'Breathtaking' TIFFANY Jewelry Discoveries On Antiques Roadshow!

I thought that in about, I would say, in the late 70s or early 80s, and I got it at a Robinson's department store in their estate sale department. In fact, my husband brought it home and surprised me. It was a gift from your husband? It was a gift. How much did he pay for it? It was a little over $3,000 with tax, and it was a lot of money to us. Tell me what you've learned about the piece. Well, I know it's a signed Tiffany piece. I know it's a handmade. At the store, they told him, and it was about the 1920s. This opal necklace is not just signed Tiffany & Company. It is attributed to Louis Comfort Tiffany himself, the visionary artist who transformed Tiffany from a fine jeweler into a symbol of American artistic brilliance. Best known for his stained glass and decorative art, Louis Comfort Tiffany also created jewelry that defied traditional European luxury, favoring bold color, organic forms, and expressive gemstones. The heart of this necklace lies in its black opals, among the most coveted opals in the world. These are not ordinary stones. They are patchwork opals, meaning their surfaces are alive with shifting fragments of color, especially vivid flashes of red, the rarest and most valuable hue in opal. One stone shows subtle age, while the other remains perfectly preserved, giving the piece both authenticity and visual contrast. What truly sets this necklace apart is its craftsmanship. Every element is handmade with a flowing, almost painterly quality that reflects Tiffany's artistic philosophy more than traditional jewelry design. After 1907, Tiffany's jewelry began carrying the Tiffany & Company signature, even when personally designed by Louis Comfort Tiffany, which is why this piece bears the firm's name rather than his own. The value today is somewhere, average retail, between $70,000 and $90,000. Oh my God. It's a treasure. You're kidding me. No, I'm not kidding you. Say that again. It's a treasure. Between $70,000 and $90,000, average retail. It's a spectacular piece of jewelry by Louis Comfort Tiffany. Thank you so much for making my day. Well, thank you for making my day. That's wonderful. Thank you. You're quite welcome. Is that a big surprise? Oh my God. I believe it was my grandmother's. I don't remember my mother ever wearing it. I have worn it very occasionally. Created around 1900, this Tiffany & Company diamond brooch comes from what is known as the Belle Époque period, an era that celebrated refinement rather than excess. Jewelry from this time wasn't meant to overpower. It was meant to enhance, to whisper luxury rather than shout it. That philosophy is perfectly captured in the flowing ribbon motifs woven through this design, a signature style of the period that conveyed movement, softness, and grace. What makes this piece technically remarkable is its construction. Tiffany's craftsmen used yellow gold on the reverse for strength and structure while the front was built in platinum, chosen specifically to intensify the brilliance of diamonds. This combination was revolutionary at the time and quickly became a hallmark of high-end jewelry making. Across its surface, the brooch carries roughly two and a half carats of diamonds arranged not just for sparkle but for harmony. Yet the true power of this brooch lies in something far smaller than the stones themselves, the Tiffany & Company signature discreetly placed on the piece. Without it, a brooch of this quality would still be desirable. But with it, the piece enters an entirely different world of collecting. If this was not a Tiffany & Company brooch, we would put an auction estimate of maybe $1,000 to $1,500. But because this is signed, this would have an auction value of closer to $10,000 to $15,000. If this was in a retail shop, we found some that are selling closer to $20,000 to $30,000. That's a little shattering. It's a family piece. It's probably not going anywhere. Maybe back in the safety deposit box. This necklace belonged to my great-grandmother and she lived from about 1864 to 1926. And I believe at the time they were quite wealthy. They came from northern New Jersey and they actually had a house there that is locally known as Kipp's Castle and I believe the county has just taken it over as a museum. I really don't know much about it. It's been passed down and I think I've had it for about 35 years. Dating to the first years of the 20th century, this necklace reflects a moment when American jewelry was stepping out from European shadow and beginning to define its own artistic voice. And few voices were stronger than that of Louis Comfort Tiffany. At its center lies a black opal, far rarer and more valuable than the pale opals most people recognize. Its depth of color and shifting fire give the necklace a dramatic presence, almost hypnotic under light. Surrounding it are vibrant green stones known as demantoid garnets, a gemstone so rare that even seasoned collectors may never encounter it in person. These garnets were sourced from Russia and prized for their brilliance and intensity. But the magic of this piece isn't limited to what faces the viewer. Even the reverse side is richly detailed with delicate wire work and fine fret patterns, proof that Tiffany's craftsmen cared as deeply about unseen beauty as visible luxury. From an auction standpoint, we can look at this from three different viewpoints. The first would be, as a wonderful piece of historic jewelry, it would be $8,000 to $10,000. Now if we add in another element, which is the fact that this piece was made by Tiffany, it affects the value. A Tiffany piece would be priced at $15,000 to $20,000. Oh my word, I just can't believe it. We could take it a step further and assign this piece to Louis Comfort Tiffany. And with his name attached, the auction estimate on a piece like this can go as high as $30,000 to $40,000. Oh, I can't believe this. Well, I brought a pin in that is stamped Tiffany, and it is full of diamonds, and I believe it's platinum. I purchased it about 30 years ago, and I tucked it away and brought it out yesterday. So it really hasn't seen daylight? Not really. Did you acquire this from a private individual