GlitzQueen Antique and Vintage Jewelry
All Items : Estate Jewelry : Silver : Deco : Pre 1930 item #1349287
GlitzQueen History and Art to Wear
$235
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These very finely crafted antique earrings feature two large topaz stones of excellent color. The gems are essentially emerald-cut, but with extra faceting for added brilliance. Each topaz measures about 1/2 x 3/8 inch and they're open-set within sleek collets into mountings about 1/2 x 5/8 inch, which finish with scalloped and beaded edges and contain borders of especially wonderful marcasites (technically hematites) that sparkle like diamonds. There's an enormous amount of detail here, as you see, and the design is vividly 1920s Deco Geometric.

Something I particularly love about this pair is that they have original posts - still a rather new development in that era. Most of us now prefer posts for security's sake and yet installing them on older pieces can damage an antique jewel's value. I also love the fact that these "scream" Deco, without being long dangles unsuitable for day wear. You can wear them to the office (or anywhere) with perfect elegance.

Although we acquired these in London, I don't believe they're English. British earrings of this quality would bear the usual phalanx of sterling hallmarks, rather than a simple SILVER stamp. My guess is that they were made for the English-speaking market in one of those Deco Meccas, France or Belgium. Silver content may be slightly less than sterling grade, as was often the case on the Continent, but the metal tarnishes and polishes exactly like sterling and the overall quality is exceedingly high.

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All Items : Estate Jewelry : Gold : Edwardian : Pre 1920 item #1349241
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$185
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Comet jewels are scarce and highly collectible, and this antique comet stickpin is a particularly elegant example. Its beautiful head is set with a central half pearl of good size plus six more lustrous seed pearls. These would almost certainly be natural sea pearls, since the process of culturing pearls had barely begun then.

To the modern eye, the head suggests a flower, but pieces like this were in fact intended to represent comets (the stem-like portion being the comet's tail, while the petals form a star). It was an approach typical since Georgian times, and indeed the pin could conceivably have commemorated a much earlier comet -- even Halley's passage in 1835, rather than 1910. The look wouldn't have differed.

We're opting for the later date, mainly because of the 14k gold stamp, maker mark and excellence of construction associated with Edwardian times. Here the goldsmith managed to attach the stock with no visible solder marks; it actually appears to be all of one piece! The maker's stamp, resembling a cross or bird within an oval cartouche, is unknown to me, so please help us out if you can identify it.

In superb condition, showing no damage to either gold or pearls, the pin measures about 1 13/16 inches long and 5/16 of an inch at its widest. Provenance is a Boston area estate.

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All Items : Estate Jewelry : Gold : Pre Victorian : Pre 1837 VR item #1349231
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$335
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This impressive intaglio brooch features the head of a Trojan War hero, unless I miss my guess. Remember the phrase "long-haired Achaeans" from Homer? Those look like curls at the base of his helmet -- and wasn't Achilles hanging out among some princesses when Odysseus turned up? But I digress.

As a Greek Revival piece, the jewel likely dates from the Late Georgian or Regency period. It was in 1806 that Lord Elgin brought pieces of the Parthenon from Athens to London, and the English passion for the purity of Greek design was ignited. We can tell the brooch is early from its construction, too: It's built up architecturally, in layers, with abundant detail and fasteners of types rarely seen. For instance, the pin hinge is encased in a fascinating tulip form, Also of note, there's a small hook on the crossbar at the back, for hanging a watch, another jewel or chatelaine items.

