Exceptionally Rare Trifari Alfred Philippe Jelly Belly Butterfly Patented 1949

Collectors will delight in this lovely brooch created by Alfred Philippe of Trifari. 

It is a very rare jelly belly design dated by patent in 1949. The body is genuine silver gilt metal with genuine gold plated accents. The butterfly’s wings are clear Lucite. The glistening body is accented with round, square and baguette rhinestones.

This piece is absolutely magical. The Lucite wings create incredible prismatic reflections in the light; little rainbows in the sun. The Lucite also magnifies the colors and textures of the fabric that the butterfly is pinned to.  An estate find, this magnificent Trifari butterfly measures approximately 2.25 inches or 5.5 cm in width.

Antique Victorian Amethyst Necklace circa 1898 to 1901

A most stunning necklace…. 

This is one of those wonderful, rare, and very romantic Victorian necklaces. It dates to circa 1898 to 1901 and has strong art nouveau design influences. 

Obviously, this piece has been treasured for well over a century in time…. The necklace is beautifully handcrafted and genuine gold-washed. It features 15 genuine, multi-faceted amethyst stones that delicately catch the light. They are all original to the necklace and were carefully, individually mounted in bezel settings. 

The necklace literally drapes around the neck. The articulation to the overall design is marvelous. The choker styled necklace measures approximately 16.75 inches or about 42.5 cm. 

Antique Edwardian Brooch c 1900 Art Nouveau

Exquisite and entirely authentic, this brooch was created during the bridge between the last breath of the Victorian era and the very beginning of the Edwardian period, circa 1900. 

It has a rich Art Nouveau design and is so stunning that one of the assistants here in the Studio called it Poor Man's Lalique. 

The brooch is entirely gold-washed in genuine yellow gold with genuine rose gold highlights across the centers of both flowers. The brooch is set with three glowing, opalescent cabochons. The largest cabochon is 7/8 of an inch or slightly over 2 cm in length. 

The deep emerald green glass cabochons are distinct and impressive. The color is breathtaking and will be absolutely eye-catching when worn. 

You may find yourself absent-mindedly turning the brooch to study the light within, because the colors are so unusual…and ever-changing. The largest and center cabochon has incredible brilliance … similar to fine antique paperweight glass. 

This brooch has the typical riveted hinge pin with c-clasp fastener, indicative to circa 1900. The fastener is quite sturdy. 

The brooch measures an impressive 3 inches or 7.5 cm in length and is 1.75 inches or nearly 4.5 cm wide. It is a glowing example of late Victorian through early Edwardian style. I

Antique c 1860 Paisley Shawl with Gustav Stickley's Designers' Peter & Ruth Hansen Provenance Ref: Pashima Kashmiri Kashmir Shawl

This Kashmir Shawl dates to circa 1860 and was likely worn through the American Civil War era. It is an interesting find beyond the simple truth that it is over 150 years old. 

Paisley shawls such as these are described in many fashion publications such as Lady’s Godey’s Book beginning around 1853. They were so popular that they are found in fine art portrait paintings, such as in this oil by Claude Monet, "Madame Louis Joachim Gaudibert" dated 1868. Paisley shawls are represented in the finest museums. One example is seen on this mannequin, “Day Dress with Shawl” dated 1865-1867 from the Costume Institute at the New York Metropolitan Museum of Art. 

Passed from mother to daughter over generations, these expensive shawls continue to inspire. This example is so large that it is slightly older than the museum pieces used as illustrations here. It is in such exquisite condition that one can immediately see that it was obviously cherished. 

The shawl was created on a jacquard loom and finished with hand embroidery. It measures approximately 77 inches or 196 cm on each side, square, and was designed for wear over exceedingly large crinolines or hooped fashions. It was difficult to wear a coat for warmth with such large skirts, therefore shawls large enough to drape over such wide gowns
were worn instead. 

This exquisite paisley mantle comes from the estate of Peter and Ruth Hansen. Peter Hansen designed furniture for Gustav Stickley, one of the greatest furniture makers in America. Peter’s wife, Ruth was an artist and also worked as a draftsman for Stickley. Items from their great artistic careers and stylish home are found in many superior private collections and museums. 

