Pierre/Famille

18K yellow gold large and bold ring centering a deep red/orange (oxblood) natural coral bead measuring 15.5 in diameter. The coral is even in color. Underneath the stone, there is a ...

18K yellow gold earrings by Cartier, Paris. These earrings are from their Maillon de Panthere Collection. These classic Cartier earrings are the larger size with five rows. They meas...

18K textured yellow gold earrings by Van Cleef & Arpels, Paris. The front of these half style hoops have an applied rope with a vermicelli motif giving them a wonderful patina which ...

Michael Zobel has an international following for his very unusual pieces of jewelry that he calls "small works of art". His pieces are sought after and in many major jewelry collecti...

Michael Zobel has an international following for his very unusual pieces of jewelry that he calls "small works of art". His pieces are sought after and in many major jewelry collecti...

18K yellow and white gold vintage ring centering a vibrant green natural Tsavorite. This stone is so bright because of its clear even color. It is estimated to weigh approximately ...

Fine high cabochon fire opal weighing 16.4 cts., set in an antique platinum ring, c. 1915. This very unusual stone is crystal clear and displays bright yellow, orange, red and gree...

Platinum pendant style earrings possessing both round and pear cut diamonds by Pierre/Famille. These collet set stones weigh 3.83 cts. They are estimated to be near colorless and v...

Antique, American Civil War era, yellow gold pendant/brooch with stylized leaf motifs that appear to open up revealing at the center a cluster of natural vivid pink/red Almandine gar...

This 18K white gold pendant pave set with white diamonds accented with enamel depicts a cute jockey and even cuter stallion trying ever so hard to win! This pendant, which can also ...

It is such a delight when we discover a small but scintillating treasure! This is an antique hardstone cameo with a naturalistic shape in the form of a halo of rose cut diamonds surr...

Cartier Paris 18K, platinum and diamond bracelet, c. 1938. There are 49 diamonds set in platinum in this seven link bracelet. The total estimated weight of the old European cut diamo...

Cartier Paris 18K yellow gold large link bracelet, circa 1950. 8 1/2 inches in length and weighing 76.4 grams, this seven link large bracelet is signed in engraved script Cartier Pa...

Asprey, London has designed and hand crafted a very unusual and dramatic long Leopard motif brooch, 5 1/2 inches, composed of very fine brilliant cut diamonds and a fine pear cut cle...

Cartier 18K white gold Fidelity Love Bracelet. Signed Cartier and numbered. Also marked 750 for 18K, there are also the initials, in a cartouche, of the workman. This flexible li...

Contemporary jewelry artist Michael Zobel has hand crafted a highly unusual ring centering an approximately 47 ct. natural cabochon cut aquamarine bezel set in 18K yellow gold accent...

18K yellow gold, fine diamond, sapphire, ruby and emerald ring made in the early 1960's. This heavy and substantial ring in 18K, and marked on the interior of the shank weighs 20.7 g...

Platinum and 18K yellow gold charming cockatiel vintage pin and pendant. He has 37 diamonds estimated to be H in color, near colorless and very slightly included. These diamonds ar...

18K yellow gold of double circles, 28 inches in length finished with a fine barrel clasp and sturdy safety. Silky to the touch and showing a motif of circles that hints at the delic...

Van Cleef & Arpels diamond vintage band In 18K yellow gold, this is a choice graduated band of 34 round brilliant cut fine white diamonds. All are estimated to be very very slightly...

Simple in its 18K yellow gold craftsmanship, this 4.7 gram ring possesses 6 round brilliant cut fine diamonds and 6 fancy tapered baguette cut white diamonds with a collective weight...

Amethyst, diamond and 18K yellow gold defines this well made ring. The 30 diamonds are round brilliant cut, well matched, and near colorless (H), and very slightly included (VS1). Th...

Very fine natural cat's eye chrysoberyl with an intense color, white diamond and platinum vintage ring. The center oval stone is a fine natural golden honey/green cat's eye chrysober...

Very fine large natural star sapphire weighing exactly 11.74 cts. This oval stone, held by four long well shaped prongs, has a medium deep blue color. The distinct star is created na...

Tiffany & Co. Soleste round brilliant cut diamond engagement ring with two matching Tiffany & Co. diamond bands and a Tiffany & Co. larger gentleman's plain wedding band with a polis...

Oval diamond ring in 18k gold. The center stone, an oval cut diamond, weighs 0.66 carats. It is estimated to be J/K (near colorless to a slight tint) and very slightly included (VS1)...

Unusual and fine gem quality intense color natural Cat's Eye Chrysoberyl ring by Michael Zobel. This distinctive ring is crafted from platinum with a sleek, brushed finish - a favori...

Vintage Hourglass Patek Philippe 18k gold wristwatch, crafted in Switzerland. This timepiece features a rectangular case with a manual movement. The dial includes a small second subd...

