An exceptionally rare and important 16th century Renaissance Gold Enamel and Gemstone Set Pendant.
Made in the form of a Unicorn and set with table cut diamonds and rubies. To the chest and rear hind of the animal a single point cut diamond. At the centre of the back a point cut ruby.
16th century jewels in particular pendants were heavily reproduced due to high demand during the 19th century. The likes of Reinhold Vasters and Alfred Andrea were producing a large amount of copies at that time. It is known and recorded that Alfred Andrea began life as a restorer of renaissance jewellery working with historical collections such as the likes of the Rothschild family before later making his own creations. Kugel gallery Paris published “Joyaux de la renaissance une splendeur retrouvée” in September of 2000 where plaster casts of jewels from the workshop of Alfred Andrea can be found. The above unicorn can be found featured in the casts with parts (additions beneath it intended for restoration)
German, circa 1600
Provenance: Private European collection
Enamel composition analysis indicating a renaissance era date undertaken available upon request.
Available, DM me for details
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An exceptional Georgian lovers eye pendant.
“A window into the soul”
The delicate details of the greenish brown eye is surrounded by green foliage with a single budding rose to the right hand side.
French, Circa 1810
• The above eye is published in “Lover’s Eyes: Eye Miniatures from the Skier Collection” by Elle Shushan
SOLD
Shield-shaped Lovers Eye pendant
French, circa 1800
A single blue eye, suspended within a shield of gold.
Lovers’ Eyes were never meant for the public gaze. They were exchanged in secrecy, tokens of attachment where identity remained concealed, known only to the giver and the one who wore it. The eye, understood as the truest window to the soul, became a portrait stripped of distraction.
Here, it emerges through a veil of graduated blue, almost atmospheric, the handling refined, intimate, deliberate.
Turn it over and the story deepens. On a pink ground, intricate hairwork forms a flaming heart crowned with a rose. Around it, in hair:
Je Brûle Pour Elle. Je Meurs ou Je M’attache.
(I burn for her. I die or I bind myself.)
Reference: LABEY2U9
SOLD
Pigs fly at JW Anderson
A Gold Pig Vesta Pendant Set with Ruby Eyes.
A charming gold pendant finely modelled as a pig in a naturalistic wallowing pose, the sculptural form capturing both character and movement with subtle detailing. The eyes are set with a pair of cabochon rubies, providing a soft burst of colour that contrasts elegantly with the warm gold.
French, Circa 1905
18 Kt Gold
Availability: Sold
Exclusively at JW Anderson Pimlico Rd Store
A French Neoclassical Sentimental Ring
Circa 1790
An octagonal miniature rendered in sepia tones, depicting two flaming hearts pierced by a single arrow and raised upon a classical column.
Encircling the composition, the inscription reads:
“Leur union fait mon bonheur” Their union makes my happiness.
The single arrow binds the hearts in shared destiny, an allusion to Cupid and love struck by fate. The flames evoke ardour and devotion, while the column beneath anchors that passion in stability and virtue, elevating emotion into structure.
At the centre, an oval cartouche bears an interlaced monogram, likely the entwined initials of the couple whose union is celebrated.
The phrasing suggests the voice of a close female relative most plausibly a mother expressing happiness in the marriage of her child. In late 18th-century France, such jewels were exchanged within intimate family circles, marking not only romantic attachment but the continuity and strengthening of lineage through union.
A ring where sentiment becomes architecture, and love is rendered permanent.
French, circa 1790
US size 6.5
SOLD
Up close with delicate, diamond set ivy leaves
A refined Victorian black enamel bangle, decorated with a continuous trailing ivy motif executed in gold and set with rose-cut diamonds forming leaves. The deep, glossy black enamel provides strong contrast against the sparkle of the diamonds and the warmth of the gold vine.
Ivy was a popular Victorian symbol of eternity, fidelity, and enduring attachment, making jewels of this type both decorative and symbolic. The low, wearable profile and crisp enamelwork indicate high-quality late 19th-century craftsmanship.
Origin: France
Date: c.1880
Materials: 18 carat Gold, black enamel, rose-cut diamonds
Measures: width 1.4 cm, internal diameter 15.3 cm
Weight: 40 grams
Available
EXCLUSIVE TO JW ANDERSON
A Fabergé Amethyst & Diamond Drop Pendant
Composed of two richly saturated Siberian amethysts, a round cabochon surmount suspends a substantial drop of remarkable depth and translucency.
The drop is capped in silver and set with rose-cut diamonds arranged in delicate, icicle-like formations, an aesthetic echoing Fabergé’s winter-inspired naturalism and sculptural refinement.
Available at JW Anderson, Pimlico Road.
CGH × JW Anderson
Portrait-Cut Diamond Reliquary Ring
Circa 1680–1740
Western European
A portrait-cut diamond, set in silver and mounted in gold.
Beneath its table rests a miniature wooden crucifix a private reliquary, believed to hold or evoke a fragment of the True Cross.
The diamond acts as both window and shield, suspending faith within light.
A ring where baroque devotion meets modern minimalism.
US size 6 1/3
Available, contact us for more information
A Georgian era lover’s eye miniature.
The blue-grey iris is delicately striated, the pupil softly glazed to capture light, with gentle pink tones defining the lid and inner corner. A sweep of dark curl enters the composition, heightening the sense of intimacy and presence.
The eye, long described as the window into the soul was regarded as the most revealing feature of the human face. By isolating it, these jewels distilled emotion into its purest and most discreet form: devotion without disclosure.
Set within an oval gold gilt frame and designed to be worn close to the body, lover’s eyes functioned as intensely private tokens of attachment. Identity concealed, connection preserved, a secret portrait known only to giver and wearer.
French, circa 1800
4.1 cm x 3.3 cm
Sold
Detail: An Imperial Kunstkammer Cup
South Germany, circa 1600–1630
The cup is raised upon a compact atlas type figure, his bent knee and twisted torso carrying the full weight of the vessel above.
He is not decorative, he is structural. Every part of his body is engaged in support, from the tension in his shoulders to the grounded stance of his feet.
Figures like this appear throughout early 17th-century court objects, where classical forms were reimagined in gold and stone. Here, the human body becomes part of the objects architecture
