ArtDeco Coro 1919 "PatPend" LadyBug Enamel FauxGem Vermeil Brooch

Made in 1962 by Swedish Rune Tennesmed, this modern minimal sterling silver geometric brooch features a faux ruby poured-glass red cabochon, concave sheet metal, and openwork that forms two corners of the two-tier triangular brooch. This simple abstract design is characteristic of the rounded geometric shapes that framed his silvery pieces, while his early work sometimes included a pop of brightly colored glass. Tennesmed (1929-2011) was a 20th-century studio metalsmith, who changed his given name Carlsson to reflect his craft and his business name, which means "pewtersmith" in Swedish. This unusually elegant and sleek piece was made for Scandinavian Atelie Stigbert, which was recognized for producing modern jewelry designs in sterling silver and gold. The brooch was likely commissioned by the Stigbert workshop founder Stig Engelbert who died in 1962, before his artisan sons evolved the family business to be known as Engelbert. Recognized as one of the most significant and popular Scandinavian artists of the mid-20th century, Tennesmed revived ancient Viking...

Dolce & Gabbana featured silk-rose jewelry like this versatile pale-peach seven-inch-diameter accessory on many of the runway looks from the design-duo's Spring/Summer 2000 collection (see photo). The rose is a signature motif of this pair of Italian designers, while the Dolce & Gabbana brand tag is sewn to the back of this piece that was "Made in Italy" in 1999. The unusual "cufflink" hardware on the back of the faux rose enables it to be secured through a buttonhole or as a pendant for a necklace, neckerchief, or narrow belt...

As one of Miriam Haskell's earliest fur clips from the late 1920s, these two Russian-gold gilt mostly brass brooches by her first designer Frank Hess are tethered as a lariat by thre...

Beginning in 1939, Miriam Haskell asked her first designer Frank Hess to sparingly use metal in the costume-jewelry collections during WWII while war materials were needed. So their ...

This 15th-Century period or older gilt copper and silver alloy amulet with niello inlay is an elaborately engraved three-dimensional brooch and pendant, which demonstrates the epitome of miniature decorative nielli in the early Renaissance by European goldsmiths of small cruciform or quatrefoil objects with heraldry symbols. Beyond a dense array of engraved radiant-light, cloud and star motifs with punchwork, it features a 10mm fine black crested staff that is the Christian symbol for the Holy Trinity. This intricate engraving with niello has fleur-de-lys elements, like a French or Florentine coat-of-arms or monogram used to identify noble families or a significant person like a king. It tops a 5mm bar, which is bracketed by 10mm peaked bars that form a cross. When worn, it is positioned horizontally like an elongated barbed quatrefoil. The bars may be concealing a relic such as wood, while it is not clear how these pieces are attached to the front. As a symbol of French conversion to Christianity, the French King Louis in the 12th Century made a fleur-de-lys element of the Holy Trinity vector the official emblem of his royal authority on shields. Later, English kings adopted it when claiming the French throne. By the 14th Century, the fleur-de-lys was used in family insignia that was sewn onto a knight's coat-of-mail surcoat. This coat-of-arms insignia could identify them if found on a battlefield. The Met Cloisters museum collection includes a similarly sized mid-15th Century French gold brooch...

During the ArtDeco period when Gabriel "Coco" Chanel was at her peak as a Parisian couture fashion-designer in the early 1930s, this antique one-of-a-kind handcrafted gem-fringed and gilt-chain medallion brooch with trombone clasp was commissioned to accessorize one of her clothing designs. Marked only "FRANCE" like some early 1930s Chanel couture jewelry (without a brand stamp until the 1950s), its artistic origin is most likely from ornate organic-form sketches by her favorite parurer Fulco di Verdura. The Sicilian duke began creating fabric patterns for Chanel in 1927, which shortly expanded to fine jewelry beginning with custom pieces for herself. These include the iconic Byzantine-influenced gem-adorned cuffs referencing the Maltese military-cross, which the French designer can often be seen wearing in circa-1930s photos. This bright yellow-gold brooch suits goldsmith Verdura's early anti-Art-Deco aesthetic that was considered a radical departure from 1920s silver-tone jewelry, which otherwise featured linear geometric designs or figurative representation. The softly-shaped deconstructed gem-bouquet mixes amethyst and rose-quartz beads with natural Keshi pearls and intricate tiny gilt leaves, which are wired to a Baroque-motif open-work frame that dangles another gem surrounded by a thick gilt-rope halo. Notably, Verdura is credited with re-introducing since Victorian times the rope motif to jewelry. Since 1930, Verdura's unique style was influenced by travels with Chanel to explore Byzantine art, Baroque architecture, and exotic flora-and-fauna among his native Italian aristocratic estate. The legendary fashion-editor Diane Vreeland and American entertainment-stars were among the first Chanel clients to acquire couture real-gem-adorned jewelry made by Verdura, while one of the two brooches treasured by Vreeland was titled "Theodora". See our photo of the Byzantine mosaic of Empress Theodora, whose image wearing many teardrop pearls above her chest and surrounded by a golden halo seems to be the inspiration for this brooch. As one of the most important modern-design collaborations, Chanel's close relationship with Verdura lasted largely-undocumented years in Paris, until he launched his first outside jewelry venture with a Hollywood designer-boutique after emigrating to the United States in 1934. By 1939 as a financially-backed in-demand goldsmith, he founded the namesake jewelry-company Verdura in NYC. After he retired in 1973, the brand continued to operate without him with different owners. Given the duo's designs that played with historic and military references, Chanel's couture commission for this purple medallion may have been sparked in the early 1930s when the internationally-new...

A very fine Edwardian stick pin. In a platinum spider web (or stylized flower) pattern. With a bezel set diamond in center and bottom of wire fra...

A very fine 10k gold and seed pearl stickpin. With a round white pearl set in center of a 10k gold infinity loop. Simply a great stickpin! Date: Early 20th Century Overall Condi...

This whimsical set of three mice can be worn separately or together, evoking the much loved children's nursery rhyme. Each 18K white gold mouse is encrusted with brilliant cut diamon...

A very fine antique Edwardian gold and moonstone stickpin. With a smooth, oval moonstone cabochon bezel set in 10k gold with decorative oval frame....

A very fine antique Art Nouveau amethyst and 14k gold stickpin. By Brassler Co. With a faceted oval prong set amethyst centered of 14k gold shield shaped frame. Simply a great st...

A very fine Edwardian gold and diamond love knot stick pin. Set with a round brilliant diamond to the center of 10k gold lover's knot. Simply a great stickpin! Date: Early 20th ...