#gold bezel pendants

[customjewelryblog]

Estate Fashion Jewelry | Gold Earrings, Bracelets & Necklaces

Explore timeless estate jewelry at Jim Kryshak Jewelers in Wausau, WI. From exquisite estate diamond earrings, gold pendants and bracelets adorn yourself with elegance.

[labgrownhub]

[jewelrybywillscott]

Heart And Dagger Necklace

The Heart and Dagger Necklace by jewelrybywillscott is a stunning piece of jewelry that is perfect for any occasion. The pendant is made of high-quality materials and is designed to be both beautiful and durable.

The intricate dagger detailing adds a touch of elegance and sophistication to the piece, making it the perfect accessory for any formal event or special occasion. The pendant is shaped like a heart, which adds a romantic and feminine touch to the necklace.

The dagger detailing is delicate and intricate, giving the necklace a unique and eye-catching look. The necklace is available in a variety of colors, including gold, silver, and rose gold, making it easy to find the perfect color to match your personal style.

The necklace is also customizable, allowing you to add your own personal touch to the piece.

Shop Now : https://jewelrybywillscott.com/product/21447543

[sajidhaji]

[moreroom4happiness]

Circa 1900. This 14k gold pendant features two green gold ginkgo leaves and matte enamel. Resting on the leaves is a bezel set opal and the spines of the leaves are fitted with diamonds set in platinum. The stems shimmer with baroque pearls. Perfectly Art Nouveau

Art Nouveau Jewel

[eriebasin]

A c1920 Art Deco era pendant with butterfly wings under crystal and a gold filled bezel. Two sided. 

eriebasin.com

[love-for-carnation]

Pendant, Austria, circa 1870

The pendant consists of two rock crystal cabochons set in a 14K gold bezel. One crystal cabochon is carved with a carnation into its back, the other – with a rooster. The carved areas are painted with colorful enamels. This technique gives a three-dimensional effect.

[gemville]

Talisman Necklace and Pendant by Nigel O'Reilly

Necklace: 18k Rose Gold With 3.24 CTW Bezel-Set White Navette and Brilliant-Cut Diamonds

Pendant: 18k Rose Gold With A 69.35 Carat Pink Morganite and 1.20 CTW Brilliant-Cut White and Cognac Diamonds

Photo: Nigel O'Reilly

Source: jckonline.com

[olaqueenbeeofastrology]

@gemstone-network @gemstonesilverjewelryus @gemstones @jewelry @fashion @crystalgems-blog @youtube @google @yahoo @bing @twobigblondes @consignmentcouture @christiesauctions @sothebys-pe-blog @sothebys @qvc @qvcuk @twitter @tv-moments @variety @thr @watchestobuy @watchesparadise @bestbuy @biglots @target @watchrepairlondon @vintage @watchrepair @vintagewatchesdepot @vintagewatchesandjewellery-blog @gemstone-network @gemstonesilverjewelryus @gemstones @jewelry @fashion @crystalgems-blog @youtube @google @yahoo @bing @twobigblondes @consignmentcouture @christiesauctions @sothebys-pe-blog @sothebys @qvc @qvcuk @twitter @tv-moments @variety @thr @taylor13 @lizzo

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[rabbitpaws]

Amethyst and Moonstone Glass Gold Blister Beetle Earrings ✨️

Featuring brass blister beetles that dangle raw Amethyst pendants from moonstone glass bezels

They hang 3 inches

Made with nickel free

Buy them here

[refractiveame]

Memoriam of Calamity

"A stunning jeweled statue, found in the depths of a smoldering cavern. The two gems dance in intertwined chaos, a breathtaking site that refuels my desire to finish this journey's quota and return to my family." - Captain Olimar... Probably.

This piece was inspired and based around Pikmin 2's treasures Essence of Rage and Essence of Despair; imagining how these treasures may have been found in jewelery before their new purpose as a galactic freight company's debt recovery asset.

But to get to the fun part, this piece is a 20" total length necklace in sterling silver with a 14k gold button on the flower, featuring a lab created rose cut ruby and emerald. I hand made the leaves and the flower and ordered the chain and the mounting for the stones.

