Vintage Seashell Pendant

This vintage fish pendant is such a wonderful piece to collect, or gift. The idea of fish as good luck exists in many cultures but most likely has its origins in China, where the character for fish (yu 鱼) is pronounced the same as the Chinese character for surplus (yu 余), thus the connection between fish and prosperity. Also, Pisces friends, this little fish is especially perfect for you! The figural fish is beautifully articulated, so the body moves— almost like magic! I love that he has a red stone for his eye. The color of the metal is very iridescent, with tones of both gold and silver, so it works on a chain of any tone, and is easy to mix with other jewelry. Measures 34 mm total with bales; the actual fish is 27 mm long. The pendant is sold individually, or a chain can be added if you need one; please contact me if you would like a chain. * The Vintage 14k Gold Jade Fish Pendant...

This antique goldstone cross was made in the 19th century, but it has a decidedly modern appeal. The cross's goldstone surface is a burnt orange color, with metallic flecks that spar...

This vintage lavalier pendant is an incredibly special piece that will be in your collection and certainly become an heirloom. It features an...

This piece is so special and so rare: it dates to the Victorian era, more specifically the 1860s, and was likely made in Britain. It is crafted from vulcanite and features a teardrop shape with a high relief bunch of grapes in intricate detail, surrounded by a border of carved beads, strung on a fine black ribbon, to be worn as choker. (I love it strung on the Victorian Jet Choker pictured, which is also available in my shop.) The vulcanite has this truly stunning, relatively matte finish, with a rich warm glow— it's just so unique and unlike any other material. What is vulcanite? It is made by combining the sap of the Euphorbia or Ficus trees from Malaysia, with sulphur. It was originally invented in 1843 by Thomas Hancock. His timing just happened to be spot-on: black had long been considered essential to mourning jewelry and mourning dress, but thanks to Queen Victoria's extended 40 years of grieving (for her husband, Prince Albert), from about 1860-1890, black was considered a highly fashionable color, and began to be worn outside mourning dress. During this period, vulcanite became a very fashionable material for jewelry, and it loaned objects that gothic, romantic, dramatic black cast that Victorians just loved. Victorian mourning jewelry is rife with grape motifs; for one, grapes were a symbols of Christ (as wine is the blood of Christ). On Victorian grave markers, a cluster of grapes typically means that the deceased was of mature years. Victorians are well known for using flowers and botanicals as a means of communication. Wild grapes, according to The Language of Flowers published in 1913, are symbols of Charity, a favorite Victorian theme. NOTE: The Victorian Hair Mourning...

This antique mother of pearl Gobbo charm is a powerful talisman; if you're not familiar with Gobbo charms, they are thought to offer the same protection and good luck as the ubiquito...

There is something so magical to me about vintage and antique cameos: the way the portraits are rendered in such incredible detail seems to tell a person's mystery. This cameo is carved from genuine shell with such impressive precision, and it's set in solid 18k gold. It is both a pendant, and a brooch; the pin back is not visible when it's worn as a pendant, and I love the way the bail dangles down and disappears when it's worn as brooch, making it truly two pieces in one. It was likely made in the 1930s, but it's also possible that the cameo itself was made even earlier, and the brooch fastener was later added around the 1930s or 1940s. This cameo depicts a Spanish woman, wearing a mantilla comb...

A stunning pair of antique French silver gilt lorgnettes. Art Nouveau era, they are hallmarked for the renowned French silversmith Pierre - Jacques Meuric...

The “Into the Woods” bracelet is part of our Work of art Jewellery collection. This Jewel is handcrafted completely by Workmaster Fabergé Stefano Vigni, who created the piece, chisel...

The “Fabergè Style” Silver pendent is part of our Work of Art -Jewellery collection. This Jewel is handcrafted completely by Workmaster Fabergé Stefano Vigni, who created the piece,...

The Jade Leaf Pendant is a totally unique and completely handcrafted sculpture created by Paul Amey. The pendant was crafted from 18K yellow gold. Th...

OCTAGONAL RELIQUARY PENDANT Probably Italy, c. 1600 Fire-gilded brass, glass, velvet, ink on paper Weight 63.2 grams; dimensions 82 × 47 × 21 mm (with loop) Physical description: Double-sided pendant in octagonal form made of fire-gilded brass. Both sides of the pendant with deep profiled frames with glass. The slightly indented side panels comprise openwork friezes with symmetrical scrollwork. On the front is dark red velvet, onto which tiny bone relics of saints (now missing) would have been attached. Labels on a lace-like paper silhouette remain, with names written in ink, mostly faded; only “S. Agnes” is legible. The back is hinged and when opened reveals a velvet-lined interior and paper insert with floral decorations on a turquoise ground, on which fragments of bones are attached. Baluster shaped base for shield-like pendant loop and ring. This reliquary pendant is difficult to situate historically because it is a composite object. It represents traditional handwork in the form of a paper cutout, combined with a jeweler’s beautiful fire-gilt brass case. The work of paper cutting, painting, and ornamentation, sometime combined with needlework, is comparable to work still being done in the nineteenth century by nuns and pious ladies. It is prayerful work, a devotional exercise in itself, and shows reverence to the tiny relic fragments that it would have framed and honored. Early versions of this sort of handiwork might be found in the meticulous displays sometimes called “Paradise Gardens.” These were made, beginning in the sixteenth century, by the nuns at Mechelen, in northern Belgium, in multimedia handwork displays of sewing and gluing, combining relics with paper, cloth, glass, metal wire, and found materials. These textured and pious displays were then combined with paintings and cases by professional artists and artisans, as in the example in Cassel. Unfortunately, because of water damage, only one of the labels of the original relic displayed in this reliquary is legible, inscribed “S. Agnes” at the center top; the other names are faded. Presumably the deep velvet-lined box would have also held an assortment of relics other than the ones that were visible through the glass, and perhaps there would have been another display in the glass on the other side of the pendant. There is a second paper insert, this one decorated with a turquoise ground and silhouette flowers to which bone fragments seem to be still attached. The octagonal case, in contrast to the paper cutout, is not at all “home-made.” It has an openwork frieze in scrollwork patterns familiar from enamel work and other metalwork done for European courts and nobility. It is not unlike cases for expensive watches...

This magnificent gold-plated silver cross was made in Italy in the 60s. It is hand sculpted and the gold plated finish highlights the tree trunk design. The finishing touch is given ...