Exquisitely carved from remarkable amber, dark as umber, the intaglio measures a little larger than 1/2" square and its condition is excellent. Overall size of the brooch is about 1-3/4" by 1-1/4". I'm not sure about the underlying metal, since most of the rose gold gilding remains intact, but it's most likely silver since that's the color of the clasp hook. The usual signs that the pinstem was shortened are present; it's blunter than you'd expect and under magnification looks slightly distorted at the tip. This trimming was commonly done to save bloodshed, after women stopped wearing layers of heavy underclothing, and isn't regarded as damage. We do have a bit of damage to point out, though. A tiny, ball-shaped cap is missing on the left side -- hard to notice at a glance, since part of the end cap remains. Any jeweler attuned to antiques could easily replace this part. I’d have the work done here, but there’s nobody I’d trust to match the color exactly. Also, it's nice to offer a jewel this old and wonderful at a bargain price; if perfect, its value would be a great deal more, given the quality of the piece.)

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All Items : Antiques : Decorative Art : Metals : Pre 1900 item #1349155
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$65
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Is a hatpin collector on your gift list? Another pretty pin holder is always welcome, especially if it's out of the ordinary, as this one decidedly is.

In retrospect, a pierced tower shape made of heavyweight metal is the clear ideal for stable storage of top-heavy items -- and yet I've seen only a few of this type, compared to thousands made of china or glass that look like vases or sugar shakers. Yes, those are very girly, but our sturdy alternative forfeits nothing in femininity, thanks to its lyrical design and the airy, pierced metalwork. Among the lavish ornaments, I particularly enjoy the lion-like gargoyle figures at the corners of the base and the budlike finial on top.

About 3" wide and 6 1/2" tall, the piece is quite heavy for its size -- the better to hold whatever gets piled on. No need for an all-stickpins rule, if some great dangle earrings need a home, for instance. In lovely condition, the piece reached us from a New York estate and I'm betting its origin was French, based on their famous iron lace balconies. The present color is matte black, but it's just a spritz away from being any hue you favor. Past shades visible inside the base are fern green and cinnabar red.

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All Items : Estate Jewelry : Other Metals : Period : Pre 1920 item #1349074
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$195
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Last year we found a pair of drop earrings very similar to these, but in blue, and they sold in a twinkling. "My dream earrings!" the customer called them. Perhaps these pink beauties will fulfill a dream for you -- or someone on your gift list.

A dream we didn't know we had came true when this brooch turned up -- as pretty a match for the earrings as if they'd begun life together, both made of gilt brass filigree set with pink art glass moonstones and both from the same region and era. Funnily, the pieces weren't far from each other, even after being exported: One reached us from a Wisconsin estate; the other from an estate in Minnesota. Given so much serendipity, of course we had to team them as a set for their next chapter.

The "Czecho" signature on the brooch lets us date it to the first years of the Czech Republic (established in 1918). The region was previously known as Bohemia, part of the Austro-Hungarian Empire until World War I ended, and Bohemian glass has been prized from medieval times. These gorgeous old pink satin glass moonstones certainly live up to the area's reputation. Although its dating is technically transitional, falling between the death of King Edward and the period dominated by Art Deco style, the brooch is wholly Victorian in spirit, so must have been crafted immediately after the war (or perhaps before, but not stamped until later).

The earrings not only share that style, but look even more Art Nouveau than the brooch. Each is a whirl of scrolling shapes, crowned by a curvy flower petal motif enameled in luscious rose to go with the heavenly art glass. Enameling of this sort is characteristically Czech, as is the very fine quality of the stones. Despite the absence of marks, we can be virtually certain of the earrings' origin -- although it's likely they came into existence while the area was still Bohemia.

The brooch, which can also be worn as a pendant or choker necklace, if threaded over a ribbon at each end, is of impressive size: 2.5 by 2 inches. The earrings are in similar scale: about an inch at their widest, with drops that will fall about 2 inches below your ears. In each piece, one stone took a teensy ding that's hard to notice without extreme magnification. It also takes a loupe to notice the very minor surface wear. Overall condition is superb, relative to age.

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All Items : Estate Jewelry : Other Metals : Period : Pre 1930 item #1348995
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$180
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As you know if you collect Suffragette jewels, rings are the holy grail. Of the relatively few made, most feature gold and precious stones and are priced accordingly. An example with faux gems is a rare find, especially one this impressive in both beauty and scale.