Figuring out how to create a natural looking leaf that still resembled the classic pikmin leaf was far more challenging than i had anticipated going into this project. After some testing with different initial shapes and thicknesses i found something i was happy with. Essentially i cut a flat piece of silver that fit my dimensions and matched a drawing i had assumed to turn out well and then used a dapping set to do the shaping. (A dapping set being a small steel block with many spherical holes of many different sizes and a corresponding set of steel punches that have spherical ends to match the holes of the block)

After curving the piece into one curve i would take round nose pliers and bend the end up to give it a sensible shape and one that complements it being used as the connection between chain and center of the pendant. For the very tip of the leaf i took the same pliers and carefully bent the other way to loop the end for a oring to fit through for the chain, then soldered that loop i created shut to ensure sturdiness of the pendant.

In retrospect i wish i had tried to add the detailing you see in the finished piece before rounding to see if a more even and clean carving could have been achieved.

I moved on to the flower which i did some quick maths to determine the size and where to cut the slits to split it into petals. It largely followed the same process as the leaf of cut to shape, cut the reliefs for the petals, and round with the dapping set. But after rounding i took a small round ball bur to the center to allow me to solder a small gold ball to it to better resemble the flower in game.

Here i wish i had better understood how exactly to shape the petals the way i wished as i was not consciously expecting the petals to touch again after being rounded. But i still am stumped as to what the best way to shape a piece like this is given the size and precision i was wanting with the curves on the sides of the petals.

After carefully attaching the pieces together with a few third hands and some patience i began the detailing process which was rather tedious but simple. I applied sharpie to the leaves and scratched in a pattern i felt fit the shape to give the impression of a leaf's vascular system before following that up with a kraus bur, small ball bur, and rubber wheels.

For the flower i added some slight folding of the petals by using a kraus bur to indent it as the petal sprawled from its center, then went back over it with a heavy rubber wheel to smooth out the sharp ruts of removed metal, giving it a wavy, fold like effect that doesn't capture well on camera.

And i added a brush finished to the leaves but left the "veins" high polished to give it an appealing contrast and prevent it from easily looking bad due to greasy/dirty fingers touching the polished silver.

Attached the chain with some simple orings and moved on.

Thusly i arrived at the most stressful and final part of the journey, Bezel setting these roze cuts. For someone who knew what they were doing this would be a breeze but as someone who had never set a stone bezel style nor done so on a pendant that would be hard to grasp firmly this was quite a challenge for me. After getting advice from my elder coworkers on the process i got to work using an inverted conical bur to shape the inside of the mountings to set the stone, periodically checking if the stone would snap in so as to prevent making the cuts too deep. I still fucked that up and made the emerald's seat too big and it took a very mighty effort to get it snugly set in there.

In the process of setting these stones i greatly marred the edges of the bezel, more so than one would expect, and had to spend multiple hours tediously fixing the dents and scraps with a rubber wheel under the microscope, making sure to be hyper aware of my positioning so as not to scratch the stone with the abrasive wheel.

After much trials I finally managed to get the stones tight and good looking without a gross amount of damage to them and took to a final polishing pass. Showed it off to my coworkers and then promptly bagged it up to give to it's recipient this weekend.

Took approx 15 hours give or take 1, most of which was fixing mistakes and decided on leaf shapes.

[merrymoonjewelry]

✨ A touch of timeless beauty. ✨

This exquisite Round Amethyst White Gold Pendant, set in a sleek bezel setting, brings together the richness of deep purple with the elegance of white gold. Perfect for those who appreciate minimalism with a pop of color, this pendant radiates effortless charm and sophistication.

Add a touch of luxury to your everyday style. ✨

[no-good-wyfe]

I’ve been down a rabbit hole wondering about medieval jewelry (and if I can reproduce it despite having no metalworking skills, to which the answer is mostly no) lately & I figured I would share the fruits of my museum collection searches for other medievalists/hobbyists/reenactors/nerds.