or from a store? Yes, from a private individual, and they had heard that I like old pieces that were really nice, and she brought it to me, and we agreed on a price, and I purchased it. Okay, fantastic. And you paid how much for this piece? I paid, I think, right at $3,000. Dating to the 1920s, this piece stands firmly in the Art Deco era, a period defined by confidence, geometry, and modernity. Rather than relying only on sparkle, the brooch captivates through its bold, architectural lines, an unmistakable expression of the art moderne movement. Every angle feels intentional, every curve controlled, giving the piece a sculptural presence even before the diamonds come into play, and yet the diamonds are extraordinary. Tiffany's master setters used a variety of cuts, European, baguette, French, and round, to create texture and rhythm across the surface. This interplay of shapes adds depth, allowing light to move across the brooch in layers rather than flashes alone. All of it is framed in platinum, the metal of choice for elite jewelry houses at the time, prized for both strength and its ability to intensify diamond brilliance. This is a treasure. It should be worn. I knew I liked it. If you were to go to a high-end retail store today, you could look at $25,000 to $30,000 for this piece. Okay. So your $3,000 investment was money well spent. No, I think so, too. It's awesome. I am happy that I purchased it, and I appreciate the craftsmanship in it. So I guess I'll have to wear it from now on. You should. It was my husband's grandmother's, and we always believed it to be from Tiffany's, and when she passed away at the age of 102, ten years ago, we inherited this piece. I suspect that they bought it from Tiffany's around the time that it was made. That's my guess. Dating to around 1909 to 1910, this piece represents the final golden era of natural pearls, a time before cultured pearls flooded the market and forever changed jewelry history. These pearls were not farmed. They were found by chance in the wild, harvested one by one, and assembled only when a jeweler could achieve near-miraculous harmony in size, luster, and shape. And harmony is exactly what defines this necklace. The pearls graduate flawlessly from a commanding central pearl just under 10 millimeters down to delicate smaller pearls, each matched with astonishing precision. Their surfaces, what jewelers call skin, are remarkably clean, with a glow that only natural pearls develop over time. Even two loose pearls from the necklace carry serious value on their own, a reminder of just how rare material like this truly is today. Framing these pearls are old, mine-cut diamonds, soft in sparkle but rich in character, reflecting the cutting style of the early 20th century, a time when brilliance was secondary to personality. But what elevates this necklace even further is its likely designer, Paulding Farnham, one of Tiffany's most celebrated creative minds. Farnham was not only Tiffany's lead designer for over two decades, he was also a visionary who elevated American jewelry onto the world stage, winning a gold medal in Paris before turning 30. And above all, he was famous for his love of natural pearls. In this market, if you came to me and said, what do you think we could get in an auction? We'd say $80,000 to $100,000. No way. Yes, yes. These little pearls, they're probably $5,000. Do not lose these. These have to go back on. I would say you're looking at an appraisal to insure and replace at $200,000. So I would be very careful with these two loose pearls. So should I take this to Tiffany's? Absolutely. And tell them to restring it? Restring it. Be very careful. Okay. Wear it sometimes. Yes. And enjoy it. I'll have my daughters wear it in their wedding. Are you shocked? I'm stunned. Thank you. You're welcome. Wow. My husband gave it to me probably in the 80s, not for an occasion. He didn't always buy a card or give a gift or occasion, but he would come home with something nice. This Tiffany and Company diamond and sapphire bracelet is one such treasure. Created around the 1960s, it reflects a period when Tiffany was mastering the art of bold luxury with refined restraint. Crafted in platinum, the bracelet carries a presence that is powerful yet elegant, designed to sit with authority on the wrist without overwhelming it. What immediately sets this piece apart is its design. The diamonds are arranged in a mix of shapes, rounds, elongated marquise cuts and sleek baguettes woven together in a rhythm that feels almost floral. Between them, vivid blue sapphires appear like bursts of color, their tone striking that rare balance between depth and brightness that collectors crave. Together, the composition creates a flowing pattern that feels alive with motion and light. But the real impact lies in scale and quality. This bracelet contains approximately 20 carats of diamonds, all exceptionally white and finely matched, a level of precision that only a house like Tiffany could consistently achieve. The platinum setting not only enhances their brilliance, but also ensures the piece was built to endure generations. Signed discreetly on the clasp, the Tiffany name transforms this bracelet from magnificent jewelry into a true collectible masterpiece. I would expect that this bracelet would bring probably between $40,000 and $50,000 at auction. Oh, wow. That's wonderful. Awesome. Back in the lockbox. You should wear it. Enjoy it. I wear it on special occasions. It's a family piece, and I don't know much about it other than it came down through a cousin to my grandmother, then to my parents, and then to me. Created around 1905, this Tiffany pansy brooch belongs to a period when floral jewelry was at its most poetic. While most pansy brooches from this era feature a single flower, this design stands apart by presenting three pansies together, arranged with balance and movement, giving the piece a far richer visual presence. The flowers are brought to life through beautifully preserved enamel, a medium that is notoriously fragile over time. The survival of this coloring for more than a century speaks not only to careful preservation but to Tiffany's extraordinary enamel craftsmanship during