Its condition is wonderful, too, but that isn't so unusual. Having been worn typically for meetings and marches, not on an everyday basis, Suffragette jewelry often survives looking nearly new, assuming careful storage. This ring, in fact, isn't far from flawless. Only under high magnification can surface wear be noticed on the gilt bronze mounting or the stones it holds.

This is is a jewel that simply can't be overlooked, with a huge mound of jade art glass atop a whopping face 1 1/2" tall and an inch wide. And let's not forget the two richly colored faux amethysts and four pretend pearls. The unusual color combination held deep meaning among early feminists, for whom green represented hope, purple signified dignity and white stood for purity. The language we associate with "regard" jewelry applied, too: The "G" of green, "W" of white and "V" of violet comprised an abbreviation for Give Women (the) Vote. All this seems cryptic now, but was clearly understood by everyone in an era when messages were also communicated by which flowers you sent, how you held your fan and which corner of a calling card you folded down, if any. Such lavish size and ornament, along with these Art Nouveau curves, tempts me to call the ring Victorian -- as it may be -- but its sensational condition and a shank that obligingly adjusts to fit any finger suggest our circa 1920 dating. As you know, all American women attained the vote in 1920, but it took until 1928 for all women in England to be included. When evaluating Suffragette pieces, a long and complex history has to be kept in mind. Certain states got ahead of the nation, for instance, and occasional items are even old enough to remind us that the struggle began in the 1840s.

Based on the quality of the glass, probable origin is Czech -- or Bohemian, if made before WWI dissolved the old Austro-Hungarian Empire. From there, the ring reached us via an estate in the Great Lakes area. There's no charge for insured U.S. shipping, with an equivalent discount on international delivery. Gift wrap is always free when desired. Thanks for looking!
All Items : Estate Jewelry : Silver : Edwardian : Pre 1910 item #1348994
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$140
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Dainty lavalier pendants with one or more dangling drops, usually baroque pearls, are quintessentially Edwardian. Those with two drops that fall to different lengths are also called négligée pendants (a reference to the raffishly asymmetrical look, not to nightwear).

This is a particularly lovely and unusual example, being formed as a butterly and richly decorated. Its pearls, of course, are real: gritty when run against the front teeth, not smooth like glass or plastic.

Enameled butterfly brooches were popular from Victorian times, but the motif isn't often seen on a necklace. Also remarkable are the fine condition of its cloisonné work and the spectacular array of colors: cobalt blue, violet, red, burgundy and green. Each of the five required separate firing, so a great deal of time, effort and skill went into making this an accessory that you can wear with almost anything.

The gilded metal, also in lovely condition, is hallmarked "silver" (rather than the later 925) and, as another sign of age and quality, the pearls are suspended from fancy link chains. There may originally have been a neck chain with matching links, but chains tend to break or get lost over time. We include a vintage chain that's a respectable match for color and scale, although not as old as the pendant. The pendant measures 1 3/4" long and 3/4" wide and reached us from a California estate. The 18" chain is from a New England collection.

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All Items : Antiques : Decorative Art : Metals : Silver : Pre 1910 item #1348979
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$375
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We have a great opportunity now to save on quality books, while others try dumping print for electrons, so perhaps you're upgrading your library. If so, this rare object could bring even more tone to the room. If not, it would certainly fluff up any desk in the universe.

Besides being drop-dead impressive, a page turner is actually quite useful -- and not only because nicer books deserve greater care. Besides protecting valuable books from too much handling, the sensible Victorians used them on the newspapers to keep their fingers (and clothes) free of ink smudges. We can still benefit from both of those functions.

Back in the day, they did two more principal tasks. The same knife would easily open a message, when its envelope was stuck shut with a blob of sealing wax, not a ribbon of mucilage -- and it also prepared books for their first reading. Individual pages were seldom pre-cut then, just folded, and paper was very high in rag content, so a somewhat blunt blade produced the pretty deckled edges that everybody wanted.