Jewelry of the 13th Century Anglo/Francosphere

TL;DR

Metals: 🟨 gold(tone)

Stones: mostly 🔵 cabochon, rarely 💠 simple cut, some carved 🗿 intaglio or cameo

Stone Colors: warm blues, emerald green, purples, burgundies, reds

Materials: enamel, 💎 gemstones (garnet, Ceylon sapphire, ruby/spinel, emerald) or glass paste imitations, ⚪ semi-precious stones (pearl, lapis, jasper, carnelian, coral, turquoise, porphyry)

Settings: bezel (oval and rectangular); ⚜️ intricate metalwork; more visible and textured metal than modern jewelry; more mixtures of stones and colors than modern tastes

Motifs: ◯ round, ✤ quatrefoil, ✙ cross, ✸ star (even numbers of points), ♣ trefoil, ❦ floral, 🐉 animals, 𝕬 inscription

Formats: brooches, ornamented clothing, rings, pendants, circlets, cuffs (rare)

A detailed look:

Some forms of jewelry that were very popular in the Roman Empire and are again today were just not the thing in the middle European Middle Ages. (Earrings, for example, seem to have barely existed. This is partially at least because ears were covered--by coifs and caps, hair, and (for women) braids or the chin strap and fillet/wimple/gorget.) In fact, a lot of the places we would put jewelry against our skin today were covered.

This left some other options:

Jewelry on Clothing

Medallions

Okay, these aren’t jewelry, strictly speaking, but they’re metalwork ornaments associated with a person.

Enamel Mitre Medallions

OA 3437 and OA 3438 Before 1291, Ile de France Louvre, Paris photos (c) Musée du Louvre / Stéphane Maréchalle 2015

Cloisonné and plique enamel over gold and copper, with decorative motifs of trefoils, quatrefoil, and stars in a palette of dark blue and green with accents that may once have been ruby red.

Appliqué Medallion

# MRR 256 13th c., Limoge Louvre, Paris photo (c) Musée du Louvre 2014

Gilded copper (though most gold is worn off) with quatrefoil champlevé enamel in emerald green, lapis blue, and white or off-white.

Brooches

Perhaps the most prevalent medieval jewelry item in the Anglo & French regions. These were worn at the shoulder for men and breast for women, often anchoring a cloak, or to close the collar. As the ornate fermail and double-ring brooch suggest, these ran the gamut from practical to incredibly decorative and ornate.

Garnet & Silver Gilt Animal Ring Brooch; Green and Blue Glass and Gilt Ring Brooch

Left, # 2003,0703.1 13th century; found in Suffolk, England British Museum, London photo (c) The Trustees of the British Museum

Right, # M.28-1929 13th c., England V&A, London photo © Victoria and Albert Museum, London

Cabochon garnets or carbuncles in the gilded silver brooch (L), perhaps once paired with smaller stones in the eyes of metalwork animals that bite the pin bracket. The right brooch, also silver gilt, sports two glass paste emerald and sapphire "gems" in cabochon. It was probably a lover's token; it reads (in Lombardic-lettered French) IOSV ICI ATI VCI or "jo su[i] ici a t[o]i v[o]ici" which I might translate as "I am here with/belonging to you, look!"

Ruby & Sapphire Ring Brooch; Sapphire, Garnet, and Pearl Fermail

Left, # 6808-1860 1275-1300, England V&A, London photo © Victoria and Albert Museum, London

Right, # OA6287 1250-1300, France Louvre, Paris photo (c) Musée du Louvre

Blogs often claim that stones were only polished en cabochon until the 16th century, and that medieval jewelers couldn't cut gemstones. But this 13th-century gold ring brooch (left) pairs table-cut purple rubies with collet-set cabochon sapphires, and may evidence early medieval gem-cutting or reuse of Roman cut stones. The silver gilt fermail, right, includes pearl beads, garnets and sapphires both cut and cabbed, and one glass paste cabochon. Both are intricately textured, with punchwork (L) and floral metalwork, probably cast and then attached (R).

Double Ring Brooch with Sapphire and Glass "Emeralds"

# M.26-1993 13th c., England V&A, London photo © Victoria and Albert Museum, London

This gold double brooch is so small they think it was for a woman or child. Central sapphire cab is flanked by glass paste "emeralds" in bezel settings and metalwork featuring two animal heads.