The shawl is attributed as to having once belonged to Ruth Hansen. The only real peculiar flaw in the condition of the shawl is that (only) on the back, there are small spots of true vermillion pigmented oil paint. (See photograph of back, upper left) 

Paisley shawls were a favorite in artists’ studios and often used as colorful backgrounds in portrait studies. We have searched for photographs of Ruth Hansen’s studio, but have yet to find one…yet we cannot give up hope that this shawl might be recognizable in one. The small areas of oil paint on this shawl is most assuredly artist’s paint and this color that was made from the mineral cinnabar was classically used on artists’ palettes for centuries. 

This shawl is rich in color and has no areas of fading. Our conservationist examined the entire shawl under magnification. She found that there are very few and only minor issues with several pinholes and one small area of missing fringe that is barely discernible measuring not quite 2 inches or 5 cm from an edge. There are one or two nearly century old mends and the longest, barely discernible mend is 5 inches or 12.5 cm. These were carried out where the structure and most are in the same quadrant. Due to the overall embroidery and design, the mending is practically invisible. 

This shawl or mantle is dated due to structure and design. It is likely Scottish made and dates circa 1860-1865. It is a gorgeous, magnificent example and could be worn with tender loving care. The Hansen provenance makes this remarkable 150 year old treasure all the more special.

Rare Vintage Parure of Juliana or Set of Brooch/Pendant, Necklace & Earrings: D&E Book Referenced

This amazing parure of Juliana jewelry is referenced by Ann Pitman in her exceptional book, “Juliana Jewelry Reference DeLizza & Elster.”  The set was also examined and authenticated by certified ASA appraisers. 

Yet, only the smaller version of the brooch is photographed and described by Pitman. The scans of these pages are attached here; the parure is therefore positively identified as authentic Juliana. To the best of our knowledge, we have not been able to find a reference to an exact set like this in any of the Juliana collectors' books, making this a quite rare set of Juliana jewelry.

Amazingly enough, the set appears to be in unworn condition…. It is an estate find that has never been on the open market since it was first purchased circa 1969. 

The color and sparkle of this set is all that Juliana jewelry is known for. The quality in both design and construction makes this set one of the most outstanding examples of Juliana D&E jewelry. 

This is one of those special jewelry investments that will delight even the most discerning collector. 

The brooch was designed with the appropriate Juliana findings so that it may be converted to a pendant and hangs regally off the long, matching Juliana necklace. Or, the necklace may be worn alone and the brooch pinned to a collar or lapel…and then there are those long, luxurious dangle earrings…. 

The parure appears to be in vintage mint condition, considering age. There are no obvious scratches and the gold tone finish appears to be unmarred in any way. There have been no attempts to clean or polish this in any way. The clasp on the necklace is tight. There are no missing stones…truly, this is an exceptional, exciting find. 

Anyone who sees it agrees, the set appears to have been carefully stored away since it was originally purchased, as there is no evidence of wear. 

The large brooch/pendant measures approximately 2-3/8 inches or slightly over 6 cm across. The earrings are approximately 2-3/4 inches or 7 cm in length and nearly an inch or slightly under 2.5 cm across at the widest point. Their clip backs are strong, clean and again, the earrings also appear unworn. The wonderful, long necklace measures 29.5 inches or 75 cm end to end and is so flexible that it literally drapes around the neck and over the chest. This is one of those exceedingly rare finds that will make any Juliana admirer smile. 

••With thanks to Ann Pitman, Author: Juliana Jewelry Reference, DeLizza & Elster••

Vintage Lacy Counterpane, circa 1929, Signed

This exquisite vintage 1920s counterpane is a wonderful example of the fine fiber arts that women created during the Roaring Twenties and beyond. It is large enough for two and perfectly beautiful for cuddling in a porch swing on a chilly summer’s evening! 

