http://collections.mfa.org/collections/419467/objects/rdfJWL.19th Century Jewelryhttp://collections.mfa.org/internal/media/dispatcher/1077272/resize%3Aformat%3Dfullhttp://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/1167695/resize%3Aformat%3DfullBraceletbefore 1849Metal; IronOne of a pair of bracelets. Cast iron, very thin and delicate. Seven links. Worn by the ladies of Hungary as a sign of mourning after real jewels had been given to the patriots of Hungary. Given by the Countess Pulasky who with the Count came to America with Kossuth in 1852, to Mrs. Henry Wadsworth Longfellow, wife of the poet.http://collections.mfa.org/objects/60805/rdfhttp://collections.mfa.org/internal/media/dispatcher/1543390/resize%3Aformat%3DfullBroochBefore 1888CastellaniGold, micromosaic glassGold brooch centered with a circular reserve with rope twist border, decorated with an intricate micromosaic on a dark blue ground depicting the hand of God clasping a wreath (martyr's wreath or Crown of Immortality) decorated with a gold foliate design, flanked by stylized bound foliate stems with beading, the reverse of the central reserve embellished with a geometric design, the clasp decorated with a stylized snake’s head.http://collections.mfa.org/objects/661548/rdfhttp://collections.mfa.org/internal/media/dispatcher/1133356/resize%3Aformat%3DfullThe Colt family suite1856Tiffany & Co.Gold, enamel and diamond (mine-cut)The necklace, given by Samuel Colt to his bride (Elizabeth Hart Jarvis) as a wedding present, consists of graduating floriform blue enamel links set with twenty mine-cut diamonds interspersed with smaller diamonds. Total carat weight: 38.84.The earrings, along with a matching necklace, were given by Samuel Colt to his bride (Elizabeth Hart Jarvis) as a wedding present. Each consists of a floriform blue enamel rosette set with a central, mine-cut diamond (1.54 and 1.35 carats) with surrounding smaller diamonds. The kidney-wire hoops have been replaced by 14 kt screwbacks.http://collections.mfa.org/objects/547812/rdfhttp://collections.mfa.org/internal/media/dispatcher/753683/resize%3Aformat%3DfullCoral revivalist jewelry suite1850sGold and coralThis necklace in the Revivalist style is part of a coral suite which also includes a brooch and earrings. The carved coral elements depict Bacchus, rams and female figures which are connected by delicate gold leaves and wirework.This coral and gold brooch in the Revivalist style features a carved head of Bacchus surrounded by delicate gold leaves and grapes. Earrings from the coral and gold Revivalist suite which features Bacchus and grapes. The earrings consist of a gold cresent shape with carved coral grapes at one end and a hanging coral vessel.http://collections.mfa.org/objects/584343/rdfhttp://collections.mfa.org/internal/media/dispatcher/1478548/resize%3Aformat%3DfullEtruscan Revival BraceletAbout 1860Ernesto PierretGoldEtruscan-revival bracelet with central medallion featuring a cow's head, articulated links with granulation and wirework, and an ornate clasp designed with two faces.http://collections.mfa.org/objects/634171/rdfhttp://collections.mfa.org/internal/media/dispatcher/1167700/resize%3Aformat%3DfullGem-set brooch with pendant dropabout 1850Jones, Ball & PoorGold, diamond and pink topazThis is an 18kt gold brooch set with an oval-shaped, faceted pink topaz with old mine-cut diamonds accents within a scrolling, foliate mount. Suspended from the brooch is a tear-drop shaped pendant set with a pink topaz and diamonds. The topaz is Imperial Russian topaz. The ornament has its original leather fitter box with an applied sticker on the underside that reads "Jones, Ball, & Poor / Sign of the / Golden Eagle / Jewelers / & Silversmiths / 226 Washington St. / & / 1 Summer St. / BOSTON. The brooch was once owned by Rosamond Warren Gibson (1846-1934), a prominent Bostonian whose Back Bay home (136 Beacon St.) is currently a museum (Gibson House Museum).http://collections.mfa.org/objects/549750/rdfhttp://collections.mfa.org/internal/media/dispatcher/1082971/resize%3Aformat%3DfullHinged bracelet with cameoabout 1880Tiffany & Co.Gold (18kt) and stained chalcedonyThe rectangular cameo in this bracelet is a nicolo, a carved-gem form first found in the Classical world and used for portraits and scenes of mythical and historical importance. In this nineteenth century example, the chalcedony background was stained black, creating a dramatic contrast for the white layer that the lapidary artist carved at varying depths. As a result, there is a range of tonalities with some areas having a blue-white translucence while others appear an opaque white. The scene consists of five putti, plump children with wings that first appear on child sarcophagi of the second century. Here the central figure holds a horn, two are shown holding birds, while the putto at the right restrains what appears to be a hunting dog. Similar cameos were used by Tiffany & Co. in brooches with diamond surrounds, one of which was owned by Mrs. Leland Stanford. The goldwork on this bracelet compliments the cameo in that it incorporates two decorative palmettes that have their origin in ancient Greece. These flank the central element and are riveted to the pierced, openwork band. The bracelet has a flush hinge with square-gap flaps and a box clasp. Both the palmetttes and band have engraved