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Antique shell cameo brooch and earrings by John Brogden, English, circa 1870. A yellow gold suite of jewellery, the brooch composed of a horizontally situated oval Bull’s Mouth shell cameo of the Greek goddess Selene riding a serpentine dragon in a rubover collet setting, encircled by a conforming frame of gold beading and twisted gold wire punctuated with four gold palmette form plaques engraved and decorated with dark blue enamel and placed at the cardinal points, the reverse mounted with a hinged pin and scroll clasp, the earrings each composed of a vertical oval Bull’s Mouth shell cameo engraved with a bust length portrait of Selene with crescent-set headdress, encircled by a conforming frame matching that of the brooch with the addition of a pendant decoration composed of a horizontal bar of gold beading and twisted gold wires suspending gold link chains graduated from centre and ending in conical gold elements, the reverses mounted with French wire fittings, all in a fitted red leather case, the interior marked ‘FIRST CLASS PARIS MEDAL/ 1855.1867.1851/ PARIS FIRST CLASS & LONDON PRIZE MEDALS/ JOHN BROGDON/ Goldsmith/ MANUFACTORY/ 16, Henrietta St. Covent Garden/ London’. The cameo—defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief—is believed to have originated in Hellenistic Greece, during the third century BC. These miniature sculptures, at that time confined to the medium of hardstone, are thought to have been made with the primary purpose of personal adornment. The same practice of mounting cameos in jewellery was then continued by the Ancient Romans, and they are known to have been worn by many a Roman emperor. After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient world. At this time both antique and contemporary cameos were mounted in jewellery, as well as collected as objet d’art. The art of cameo cutting was revived in Italy, where it would remain a centre for the coming centuries. Again there was a lull in interest in carved gemstones, until the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum. As with the Renaissance, antique specimens were generally prized over modern cameos, and the worldliest men in Europe held them among their collections of art and antiques. That said, carving centres in Rome and Torre del Greco (near Naples) in Italy were established in response to the demand of the Grand Tourists, who travelled to Italy and Greece to become educated in the wonders of the ancient world. It was at this time that shell cameos, mostly made in Torre del Greco due to its proximity to the sea, became more popular, owing to the relative ease in carving shell over hardstone. In addition to Rome, hardstone cameos also became a specialty of Idar Oberstein, Germany, which had a long history with both the gem mining and cutting trade. In a shift away from the collector’s cases of the previous century, the nineteenth century saw a strengthening in the fashion for wearable cameos. After the Empress Josephine donned a cameo-set suite of jewellery at the coronation of Napoleon in 1804, cameo jewellery became all the rage. Napoleon played a further hand in promoting the art by establishing a gemstone carving school in Paris, inspired by his appreciation for the arts of the ancient world. By the mid-nineteenth century shell cameos, in part due to their lightness compared with hardstone cameos, were the height of fashion. Large shell cameos as well as hardstone cameos were set into contemporary mounts, often as suites of jewellery. Some of the best cameos of the nineteenth century—carved by a select group of recognized carvers—were set into revivalist mounts, corresponding to the subject matter. In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome, who also produced cameos for the maker of the present suite, John Brogden. To meet demand some carvers set themselves up in London, including William Schmidt, a German carver from Idar Oberstein, who produced cameos for top London jewellers, including Brogden, Carlo Giuliano and Child & Child. In fact, Schmidt purports to have been the first to carve cameos out of opal, which Brogden reportedly displayed in the Paris Exhibition of 1878. An extant example, now in the collection of the British Museum, was set by the Giuliano firm. Regarding subject matter, cameos throughout time have been largely figural, from bust length profile portraits to scenes with multiple full-length figures, and sometimes animals. Ancient Greek and Roman cameos often depicted mythological scenes as well as contemporary figures. During the Renaissance, mythological scenes were popular, often taken directly from ancient sculpture, as well as portraits of notable contemporary figures. During the eighteenth and nineteenth centuries, due to the revivalist styles, both Renaissance and Classical subjects were copied and set into matching (and sometimes unmatching) revivalist mounts. From the Renaissance through the Victorian era, being able to recognize the source of the carving in a cameo was a mark of erudition, revealing in the wearer knowledge of Classical art. As mentioned, the present cameo parure...

Grumetta necklace of the eighteenth century made in the seventies completely worked by hand by expert Italian artisans in 14 Carat yellow gold with double clasp that gives the possib...

