http://collections.mfa.org/collections/315177/objects/rdfJWL.Jewelry Collection Highlightshttp://collections.mfa.org/internal/media/dispatcher/1193030/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/920634/resize%3Aformat%3DfullAmerican Flag brooch1917Black, Starr and FrostPlatinum, diamond, ruby, sapphireThe flag pole consists of 13 square cut, antique diamonds and topped with an Old European cut diamond of approximately 0.45 carats. The flag's stripes are composed of 125 French cut rubies of medium red color and 125 square, antique cut diamonds of good clarity and color. The 13 stars are studded with diamonds and set on a field of 36 square cut, medium blue sapphires. The total stone weight is approximately 9.45 carats of diamonds, 7.00 carats of rubies and 4.00 carats of sapphires. The brooch is stamped #57370. It is accompanied by a leather and velvet lined box, embossed "Black, Starr & Frost", but the piece is unsigned. Condition is excellent.http://collections.mfa.org/objects/453977/rdfhttp://collections.mfa.org/internal/media/dispatcher/1097182/resize%3Aformat%3DfullBicycle broochmid–1890sStreeter & Co., LTDGold, enamel, diamond (old brilliant cuts), rubyThe bicycle represented is a generic diamond frame machine from around 1894–97. According to Scotford Lawrence (National Cycle Museum, England), the date is based on the fact that the top tube of the frame slopes up from the seat tube (after 1895, this tube became horizontal). The anatomy of the bike is shown in great detail, including the coiled element on the head tube (part of the brake system) and the oil lamp on the handlebar. The brooch has several movable parts (the wheels spin, the pedals turn, and the fine bicycle chain turns the rear wheel when advanced). The machine follows British design with two mudguards and brake (American diamond frame bicycles lacked these parts). According to Nicholas Oddy (Glasgow School of Art, Scotland), "It has all the appearance of a so-called 'cob,' a small, short-reach, diamond-framed machine designed specifically for women wearing rational cycling dress." This is a brooch for someone who is at the cutting edge of female cycling fashion, has considerable wealth, and chooses to make a statement about the new found freedom of woman at the height of the suffragist movement.http://collections.mfa.org/objects/527455/rdfhttp://collections.mfa.org/internal/media/dispatcher/998570/resize%3Aformat%3DfullBig Double Gold brooch1908John Paul CooperGold (15k), abalone, tourmaline, moonstone, pearl, amethyst, chrysopraseJohn Paul Cooper, a leading figure in the British Arts and Crafts movement, was an architect, designer, and metalsmith. Born into an affluent Leicester family, Cooper prepared for a career as a writer but was discouraged from pursuing this endeavor by his industrialist father. Instead, he apprenticed to London architect John D. Sedding, a strong proponent of the ideas of John Ruskin and Henry Wilson, an architect with interests in craft, especially metalwork and jewelry. Afterwards, Cooper joined the "Birmingham Group" and served as head of the Metalwork Department of the Birmingham Municipal Art School (1901–1906). He exhibited regularly at the Arts and Crafts Society exhibitions and completed several important public commissions, including two crosses and a pair of altar vases for Birmingham Cathedral. Additionally, his work often appeared in article published in Studio and Art Journal.Cooper's interest in jewelry design and fabrication began shortly after his association with Wilson. Like Wilson, he eventually employed others to fabricate his jewelry designs although he sometimes did the chasing and repoussé work himself. The jewelry was crafted primarily in 15 kt gold, utilizing semi-precious cabochons (domed, unfaceted stones) and mother-of-pearl. Unlike many Arts and Crafts jewelry designers, Cooper often worked his designs from a selection of stones, rather than creating a design and then finding suitable gems. He once commented that stones should "…play on one another as two notes of music..." In addition to jewelry, Cooper's workshop designed and fabricated ecclesiastical objects and various decorative arts, including hollowware and frames. Many of the objects incorporate unusual materials, such as coconut shell, ostrich-egg shell, and narwhal