Acquired at a major London antiques fair about 30 years ago, this was an expensive piece even then. It's a large knife, slightly more than 10" long, with an ivory blade almost 1" wide and a pear-shaped handle 1 1/2" at its widest. The grip is comfortably weighted, probably with the tarlike substance (tar?) over which bulbous shapes were molded. The juncture of handle and blade is gorgeously decorated with an inch-wide, applied strip of hand-embossed silver (combining repoussage with chased work).

The metal is certainly high-grade silver, possibly above the sterling standard, but unmarked. This rules out production in any major European country, where we could expect a chorus line of hallmarks, so I suspect this is "Days of the Raj" stuff by a talented silversmith in India. Its condition, as you see, is lovely. Just a few dings attest to great age -- which I judge to be late 19th century, although the form persisted into early Edwardian times.

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All Items : Estate Jewelry : Silver : Art Nouveau : Pre 1900 item #1348960
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$50
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Subtlety and Art Nouveau don't ordinarily go together, but here's a delightful exception. This restrained and yet characteristically Nouveau jewel is lavished with floral repoussage and chased work, but holds excesses within the bounds of a slender bar pin two inches long. Notice the finely wrought clasp is engraved to match the front -- a particularly charming touch.

Hallmarked for sterling, this beauty retains quite a bit of age patina, which can easily be polished off if you prefer a high shine. Dating would be no later than the 1890s, based on the type of fastener; origin is most likely American; and condition, as you see, is superb. Obviously the piece is entirely hand-made.

While it's beautiful worn at the throat as a traditional bar brooch and pinned to a lapel in our modern manner, the rather odd fastening mechanism suggests that it may have done duty originally as a lace pin -- or, for the shamelessly overprivileged, in a decadent set of lingerie or diaper pins. Horrifying, really! There's also the more fetching possibility of use as a baby's "beauty pin"; those were widely in service to doll up the outfit or blankies in Victorian times.

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All Items : Estate Jewelry : Gold : Art Nouveau : Pre 1900 item #1348952
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$325
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The giardinetto (little garden) style -- often called giardinetti, the plural -- originated in Italy during the Rococo years of the 18th century and has been revived in other eras when an exceptionally feminine look was prized. Here the artist made the look totally fresh, adapted in the Jugendstil style of late 19th century Eastern Europe.

This elaborate multi-part antique pendant brooch is one of the most delightful Victorian jewels I've seen and, fittingly, it's been treasured. Notice the rose gold gilding, still shining as brightly as new. There's delicate chasing around the bar pin, which has an elongated pinstem, tube hinge and safety-pin clasp reliably dating the piece to the 1880s. Most wonderfully of all, an oval bail beneath the pin suspends a fully dimensional, round basket holding a bouquet of gorgeously enameled flowers and leaves with highly polished accent stones of rose, emerald and coral art glass. Quite sizeable, it measures about 2 1/4 inches tall and 1 1/4 inches at its widest -- large enough to look sensational on a coat or jacket -- and obviously the basket drop can also be worn to great effect on a necklace chain or ribbon.

Without markings, which in this age appeared only on precious metals, one can't be absolutely certain, but all the indications of Austro-Hungarian origin are present -- and, if you love jewelry from the Austro-Hungarian Empire, you know how difficult it is to find now. There was never much, since the Dual Monarchy lasted only from 1867 to 1918 - besides which jewels from this area and period are so special that people seldom let them go. They share the decorative opulence we prize in the shimmering paintings of Klimt, a goldsmith's son who studied at Vienna's celebrated School of Applied Arts. Its students learned to design outstanding arts and crafts products that could be mass-produced for a growing middle class who emulated the aristocracy and had refined tastes. I expect the creator of this elaborate multi-part pendant brooch was trained there.