Art Deco tuxedo shirt studs crafted in 18k gold and platinum. Featuring European-cut white diamonds at the center, these studs exhibit a striking circular design. The platinum has be...

Contemporary cufflinks crafted in 18k gold, originating from France in 1990. These cufflinks feature a unique horseshoe design with red enamel accents, creating a striking visual con...

Antique micromosaic 18K gold brooch bearing French hallmarks. The brooch was made in France and the micromosaic is probably Italian. The motif is unusual of a watermelon seller. T...

Antique pin/pendant centering a cameo which is accented with rose cut diamonds and natural pearls. The carnelian cameo of lovers on a swing has, on the verso, the word Printemp (Fre...

Exquisite substantial pendant necklace crafted in 18k yellow gold. The piece features a detailed enamel painting of cherubs, surrounded by a border of natural white pearls. The pend...

18K yellow gold earrings with a total of 20 round brilliant cut diamonds bezel set on these square cube like earrings. The diamonds range from white (near colorless) to fancy yellows...

22k gold earrings with intricate detailing. These contemporary earrings feature a bold design with a central deep purple cabochon stone. The gold is crafted into an ornate pattern wi...

Garavelli Rinascimento earrings, from their renaissance collection, crafted in in both yellow and white gold. They are 1.75 inches long, and possessing 118 brilliant cut diamonds. ...

18K ring centering fine oxblood coral from the Mediterranean. This long oval stone is surrounded with fine white brilliant cut diamonds all hand set in 18K. The ring bears no mark...

De Beers diamond and 18K white gold eternity band. The 38 bead set round brilliant cut diamonds are all colorless to near colorless (F/G), and very very slightly included. This 18K...

David Webb white enamel, 18K, platinum "Tire" Ring, signed and accompanied by a Certificate of Authenticity from David Webb. According to their records, this ring has approximately...

Antique cufflinks yellow gold with European cut white diamonds weighing totally .40 cts., and bright vivid blue unheated sapphires weighing .45 cts. These distinctive cufflinks are...

Yellow and blue sapphires set in 18K yellow gold in a very inventive ring by the jewelry designer Salavetti - known for their use of fine materials. The pave set natural golden (yell...

LeVian Sapphires, Blue and Pink and bright green Tsavorites with white brilliant cut diamonds all create a very fine contemporary ring by the famous firm of LeVian. The fine bright...

Antique gold painting under rock crystal, these finely painted dogs brimming with personality was made circa 1890. In both yellow and rose gold, notice the dog bone on the other si...

Antique heart shaped, buff-topped natural amethysts are suspended from a platinum and rose cut diamond garland. The natural 3 amethysts are prong ...

Antique enamel brooch, 18K, Renaissance Revival, c. 1880. Slightly more than 1 inch in diameter, this brooch has French import marks both on th...

Large and Exquisite Etruscan Revival pale pink hand carved conch shell cameo of Medusa, American, 1875. Set in 14K yellow gold with an acid finish or "bloom" so that the gold color ...

White Gold contemporary ring centering a natural fine amethyst estimated to weigh 2.0 cts. This stone is a vibrant and lively purple with no undertones. It is prong set in finely m...

Garavelli Rinascimento earrings, from their renaissance collection, crafted in in both yellow and white gold. They are 1.75 inches long, and possessing 118 brilliant cut diamonds. ...

18th century micromosaic of a turtle dove on her nest with a chick, attributed to Giacomo Raffaelli. To see a similar plaque, signed and dated Giacomo Raffaelli, 1791; see: Aste Bolaffi Auction House, lot 324, May 31, 2023, Torino Italy. Birds were a popular motif in micromosaics in the last quarter of the 18th century and into the early 19th century. This mosaic is well executed with fine detail as seen in the shading. Little effort had been made in the dark background to follow the contour of the dove's silhouette, instead keeping the tessera in horizontal rows with square tesserae. The decorative border or millefiori of three colors around the edge create a colorful frame to this delightful scene. All of these characteristics date this plaque as being late 18th century and most likely executed by Giacomo Raffaelli. For more detailed information, see page 32 of "The Gilbert Collection Micromosaics by Jeanette H. Gabriel. Philip Wilson Publishers. The reader will see the characteristics unique to Raffaelli. Jeannette Gabriel is considered a foremost expert in the work of Raffaelli, and was a statically important participant in the management, development and analysis of the Gilbert Collection. Her observations relative to the work of Raffaelli are therefore quite credible by art historians This micromosaic is 2 5/8th inches in diameter, and backed in copper which is typical of plaques made at this time. This plaque was probably set onto a box of some sort as it has a glue like substance on the verso, which can be removed. We have chosen to keep this as it came to us, and in an effort to be careful, we have made no effort to remove it. We have one of the largest collections of micromosaics offered for sale. If our reader is searching for a particular motif, we would be happy to list it here for your consideration. From very large wall hangings...