tusk. At the beginning of his career, he often used gesso and plaster modeling to decorate surfaces and, at the end of the 1890s, he began making wooden boxes which he covered with shagreen, a decorative veneer made from the skin of certain sharks and rays. This brooch is a major work by Cooper. Created during a period when the artist relied less on chased representational imagery and more on stones, the ornament conveys a sense of refined opulence. Inspired by medieval and Celtic design, the brooch is both airy and graceful. The goldwork is decorated with finely chased leaves and tendrils and the bezel-set stones include ruby, pearl, moonstone, amethyst, and chrysoprase. It took 273 hours to produce the brooch and Lorenzo Colarosi, Cooper's chief craftsman, was the primary fabricator. It's possible that Cooper did the chasework. The drawing for the brooch, which is dated 3 December 1908, can be found in Stockbook I, p. 81 in the Cooper Family Archives. Cooper entitled the piece Big double gold brooch. http://collections.mfa.org/objects/495555/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016171/resize%3Aformat%3DfullBracelet with a basket flanked by snakes1st century B.C.–1st century A.D.Gold, emeralds, and pearls (modern)A gold bracelet composed of a gold band studded with two outer rows of pearls. The projecting central element, a basket (kalathos), is decorated with cabochon emeralds and flanked by coiling snakes. Snakes were regarded as protective spirits, associated with healing (Asklepios) by the Greeks and the Romans. In an Egyptian context, the snake was often associated with Agathodaimon ("the Good Spirit"). One of a pair with 1981.287.http://collections.mfa.org/objects/154806/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000973/resize%3Aformat%3DfullCameo with Livia holding a bust of Augustus (?)A.D. 14–37TurquoiseBust of Livia in the guise of Venus Genetrix, with closely clinging drapery slipping off her left shoulder. Beside her is a youthful male head, which must originally have belonged to a bust or full-length figure, alternately identified as a bust of the deified Augustus, or as one of her sons, Tiberius or Drusus I. The cameo has been set into a modern setting. The lower part of the gem is damaged, and a portion of the original has clearly been lost.http://collections.mfa.org/objects/155690/rdfhttp://collections.mfa.org/internal/media/dispatcher/856758/resize%3Aformat%3DfullCameo with the wedding of Cupid and Psyche, or an initiation rite50–25 B.C.TryphonOnyxLayered onyx. Cameo. The wedding of Cupid and Psyche. Incised Greek inscription: "Tryphon made it."http://collections.mfa.org/objects/155692/rdfhttp://collections.mfa.org/internal/media/dispatcher/1199545/resize%3Aformat%3DfullCharmabout 1776SilverTwo heart shaped plates slightly curved fastened together with narrow moulding (broken). Ring suspension from top.http://collections.mfa.org/objects/38772/rdfhttp://collections.mfa.org/internal/media/dispatcher/863629/resize%3Aformat%3DfullCrown or lid13th centuryGoldhttp://collections.mfa.org/objects/155700/rdfhttp://collections.mfa.org/internal/media/dispatcher/724495/resize%3Aformat%3DfullDemi-parure, comprising a necklace, brooch, and pair of earringsabout 1860–70Amber, set in goldDemi-parure, comprising a necklace with seventeen pendants, brooch, and pair of earrings. All set in gold in the Etruscan style, with a double rim of gold around the amber; the inner rim fits into the outer so that the amber can be taken out.http://collections.mfa.org/objects/481516/rdfhttp://collections.mfa.org/internal/media/dispatcher/1243479/resize%3Aformat%3DfullEarring525–330 B.C.Gold with inlays of turquoise, carnelian, and lapis lazuliRound earring inlaid on both sides with multi-colored, semi-precious stones. Its design may represent the king revered by the six "Great Houses" of the empire, the land of Persia surrounded by the six world regions, or the supreme god Ahuramazda surrounded by the six "Bounteous Immortals."http://collections.mfa.org/objects/155819/rdfhttp://collections.mfa.org/internal/media/dispatcher/1077456/resize%3Aformat%3DfullEarringabout 650 B.C.ElectrumA double hook of rather heavy wire, each end terminating in the head of a griffin decorated with granular