It isn't surprising when "ballroom" jewels survive in splendid condition, but this charmer was more likely worn by a young lady enjoying the casual pleasures of the Heurigen (wine gardens of the Vienna woods) or riding the Riesenrad, prototype of ferris wheels. Nonetheless, it's as imaginatively and carefully crafted as the adornments of aristocrats.

The underlying metal appears to be a sturdy luxury-weight brass. To see minute losses of gilding and enamel requires extremely high magnification. To the naked eye (at least mine), this jewel is perfect. Its provenance is a North Carolina estate and you'd have to look a long time to find anything comparable.

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All Items : Estate Jewelry : Silver : Deco : Pre 1930 item #1348939
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$35
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It was during the Roaring 20s when railroads opened the West to vacationers and soon the public imagination was captured by the old frontier. Zane Grey novels became best-sellers and the first cowboy movies appeared.

It's actually easy to date these beauties to the Art Deco era, despite the great volume of boot earrings produced since then. Above all else, I find their style historically significant. They aren't at all in the perky rodeo princess manner; these are working boots, well worn-in. They're boots with soul and mass production doesn't do soul.

If that seems a bit subjective to you, granted. My technical reasons are: They're handcrafted and stamped "sterling" (rather than the later "925"); they show age-appropriate surface wear under magnification; and they have the screw fasteners popular between Edwardian times and the Retro period, when clips became the standard. Ear-piercing was considered rather barbaric throughout those years, until the practice was revived in the 1960s. Of course the screws could be easily changed to posts by any jeweler; you might even do it yourself with snippers and glue. (No, I didn't say that.)

Each earring measures about 1/2" in each direction and is in fine, wearable condition, although you might want to shine them up a bit first. With apologies to the purists among us, tarnish was so heavy on these that I simply had to give the fronts a light polish. Most of the age patina remains in place on the reverses.

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All Items : Estate Jewelry : Gold : Art Nouveau : Pre 1900 item #1348932
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$150
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Authentic Art Nouveau jewels are so scarce now that even good Revival pieces are fiercely collected, so we're thrilled when we can offer you The Real Thing -- particularly at a price that's realistic for ordinary mortals.

Even better, this beauty from a New York estate is a superb example of its period, because nobody else has ever done Lepidoptra so brilliantly. Jewelry artists of the late 19th century fell profoundly in love with moths and butterflies, not only for their grace and color but for the symbology. These fabulous creatures are all about transformation, the most absolutely magical thing there is. It's no accident that the Symbolist movement arose at the same time as Art Nouveau. Both responded to the increasing mechanization and sameness of their surroundings by delving below the superficial to renew our ties with spirit and nature. Organic forms replaced industrial geometry and "precious" materials were less valued than the creative use of whatever you were using. And quality craftsmanship, usually by hand, was vital.

All of that is evident in this little treasure. Along with its lovely metalwork and old pastes -- two diamantes and a big rose-cut emerald pretender (darker than pictured) -- notice the characteristic whiplash curves, the medievalist collet set and the slight assymetry that testifies to the work of hands, not machinery. Attesting to age are the open C clasp, a hinge type true to the period and a pinstem that was clearly shortened (a common precaution after women ceased wearing layers of heavy underclothing).

It's almost miraculous after so long, but the brooch reached us in nearly pristine condition, with virtually no loss of the gleaming, heavily gilded finish. You have to search hard with high magnification to spot any wear. It measures a dainty 1 1/8" in each direction, so was evidently made for a young woman. Large jewelry was then considered vulgar until you were married, because it raised the rather scandalous question of where you got such nice things and how. Seems silly today, but its petite size makes this a piece you could pin on a ribbon and wear as a choker without choking yourself. It would look really sweet on a headband, too.