the early 20th century. Nestled within the petals are old European cut diamonds, the signature diamond style of the era. Unlike modern cuts, these stones glow softly rather than flashing sharply, perfectly suited to the romantic character of the piece. What makes this brooch even more enchanting is a unique detail. One of the diamonds is set loosely, allowing it to move gently within the flower, like a tiny, shimmering drop of dew resting on a petal. Hidden discreetly on the back of one of the stems is the Tiffany signature, textured and subtle, placed not to shout prestige but to quietly confirm it. During this period, Tiffany was under the artistic direction of Louis Comfort Tiffany when jewelry often blurred the line between fine craftsmanship and art. Each diamond in this brooch is unusually large for a floral design, approximately a quarter carat apiece and of exceptional quality, far surpassing most pansy brooches of the time. I would suspect that in a retail situation you could easily get $15,000 to $20,000 for this. Okay, that's excellent. Thank you so much. Thanks for bringing it in. Great looking piece. My parents bought a dry cleaning business and this brooch was an envelope in the extra button drawer. Made around 1937, this piece belongs to the late Art Deco period, a time when jewelry design shifted from the sharp geometry of early Deco towards softer, more wearable elegance. The circular form of this brooch is deceptively simple yet remarkably sophisticated. Circle pins were designed to adapt visually depending on what fabric they rest against, allowing the same jewel to appear different every time it's worn. What elevates this brooch far beyond minimalism is its rare and deliberate use of color. Flanking the central baguette cut diamonds are two fine rows of emeralds, an unusual choice in a diamond-dominant Art Deco piece. This pairing introduces a quiet but powerful contrast, the crisp brilliance of diamonds softened by the lush green glow of emeralds. The craftsmanship reflects Tiffany's relentless pursuit of perfection. Every element remains original from the fittings to the clasp, preserving the integrity of the design exactly as it left the New York workshops in the late 1930s. That level of survival alone makes this brooch exceptional. Stylistically, it sits at the crossroads between classic Deco and modern jewelry, bridging two eras in a single, elegant form. It is neither flashy nor loud, yet it commands attention through refinement rather than excess. Do you have any idea what it's worth? I really don't. I have no idea. It's never been appraised, never been looked at. I have no idea. Retail value, I think you're talking $65,000. Not bad to find in a button drawer. No, it's not. It is not. I can't wait to get it home. My grandmother, when she passed away, left me all of her jewelry. I'm the only grandchild in the family, and she was quite a gal, and this was probably one of the most beautiful things that she left me. And she was a model in New York? She grew up in a farm in Weston, Connecticut, and then she went into New York, and at first she was a model for Stein and Blaine, and later on she became a buyer. And who's the gentleman next to you? And this is her husband. He was the manager of the Sherry Netherlands Hotel in about the 30s. So they were very social? Yes. You know that this ring is made by Tiffany and Company? Yes, I saw that printed. At its heart is a Ceylon star sapphire, sourced from what is now Sri Lanka, long considered the finest origin for sapphires in the world. What makes this stone truly exceptional isn't just its deep blue color, but the phenomenon it displays, a perfectly formed six-rayed star that glides across the surface when light strikes it. This effect, known as asterism, occurs naturally and only in sapphires of remarkable quality. Weighing roughly 25 carats, this sapphire is massive by today's standards. Stones of this size and clarity are becoming increasingly rare, which alone places the ring in elite territory. But Tiffany and Company took it further. During the 1920s, star sapphires were often worn by men as bold pinky rings. Then something changed. Women wanted them too, and Tiffany responded by designing settings that transformed these powerful stones into refined expressions of feminine elegance. This ring reflects that shift beautifully. The entire setting is crafted in platinum and encircled with diamonds, including an astonishing detail hidden beneath the stone itself. Diamonds set on the underside, invisible from the top, created purely for the pleasure of the wearer and the craftsman. It's a level of luxury that defines true high jewelry. A ring like that in today's market could easily be sold for somewhere in retail at $25,000 to $35,000. Oh, that's wonderful. My children would be happy to know that. This was gifted to me by a woman that was in my church. She became very ill and had no family or anything, and we sort of took her into our family and took care of her, and she insisted that I take this piece as a gift. It's from the William Becker family. Becker had quite a big place in Bolton Lake, and he was the one that gave it to his wife, and his wife gave it to her cousin, and her cousin gave it to me, and that's how I came by it. Bolton Lake. Lake George. Bolton Lake. Millionaire Row, yes. He had a 40-room house. Of course, it's all gone, but it was beautiful. At the center of the design sits an 8-carat peridot, glowing with a fresh green fire that feels almost alive. Peridot is not a costly stone in itself, but when used this boldly and beautifully, it becomes unforgettable. Surrounding it is a halo of diamonds in mixed tones, white, champagne, and soft yellow, an unusual choice that adds warmth and depth rather than rigid symmetry. The necklace is crafted in rich 18-carat yellow gold, but its true artistry reveals itself when viewed from behind. There, intricate hand-worked wire patterns, known as canotile, form a hidden lace of gold, proving that this was a piece made to be admired from every angle, not just the front. Though marked Tiffany & Co. New York, experts believe the piece may go even further, potentially attributed to Louis Comfort Tiffany