Centering an oval-shaped tablet of carved carnelian measuring 10.0 x 17.5 mm Translucent orangey red in color - carved with an intaglio of a stag deer With a recessed gold surround...

Circa 1880s, 18k. This antique bracelet features stylish handmade filigree elements. Dressed up or down, the look is Town and Country at its most vintage chic. A versatile accessory,...

This set of nine lovely Vieux Paris dishes was made by Haviland Limoges in France circa 1876. The border of the dishes features pink and yellow flowers on a vine with green leaves. A...

Designed as a gold book with a detailed curved spine and engraved bow garland motif covers Opens on a hinge via latch closure to reveal four picture frames designed as pages Frames ...

One Antique French Diamond and Synthetic Sapphire 14k Yellow Gold Ring. Featuring two old mine cut diamonds with a total weight of approximatel...

Pair of antique Samson porcelain models of Bolognese Hounds French, Late 19th Century Larger model: Height 22cm, width 30cm, depth 12cm Smal...

An exceptional, fine and impressive pair of antique Victorian English sterling silver salad servers; an addition to our silver flatware collection. These exceptional antique Victorian sterling silver salad servers have an oval rounded bowl onto an elongated stem. The surface of each piece is plain and unembellished, with a plain rounded heel. The bowl of the serving fork incorporates six shaped tines. These impressive examples of silver cutlery are fitted with impressive carved stained wood handles, with knopped terminals. These exceptional Victorian salad servers...

One Antique Etruscan Revival Diamond and Turquoise Yellow Gold Demi Parure Set. Featuring five old mine cut diamonds with a total weight of approximately 0.75 carat, graded near-colo...

One Pair of Estate Rose Cut Foiled Back Diamond Silver 14k Rose Gold Drop Earrings. Featuring 14 rose cut diamonds with a total weight of approxima...

Made in Moscow between 1882 and 1898 A classical Victorian era 14K gold cluster ring is centered with a sparkling bright white antique cushion cut diamond (measuring 4.7 x 4.7 x 3...

British Sailor's Woolwork, Signed W. Kingston, Circa 1870 The charming and unusual sailor's woolwork, known as woolies, is within a maple frame, and depicts a portside view of a thr...

French antique alabaster pedestal French, Late 19th Century Height 80cm, diameter 30.5cm Shaped in a Neoclassical style form, this superb pure ...

Renowned American impressionist painter John Singer Sargent paints a view overlooking water with the rocky shoreline in the fore in his work entitled, “Loch Moidart, Inverness-Shire ...

Designed as a puffed heart-shaped form with a grooved swirl fleur-de-lis motif pattern Featuring 1.0 to 3.0 mm round seed pearls bead set throughout pattern White to gray in body col...

Featuring five graduate cushion cut sapphires weighing approximately 1.08 carat total Transparent medium blue in color and set with belcher-style prongs Every other prong is stylize...

Grand’mère (effet de lumière) (La Mère de l’artiste) by Camille Pissarro (1830-1903) Etching 17.1 x 25.3 cm (6 ³/₄ x 10 inches) Stamped lower right, C.P. and numbered 8/18 Executed i...

Marble statue from Italy. “The statue represents a naked boy, sitting on a rock, intent on removing a thorn from his foot, probably from treading grapes during the harvest. This them...

One Victorian Diamond Pearl Guilloche Enamel 18k Yellow Gold Pendant. Featuring 12 old mine cut and two rose cut diamonds with a total weight of approximately 1.00 carat, graded near-colorless, SI-I. Accented by one cream colored button pearl measuring 5.12 x 5.13mm and one cream-colored drop pearl measuring 4.50 x 5.27mm. Crafted in 18 karat yellow gold with royal blue guilloche enamel accents. Vintage Italian 18 karat yellow gold chain included. Circa 1880. The pendant measures 1 ⅜ inches in length. Vintage Italian 18 karat gold chain...

