Here we have a truly breathtaking vintage ring crafted from solid platinum featuring an elegant 3-stone style that carries an absolutely incredible round brilliant cut garnet 6-prong...

13 Volumes. Oliver Wendell Holmes, The Works. Standard Library Edition. Bound in 3/4 blue morocco and marbled boards. The raised band spines display gilt-tooled detailing. The top ed...

Deep hue rests at the heart of this ring. The central jewel is a dark red rubellite with a hint of purple. It’s cut into a cushion and set between four corner prongs tipped with roun...

Pair of Italian Renaissance style (19th Century) walnut life-size carved figures of the Devil and his wife standing on pedestal bases. (PRICED AS Pair)

English Victorian (circa 1860) black lacquered & decorated pearl inlaid papier mache ladies' bureau/work table with filigree pediment and hidden ga...

Wonderful and unusual Victorian Czech Glass Hair Ornament set in deep brass settings. Vibrant cut rainbow glass stones with central cluster trembler. 18...

Glamorous Pear Shaped Rhinestone Suite from the 1950's. High quality manufacture with the knife edge settings which let the stones shine. The navette stones are set so they tremble w...

4 Volumes. Oliver Goldsmith, The Works. Edited by Peter Cunningham. Bound in 3/4 vellum, marbled boards, marbled endpapers, red edges, and gilt spines. Published: London: John Murray...

Antique Chinese pillows were made from a wide range of materials, including bamboo, jade, porcelain, and wood. Traditionally solid, they were sometimes used with softer fabric over them. We are pleased to offer this pillow, which is decorated with brown glazes allowed to run over beige-colored stoneware. On both sides, the impressed design is a honeybee and honey combs symbolizing a wish for sweet dreams. Along the top and bottom of the pillow are traditional Chinese cloud collar...

Victorian, Continental silver .800, footed tea caddy, Germany, with Hannau marks, circa. 1895, B. Neresheimer and Sohne - makers. Chased with dancing ...

Miriam Haskell 10 strand necklace of signature freshwater faux pearls, tomato red pate de verre round beads in opaque and clear with gilt cut steel bead spacers. Gold filigree stations and classic flower hook...

English Regency (circa 1925) brass-mounted satinwood tripod game table with octagonal specimen marble inlaid chess / checkerboard top above 3 scroll legs.

Vintage Wicker Bag Made in British Hong Kong. This is a rare and very stylish and chic British made travel bag from the 50s, this style of bag has b...

Beautiful patina and details on the arms and legs of this hand carved teak chair. Circa 1950. Full dimensions; 21" wide at the front x 16" wide...

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

Biedermeier (19th Century) globe-form work desk with a mahogany structure that opens to reveal a several small compartments, with parcel gilt and ebonized detail, with applied lions'...

English Victorian bamboo and lacquer trimmed inlaid bow front etagere with door and mirrored back.

MIxed Cut Diamond Swag Necklace Approximately 13.50 carats of diamonds. Made circa 1950 Measurements: 14.5" long Metal Type: Platinum

French Victorian marble and bronze floor lamp with 3 claw feet.

Very good Indian 19th century (or earlier) chip carved doorway with geometric patterns and retaining some original blue pigment, of mitered mortise and ...

Handmade Arts And Crafts style Georg jensen sterling link bracelet. Dogwood style flowerheads mixed with ball link spacers circa 1950s.
Marked "Georg Jensen USA, Sterling"

Category

Vintage 1950s American More Bracelets

Materials

Sterling Silver