filigree.http://collections.mfa.org/objects/187253/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000616/resize%3Aformat%3DfullEarring with Nike driving a two-horse chariotabout 350–325 B.C.Gold, enamelEarring in form of Nike driving a two-horse chariot (biga). The figures are modeled in the round and form a pendant suspended from a disc in the shape of a honeysuckle palmette. Wearing a belted chiton (tunic), a full-length skirt, and several items of jewelry, Nike leans forward, her left hand pulling on the reins of the horses, whose front legs rear sharply. The features on the goddess's face are crisp and her expression resolute, while the animals appear startled and tense. Raised as if in flight, Nike's elaborate, feathery, and finely chased wings provide an elegant counterbalance to the dynamic composition.The ornament is composed of more than a hundred individual elements soldered together. The bodies of the figures are crafted from gold sheet that is embellished with wirework details and small gold balls. The honeysuckle palmette is fashioned into curved petals and circular stamens outlined with fine twisted wires; remnants of enamel survive on several of the stamens. In the center of the leaf is a tear-shaped fruit encrusted with dense gold granulation. A hoop on the underside was probably attached to an ear wire, which is now missing. http://collections.mfa.org/objects/155707/rdfhttp://collections.mfa.org/internal/media/dispatcher/957783/resize%3Aformat%3DfullEllington necklaceabout 1958Art SmithSilver; turquoise, rhodonite, artificially tinted chalcedony, chrome chalcedony, amazonite.Large silver necklace comprised of three free-form elements each with three applied bezel-set gemstones. Framed and connected by hammered flat curved silver elements.Reproduced with permission.http://collections.mfa.org/objects/456451/rdfhttp://collections.mfa.org/internal/media/dispatcher/1337285/resize%3Aformat%3DfullEmerald and diamond brooch (known as the Post Brooch)1929Oscar Heyman Bros.Platinum, diamond, emeraldThe platinum and diamond brooch features a 60-carat emerald at its center. Carved in India in the 17th century, the emerald displays iris blossoms on the front. The reverse, carved later, features a carnation flower. An agent of the American retailer Marcus & Co. purchased the emerald in Bombay in the 1920s—after it was likely removed from a more traditional Indian ornament. Suspended from the center of the brooch, the emerald is rounded on both sides and framed by a horizontal bar with two large table-cut emeralds and diamond swag with 13 tear-shaped emeralds drops. Oscar Heyman Bros. fabricated the brooch, and a pencil drawing of the design can be found in the company’s archives.This important ornament was owned by Marjorie Mariweather Post, a socialite and the owner of General Foods. Post was a serious collector of jewelry. Emeralds were a favorite and she purchased others around the same time in anticipation of her presentation at the Court of Saint James. While this carved emerald brooch never made it to her royal court presentation, it remained a treasured part of Post’s jewelry collection. She wore it in two painted portraits—one of which still hangs in her bedroom at Hillwood, her home-turned-museum outside Washington, DC—and in photographs throughout her lifetime. It was always prominently positioned at the center of a low-cut neckline and paired with other important necklaces, bracelets, and rings.Reproduced with permission.http://collections.mfa.org/objects/514985/rdfhttp://collections.mfa.org/internal/media/dispatcher/798820/resize%3Aformat%3DfullFour-case inrô with katawaguruma designearly to mid-19th centuryNakayama KominGold lacquer ground with gold hirame; further decoration in gold hiramaki-e and shell inlay with gold hiramaki-e; compartments and risers gold nashiji; shoulders and rims gold fundamehttp://collections.mfa.org/objects/27255/rdfhttp://collections.mfa.org/internal/media/dispatcher/1662412/resize%3Aformat%3DfullHathor-headed crystal pendant743–712 B.C.Gold, rock crystalCrystal ball amulet surmounted by gold head of Hathor crowned with disc and horns. The ball is bored vertically and has a gold disc at the base on which it stands. Probably contained substances believed to be magical. Ring at back of head. Base loose.http://collections.mfa.org/objects/143587/rdfhttp://collections.mfa.org/internal/media/dispatcher/1088072/resize%3Aformat%3DfullHead