The small blanket is entirely made by hand and is crochet work. Its date is easily recognizable through the substantial weight and quality of the crocheted cotton used to create this.  The overall pattern is in a diamond popcorn motif popular during circa 1929 (Reference “Vintage White Linens” by Marsha Manchester published by Schiffer, 1997). It weights about 4 lbs 10 oz or slightly over 2 kilograms


The counterpane was an ornamental household linen typically used as decorative cover over a bed. They were also designed as lap blankets. 

Meticulous stitching makes this a sublime example of the crochet work from this era. The counterpane is worked quite tightly so that there is no stretch nor even the slightest give to the main structure. It is perfectly shaped and features deep draping crochet lace along two sides, whereas the other two sides are decorated with deep fringe that is slightly over 5 inches or 12.5 cm in length. The counterpane is made of finely plied cotton and measures approximately 65 inches by 83 inches or 165 x 211 cm.

Upon close examination, one will realize that the edges of the counterpane contain the maker's  signature from circa 1929…her name was Barbara Paredes. Or, it could have been the name of the child for whom the mother made the blanket, as this was also common practice. The counterpane was an estate find, located near Ann Arbor, Michigan. 

1920s Baby Dress Is Entirely Hand Sewn

It is pure joy to take a lighted jeweler’s loop and examine this exceptional little dress because the dress is made with thousands upon thousands of hand stitches and covered with exceptionally fine detail embroidery, padded white on white embroidery, cutwork and drawnwork…all by hand. The sweet neckline is trimmed with silk, handmade bobbin lace.

Made from downy white and silky soft cotton lawn, the dress fastens with three snaps. One is early and with a design quite obviously original to the dress, and two were replaced a few decades later. Snaps and fasteners always help date period pieces like this. The beautiful mother of pearl buttons that decorate the dress, but which were not used to fasten it, were likely added somewhat later.

The front of the bodice is covered with handmade eyelet and the bodice is lined across the front so that it covers the child’s flesh entirely. 

This dress took weeks to create and is a rare and beautiful treasure. The dress would have been quite costly in its day and dates to circa 1920. 

Antique Linen Combing Jacket, Hairdressing Towel or Smock c 1910

Hairdressing was a most elaborate task during the Edwardian and Post Edwardian periods, as any devotee to Downton Abbey knows. Typically, this was facilitated by a lady’s maid or for the very rich, a professional coiffeur. 

Whether it was dazzling head of tightly wound ringlets in 1910, or a glistening powdered “pyramid” of coifed hair in 1912…a sophisticated woman required the constant adjustments and corrections of her hair between changes of clothing. In the Edwardian period, all woman of any means changed their dresses multiple times for every conceivable reason…and this lovely, embroidered combing jacket was a requirement at any woman’s vanity table. 

This garment was used to cover elegant lace day dresses and gowns during hair touch ups and styling. The piece measures a full 36 inches or nearly 92 cm in length and is wide to cover the chest, as well as the back, down to the waist. 

It was made from a linen towel and embroidered with pink, blue and pale green plied silk floss. The decorative edges of the garment towel are finished simple drawn work and tatted lace. 

Combing jackets were used through many decades, so it is important to date these interesting pieces of women's fashion history through identification of the actual textile and embellishments.

Early 1920s Silk Dress Ensemble

This dress is one of those rare, delicious treats from the early 1920s jazz era...the time in fashion history that exuded both daring and as well as risqué elegance. 

This sheer dress with matching sheer liner or petticoat is dripping with lace and made entirely of silk. It would have taken weeks to create, as it is literally covered with heavily padded, ivory white on white hand embroidery. 

The photographs best describe the absolute beauty of the silken lace. Both pieces are original to the overall design and the dress dates to circa 1921-1924. 

The sensation of the silk upon your hand is memorable. It is designed with white on white, heavily padded hand embroidery and the dress is fully hand sewn.  

The period green silk ribbon will be included with the dress. It measures slightly over 2 yards or about 185 cm in length. It was used to tie up the outer overdress without putting strain on the silk. Again, this will work for display purposes...or a restoration may allow adequate strength within the casings. Originally, it appears that thin silk ribbons ran through the ruffled waist casings found within the interior of both the overdress and underdress. It appears these were designed so that they would have been pulled taut again the hips. This created a magnificent draped silhouette that emphasized the waist and hips. The original ribbons were not with the dress when the collection was presented. 

