Georgian Brooches

Silesian wire jewelry was crafted by hand at the same time as Berlin Iron, somewhere between 1805-1812. The craft originated from gunsmiths and armor wor...

French painted Enamel Pendant depicting a Shepherdess paying homage to a statue of a Cherub. 19th Century.

The sweetest little antique Georgian era padlock mourning brooch or pin. Georgian padlock jewels are increasingly difficult to find and a highly popu...

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...

Three 18 carat gold brooches in the shape of crescents, each set with eleven rose cut rhodolite garnets on red gold foil, one with a little star in the middle, Perpignan, France, cir...

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...

Magnificent piece from the Georgian Period. An antique stick pin brooch, created in the United Kingdom between the kingdoms of George III (17...

A Georgian multi-colour gem-set brooch, set with an oval amethyst to the centre to a border of citrine and aquamarine with gold ball detail set between each...

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...

--Stone(s):-- Numerous Natural Genuine Diamonds - Old Rose Cut - Pave Set - 3-5ctw (approx.) (1) Pink Stone - Round Cut - Pave Set (6) Natural Genuine Sapphires - Round Cut - Pave Se...

Antique 18K gold cannetille basket brooch set across the top with a ruby, emerald, garnet, amethyst, ruby and diamond. The first letters of the stones sp...

Celestial Halley’s Comet A rare and stunning example of Georgian Halley’s comet brooch, superb little example richly set with old mine cut Diamond...

Fantastic Oversized antique French brooch. A very nice early French piece, created during the Georgian period, around the 1810's. Carefully crafted in solid .830/1000 sterling silver and suited at the reverse, with a hinged horizontal pin with a hook lock. Is embellished, with a mix of larger quartz gems cuts and small simulated gemstones in paste. Excellent workmanship with black dots and prong set on top of the silver with open backs. Paste, is a gem like material made from a secret formula of leaded glass invented by George Ravenscroft, a 17th century London glassmaker and later perfected by George Strass, an 18th century French jeweler, designed to resemble precious gemstones. This piece is pretty heavy and large with a total weight of 87.4 grams and a measures of 90 mm by 83 mm (3.52 by 3.28 inches). Stamped, with multiples French hallmarks; three times with the maker's maitre cartouche and three times with the boar head, for the assay and guaranty of the .830 silver. Note: This piece have remains of the original gilding in some parts of the reverse. Literature: Antique Paste jewelry...

A Georgian, diamond, gold, and silver brooch, comprising forty-three old mine cut and rose cut diamonds, and one large pear cut diamonds, set in silver, with a yellow gold backing, f...

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

Handmade early 1800's Georgian brooch with hand engraving, rose cut diamonds set in silver on 14k gold. Blue enamel background and floral design. 36 ...

Georgian diamond brooch. Set with one hundred and ten rose and table cut diamonds of varying shapes and sizes, in closed back cut down settings ...

A Georgian golden topaz and amethyst cross brooch-pendant, the pendant in the form of a cross with a round faceted topaz centre, oval faceted amethyst arm...

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...

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...

This stunning Georgian brooch features five quatre-foiled aquamarines surrounded by decorative cannetille wire work with hand engraved scrolls with a glass locket to the rear of the ...

We are delighted to offer this stunning antique late Georgian/early Victorian citrine brooch made in the 19th century. The brooch features a lovely four stone quatrefoil...

A Georgian golden topaz and pearl cluster brooch, the cushion-cut topaz measuring approximately 13 x 13 mm, yellow gold cutdown collet-set to the ...

Georgian Old Mine Diamond Brooch Circa 1830 4.25 ct. of Diamonds, including an Old Mine Cushion cut Diamond in the center weighing approximately hal...

A late Georgian gold and gemset brooch, the brooch comprising ornately-carved foliate motifs in yellow and rose gold, set with three pear-shaped blue topaz and suspending a pear-shaped pink topaz drop, all set in yellow gold to a closed back and brooch fitting, circa 1830, measuring approximately 4.7 x 2.7cm, gross weight 5.5 grams. Unmarked tested as 15ct gold and 9ct gold pin and catch. A Georgian brooch in very good condition. This lovely and naturalistic brooch comes from the collection of Bentley & Skinner, the London jewellers by appointment to both Her Majesty the Queen and His Royal Highness the Prince of Wales. Created in around 1830, this sweet brooch features detailed gold vine leaf with delightful and subtly coloured topaz. This late Georgian piece would be stunning pinned to the lapel of a summer blazer...