18th Century micromosaic plaque of a bluebird, Rome, c. 1785, attributed to Giacomo Raffaelli (1753-1836). A micromosaic plaque of a blue bird perched on a flowering tree branch, 2.25 inches in diameter. The ground line is parallel and low. The foreground green grass with a brown rock in the front. The background is a creme color with parallel lines of square tesserae. The bird has both square and oblong tesserae as does the foreground. The border of a decorative pattern with three colors with a red circle or dot in a white square on blue. Like most plaque done at this time, it is backed with copper. There is a black substance or adhesive which, centuries ago, could have been applied to adhere this plaque on a box or in a frame. We have chosen to keep this as it came to us, and in an effort to be careful, we have made no effort to remove it. We have dated this piece as being the last quarter of the 18th century, and attributed to the master mosaicist Giacomo Raffaelli. This micromosaic has all of the established 18th century characteristics of micromosaics executed by Giacomo Raffaelli: 1. Each tesserae possesses one color. 2. The tesserae are either oblong or square. 3. The background is parallel horizontal rows of square tesserae, and 4. The addition of an identical border or millefiori around the edge. For more detailed information, see page 32 of "The Gilbert Collection Micromosaics by Jeanette H. Gabriel. Philip Wilson Publishers. Raffaelli is known for his very realistic depictions of birds. His naturalism and use of colors is among the finest of mosaicists at this time. Raffaelli became one of the most feted mosaicists in all of Rome. Indeed when Napoleon I wanted to sponsor a mosaic version of the Last Supper in roughly 1810 he chose Raffaelli. This selection itself added to the already high reputation of Raffaelli. This micromosaic is in very good condition and probably executed by one of the greatest of mosaicists ever and, who is thought by art historians to be the first creator of modern mosaics in the late 18th century. We have one of the largest collections of micromosaics offered for sale. If our reader is searching for a particular motif, we would be happy to list it here for your consideration. From very large wall hangings...

18th century micromosaic plaque of a dog looking right. The sparse but interesting vegetation in the foreground, the light blue background set with horizontal oblong or square tesserae, each tessera comprising one color, and a low ground line are all hallmarks of 18th century micromosaics. Also, the gaps between the tesserae are not filled in and there is limited color range and little modelling. For more information on 18th century micromosaics, see: The Gilbert Collection Micromosaics. Jeanette Hanisee Gabriel. Philip Wilson Publishers. Set on copper, the diameter is 2.75 inches. One could make a strong argument that this micromosaic was probably Giacomo Raffaelli; however to be conservative we would say it is possible. The image of a seated dog (a large mastiff) on grass, gazing into the distance was a popular motif during this time period; and, as many art historians have thought this motif possibly may have originated with Giacomo Raffaelli, who had seen this dog in a wall painting in an ancient ruin in Italy. Giacomo Raffaelli (1753-1836) is one the most important artists of micromosaics, his signed pieces are almost nowhere to be found - unless in museums and important collections of the world. We know of nine that exist in the world. Two in the Hermitage, two in the renowned Gilbert Collection, one in the British Museum, three held by different companies in the trade, and one held by Pierre/Famille ( for sale on this platform). Raffaelli was considered the finest mosaicist in Rome. Indeed, when Napoleon I wanted to sponsor a mosaic version of The Last Supper, in roughly 1810, he chose Raffaelli, this too added much to his fame. This micromosaic plaque is in fine condition. We have one of the largest collections of micromosaics offered for sale. If our reader is searching for a particular motif, we would be happy to list it here for your consideration. From very large wall hangings...

