18th Century and Earlier Brooches

Finely crafted in silver on top of 18K gold with Old Mine cut Diamonds weighing approximately a total of 2.50 carats. Circa 1700s 1 5/8 inch diameter

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...

Antique Georgian Engraved Braided Hair Mourning Brooch Enamel and 14 Karat Yellow Gold The Brooch is Hand Engraved and Embellished with a Black Enam...

Metal type: 14K Yellow Gold, Gemstone: Diamond/sapphire/pearl, 1RD- 0.04ct, G/H VS1Weight: 2.8 grams

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...

This stunning Georgian period pendant brooch is 1790 ca The fine elaborated Canetille work is elegantly shaped as a bow with a suspending drop further enriched by Natural not nucleated Pearls...

Item Details: Metal Type: 18K Yellow Gold [Hallmarked, and Tested] Weight: 7.3 grams Pin Measurements: 2.5 inches Condition: Excellent

This rare gold slide pendant was created in the 1st half of the 18th century. The pendant is set with rose cut diamonds in closed back settings. This style of slide is typical for Baroque jewellery...

Vintage Signed Brooch, the well known Eisenberg Original, Sterling Silver, Rhinestone, Shaped in Blueberry Branch Original Condition, missing tw...

Discover the timeless beauty of this vintage carved mother of pearl cameo brooch pendant. Crafted from exquisite 14K yellow gold and weigh...

A Georgian diamond, silver, and rose gold brooch, comprising forty-seven old mine cut diamonds, set in silver, backed in 9 karat rose gold, with 9 karat rose gold pin and fittings. ...

Antique, Baroque Gold Diamond Brooch. The central diamond weighs about 0.45 carat. The brooch also has a safety pin.

Georgian Dated 1750-1800 silver and gold rose-cut diamond brooch. Approx. 4 1/2 cts of diamonds. Very fine workmanship. Weight is ap 17.2 dwts, Size is ap 3 .14 x 1.64 inches.

Victorian rose gold stick pin collection pin in the form of a tree. The pin is made from 8 stick pins that are 10K and 14K. The pins including: an opal, fleur de lis, freshwater pe...

These elegant brooches were handcrafted in the 2nd half of the 18th century. The brooch to the top left is made out of two pointed ovals of beautifully cut slightly trapeze shaped wh...

This charming pin with a bird was handcrafted in the 2nd half of the 18th century. It is made from steel. The bird is made out of cut steel, its entire surface is covered with tiny ...

Rarely seen George III commemorative brooch with George III in profile at the center and decorated with a border of blue and green Vauxhall glass. This historical brooch was thought ...

Finely crafted in silver over gold with Old Mine and Rose cut Diamonds weighing approximately a total of 5.00 carats. The brooch features two Oval cut Rubies and a Hear-Shaped Emeral...

This is a one-of-a-kind beautiful piece that will complete any outfit! Center approximately 2 carat cabochon lapis bead Lapis is surrounded by ornate 14K yellow gold and tiny grey p...

A lovely Victorian brooch with perfect artwork depicts a young woman behind a blue fan with a charming message, “Qui m’aime me suive,” meaning “Whoever loves me follow me.” The vibra...

A large aigrette - turned into brooch - of chrysoberyls set in silver (gold backing) in the form of a spray of four feathers bound together by a ribbon, Portugal, end 18th century. An aigrette, in jewelry, is so-called because of its resemblance to the feathers and plumes on top of the head of an egret. These jewels were often meant to be worn as a turban ornament...

Stuart pink topaz and diamond brooch. Set to centre with a single oval old cut pink topaz in a closed back cut down setting with an approximate weight of 2...

Elegant brooch made of 14-karat yellow gold (0.585 fineness). Central olivine, also called peridot, weighing approx. 0.50 ct, surrounded by 14 rose-cut diamonds with a total weight o...

LOUIS FERAUD - Golden metal circular openwork brooch with rhinestones. Additional information: Condition: Very good condition Dimensions: Height: 5 cm SKU:BR24

Georgian diamond brooch in silver. Set with twenty one cushion shape table cut diamonds in closed back cut down settings with an approximate com...

A coral brooch and sculpture with a bucolic scene praising country life, Italy, 18th century. Additional information: Period: Early jewellery

Diamond Brooch in Silver on Yellow Gold Circa 1890 One Old Mine Cut Diamonds Weighing .45 Carats Approximately ' Seventy Eight Rose Cut Diamonds Weighing 2.00 Carats Approximately

Parthian gold dress pins. A matching pair of dress pins, each composed of a solid tapering pin with linear ridges to top, terminating in a discoid with engr...