himself. During the early 1900s, his work occasionally flowed through Tiffany's retail house, merging fine jewelry with artistic expression in ways few could rival. Dated to around 1910, this necklace stands at the intersection of art and jewelry. I would say that this would auction for $20,000 to $30,000. Holy moly, I don't believe it. Oh my gosh. What a gift, huh? A very nice gift. I might have to keep this for myself for a while now. You need to start wearing it. I purchased it on an online auction for $300, $350. It's got Tiffany on it, but I wasn't sure whether that was real or not. Dating to around 1885, this piece originated not as a simple pendant, but most likely as a locket, a deeply personal form of jewelry in the Victorian era, often used to hold photographs or mementos of loved ones. Over time it was altered into the form we see today, but its character remains unmistakably Tiffany. At the center sits a striking bullseye citrine, a gemstone known for its warm golden hue and dramatic visual presence. Citrine was especially popular in the late 19th century, favored for its sunny brilliance and relative durability. making it both practical and visually captivating. Surrounding the citrine are rare green garnets, an unusual and highly distinctive choice. Green garnets, particularly demantoids, were prized in this period for their intense color and fire, often rivaling emeralds in beauty. Their presence here adds depth and contrast, elevating the pendant far beyond a simple Victorian jewel. Even with its later alterations, the craftsmanship remains refined, balanced, and unmistakably Tiffany in character. The discreet signature confirms its origin, transforming what might appear to be a modest antique pendant into a certified piece of American luxury history. I would say in the market today I'm going to be conservative, 2,000 to 3,000. Oh, wow. Oh, wow. That's exciting. It was a great find. It belonged to my great-great-grandmother. She was born in 1835. Do you know anything about it at all? I really don't know anything about it, other than what's engraved on it. Made around 1876 in New York, this piece is attributed to Louis Comfort Tiffany, and it reflects a moment when American jewelry was looking beyond Europe for artistic inspiration. What makes this necklace extraordinary is its unmistakable Japanese influence, a design language almost never seen in Tiffany jewelry of this period. Running through the center is a bamboo motif, a powerful symbol in Japanese art representing strength, flexibility, and longevity. Surrounding it are delicate floral forms inspired by Japanese decorative traditions, rendered not as ornament alone, but as flowing, natural movement. This was part of a global artistic wave known as Japonesme, which reshaped art and design across the West between the late 19th and early 20th centuries, but Tiffany rarely ventured into it so boldly. Crafted in 18-carat yellow gold and platinum, the necklace achieves a remarkable balance between warmth and precision. Even more astonishing is its condition, untouched by time with no visible wear, scratches, or structural flaws. Pieces of this age rarely survive so perfectly, making this example exceptionally valuable. Tiffany works from this era are already difficult to find, but Tiffany works from this era with Japanese influence are nearly unheard of. That combination elevates this necklace into a different class altogether. I would say that if you had to try and replace this necklace in a retail store, you would have to pay between $55,000 and $60,000. Wow. Yeah. Really? It is an exceedingly rare piece. It's very difficult to find Tiffany pieces from this period, and then to find the Tiffany pieces with this Japanese influence is very, very difficult, and we don't find them. The piece belonged to my grandmother. She was from Italy and then New York City in about 1907. My grandfather, who purchased it, was the maitre d' at the Waldorf Astoria. The Tiffany jewelers used to come in, and he got to talking to them and wound up at the store and picked out this piece of jewelry for his wife. At its center sits a glowing cabochon moonstone, most likely sourced from Ceylon, one of the finest origins for moonstones in the world. Instead of sharp sparkle, this stone offers something far rarer, a soft, floating light that seems to drift beneath the surface, giving the brooch a dreamlike presence. Surrounding the moonstone are Montana sapphires, an unusual and highly significant choice. Although mined in America, these sapphires were more often seen in European jewelry, making their use in a Tiffany creation both rare and historically important. Their cool blue tones create a beautiful contrast against the warm glow of the moonstone. The setting itself is a masterpiece. Crafted in yellow gold and platinum, the brooch features intricate hand-twisted filigree work, delicate strands of metal, shaped, soldered, and pierced entirely by hand. This lace-like structure gives the piece movement and airiness, making it feel almost alive. Signed discreetly by Tiffany & Company and attributed to Louis Comfort Tiffany, this brooch stands among the most refined examples of early American art jewelry. If you had to replace something like that today in a retail setting, I'd say you'd have to spend around $18,000. Whoa. No, I had no idea. It's a wonderful thing. None at all. And you told me you had a dream last night about the value. I did. I dreamt that you told me it was worth $660. That's a little bit more than that. On occasion, I've worn it to weddings. It was given by my great-grandfather to my great-grandmother on their wedding day as a wedding present for the bride. And they were married January 1, 1872. She passed it down to her oldest daughter, which was my grandmother, and my grandmother wove it to me. I see. Created in the early 1870s, this piece reflects a time when Tiffany was still shaping its identity. Not yet the global jewelry giant, but an ambitious American luxury house experimenting with craftsmanship, design, and prestige. During this period, Tiffany was not fully manufacturing its own jewelry. Instead, commissioning select pieces from skilled workshops, often overseas, while