of a pin with lions, bees, an ionic capital, and foliageLate fifth century B.C.GoldThe head of a straight pin. At the bottom are two globes, one above the other; above these globes, a four-sided Ionic capital; from the four volutes of the capital, rise lions, whose forepaws rest on the cone-shaped object at the center of the design, consisting of clusters of acanthus leaves. Between the forelegs of the lions rise spirals and between these are bees. The top of the pin head is a small rosette or flower. The pin has a fine mesh chain ending in snake's heads, probably to connect it to a similar pin worn at the same time. Said to have been found with the gold sphinx pin 96.718, and the Athenian red-figure acorn lekythos 95.1402.http://collections.mfa.org/objects/185888/rdfhttp://collections.mfa.org/internal/media/dispatcher/737402/resize%3Aformat%3DfullIfa diviner's necklace (Ikolaba ifa)Artist UnidentifiedLocally woven cloth, glass beads, thread, crystals, nutshttp://collections.mfa.org/objects/112036/rdfhttp://collections.mfa.org/internal/media/dispatcher/950045/resize%3Aformat%3DfullLovers brooch1949Sam KramerSilver, turquoise, garnetAbstract figures suggesting two persons. Brooch is constructed of several layers of silver of various shapes, which are hinged and riveted together. Highlighted by bezel-set garnet and turquoise© Estate of Sam Kramerhttp://collections.mfa.org/objects/456446/rdfhttp://collections.mfa.org/internal/media/dispatcher/1082586/resize%3Aformat%3DfullMarriage Pendantabout 1455–65Silver-gilt, nielloNielloed medallions set into silver-gilt case with rope molding and loop for hanging. Obverse: the couple facing one another, tree of life between them. Reverse: Lamb of Christ lying on bookhttp://collections.mfa.org/objects/54367/rdfhttp://collections.mfa.org/internal/media/dispatcher/1051996/resize%3Aformat%3DfullMarsh-bird brooch1901–02Charles Robert AshbeeGold, silver, enamel, moonstone, topaz, freshwater pearlThe brooch was originally a hair ornament that was converted to a brooch (silver pin stem and "C" hook added). Conversion probably occurred shortly after the ornament was made. The hair comb was fabricated by A. Gebhardt and enamelist William Mark, both members of the Guild of Handicraft.http://collections.mfa.org/objects/506941/rdfhttp://collections.mfa.org/internal/media/dispatcher/1108516/resize%3Aformat%3DfullMosaic cuff bracelet1995Angie Reano OwenTiger cowrie (Linnaeus, cypraea) cuff with turquoise, mosaic pieces in shades of orange and purple (Spiny Oyster; Thorny Oyster Family; Spondylidae, spondylus americanus), mosaic pieces in iridescent shades white to white-gold (Mother-of-pearl; Oyster Family), and jet mosaic, black epoxyOrganically shaped cuff of mosaic work. Small rectangular shaped turquoise (the predominant color), shell, and stone are used to compose the woven, basket-like surface. The form of the cuff is shell with the pearly white surface visible on the inside of the bracelet.Material Details:Bracelet Form is Tiger cowrie (Linnaeus cypraea)Mosaic pieces in shades of orange and purple are Spiny Oyster (Thorny Oyster Family Spondylidae, Spondylus americanus)Mosaic pieces in iridescent shades of white to white-gold are Mother-of-Pearl (Oyster Family Ostreidae)Reproduced with permission.http://collections.mfa.org/objects/49316/rdfhttp://collections.mfa.org/internal/media/dispatcher/619530/resize%3Aformat%3DfullNecklaceabout 5th century A.D.Glass, stone, jade and crystal beadshttp://collections.mfa.org/objects/22730/rdfhttp://collections.mfa.org/internal/media/dispatcher/1529649/resize%3Aformat%3DfullNecklace1910–18Josephine Hartwell ShawGold, jade, glassPendant of two white jade tear-shaped carvings with nine squares and three rectangular green stones on a four strand chain interrupted by four groups of five and two groups of three rectangular green stones. Carved white jade clasp.http://collections.mfa.org/objects/41496/rdfhttp://collections.mfa.org/internal/media/dispatcher/757551/resize%3Aformat%3DfullNecklaceabout 1840Shell, goldSix large and small shell cameos carved in Italy set in gold: scroll pattern with six pendant balls. Bacchante, Juno, Minerva, Apollo, Mars and Diana on large cameos; dancing figure on small