Possibly Paulding Farnham for Tiffany & Co.

This intriguing sautoir epitomizes the sumptuousness and artistry that defined American jewelry at the turn of the 20^th century, displaying stylistic hallmarks closely associated with Paulding Farnham’s celebrated work for Tiffany & Co.

The necklace’s gold cruciform motifs, richly detailed and evocative of Renaissance Revival forms, reflect Farnham’s deep engagement with historic design vocabularies – particularly those of the 16th and 17th centuries – which he reimagined with remarkable ingenuity. Interwoven, vine-like links impart a sculptural fluidity and naturalism, both signatures of Farnham’s goldwork during his transformative tenure at Tiffany, when he revitalized the house’s decorative arts with bold and eclectic influences.

A distinct Indian inspiration is evident in the rhythmic repetition of the necklace’s elements, the sensuous use of gold and combination of carved gemstones, beads and rose-cut diamonds, aligning with Farnham’s known fascination with diverse artistic traditions. Renowned for drawing inspiration from a vast array of cultures – from Mughal India to Renaissance Europe – Farnham incorporated these influences masterfully, elevating Tiffany’s reputation at international exhibitions and among elite American collectors. The workmanship here is of the highest caliber, with meticulous attention to detail and technical mastery that typify Tiffany’s creations in the Farnham era.

Interestingly, the scratch number beginning with a lambda, which appears on the rose-cut diamond and calibré-cut emerald floral element at the back of the necklace, is associated with Marcus & Co.’s numbering system, suggesting that the sautoir passed through the hands of this esteemed jeweler at some point and may have been modified. The necklace’s current length is shorter than other Farnham sautoirs from this period; for comparison, a Farnham necklace in the Boston Museum of Fine Arts features several similarities –cruciform motifs, trios of accenting pearls throughout, and elaborate detailing typical of the Renaissance Revival style. It is plausible that this example was originally of similar length and subsequently shortened – which may explain the lack of a Tiffany & Co. signature – and that the rose-cut diamond and calibré-cut emerald floral element at the back was added by Marcus & Co., further enriching the piece’s layered history and adding to its mystery.

The necklace’s provenance further supports a Paulding Farnham attribution and enhances its significance. While it is unknown whether this necklace entered the collection through the Vanderbilt or Wade side of the family, it would be logical to attribute its acquisition to Jeptha H. Wade II. As a prominent Tiffany & Co. patron and noted collector of precious gems, Wade frequently commissioned elaborate jewelry for his wife, Ellen Garretson Wade, often working directly with Tiffany’s designers and gemologists. Several important Wade family jewels – including two necklaces exhibited at the Cleveland Museum of Art, one of which is also featured in John Loring’s Paulding Farnham: Tiffany’s Lost Genius, and a jeweled floral brooch displayed at the Legion of Honor in San Francisco – are documented as Farnham-era Tiffany commissions for Ellen. 

Though unsigned, the present sautoir shares striking similarities, both in technical virtuosity and stylistic choices, to known works by Paulding Farnham, offering a compelling argument for its attribution to this pivotal figure in American jewelry design. 

Property from the Collection of Jeptha H. Wade III and Emily Vanderbilt Wade, Boston

The Wade and Vanderbilt families stand as pillars of American achievement, their legacies shaping the nation’s industrial, cultural, and philanthropic landscape. The Wade family’s prominence began with Jeptha Homer Wade (1811-1890), founder of Western Union, whose innovations in communication connected the nation and whose civic leadership enriched the city of Cleveland through the creation of Wade Park and support for institutions like the Cleveland Museum of Art and the Museum of Natural History. His descendants, notably Jeptha Homer Wade II (1857-1926) and his wife Ellen Garretson Wade (1857-1917), continued this tradition, contributing thousands of artworks from their personal collections to the Cleveland Museum of Art and supporting a wide array of charitable causes.

The Vanderbilt family rose from humble beginnings to become one of the most prominent and influential dynasties of the Gilded Age. Cornelius “Commodore” Vanderbilt (1794-1877) transformed a modest ferry business into a vast shipping and railroad empire, amassing one of the greatest fortunes in American history. Subsequent generations became known not only for their business acumen but also for their visionary patronage of architecture, art, and philanthropic causes. The Vanderbilts’ grand mansions on New York’s Fifth Avenue, their legendary “summer cottages” in Newport, and the palatial Biltmore Estate in North Carolina became enduring symbols of American ambition and elegance.

Philanthropy and civic engagement flourished through successive generations of both families. Jeptha H. Wade III (1924-2008) continued his family’s contributions by supporting major Cleveland institutions and championing environmental causes, including the preservation of natural spaces like the Wade Tract Preserve in Georgia. His wife, Emily “Paddy” Vanderbilt Wade (1925-2025), one of only seven women in MIT’s class of 1945, was a passionate advocate for science, education and land conservation. She served as a trustee of the Bedford Audubon Society and supported institutions such as the Harvard Museum of Comparative Zoology and the New York Botanical Garden. Together, they embodied the enduring values of service, stewardship, and environmental responsibility that defined both families, ensuring their legacy would benefit their communities and the natural world for generations to come.

Each piece in this exceptional group of jewels, offered from the family of Jeptha Homer Wade III and Emily Vanderbilt Wade, is a masterpiece in its own right, bearing the unmistakable touch of some of the world’s greatest jewelry maisons. The Cartier Art Deco diamond bracelet is a study in precision and elegance, its meticulously positioned stones and geometric design a quintessential expression of the era’s highly sophisticated aesthetic. Showcasing a superb ruby of impressive size and clarity, the Marcus & Co. necklace quietly underscores the refined craftsmanship and careful gem selection that defined the house’s celebrated reputation. Dreamlike Art Nouveau lines characterize the René Lalique pendant, offering a lyrical counterpoint – an intriguing blend of nature and fantasy. And finally, the sumptuous tassel sautoir, richly adorned with rubies, emeralds, pearls and diamonds, reflects the likely hand of Paulding Farnham and exemplifies the tradition of artistry and excellence for which Tiffany & Co. is renowned.

Together, these jewels present a compelling narrative of design innovation across eras. Their artistic and historical significance offer a rare and evocative window into the world of two families whose influence helped shape American society.