decoration that enriches the yellow gold surface.http://collections.mfa.org/objects/518586/rdfhttp://collections.mfa.org/internal/media/dispatcher/1059040/resize%3Aformat%3DfullMary Todd Lincoln broochabout 1860Mary Todd LincolnGold, enamel, diamondThe brooch is part of a suite with matching earrings. Each element is quatrefoil in shape and has a central diamond with a diamond surround. Eight smaller diamonds form a second tier of stones. The stones are all mine-cut and are probably original to the suite. The color range is J-K with VS-VS1 clarity. there are some losses to the tracery enamel. The suite was featured in Frank Lesley's Illustrated Newspaper (Oct. 26, 1867). It was part of a large group of Mrs. Lincoln's clothes, jewelry, and furnishings that were offered for sale through Brady & Company of New York City. Apparently, Mrs. Lincoln fell into dire financial circumstances after the assassination of her husband, Abraham Lincoln. The sale price was listed as $350.00http://collections.mfa.org/objects/516343/rdfhttp://collections.mfa.org/internal/media/dispatcher/1059041/resize%3Aformat%3DfullMary Todd Lincoln earringsabout 1860Mary Todd LincolnGold, enamel, and diamondThe earrings (and matching brooch - 2008.313) are quatrefoil in shape. Each has a central diamond with a diamond surround. Eight smaller diamonds form a second tier of stones. The stones are all mine-cut and are probably original to the suite. The color range is J-K with VS-VS1 clarity. there are some losses to the tracery enamel. The suite was featured in Frank Lesley's Illustrated Newspaper (Oct. 26, 1867). It was part of a large group of Mrs. Lincoln's clothes, jewelry, and furnishings that were offered for sale through Brady & Company of New York City. Apparently, Mrs. Lincoln fell into dire financial circumstances after the assassination of her husband, Abraham Lincoln. The sale price was listed as $350.00http://collections.mfa.org/objects/516398/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/872068/resize%3Aformat%3DfullNecklaceabout 1870Antonio CivilottiGlass micromosaic, mounted in goldGold necklace with glass micromosaic ornaments of Rome's imperial past. Central portrait of Julius Caesar includes Latin inscription "I am the Leader."http://collections.mfa.org/objects/129117/rdfhttp://collections.mfa.org/internal/media/dispatcher/1077272/resize%3Aformat%3DfullNecklace in the archaeological revival styleabout 1880CastellaniGold and amberThe amber can be removed from setting. Part of a suite that includes a brooch (02.92) and pair of earrings (02.93-02.94). There is a removable segment at the back of the necklace to make it shorter.http://collections.mfa.org/objects/60938/rdfhttp://collections.mfa.org/internal/media/dispatcher/1167612/resize%3Aformat%3DfullNecklace with a cameo of Elizabeth Iabout 1890Charlotte Newman, known as Mrs. NewmanGold, silver, diamond, emerald, pearl, agate, glassThe pendant brooch hangs on a choker-length chain composed of bezel-set pearls, graduated in size, which alternate with silver-on-gold closed-prong settings of old mine-cut diamonds. These elements are connected by gold links. The necklace terminates in a gold rectangular box clasp; two rows of five tiny rose-cut diamonds are set on the top surface. The bail which attaches the pendant to the chain consists of three silver-on-gold prong-set rose-cut diamonds arranged vertically. The top diamond is larger than the two below. On the reverse is a hook which permits the pendant to detach from the chain allowing it to be worn on a longer chain.The pendant consists of a centrally set oval agate, carved by George Bissinger with a profile image of Elizabeth I. The mount of the cameo, designed by Mrs. Philip (Charlotte) Newman, is composed of a laurel wreath border of leaf-carved emeralds each separated by rows of rose-cut diamonds, except at the top and bottom where the emeralds are divided by double rows.http://collections.mfa.org/objects/549545/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030977/resize%3Aformat%3DfullRenaissance-revival lady's pocket watchabout 1890Tiffany & Co.Gold, silver, enamel, diamond, and crystalThis ladies' pocket watch features a chased and engraved gold dial with enamel Roman numerals spaced by blue enamel fleur-de-lis. The bezel has a stylized foliate design that encloses a lever escapement movement. The reverse incorporates a pair of profile enamel portraits framed by rose-cut diamonds set in a scrolling, pierced grillework. The case is unmarked but was in all liklihood made in France for Tiffany & Co. The watch was once owned by Mrs. Clara Hunt Snow (1843-1909) of Brockton, Massachusetts and was handed down in the family. There is a vintage photo of Mrs. Snow, ca. 1895, in a horse-drawn carriage.http://collections.mfa.org/objects/511173/rdfhttp://collections.mfa.org/internal/media/dispatcher/1105135/resize%3Aformat%3DfullTiger claw necklace19th centurySilver and tiger-clawWoman's necklace with two large and six small tiger-claws. Claws are set in silver with engraved floral pattern. Likely made in England but based on Indian designs. This style of necklace is often worn as an amulet in India, the power of the tiger is seen as being captured in his claws, offering protection to the wearer. In original box "C.J. Klaftenberger/157. Regent St/London."http://collections.mfa.org/objects/523813/rdf