Jewelry on the Body

Rings

Many are probably familiar with the signet ring, used for pressing into sealing wax, which could be intaglio-carved gemstone or metals. There were also a number of decorative and/or talismanic gemstone rings.

LtR:

#M.7-1929 | #M.180-1975 | #OA 11265 1250-1300, England | 1250-1300, Engl/France | 13th c., Engl/France V&A, London | V&A, London | Louvre, France photos L&C © Victoria and Albert Museum, London | R (c) Musée du Louvre

Sapphire in gold is the name of the game when it comes to rings in the thirteenth century; even the purple stones on the left are purple sapphires. (Sapphires were said to aid chastity, purity, and the effectiveness of prayer.) For larger stones, the bezel often has claws added (L); the central ring is an example of a full claw setting that modern viewers might find surprisingly tall. Naturalistic flourishes are added (C & R); these might be pre-cast then attached to the base (R).

Pendants

We equate pendants with necklaces, but their medieval applications also included wear as badges, from headpieces, and on horse decorations.

Left, bloodstone jasper cameo in silver setting # MRR 218 1100-1300, France? Louvre, Paris photo (c) Musée du Louvre / Jean Blot 1984

Right, champlevé enamel, gilt copper, and paste "emerald" (harness) pendant # 1976.169 13th c., France Cleveland Museum of Art, Cleveland photo CC0 Open Access

Statue Jewelry

From here, we get into the really ridiculous stuff; the previous categories could be relatively everyday (as much as ornamentation reserved exclusively for the wealthy can be an everyday thing) but the following examples are astonishing displays not necessarily for wear.

"La Couronne" de Vierge et l'Enfant d'ivoire de la Sainte-Chapelle

# OA 57 B 1250-1300, France Louvre, Paris photo (c) Musée de Louvre

This was not even a crown for a person, but rather for a painted ivory statue of the Virgin Mary, holding her infant son. (Though circlets, even set with stones, were sometimes worn as part of women's head dress.) It's incredibly ornate gold, set with pearls, garnets and rubies, sapphires, and turquoise (?) en cabochon.

Anneau de Saint-Denis

# MS 85 BIS 1200-1215, France Louvre, Paris photos (c) Musée du Louvre / Daniel Arnaudet 1990

This astonishing piece, which is ring-sized but now displayed as a cuff on an ivory hand, is made of gold and displays every possible gemstone appearance characteristic of the period. The front piece has a central sapphire and is surrounded by quartz with red backing (mimicking ruby/garnet), amethysts, pearls, and sapphires, some set on yellow backing (mimicking turquoise?). Most are en cabochon on this face, but two are faceted and two intaglio. Were this not enough, the three other 'faces' of the ring are set with gems as well, two cameos (probably sapphire and garnet?) and one amethyst intaglio set in ornate gold filigree.

[jewelrybywillscott]

Necklaces with Stone Location By Jewelrybywillscott

Jewelry by Will Scott offers a unique collection of necklaces featuring the location of famous stones. Each necklace is handcrafted with high-quality materials and features a stunning stone that represents the location it's named after. Whether you're a collector or simply someone who appreciates beautiful jewelry, these necklaces are the perfect addition to your collection.

Shop Now : https://jewelrybywillscott.com/product/21323598

Visit Us : https://jewelrybywillscott.com

[technodromes]

[♗]  On Valentine's Day, both Agents busy themself with various mission reports at the Citadel. That is until Bishop goes to get SR a coffee, accompanied with a tiny silver box. On top of the box is a heart-shaped chocolate, wrapped in sparkly red tinfoil.

"SR, I observed that on Valentine's Day, humans exchange tokens of affection. Actually, I have heard about it last year already, but-- there was just no reason for me to look closer into it."

He places the coffee and the box on SR's desk. "I am aware that this particular day is met with very divided emotions. And, even though I agree more with the upbringings of scepticism about the sense and nonsense of this celebration, I still couldn't help but feeling a sense of conflict about not addressing it at all. The gift, it is nothing big..." This is where Bishop appears to get a little nervous. Would his gift apply as... romantic enough?