Victorian classic cocktail ring with opal. Gorgeous antique ring, created during the Victorian period in England, back in the 1880. The beautiful statement cocktail ring has been de...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. Condition: Excellent Sheet size: 9 1/4 x 6 1/4 inches Frame size: 16 x 12 1/2 inches Frank Duveneck (1848-1919) Born in Covington, Kentucky, Frank Duveneck had the birth name of Frank Decker. He became a well-trained academic painter whose work ranged from single figures in interiors to plein air canvases of figures in landscape and often included the depiction of low-life persons. His styles included Realism, Social Realism, and Impressionism, and his work was ever influenced by the dark tones and vigorous brush-strokes of the Munich style, which he learned at the Munich Academy in the 1870s. Art historian Matthew Baigell described Duveneck's mature style as having "loose highlights brushed over ruggedly blocked-out forms emerging from a richly suggestive chiaroscuro." He apprenticed to a church decorator, Wilhelm Lamprecht, in Cincinnati, and worked in Catholic Churches in Covington, Cincinnati, Latrobe, Pennsylvania and Quebec, Canada. At age 22, entered the Royal Academy of Munich where he intended to further his interest in church decoration but instead veered to fine-art painting on canvas. One of his most influential teachers was realist Wilhelm von Diez, and Duveneck, also impressed by the realism of French painter Gustave Courbet, became known for adopting this revolutionary approach with rich brushwork. In Munich, Duveneck shared a studio with William Merritt Chase. Returning to Cincinnati, he painted portraits and decorated churches and also taught art classes. At first he did not gain much attention, but an exhibition in Boston in 1875 gained him good attention. In 1875, he went back to Europe and opened an art school in Munich and also in Poling in Bavaria, and many Americans who became known as "Duveneck's Boys," studied with him. Several years later, he opened his school in Italy where he spent the winters in Florence and the summers in Venice. In 1879, he and his followers went to Venice where he began etching and briefly shared a studio with James Whistler in order to learn from him. He also did sculpture. During this period, his painting changed drastically from dark interiors with heavy, impasto paint to outdoor, plein air painting in much lighter colors giving the appearance of sunlight. Among his students was the future Impressionist painter John Henry Twachtmann, and also Elizabeth Boott, whom he married in 1886 and who died two years later. In 1888, he returned to Cincinnati where from 1900 he taught at the Cincinnati Art Academy. He spent the summers in Gloucester, Massachusetts painting...

One Late Victorian Diamond Emerald 14k Yellow Gold Silver Brooch. Featuring five old mine cut diamonds and 30 rose cut diamonds with a total weight of approximately 1.90 carats, graded near-colorless, SI2-I2 clarity. Accented by four octagonal step cut emeralds with a total weight of approximately 0.20 carat. Crafted in 14 karat yellow gold with silver top, with later added 18 karat yellow gold French pin back. Circa 1890. About this Item: Step into a world of timeless elegance with this exquisite late Victorian diamond and emerald...

Centering a mixed cushion cut ruby weighing 1.34 carats - transparent medium to deep red Natural Burmese in origin with no indications of heat treatment Prong set and flanked east ...

Circa 1890s Scottish 14K Rose Gold Bangle Bracelet, set with different colors of Scottish Agate stones and 3 fine color Oval Citrines. The Bracelet measures 1 1/2 inches wide at the ...

One Late Victorian Opal Diamond 14k Yellow Gold Ring. Featuring three cabochon cut opals weighing a total of approximately 0.80 carat. Accented by eight single and old European cut d...

German silver tea scoop. Imported to England in 1892 by Thomas Glaser. Leaf-form bowl with veins and wispy, irregular tips. Woody stem with coiled tendril mo...

Northwest Persian gallery rug. Measures: 4'0" x 10'0".

Victorian Classical sterling silver paper knife. Made by Tiffany & Co. in New York, ca 1885. Serpentine and integral with hollow handle tapering into flat blade. Handle has allover f...

American Mission natural wicker umbrella stand with ring handles.

French Majolica Asparagus Dishes, Salins Factory, Set of Six, Circa 1880-90 The French majolica molded plates decorated with four asparagus placed on a large green leaf with a ye...

Comprised of oval-shaped links decorated with twisted wire motifs Alternating in pattern with smaller plain oval links Completed by antique fob clasp closure Stamped with French ha...

A Victorian, Etruscan style brooch and earrings suite, comprising an oval brooch, with three layers, with a central dome, all decorated with Etruscan style wire work, with a loop on ...

Designed as a 1.5 mm cable link chain with seven sapphire stations Round cut and weighing approximately 2.10 carats total Transparent medium blue in color - bezel set Completed by ...

Silver marked Hamilton and Davis.

Issy, France by Georges Manzana Pissarro (1871 - 1961) Charcoal and coloured crayon on paper 20.4 x 25 cm (8 x 9 ⅞ inches) Signed lower right Manzana and inscribed lower left Issy E...

A fine polished steel late 19th century French bouilotte lamp. Wired for electricity - the bulbs hidden within the shade. Faux candles, and particularly fine quality metalwork. The ...