retailing them under its name in New York. The necklace is crafted in 14-karat yellow gold and features what is known as a reeded chain made of hollow, machine-formed links. This construction allowed jewelers to create dramatic visual presence without excessive gold weight, a crucial design strategy at a time when gold was still relatively scarce in the market, despite the gold rush. What makes this piece especially evocative is its opulence without heaviness. It looks substantial, almost regal, yet remains surprisingly light, embodying the Victorian era's fascination with grandeur achieved through clever engineering rather than sheer material. Equally important is its original Tiffany presentation box marked, Tiffany and Company, Union Square. This detail anchors the necklace firmly in Tiffany's early retail history when the brand sold everything from fine jewelry to luxury household goods. Without this box, the necklace's connection to Tiffany would be nearly impossible to prove, making the packaging as historically significant as the jewel itself. At auction, one would expect to gain anywhere between $3,000 and $4,000. For insurance purposes, it should probably be insured for about $9,000. Oh, that much. Thank you. You're welcome. My maternal grandmother was able to travel a lot during her lifetime and loved to bring back little mementos from her travels. These, I believe, came from Brazil as rough-cut stones, which then she brought home to have set. Do you have any favorites? I like the aqua... I think it's an aquamarine. It's the blue one. The stones themselves originated in South America, most likely Brazil, brought back as raw, uncut gems during the mid-20th century when exotic colored stones were becoming increasingly fashionable among collectors and travelers. These weren't museum-grade gems when they were found. The amethyst shows natural color zoning, the citrine carries warm, honeyed tones rather than blazing fire, and the aquamarine favors elegance over size. But what transforms them from souvenirs into serious jewelry is one decision, having them set by Tiffany and Company, and that timing matters more than most people realize. These settings were created during one of the most important revival periods in Tiffany's history. In the 1950s, Tiffany was undergoing a complete creative transformation under the leadership of Walter Hoving, who pulled the brand back from decline and redefined its artistic direction. He introduced bold design, sculptural forms, and brought in Jean Schlumberger, whose influence reshaped Tiffany's style forever. While these pieces are not directly signed by Schlumberger, their bold gold settings, sculptural mounting, and fearless use of color reflect the same revolutionary design language that made Tiffany modern again. The stones tell their own story. The citrine, glowing with amber warmth, represents quartz at its most inviting. The amethyst, framed with tourmalines and diamonds, balances richness with contrast. The aquamarine, set with diamonds, delivers refined elegance through icy blue clarity. And because they are signed Tiffany 18 carat, they rise far beyond the value of their stones alone. I think the citrine might sell at auction for between $3,000 and $4,000. The amethyst, which is set with tourmalines and diamonds, might sell for $5,000 to $7,000. And the aquamarine, which is really quite nice, set with diamonds, might sell for $7,000 to $9,000. That's a really exciting news. We would have been so thrilled. This is a necklace that was a gift that my grandfather gave to my grandmother, probably late 40s, early 50s. Created around the 1940s, this Tiffany Moonstone and Sapphire necklace carries the unmistakable influence of Louis Comfort Tiffany's artistic style, even though it was produced after his time. Rather than copying his work, the designers paid homage to his signature love for soft glowing moonstones paired with deep blue sapphires, a combination that Tiffany had made iconic decades earlier. The moonstones bring a quiet, silvery glow, shifting gently under light, while the sapphires provide contrast with their crisp, saturated blue. Together, they create a balance between softness and structure, a visual language that feels both romantic and controlled. Set in 14-carat gold, the piece is refined rather than extravagant, reflecting the changing tastes of the mid-20th century when elegance began to favor versatility over excess. And versatility is exactly where this necklace shines. At its center is a detachable element that transforms the piece from a necklace into a brooch. This clever dual-purpose design allowed the wearer to adapt the jewelry for different occasions, a feature that speaks to Tiffany's commitment to beauty that also serves function. This was jewelry made not just to be admired in a case, but to live with its owner, to move, evolve, and accompany different moments in life. From an auction standpoint, a necklace like this would have an auction estimate of $5,000 to $7,000. Oh my goodness! Cousin was in China in the 1920s, and he brought them back at that time and gave them to my grandmother, who in turn left them to me. And so I don't ever remember seeing anyone wear the beads. Have you worn them? No. I have never worn the beads. And why not? Well, I don't know. I just she valued them, and we just put them away in a safe place, and we haven't worn them at all. The beads themselves are carved from jadeite jade, the most prized and valuable form of jade in the world. Unlike nephrite, jadeite is rarer, denser, and historically reserved for imperial and elite use in China. What makes jadeite truly exceptional is not sparkle, but glow, the way light moves softly through the stone. When examined closely, these beads reveal a beautiful translucency, allowing light to pass through rather than stopping at the surface. This is one of the most important markers of quality in jade. Their color is not the deep imperial emerald green seen in the most expensive jadeite, but a refined, elegant green with natural variation that gives the strand character an authenticity. The beads range in size from approximately 4 to just over 8 millimeters, relatively modest in scale, but