Late 18th Century Brooches

This rare and exquisite 18th C jewel is designed as a flowing ribbon set with 24 gemmy raspberry red table-cut rubies, draped with 16 shimmering peruzzi and rose cut diamonds and accented with 4 deep red garnets. This brooch has been beautifully hand-fabricated in silver and rose gold...

BAROQUE IBERIAN (SPAIN) EMERALD AND DIAMOND PENDANT/BROOCH 18Th Century. A radiant, ravishing, and regal Baroque (Georgian/Iberian Spain) pendant/brooch XVIII Century. Finely handcrafted in darkened silver over 18K yellow gold. Displays 2 exquisite back foiled emeralds: an emerald cut of 9 mm X 7.5 mm in the center and a pear-shaped drop dangling emerald below of 11 mm X 6 mm. Both gemstones present a vibrant, richly saturated bluish-green hue that creates a striking contrast to a curvaceous foliate motif embellished with approx. 4 carats / 96 table...

A young woman, wearing a white muslin dress à la greque and a blue shawl, is pointing to a word or possibly writing it onto a lage marble slate in a garde...

Georgian diamond brooch/pendant. Centrally set with one cushion shape old mine diamond in a closed back cutdown setting with a weight of 1.10 ca...

Rare Georgian Lover's Eye Brooch from the late 1700's. Painted miniature portrait of a young woman, looking upwards with white ribbon holding her hair, with...

Antique 18th century “Minas Novas” rock crystal, colorless topaz and simulated-emerald doblet girandole earrings and pendant/brooch demi-parure, Portuguese...

Dramatic and historic, this brooch was created in the Georgian era. Condition Report: Very Good - Some clouding to a couple of the stones and scratches to the surface of a couple t...

This chaming piece of jewellery was created around 1780 as a clasp for a bracelet or necklace. In the early 19th century it was converted into a brooch. The pencil drawing shows the ...

Lovely Georgian Paste Corsage Brooch with foiled chrysolites from the late 18th Century. Handmade brooch (likely Portugese) in heavy silver closed back ...

Antique Dutch Georgian /early Victorian Rose cut white Sapphire Amethyst Pin / Brooch set on an gold backed on silver with open work design . This kind o...

Lovely Georgian Paste Corsage Brooch with foiled chrysolites from the late 18th Century. Handmade brooch (likely Portugese) in heavy silver closed back ...

An oval micro mosaic of a dog with a blue background in an 18 carat gold border, with a silver setting which can be either a brooch or a stand, Rome, circa 1800. weight: 9.4 g dimen...

Very rare 18th century micromosaic plaque of the Goldfinch. This circular plaque is 3 inches in diameter, the micromosaic is set in copper. On the verso, the piece is signed in cursi...

A masterful example of Italian artistry, this exquisite brooch is intricately hand-carved from rich Mediterranean coral, dating to the late 18th to early 19th century. The dramatic high-relief carving depicts a mythological or allegorical scene, showcasing extraordinary detail and fluidity in the figures’ movement and drapery. The sculptural quality and vivid coloration reflect the exceptional craftsmanship typical of Neapolitan or Sicilian coral...

Antique Late 18th / 19th Century rose-cut diamond devant de corsage or stomacher in closed-back silver, Portugal. This Portuguese jewel is composed b...

Precious Past Novelty Sweet novelty brooch from the Georgian period, bearing French hallmarks 1796 ca – hand crafted of solid 18 KT gold and silver portions Featuring four Swallows l...

Georgian-Victorian 1840 era jeweled pendant-brooch An antique early transitional convertible piece, made in England around the 1840's. It was designed...

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...

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...

9ct 375 Gold Antique Georgian Brooch with beautiful Turquoise stones Beautifully decorative floral design Actual Size 4.5cm x 2cm Weight 3.28 ...

Indulge in timeless elegance with this 1790's navette shaped brooch of a hand painted woman looking out into the sea leaning on the ships anchor surrounded by 40 half pearls. Natural...

This is a wonderful and rare diamond brooch from the mid Georgian era. The diamonds are set in silver and the brooch has been wonderfully handcrafted in a floral style. All of the di...

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...

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. ...

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...

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...

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...

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 ...