"I harvested a very rare liquid mineral from Dimension X. Similar to Latinum, it can't be reproduced, which makes it so valuable. But, instead of gold, I used Utrom Crystals and Titanium to craft a pendant to hold it."

Said pendant has a nicely done titanium bezel in the shape of a hexagon and the Utrom Crystal in the center has a faint teal shimmer to it. The thick liquid that is held inside the crystal almost looks like someone melted a little part from space. It is black as the night with colorful sparkles and shimmers, like a personal tiny galaxy.

@countlessrealities [💗 SR]

[paiawon]

of the archaeological discoveries i've studied and seen, perhaps the one that had the biggest impact on me is that of crepereia tryphaena.

my pictures (you can literally see my reflection)

now displayed at centrale montemartini in rome, crepereia tryphaena was a young woman, of about 20 years old, whose sarcophagus was found during the excavation works started in 1889 for the foundations of the palace of justice and for the construction of the umberto I bridge over the tiber in rome. the sarcophagus, engraved with a scene alluding to the girl's death (last row of pictures on the right), was found with four more, all buried between the middle of the 2nd century and the 3rd AD. only two were still sealed: that of tryphaena and crepereius euhodus, buried at the bottom of a well later filled with earth, and placed side by side and decorated only on two sides, like in a double burial.

the funeral equipment, present only in the tryphaena sarcophagus, included many gold ornaments (the intact skeleton of the girl was still adorned with several jewels and a crown of myrtle leaves blocked by a barrette made with small silver flowers. at the time of her burial she wore gold and pearl pendant earrings and a gold necklace with pendants formed by small beryl crystals, and er tunica was held by a gold brooch adorned with an engraved amethyst bezel), and placed next to her skeleton there was an ivory doll with her own doll's kit, matching the jewels of tryphaena. the presence of the doll in the funeral outfit may suggest that she died on the eve of her wedding, not having had time to donate her toys to the gods in the "farewell to childhood" ceremony.

the panel at the museum reads:

Crepereia Tryphaena On 10 May 1889, during the excavations for the construction of the Courthouse in the Prati district, an incredible discovery unearthed two sarcophagi placed next to each other, which held the remains of Crepereia Tryphaena and Creperio Euhodus. The discovery aroused great excitement, as one of the sarcophagi contained the body of a girl, lovingly placed with her opulent trousseau and her ivory doll. We do not know if Crepereia was a young bride or a girl who was soon to be married, but two of her rings, a carnelian signet ring with two clasped hands and another engraved with the name Filetus, immediately brought to mind a wedding ring and the name of her future husband.* Crepereia belonged to a family of wealthy freedmen, or descendants of freedmen, originating from a Greek-speaking region, perhaps Egypt or Syria, as demonstrated by the names of the deceased. The extremely refined manufacture of the doll is probably that of artisans from the city of Alexandria in Egypt. The burial area in the Gardens of Domizia, a property that passed into Imperial ownership during Nero's reign, leads us to believe that the Creperii were given the privilege of being buried here for their lead role in the administration of imperial property. The burial can be dated back to the mid-second century AD, a chronology that is also confirmed by the doll's coiffure, realistically inspired by the Antonine hairstyles of the time, and in particular the trend introduced by Empressed Faustina the Elder and Faustina the Younger. Even the doll had its own miniature trousseau; the objects were inside an elegant ivory and bone box, which was perhaps meant to be opened by the small key hanging from the ring in the doll's hand.

the trousseau and some details (pictures not mine):

*because of this giovanni pascoli, italian poet, composed a poem in latin which he presented on the occasion of the wedding of the daughter of the honourable benzoni, minister of public education of the time

the water imagery comes from the opening of the sarcophagus itself, which was still sealed: the young woman, submerged in the water coming from the nearby tiber river, "appeared as a nymph". archaeologist rodolfo lanciani wrote:

both her skeleton and that of crepereius euhodus are still preserved inside the sarcophagi