cameos.http://collections.mfa.org/objects/60793/rdfhttp://collections.mfa.org/internal/media/dispatcher/1228216/resize%3Aformat%3DfullNecklace mounted with gold coin of Emperor ValensA.D. 364-378GoldThe pendant with the gold coin or solidus of Emperor Valens (AD 364-378) is set in a palmette and dart mount and comes with a figure “8” loop-in-loop chain with a Herakles know fastener.Only the obverse of the coin is visible, the reverse is blocked by a gold sheet disc.Obverse legend: DNVALENS PERFAVG (Dominus Noster Valens Perpetuus Felix Augustus)Reverse ?: RESTITVTOTRREI PVBLICAE?)http://collections.mfa.org/objects/168668/rdfhttp://collections.mfa.org/internal/media/dispatcher/1193030/resize%3Aformat%3DfullNeck Piece #91973Mary Lee HuSilver; gold wire, pearlThe pectoral is made entirely of silver and gold wires of different gages, joined by knitting and wrapping around base wires. It is in the shape of a large bird resting in the center of the chest, while the wings wrap backwards around the shoulders. A pearl accentuates the eye of the bird.Reproduced with permission.http://collections.mfa.org/objects/45028/rdfhttp://collections.mfa.org/internal/media/dispatcher/761427/resize%3Aformat%3DfullPectoral100-1000 CEGoldHammered and embossed gold pectoral with the image of a human head in its center. The personage wears the large nose and circular ear ornaments typical of Calima body adornment. The nose ornament is embellished with a feline face.http://collections.mfa.org/objects/36450/rdfhttp://collections.mfa.org/internal/media/dispatcher/794073/resize%3Aformat%3DfullPectoral1783–1550 B.C.Gold, silver, with carnelian and glass inlaysComposed of baseplates made of hammered silver sheet, with soldered and gilded silver cloisons (partitions) inlaid with carnelian and glass, this sumptuous pectoral was fit for a king. It takes the form of a vulture with outstretched wings representing the tutelary goddess of Upper Egypt, Nekhbet, grasping coils of rope, a symbol of eternity. To the left of the vulture's body is a rearing cobra. She is Wadjyt, the goddess of Lower Egypt. Together, they form a pair referred to as the "two ladies," guardian deities of the king.The pectoral was made as a piece of funerary equipment rather than as jewelry to be worn in life. The three separate pieces representing the wings and body of the bird were not joined to one another; rather, the edges of the base plates were pierced with holes for fastening the ornament to something else, most likely the chest of the mummy or an anthropoid coffin. The wings also curve laterally, further supporting this assumption.http://collections.mfa.org/objects/155959/rdfhttp://collections.mfa.org/internal/media/dispatcher/1178209/resize%3Aformat%3DfullPendant depicting the ten incarnations of Vishnuearly 18th centuryGold, enamel; gold, yellow sapphire, diamond, emerald, ruby on obversehttp://collections.mfa.org/objects/19172/rdfhttp://collections.mfa.org/internal/media/dispatcher/753730/resize%3Aformat%3DfullRingSilver, glass beads on silk thread (sablé), turquoise (?)Finger ring, sable, flowers on gray ground, set in gold, 2 small blue stones.http://collections.mfa.org/objects/122098/rdfhttp://collections.mfa.org/internal/media/dispatcher/761448/resize%3Aformat%3DfullShaman effigy pendantA.D. 900–1600Gold alloyLarge pendant in the form of a standing human male with leaf-nosed bat face mask. His elaborate headdress includes two birds facing front and profile zoomorphic flanges at each side of his head. His hands clutch serpent heads at his thighs. This type of elaborate pendant is popularly referred to as a "cacique pendant", and many represent a high ranking male person in transformation to his spiritual animal companion.http://collections.mfa.org/objects/5301/rdfhttp://collections.mfa.org/internal/media/dispatcher/1175387/resize%3Aformat%3DfullTriptych Pendant depicting Martyrdom of Saint Barbara, Mary Magdalen, and Saint Gereon1504Unidentified ArtistBasse-taille enamel and gilding on silverPendant triptych comprising a central box, hinged wings, a predella, and a crowning superstructure. The inside of the wings and the box are enameled with opaque red and translucent red, green, lapis blue, purple, and amber. Both clear and amber enamels are placed over gold foil. Four arches surmounted by two rows of oval windows decorate both the outside