finely matched, carefully shaped, and perfectly balanced. Subtle internal veins and natural formations remain visible, a reminder that true jade is shaped by nature long before it is shaped by human hands. What transforms this strand from exceptional to extraordinary is the clasp, discreetly signed by Tiffany and Company. This tells a powerful story. These beads were not simply imported, but carefully restrung and finished by Tiffany, integrating Chinese material culture into the language of American luxury. Now, do you have any idea what these are? I really have no idea. I'm going to say $25,000 to $35,000. Oh, my goodness. How wonderful. That is wonderful. So are you happy? Yes. I think you should wear them. Oh, you do? I absolutely think you should. I'm being nervous right now to wear them. I absolutely think these should be worn every single day. This is my grandmother and one of my sisters in a knitting lesson. I know that this ring and bracelet was a gift to my grandmother. She wore it on her engagement finger, as shown in the picture, and then my father inherited it and gave it to me three years ago. Do you know who made the ring? Tiffany and Company, I believe. Right. Created around the late 1940s to early 1950s, these pieces reflect the retro and post-war era, when fine jewelry embraced bold forms, strong color contrasts, and intricate craftsmanship after the restraint of World War II. Rather than delicate minimalism, this period celebrated confidence and visible luxury. At the heart of the ring is a richly colored sapphire, approximately 1.80 carats, likely sourced from Ceylon, one of the world's most prestigious sapphire origins. Surrounding it are old, mine-cut diamonds and a halo of perfectly calibrated, square-cut sapphires arranged with remarkable precision. These calibrated stones were individually cut to fit the design exactly, a labor-intensive process reserved only for high-end jewelry houses like Tiffany. The ring is crafted in platinum and its side profile reveals exquisite teardrop shaped fluting and sculptural detailing, elements that serve no structural purpose other than beauty. This kind of detail is where Tiffany quietly separates itself from ordinary luxury. Accompanying the ring is a sapphire and diamond bracelet that mirrors the same design language. Interestingly, the bracelet is not platinum but palladium, a metal that was commonly used during wartime when platinum was restricted for military use. Lighter than platinum yet visually similar, palladium adds a subtle historical layer to the piece. The bracelet carries approximately 2.5 carats of sapphires and 1.5 carats of diamonds, while the ring itself holds another full carat in diamonds alongside its central sapphire. At auction, the bracelet's $4,000 to $6,000 and then we give you a price at auction for the ring, I would say $10,000 to $12,000. Really? Seriously. Oh my goodness! Oh, that's amazing! Is that good news? Yeah, that is! My aunt, who recently passed away, gave it to me about 25 years ago. But what did you do with it? I had it in the closet for all this time. This necklace comes from one of the most fascinating stylistic revivals in jewelry history, the Etruscan Revival movement. Created around the 1860s, this piece reflects a time when jewelers across Europe and America became obsessed with rediscovering the lost techniques of ancient civilizations. Inspired by the gold work of the ancient Etruscans of Italy, designers sought to recreate their rich textures, granulation and sculptural depth, often with breathtaking results. Crafted in 18-carat gold, this Tiffany necklace carries an unmistakable presence. Rather than relying on gemstones, its power comes entirely from gold itself, layered, molded and worked into complex, almost architectural forms that catch light through texture rather than sparkle. What makes this necklace even more extraordinary is its connection to Boucheron, the legendary French jewelry house. During this period, many of Tiffany's most sophisticated gold jewels were produced by elite European firms and retailed under the Tiffany name in New York and Paris. This collaboration places the necklace at the very heart of 19th century transatlantic luxury. Inside its original box, the signature reads, Tiffany and Company New York and Paris, anchoring the piece firmly in an era when Tiffany was establishing itself as a global luxury brand rather than merely an American one. Etruscan revival pieces are rare. Tiffany Etruscan revival pieces are even rarer, and those associated with Boucheron exist in a category of their own. A piece like this with the association of Boucheron is easily over $25,000. I'm just in shock right now. It's a good thing you got it out of the closet. Now you told me you wore it last night. Well, I put it on last night. It was a little tight and I didn't want to break anything and I said that'd be just like me to break it. This Tiffany pin is not just jewelry. It is a historical document cast in gold and ivory. Created in 1897, this piece commemorates the 50th anniversary of Utah's settlement, an event known as the Utah Semi-Centennial. Rather than marking the occasion with a simple medal, the commission resulted in a deeply symbolic and artistically rich object crafted by none other than Tiffany and company, at a time when the company operated globally from New York, London, and Paris. The design speaks entirely in the language of the American West. At its center is a powerful steerhead, a symbol of endurance, migration, and frontier life. Surrounding it is a yoke, reinforcing the imagery of labor, perseverance, and settlement. But what truly elevates this pin beyond ornament is the inscription carved directly into the design, a quote taken from Brigham Young's journal, recording a moment during the pioneer journey. The pioneers camped here on June 13th and 14th, making 15 miles today, all well. This transforms the pin into a wearable piece of American history. The materials themselves are exceptional. Crafted in gold and carved ivory, the pin balances luxury with storytelling, a rare combination. Tiffany was known not only for fine gemstones, but for accepting special commissions that allowed their artists