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All Items : Estate Jewelry : Cufflinks and Accessories : Silver : Pre 1910 item #1348310
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$95
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I'm very partial to 2-tone jewelry, because it can be worn well with both white and yellow metals -- and, besides the versatility, there's a look of pure opulence. But these remarkable cufflinks would meet anybody's definition of splendid, even without their gilded edges and reverses.

Helping us date these treasures is the fact that their maker, the HWK Company, opened in 1905 and had closed by the 1920s. They were among the style leaders in Providence, RI, then a major jewelry center. Their cufflinks, some with their Talon Grip brand, often incorporated intricate white gold tops fashioned by the Belais brothers in Manhattan. That influence is strongly apparent here in the elaborate engraving of popular motifs including Celtic symbols and natural shapes evocative of sunrises and rainbows. They simply couldn't be more Arts & Crafts in design, or more characteristic of an Edwardian style-setter's taste.

In the absence of markings, I'd say the white metal is most likely chromium or rhodium, both hard-wearing cousins of platinum, which also don't tarnish. Because the tops aren't actually made of that famed Belais gold, here's a wonderful opportunity to pick up a really luxurious-looking pair of cufflinks for about half what you'd expect to pay. Size is about 3/4" x 1/2" and provenance is a Missouri estate.

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All Items : Estate Jewelry : Silver : Art Nouveau : Pre 1900 item #1348277
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The Art Nouveau setting of this exquisite antique ring dates it to the 1890s, when French scientist Louis Bouton began cultivating blister pearls -- each of which took about two years to develop. The remarkable gems soon charmed jewelry designers on the prowl for something new, but the later and simpler Arts and Crafts style had taken hold by the time there was a reliable supply of pearls. Thus, this elaborate mounting is highly unusual. Here graceful scallops and fronds ornament the ring's shoulders and the bezel's frilly outer frame. The stone's a marvel, too: almost an inch tall and wonderfully luminous and vivid, dominated by coral, rose and sea green.

Signed simply Sterling, so probably of American origin, the jewel is undoubtedly hand-crafted. Current size is a U.S. 4.5 - 5, easily changed since the back of the shank is undecorated. Provenance is a West Coast estate and there are no condition issues of note. (A prior resizing mark could be smoothed away in a jiffy and, like most old sterling bands, this needs tapping back into round, which any good jeweler can do in about 30 seconds.)

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All Items : Estate Jewelry : Other Metals : Period : Pre 1492 item #1346911
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$235
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Do you have a hero? Maybe this is for him -- or her. It's a treasure perfect for your most valued mentor, most loyal friend or even your Knight in Shining Armor.

Our splendid sword chape fashioned in England soon after the Norman Conquest dates from the 12th or 13th century (between 1100 and 1299), so it may well have seen a Crusade or two. It has a particularly elegant form and the bronze metal has developed a lovely dark green patination all over.

It reached us through a leading antiquities dealer in Cambridgeshire and, in nearby Suffolk, we found these wonderful handcrafted beads with an ancient look, rustic and licked by flame. Then we strung everything together on a leather thong to create a real swashbuckler of a pendant! It's particularly great with a turtleneck (his or hers) -- and a museum-worthy display piece when not being worn. Size is about 2 1/4" by 1 1/8".

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All Items : Estate Jewelry : Costume : Rhinestone : Pre 1930 item #1338425
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$145
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Most Suffragette jewelry has a stately quality. It tends to be substantial, the better to make its statement at a rally or on the march, atop outerwear. This bijou, by contrast, is on the large side (about 2.5" x 1.5") but it's clearly a party piece.

Such a dazzling confection of diamantes with a bold emerald paste center and dancing drops tipped with faux amethysts may well have been made for celebrations after the vote came through (1920 for all women in the US and 1918 for many in the UK, 1928 for the rest). Alternatively, given its whirling form and shimmering materials, it could refer to Halley's comet, which inspired a lot of jewelry when it appeared in 1910, the last year of the Edwardian era. The design of the brooch could be characterized as transitional or early Deco, but it makes an emphatic nod to Edwardiana in those drops of staggered length. Asymettrical drops were characteristic of Edwardian necklaces known as "negligee" style (nothing to do with nightwear). Still, I'm persuaded by other details of fabrication that 1920 is more probable than 1910.

