A glossary of collectible jewelry.

The dominant diamond cut of the late 19th and early 20th centuries, with a round outline, small table, high crown, and large open culet. Cut by hand to maximize the candle and chandelier light of its era, it is prized today for its soft, romantic glow rather than the optical brilliance of the modern brilliant.

Roughly 1901–1915, named for King Edward VII. Marked by the introduction of platinum, lace-like millegrain and filigree settings, garland motifs, and an emphasis on white-on-white delicacy. Estate Edwardian pieces are increasingly rare and almost never reproduced faithfully.

Rubies from the Mogok and Mong Hsu regions of Burma (Myanmar), historically considered the finest in the world. Identified by a pure, slightly bluish-red color often described as pigeon's blood. Untreated examples with origin certification command significant premiums.

A setting in which a thin band of metal is wrapped around the perimeter of the stone, holding it from the sides rather than with prongs. Quietly modern and exceptionally secure — a Sarah Rabie favorite for everyday signature pieces.

A decorative edging made of tiny beads of metal, applied by hand with a knurling tool. A hallmark of Edwardian and early Art Deco work, it softens the line where metal meets stone and is exceedingly difficult to execute well.

A bezel proportion developed in the Sarah Rabie atelier — slightly taller than convention, with a softly chamfered upper edge. Used as the foundation for the four signature designs in which our most important stones are eventually set.

The documented history of a piece — its maker, era, region, and prior ownership. Strong provenance materially affects both value and meaning, and is researched and disclosed for every estate piece offered.

A naturally white, exceptionally dense precious metal that became commercially viable for jewelry in the early 1900s. Stronger and more durable than gold, it allowed for the fine, openwork settings that define Edwardian and Art Deco design.