to interpret history, culture, and identity through metal and form. The pin survives in its fitted presentation box, another crucial detail that anchors its authenticity and historical importance. And, with the Tiffany signature discreetly placed on the reverse, there is no doubt about its origin. The value today in the collector's market at retail would be between $3,000 and $5,000. Wow, that's nice. My great-grandfather and great-grandmother got married, and they went on their honeymoon to New York. And while on their honeymoon, they went to the opera. My great-grandmother admired this piece on one of the singers. And my great-grandfather went after the show and talked to the Tiffany jewelers and arranged to buy this piece for my great-grandmother. This remarkable Tiffany necklace takes us straight into the moment when Tiffany and Company was transforming from a luxury retailer into a true design powerhouse. Dated to around the mid-1870s, this piece belongs to a pivotal chapter in American jewelry history. When Tiffany began asserting its own artistic identity rather than simply importing fine jewelry from Europe, what immediately sets this necklace apart is its architectural structure. The graduated gold panels unfold like a sequence of tiny golden stages, each enriched with delicate applied wire work and bead detailing. This was the height of the archaeological revival style, inspired by discoveries from ancient civilizations and popularized across Europe and America in the late 19th century. Tiffany didn't stop there. This necklace also carries early traces of the aesthetic movement, a design philosophy that drew heavy inspiration from Japan. The panel-like forms echo the look of Japanese screens, introducing a sense of rhythm, space and visual balance that was radically modern for its time. Even the construction reveals innovation. Tiffany patented the alternating panel structure, giving the necklace depth and movement rather than a flat static appearance, a technical achievement that elevated jewelry into wearable architecture. Made in high-carat gold, likely 18-carat, the piece originally featured a suspended locket, making it not just decorative but deeply personal, intended to carry a portrait or keepsake close to the heart. More importantly, this necklace comes from a transitional era, when Tiffany shifted from reselling European designs to creating jewelry that defined American luxury itself. This is a wonderful piece and I would expect that you would find this piece in a high-end store somewhere in the $40,000 to $50,000 range in today's market. I don't think I'll be wearing it to any PTA meetings. Thank you. I don't know how it came into the family, but I know it's been used by four generations of women in my family, dating back to my great-grandmother, late 1890s probably, and it's a lovely necklace and pendant that can be changed into a brooch and it is just a stunning piece and also very warmly felt by my family. Created around 1920, this piece sits right at the crossroads of elegance and innovation. During the height of the Art Deco movement, when platinum replaced gold as the metal of modern luxury and clean geometry ruled design. At first glance, it appears to be a refined diamond necklace with a dramatic central pendant, but the brilliance of this piece lies in how much more it truly is. The chain itself is a masterpiece adorned with rhythmic diamond stations, alternating between round and marquise cuts, guiding the eye gracefully toward the pendant like a trail of light. At the center, two substantial old mine-cut diamonds dominate the design, each roughly a carat surrounded by another two carats of carefully set stones, all mounted in platinum for maximum brilliance and then comes the surprise. Hidden inside the pendant is a fully functional lorgnette, a folding opera glass spring-loaded, precision-engineered and seamlessly integrated into the jewel. With a discrete motion, the pendant transforms from ornament to optical instrument, a symbol of a time when high society demanded both beauty and utility in a single object. Even more remarkable is the modular design. With a separate attachment, the pendant converts effortlessly into a brooch, allowing the wearer to shift its role depending on the occasion. This adaptability was the hallmark of elite jewelry in the early 20th century. Signed twice by Tiffany & Company, the necklace confirms that these elements were never meant to be separate. They were conceived as a single, cohesive masterpiece. For the whole suite, including the other pendant, at auction, this would bring $30,000 to $40,000. Wow. Wow. That's a lot of money. Yes, it is. This is Tiffany. It carries the bulk of the pricing, but it's just absolutely stunning. Oh, I think so as well. As a young person, I was given an old scarab, an Egyptian scarab, and so I'd always been fascinated with those. And so I, about 15, 20 years ago, I went to an antique show and I saw this. And I thought, oh, it reminded me of a piece of jewelry my mother had that had Brazilian butterfly wings. And I thought, oh, that's the color. And then I got to looking at it. I think this is Tiffany. And so I bought it. And what did you pay for it? It's been a long time, but I think around $400. Around $400. And it was at a local antique show, something like that? Yes. Yes, here in town. At its heart lies the scarab beetle, a powerful emblem borrowed from ancient Egypt, where it represented rebirth, protection, and eternal life. For thousands of years, scarabs were worn not simply as ornaments, but as talismans believed to guide the soul and guard the living. Now imagine that ancient meaning reinterpreted through the lens of Tiffany's most artistic era. This necklace was created around 1915, a time when Tiffany was no longer content with traditional diamonds and pearls. Instead, the company, under the creative legacy of Louis Comfort Tiffany, embraced color, glass, and symbolism in ways no American jeweler had done before. The scarabs here are crafted from favrile glass, Tiffany's revolutionary invention, famous for its shimmering, iridescent surface that shifts color with every movement of light. These beetles appear almost