Centering an old mine cut diamond weighing approximately 1.11 carats - J color with VS2 clarity Prong set and flanked east to west by two prong set cushion cut rubies Weighing appro...

Japonesque Arts & Crafts applied sterling silver chamberstick. Made by Tiffany & Co. in New York, ca 1879. Deep bowl and twisted-loop handle with tendril tail. Urn socket with wide a...

Glazed oxblood vase by Hermann Seger for KPM. Ink-stamped manufacturer's mark to underside of smaller example 'S.gr.P' with scepter mark and incised number 'PM 3060'. Germany: circa ...

Circa 1880s, 18k, France. This gorgeous double link bracelet is a spectacular example of late nineteenth-century French jewelry. Perfect for every day the look is antique chic at its...

Pair of English Victorian Neoclassical sterling silver candlesticks. Made by William Hutton & Sons in London in 1889. Each: Traditional column with stop-fluted shaft on stepped squar...

Featuring seven graduated cushion-shaped step cut rubies flush set east to west Weighing approximately 2.80 carats total - transparent purplish red in color Natural Burmese in origin...

Tiara convertible Diamond Antique Brooch on Silver and Gold. Aigrette feather is optional. Old mine cut Diamonds: approximately 15.00 carats. Tiar...

A Victorian pearl and diamond cross pendant circa 1890. This Latin style cross is set with natural saltwater half pearls with four small old cut diamonds embellishing the centre. The...

Antique Agra rugs have historically been regarded among the most refined decorative carpets. They were commissioned by British nobility during the colonial period to adorn their cast...

One Late Victorian GIA 1.90 Carat Rose Cut Diamond Silver 18k Yellow Gold Halo Ring. Featuring one GIA rose cut diamond of 1.90 carats, accompanied by GIA #5234090573 stating the dia...

A Swiss enamel brooch, with an oval hand painted scene depicting mountains in the distance with a church surrounded by trees, with a feature tree, people and animals to the foregroun...

One Antique IGI Ceylon No Heat Sapphire and Diamond 18k Yellow Gold Silver Ring. Featuring one IGI oval mixed cut sapphire of 5.99 carats, accompanied with IGI #51860 stating the sap...

An antique sapphire and diamond crescent brooch, set with nine, oval and round faceted sapphires, graduating in size, with an estimated stone weight of 1.75ct, alternating with eight...

A fine ‘Black Forest’ walnut eagle, shown perched on a rocky outcrop with the wings raised and the head turned to the right, Swiss, circa 1880.   

A late 19th century scale model of field cannon, the barrel with a flared muzzle on an oak carriage with twin twelve spoke steel rimmed wheels and steel mounted body, a single ammuni...

19th Century French pink marble and ormolu clock set French, Late 19th Century Clock: Height 46cm, width 23cm, depth 18cm Candelabra: Height 44.5cm, width 22cm, depth 20cm This unusual three-piece clock garniture combines stunning pink marble with ormolu classicised decoration. Featuring ornate pierced gilt brass hands, the porcelain dial of the mantel clock is framed with a floral motif that complements the tones of the marble. The clock is covered with elegant gilt-bronze classical decoration: surmounting the dial is an ormolu torch and laurel...

A large hand carved cameo pin from the Victorian (ca1880) era! Set in vibrant 14kt rosy yellow gold, the beautiful face of a young woman graces the center of this intricately carved ...

Centering an oval-shaped tablet of agate measuring 8.0 x 15.0 mm Banded opaque white and reddish orange - carved with cameo Depicting the Greek goddess Nike - winged with palm branc...

An exceptional, fine and impressive, antique Victorian English sterling silver owl mustard pot; an addition to our collectable silverware collection. This exceptional antique Victorian sterling silver mustard pot has been realistically modelled in the form of an owl/owlet. This impressive antique silver owl mustard pot...

5480 William De Morgan Double Lustre Tazza with a gently scalloped rim decorated with Stylised Flowers and Foliage by Charles Pasenger Ex Long Island Museum Exhibition 24cm wide, 10....

Mario Buccellati Large Size Silver Parrot A life-size silver parrot crafted with a technique known as ‘lavorazione a pelo’ or ‘hair-like workmanship. This technique involved infini...

Antique ormolu mounted tea table attributed to Paul Sormani French, Late 19th Century Height 94cm, width 88cm, depth 55cm Traditionally used ...

Circa 1880s, 18k, France. This gorgeous double-link bracelet is a spectacular example of late nineteenth-century French jewelry. Perfect for every day, the look is antique chic at i...