Property from the Estate of
ELISABETH J. HAND
A RARE SUITE OF CITRINE, GREEN BERYL AND GOLD JEWELRY
Details
A RARE SUITE OF CITRINE, GREEN BERYL AND GOLD JEWELRY
A necklace, centering upon a rectangular-cut citrine, within a gold bead and wirework mount enhanced by green beryls, flanked on each side by a cut-cornered rectangular-cut citrine, joined to a hammered gold bead three-strand chain, with a gold bead and wirework clasp, mounted in 18K gold--16½ ins. long, a bracelet--7 3/8 ins. long; and a brooch en suite, in a monogramed leather case (lining missing), circa 1920
Necklace and bracelet signed by Tiffany & Co., designed by Louis Comfort Tiffany
Louis Comfort Tiffany, the consummate designer of stained glass windows and leaded glass lamps, searched for new avenues to pursue his experimentation with color and light. Jewelry was the next obvious path; gemstones providing an endless range of colors and refractions to satisfy Tiffany's relentless quest for perfection.
Tiffany preferred gemstones that were either opaque or translucent. He chose jade, turquoise, moonstones, opals and citrines either for their denseness or their ability to filter light. The citrines in the illustrated suite are an example of his choice of a stone that allowed light to penetrate, while still obscuring objects on the other side, much like his stained glass windows.
The twisted wire work or cannetille on the bracelet is typical of his iron work as evident on the mantel candelabra he designed in 1879-1880 for the Seventh Regiment Armory. Green beryls are set into the links between the citrines. These stones, which border the central citrine on the necklace, form a stepped pattern and aid in dating it to c. 1920-1922. The beryls are supported by a three-strand bead necklace, hammered to give it a "hand made" appearance. This type of chain is very rare on Louis Comfort Tiffany's jewelry. The accompanying brooch was made in the style of Tiffany.
Janet Zapata (3)
A necklace, centering upon a rectangular-cut citrine, within a gold bead and wirework mount enhanced by green beryls, flanked on each side by a cut-cornered rectangular-cut citrine, joined to a hammered gold bead three-strand chain, with a gold bead and wirework clasp, mounted in 18K gold--16½ ins. long, a bracelet--7 3/8 ins. long; and a brooch en suite, in a monogramed leather case (lining missing), circa 1920
Necklace and bracelet signed by Tiffany & Co., designed by Louis Comfort Tiffany
Louis Comfort Tiffany, the consummate designer of stained glass windows and leaded glass lamps, searched for new avenues to pursue his experimentation with color and light. Jewelry was the next obvious path; gemstones providing an endless range of colors and refractions to satisfy Tiffany's relentless quest for perfection.
Tiffany preferred gemstones that were either opaque or translucent. He chose jade, turquoise, moonstones, opals and citrines either for their denseness or their ability to filter light. The citrines in the illustrated suite are an example of his choice of a stone that allowed light to penetrate, while still obscuring objects on the other side, much like his stained glass windows.
The twisted wire work or cannetille on the bracelet is typical of his iron work as evident on the mantel candelabra he designed in 1879-1880 for the Seventh Regiment Armory. Green beryls are set into the links between the citrines. These stones, which border the central citrine on the necklace, form a stepped pattern and aid in dating it to c. 1920-1922. The beryls are supported by a three-strand bead necklace, hammered to give it a "hand made" appearance. This type of chain is very rare on Louis Comfort Tiffany's jewelry. The accompanying brooch was made in the style of Tiffany.
Janet Zapata (3)
Provenance