Provenance is a California estate and condition is, as you see, lovely. Great condition is more common than not for Suffragette pieces, since most saw only short-term use before becoming treasured keepsakes.

There's no charge for insured U.S. shipping, with an equivalent discount on international delivery, and gift-wrap is always free when desired. Please e-mail to confirm availability, order or request more photos. Thanks for looking!
All Items : Estate Jewelry : Other Metals : Modernist : Pre 1940 item #1338378
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$165
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A host of objects evoke eras and they're delightful, but when an item evokes a particular moment in history, it's incredibly exciting to me. It's like a time machine! Climb aboard this early modernist brooch and you're in 1930 -- or at least the immediate neighborhood. Stylized feather and fern leaf brooches were the latest and greatest -- done up in platinum and diamonds by the likes of Suzanne Belperron, whose work is well-chronicled and deserves to be, but also produced for ordinary mortals with far more adventurous taste than cash to indulge it.

For the example here, our dating comes not only from records kept in the halls of grandeur, but also from plain history open to all. Look at the colors of these stones -- green, white and violet, as in "Give Women the Vote" -- and remember that it was in 1928 when the last group of Englishwomen (those without property) were enfranchised. This achievement remained a big cause for celebration as the decade turned -- particularly since there wasn't a whole lot to be celebrating immediately after the Crash of '29.

Now please join me in picturing the first owner of this brooch: a highly modern miss, indeed, and a Suffragette surely. A persistent Suffragette, since voting was fait accompli for most women soon after World War I. That's why Suffragette jewelry nearly always looks Victorian, Edwardian, transitional or Early Deco. And that's what makes this piece very special.

Of course it's also special for being just wonderful. A towering plume or assemblage of fronds (whichever you see) -- more than 3 1/4 inches tall -- it gleams like new, so the metal must be rhodium or chromium (hard-wearing cousins of platinum, albeit far cheaper). The graceful mounting is set with three green and white tigers' eyes that could almost pass for real, plus three faceted amethyst pastes. Weight is 10.3 grams (51.5 carats) and provenance is a Midwestern estate.

That the brooch is in fantastic condition isn't really surprising, since Suffragette jewels were generally tucked away fondly after a few years' use. The color scheme doesn't exactly go with everything -- but what a lot of fun somebody's going to have with this!

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All Items : Popular Collectibles : Nostalgia : Fashion : Accessories : Pre 1970 item #1338374
GlitzQueen History and Art to Wear
$145
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"Who dares, wins," they say, so why not take your style to new heights this fall with our breathtaking vintage Evelyn Varon chapeau? Of cinnamon-colored "doeskin" wool felt, it's gracefully shaped in a sort of cross between a fedora, a cloche and a Garbo slouch. A lavish wheel of feathers accented by pearls adorns the longer side -- the better for casting flirtatious glances beneath. Vintage hats just don't get any more spectacular!

This one's in immaculate condition, too, although it can't be younger than mid-1960s. That's when the original owner remembers purchasing it from an upscale department store in downtown Fort Worth, Texas. Unfortunately for her, she didn't dare to wear it much, which is why it's so perfect now. It's marked with two of the most famous names in vintage headwear: Evelyn Varon, whose work is featured in the Hat Museum, and George W. Bollman, whose firm developed the wool felt "doeskin" material from which it's made. The Bollman Hat Co. has been associated with many the world's top designers and brands since early Victorian days and the firm is still operating.

There's no charge for insured U.S. shipping, with an equivalent discount on international delivery, and gift-wrap is always free when desired. Please e-mail to confirm availability, order or request more photos. Thanks for looking!