of the wings and the inside of the central panel. On the inside, the windows alternate horizontally and vertically between blue and green translucent enamel with the interstices filled with red opaque enamel. A thin gilded plate from which the design has been cut out is laid over the enamel. With an overall engraved dot-and-lozenge pattern, the gilded wings are framed by a simple soldered molding.A single bent strip forms the sides of the central box onto which is fastened (with two rivets visible on the back) a representation of the beheading of Saint Barbara in cast gilded silver. Saint Barbara kneels beside her tower, while her father, dressed as a warrior, raises his sword behind her. Three spiral colonnettees attached to a hilly, engraved ground terminate in branches that intertwine to form the two flat arches framing the scene. When the triptych is open, Mary Magdalene (on the left) and Saint Gereon (on the right) face the central scene. Both stand within pointed arches against finely hatched blue grounds. These arches, with intricate scrolls over translucent red enamel in the spandrels, are cut from the same plaque as the molding around the edge that is soldered to the enameled plate below. Both figures have gold faces and finely hatched amber halos. Appropriately, Saint Gereon is dressed as a knight. His red mantle with a gilded border is lined in amber, and his blue armor has short breastplate with a heavy amber collar and a green skirt (imitating satin or velvet) with a tooled amber border. He wears pointed red shoes and plumed baret over his long, curly amber hair and carries all of his attributes: a shield, a sword, and a banner. The latter curls behind his head and is seen from the reverse on the right. Mary Magdalene wears a green tunic with long sleeves below a short-sleeved narrow gown of red damask (with its design in gold). It is tied above the waist with a long blue sash decorated with lozenge-and-dot design. Her mantle is purple with a green lining and her striped turban is green and red. She holds her attribute, an ointment jar (the vessel in one hand and the top in the other) that she used to anoint Christ's feet. Above a cornice of palmettes and emanating from spiral colonnettes soldered to the sides of the central box are branches with leaves that intertwine and culminate in a central loop. The predella soldered to the base has trefoil openwork designs and a loop attached to the bottom. The date "1504" has been inscribed on the bottom with (as revealed under high magnification) the same pointed tool as the windows on the wings.http://collections.mfa.org/objects/52505/rdfhttp://collections.mfa.org/internal/media/dispatcher/926982/resize%3Aformat%3DfullWesekh broadcollar2246–2152 B.C.Gold, steatite, turquoise, lapis lazuliConsisting of six double rows of truncated, cylindrical, glazed-steatite beads, separated by single rows of gold ball beads; bottom row consists of gilded beetles. Each end is finished with a semicircular gold terminal inscribed for Impy, identified as HAtj-a jmj-r kAt, "count, overseer of works." More than half of this necklace was found intact and the remainder has been restored accordingly.http://collections.mfa.org/objects/140709/rdfhttp://collections.mfa.org/internal/media/dispatcher/1822689/resize%3Aformat%3DfullWinged Isis pectoral538–519 B.C.GoldChased gold pectoral representing the winged goddess Isis, shown kneeling with wings outstretched. In her right hand, she holds an ankh, the symbol for "life"; in her left hand she holds what may be the hieroglyph for a sail, the symbol for the breath of life. On her head is a throne, the hierogyph for her name.http://collections.mfa.org/objects/142334/rdfhttp://collections.mfa.org/internal/media/dispatcher/898014/resize%3Aformat%3DfullWoman's bra and necklaceabout 1975Elsa PerettiSilver mesh© Nando and Elsa Peretti Foundationhttp://collections.mfa.org/objects/450149/rdfhttp://collections.mfa.org/internal/media/dispatcher/1088063/resize%3Aformat%3DfullWreath of oak leaves and acorns4th century B.C.GoldThe two tubular "branches" (in semi-circular sections) are fastened at the front by a wire connecting the two looped ends. The oak leaves and acorns, veiled with gold leaf, are connected to the "branches" by gold wire stems.http://collections.mfa.org/objects/262101/rdf