alive, glowing with blues, greens, and purples that recall butterfly wings or oil on water. No two favrile pieces are ever identical. Each scarab is in essence a miniature work of art. Suspending them is an elegant 18-carat gold chain designed with alternating long and short links, giving the necklace rhythm, balance, and fluidity when worn. At the center, the signature Tiffany and Company mark quietly confirms its authenticity, discreet but powerful. And at a good retail store, this piece would sell for $8,000 to $10,000. Did all right. I'd say so. Oh my goodness. You told me that your grandmother left this pendant to you. This was given to her by her second husband. When were they married? They were married in 1918. Now, I understand you had other jewelry from her, but this was the piece you chose to bring to the roadshow today. Why did you pick this piece? Because I like it. I've worn it a great deal of the time over the years since you gave it to me. It sits in just the right place on my neck, and it's beautiful. At the center hangs a vivid yellow diamond cut in a graceful pear shape. Yellow diamonds were once far less common in fine jewelry than they are today, and stones of this color and size were rarely featured by Tiffany during the early 20th century. Measuring over 1 carat, this diamond already places the pendant in a rare category, but its story goes even deeper. The cut itself is an old European style, a form that reflects a time when diamonds were shaped to glow under candlelight and early electric illumination rather than harsh modern lighting. The stone doesn't simply sparkle, it radiates warmth. What truly transforms this pendant from beautiful heirloom to historic treasure is the signature discreetly hidden on the reverse. Tiffany and Company. That tiny mark elevates the piece into a different realm altogether. Even more fascinating is the craftsmanship of the wire work, suggesting that it may have been designed under the artistic direction of Louis Comfort Tiffany himself. Now, we've got to appraise it. It's a tough appraisal because it's rare. $20,000 and up. What do you think? Holy mackerel! You really hit the spot today. You knew what to pick. I almost didn't bring it. And your grandmother was not telling a lie. And she left you something great. Isn't that great? Thanks for coming. That is so exciting! Great! Not every great Tiffany piece is defined by rare gemstones. Some are defined by something even more important, extraordinary craftsmanship. And this brooch is a perfect example of that philosophy. Dating to around 1900, this Tiffany and Company pin comes from a time when the brand was focused not just on luxury but on artistic mastery. The stones themselves, citrine and olivine, are not among the most expensive gems in the world. In fact, on their own they are relatively modest. But that is precisely what makes this piece so fascinating. Tiffany chose these stones not for their market value but for their color harmony. The warm golden glow of citrine and the fresh green of olivine are arranged with deliberate balance, creating a vibrant, natural palette that feels both elegant and lively. Tiny diamonds set in platinum trace the design and add brilliance without overpowering the softer gemstones. What truly elevates this brooch is the way it was made. Crafted in a Tiffany factory, every curve, setting and junction reflects a level of control and refinement that only a handful of jewelers in the world could achieve at the turn of the 20th century. The entire piece is formed in rich, 18-carat yellow gold with platinum used specifically where sparkle was needed most, a hallmark of elite jewelry construction during this period. That auction would bring somewhere between $6,000 and $8,000. Yes. I'm amazed. Thank you for coming. Thank you for telling me. It belonged to my father-in-law's great-great-grandmother. They lived in Pittsburgh, Pennsylvania. It was given to her on the birth of her son in 1864. And was he the first child? Do you know? Yes. Dating to around 1864, this hard stone cameo suite belongs to a time when major life events were celebrated not with a single jewel but with an entire ensemble. In this case, the gift was monumental. A full perure consisting of a bracelet, multiple brooches, earrings and even decorative buttons, all united by a single breathtaking theme carved stone portraiture. Unlike the more common shell cameos of the Victorian era, these were carved from banded agate, a far harder and rarer material. Each cameo was sculpted from a single block of stone, using the natural layers of color within the agate to create dramatic contrast between the figures and their backgrounds. The result is astonishing depth and dimension with portraits that appear almost sculptural rather than flat. What makes this set truly exceptional is the thickness and relief of the carvings. These are not simple profile silhouettes. They are richly modeled, three-quarter portraits, revealing a level of skill usually reserved for museum grade classical cameos. Although the cameos themselves were crafted in Italy, the world's center of fine cameo carving, the set was retailed by Tiffany & Company, as confirmed by the historic Broadway address associated with the firm during this period. In the mid-19th century, Tiffany often curated the finest European works and presented them to elite American clients, acting as a gateway between Old World mastery and New World luxury. The gold mounting executed in 14-carat gold reflects refined restraint, allowing the stone carvings to command attention. Even the small details, like decorative buttons later adapted into pins, reveal how versatile and wearable luxury was expected to be at the time. A set of this scale and magnitude, I would say for insurance purposes, should be somewhere between $25,000 and $35,000. Okay. Great. Before you go, if you've ever wondered who Tiffany really was and what made him a legend, not just in jewelry, but in glass, art, and design, I highly recommend this video on your screen right now. It tells the full story behind the name that changed luxury forever. Watch it. Subscribe to that channel because many more legendary biographies are coming very soon.