18th Century micromosaic plaque of a Goldfinch, Rome, c. 1785, attributed to Giacomo Raffaelli (1753-1836). A micromosaic plaque of a goldfinch, looking left, perched on a red flowering tree branch, two inches in diameter. The ground line is parallel and low. The foreground is of different colors of grass and fallen berries and leaves. The background is a light blue with parallel lines of square tesserae. The goldfinch has both square and oblong tesserae as does the foreground. The border of a decorative pattern in white in black circles and further with a rim of yellow oblong tesserae create a colorful frame for this well executed micromosaic which is backed with copper. There is a pinstem and "c" clasp (this type of clasp is seen both in the 18th and 19th centuries), both are not gold. This assembly could have been put on at the time of purchase or slightly later so the plaque could be worn as a brooch. We have dated this piece as being at the end of the 18th century and attributed to Giacomo Raffaelli. This micromosaic has all of the established 18th century characteristics of micromosaics executed by Giacomo Raffaelli: 1. Each tesserae possesses one color. 2. The tesserae are either oblong or square. 3. The background is parallel horizontal rows of square tesserae, and 4. The addition of an identical border or millefiori around the edge. See page 32 of "The Gilbert Collection Micromosaics by Jeanette H. Gabriel. Philip Wilson Publishers. Giacomo Raffaelli (1753-1836) is one the most important artists of micromosaics, his signed pieces are almost nowhere to be found - unless in museums and important collections of the world. We know of nine that exist in the world. Two in the Hermitage, two in the renowned Gilbert Collection, one in the British Museum, three held by different companies in the trade, and one held by Pierre/Famille ( for sale on this platform). Raffaelli was considered the finest mosaicist in Rome. Indeed, when Napoleon I wanted to sponsor a mosaic version of The Last Supper, in roughly 1810, he chose Raffaelli, this too added much to his fame. A very similar plaque, also attributed to Raffaelli, can be seen in the above referenced book on page 56. This plaque is part of The Gilbert Collection. The permanent collection is on view at the Victoria & Albert Museum in London. Raffaelli is known for his very realistic depictions of birds - especially the Goldfinch. While his naturalism is among the finest of mosaicists at this time, Raffaelli chose to display his extraordinary talent featuring the goldfinch in many of his works. Raffaelli was probably aware of the significance of the goldfinch to the Catholic Church. Afterall, it is one of the most poignant stories in the Passion of Christ. On the road to Golgotha, Christ was forced to carry the cross upon which he would be crucified. He was also made to wear a brutal crown of thorns. It was said that a simple Goldfinch, having alighted on the Savior's shoulder, flew to his head and plucked a thorn that had been making Christ bleed; whereupon this blood was transferred to the finch, which to this day, still wears it. This is but one example as to how mosaics permitted the Church to teach important lessons or parables. Why was this not done by traditional art forms such as paintings? Why was this done instead by mosaics? From its initial conception at approximately 319 AD, the Church sought to locate St. Peter's Basilica at the site of the apostle's martyrdom. On its face such a decision would seem rational, if not appropriate. St. Peter however was executed in a marshy area on a side of the Tiber in the already quite humid city of Rome. Housed in the early St. Peters with its exposure for so many centuries of very high humidity most of the Basilica's artwork was beyond the help of the rudimentary preservation and restoration of the period. By about 1750 to which the "new" St. Peters dates it had therefore lost many oil and watercolor paintings as well as wood, bone, and tortoise sculptures, frames and other artifacts. What could the Church do? Enter the "new" age of Roman micromosaics in which tiny pieces of colored stone or glass when set with grout would prove to be impervious to the debilitating effects of humidity. By the early 1700's the Church would begin the process of establishing a school of instruction in mosaics. It would sponsor research and experimentation in developing especially glass tesserae and would encourage students to select damaged oils, paintings or watercolors as appropriate subjects for duplicative efforts in micromosaics. Gifted instructors and successful students both frequently had their work promulgated by the Church. And it was from this pool of recently praised practitioners that fame, and special commissions paralleled each other. By about 1780 one mosaicist in particular separated himself from most all the others. Giacomo Raffaelli became one of the most feted mosaicists in all of Rome. Indeed when Napoleon I wanted to sponsor a mosaic version of the Last Supper in roughly 1810 he chose Raffaelli. This selection itself added to the already high reputation of Raffaelli. This micromosaic is in very good condition and probably executed by one of the greatest of mosaicists of all time, and done on a work of art symbolically significant to the early Catholic Church. We have one of the largest collections of micromosaics offered for sale. If our reader is searching for a particular motif, we would be happy to list it here for your consideration. From very large wall hangings...

Well executed seahorse motif brooch in platinum and set with buff topped sapphires, buff topped emeralds, diamonds and a ruby eye. Buff topped stones (sometimes referred to as jelly...

Art Deco Diamond, Ruby and Platinum ring made early to mid 20th century. This is a finely made platinum ring with 62 bead set well matched brilliant cut fine diamonds totaling an est...

Jaeger LeCoultre Art Deco clock measuring 8 5/8th by 7 1/8th inches, this is likely a one and only example of an Art Deco clock in polished stainless steel, with faceted pyramidal tr...

Fancy cut white diamonds are border with fine natural sapphires and rubies. A spectacular long brooch with fine well matched and well cut stones. The 34 diamonds weigh an estimated 3...

Star sapphire, unheated, weighing an estimated 15 cts, this stone is accompanied by a GIA Grading Report stating this natural sapphire unheated, is is large and impressive displayin...

Star Sapphire, unheated, and Platinum Ring hand crafted by Pierre/Famille. This sapphire is accompanied with a GIA Grading Report stating the stone is unheated and natural. This ca...

Antique enamel brooch, 18K, Renaissance Revival, c. 1880. Slightly more than 1 inch in diameter, this brooch has French import marks both on the ...

Antique 18K ring centering fine oxblood coral from the Mediterranean. This long oval stone is surrounded with fine white brilliant cut diamonds all h...