Of course, typical to this period in fashion history, no fasteners were used and the dress simply slips over the head. The original owner would have worn a simple silk slip beneath, in an ivory or very light pastel color of her choosing. 

The dress has a bust measurement of 32-33 inches or 81 to 84 cm. The hip measurement is a slightly generous 36 inches or 91.5 cm. 

The dress has a dropped hip silhouette that is approximately 3.5 to 4 inches or 9 to 10 cm off the natural waist. The overall length of the underdress from the back shoulder seam to the very bottom of the lace edge at hem is approximately 49.5 inches or 126 cm. The overdress is shorter so as to show the glorious lace of the underdress beneath. The overdress has a total length from the shoulder to bottom hem measuring approximately 47.5 inches or 121 cm.

Rare American Civil War Era Gentleman’s Pleated Cravat Bow Tie Circa 1863

Over 150 years old, this authentic American Civil War era cravat and bow tie date to circa 1863. It is entirely hand sewn and made from finely woven black wool, silk satin and lined with striped brown and black silk. Finally, the interior is faced around the lower edge with thin, cream silk ribbon. 


Aside from the fact that this is such an early bow tie, its most remarkable attribute is that it was designed to be easily removed, and is adjustable in sizing. 

It is believed that this comes from an estate find that was somewhere between Dayton to Columbus, Ohio region, where a number of famous politicians and wealthy merchants lived during this era. 

However, another bow tie such as this is found at the Charleston Museum, Charleston, South Carolina. Their bow tie, with stiff insert, is described as one that was possibly worn by Abraham Lincoln (reference: Charleston Museum blog, February 12, 2013). Indeed, the photograph taken of Lincoln during the year 1863 shows him wearing a tie that is almost exactly like the one in The Charleston Museum. Although Lincoln most certainly did not wear this cravat and bow tie listed here, the style is also almost exactly the same. 

In an attempt to photograph how the cravat and tie look on a gentleman’s neck, I enlisted one of my studio assistants to model the cravat & bow tie in a reproduction, period styled photograph. The sepia toned photo to the right is the end result. 

The cravat easily slips into place around the neck with almost a spring action, and attaches into itself by slipping through a simple sleeve at the back. 

If one looks quite closely…and under strong light such as what you may see in the photographs…there is an india ink stamp that appears to read 17 1/2. It measures approximately 18.5 inches in length or 47 cm and fits up to a 17.5 inch or 44.5 cm neck measurement. 

Circa 1944 Handwoven Black Straw Hat From WWII Era

The saying goes that there is nothing new under the sun, and so this could have been said when the English took the fashion world by storm in recent years with their fantastic Fascinators. This hat from circa 1944 could be used to prove that point because of its fascinator-shaped silhouette. 

The resounding design issue for milliners during WWII was to create elegant fashion that would fit within wartime budgets and this is a terrific example.  This hat style could not be simpler in design nor more frugal in materials. 

The hat is a tailored, forward-thrusting style that was considered quite stylish and popular during the 1940s decade; it was handwoven entirely from genuine black straw. 

Such hats were coined “doll hats” or “toy hats” and were worn by fashionable adult women. 

The loop designed onto the back of the hat was draped around a chignon styled or loosely coifed hair. This allowed the hat to safely perch at a seductive tilt to one side, over the forehead and slightly to the side of the head. As everyone knows from the fascinator styles designed over the more recent years, this design especially emphasizes the eyes. 

The hat is simple in design because clothing for the fashionable woman during WWII also became simple in line and materials out of necessity.
This simplicity allows the hat to be trimmed in any way that the wearer might wish, even with a simple ribbon or a brooch from your jewelry box. In the 1940s, women always had a small collection of silk floral millinery pins to trim their hats with. 

The hat is designed to fit a size 22 inches or 56 cm. Unfortunately, it has no maker’s mark whatsoever.