A Georgian Regard locket brooch in 18 karat yellow gold, circa 1820. An original 18ct gold acrostis Regard brooch. The first letter of each claw set sto...

Beautiful Antique Georgian Silver Old Cut Paste and Pearl Monkey Pin. This gorgeous Georgian pin is crafted in silver. This pin features a monkey playfull...

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. ...

Inspired by folk embroidery, filigree jewelry transformed in the early 1800s during the Georgian period into labor-intensive cannetille, like this antique handmade intricately-wired metal-frame brooch depicting a floral spray. Resembling Silesian wire-ornamentation, this metallic wire and red braided-thread brooch...

This exquisite and remarkable brooch is a charming and elegant example of Georgian jewelry dating back to approximately 1830. The brooch measures 1.50 inches in diameter and is craft...

This is a beautiful diamond five stone ring. The ring features a Georgian style cut down setting with five asscher cut diamonds which has been crafted in silver with a yellow gold ba...

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.

A fine Georgian gold and enamel hair art mourning pin. Memorializing Isaac Shakespeare (possibly a William Shakespeare descendent). With braided hair behind glass in a worked gold setting with a black enamel band. The enamel band has gold lettering that reads: IN MEMORY OF *. The dedication on the reverse reads: Isaac Shakespeare Died 14...

Georgian ruby and emerald mandolin brooch/pendant locket. A yellow, rose and green gold brooch/pendant in the form of a mandolin, a symbol of harmony i...

Georgian-era brooch/pendant featuring a finely executed miniature portrait painted on ivory, a common artistic practice during the 18th and 19th centuries. Miniatures were often comm...

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...

Trifari Alfred Philippe Regence rose gold plated and diamante flower clip brooch in a Georgian Revival taste with delicate dangles. Excellent Condition. 1940's USA. The series, mu...

Georgian 15K yellow gold mourning brooch / pin - set with a carved floral agate cameo to the center (approx. 10 mm. x 6 mm.) - the cameo surrounded by an enamel and gold border inscr...

Georgian Enamel Remembrance Brooch with hair compartment under glass from the early 19th Century. Set in 10K gold with unusual ruby enamel with half se...

This brooch has been handcrafted out of 15 karat gold around 1830. This exquisite piece of jewellery has been hand painted with enamel. The flower garland and the foliage are set aga...

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 ...

Trifari Alfred Philippe Georgian style Regence clip brooch with pave tremblant flower and garland surround. Set in rhodium metal and designed t...

Exceptional Georgian Amethyst and 18K yellow gold cannetille work brooch - featuring four fine crimped collet set and solid gold backed amethyst gemstones (approx. 9.36 Total Carat W...

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 ...

This fine early 19th scallop shape cut steel brooch with articulated tassels is in excellent order.

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...

Colorful depiction of a peasant girl graces this micro mosaic brooch purchased during the Grand Tour and brought back to England to be set in an elaborate...

This precious clasp designed as a starburst was intended for a bracelet or a necklace, most likely to be worn with pearls. The oval fasetted peridot has been set in a silver setting...

Amazingly detailed sepia painting of Cupid bestowing flowers on a young maiden. This navette shaped brooch, set in 15K gold, was a gift of love. On the reverse side can be seen two s...

This wonderful Georgian gold lyre brooch is set with amethysts and has a little locket with a hinged lid. The lyre is the instrument of Apollo. In Greek an...

Exceptional petite Georgian era diamond and 18K rose and yellow gold flower brooch - featuring nine old mine cut diamonds in solid silver crimped collet settings to form the flower h...

Designed as a stylized swirling knotted snake suspending an apple charm from mouth Gold body is deeply grooved with scales and accented by silver-topped head Accented by grooved faci...

Rare Pair of Georgian REGARD Turtle Dove Brooches, ca. 1820s A symbolic and museum-collectable example of acrostic jewels, featuring two doves, mounted with various gemstones, where the gems spell out "regard" - (R)uby (E)merald (G)arnet (A)methyst (R)uby (D)iamond. The pieces are further accentuated with fine cannetille gold work throughout. About Acrostic Jewellery and Turtle Doves In acrostic jewels the first letter of each gemstone spells out a word. Typical examples are words of endearment like "adore", "dearest" and "regard". The utterly romantic trend of acrostic jewels began in the Georgian era and flourished throughout the Victorian period. It is believed that acrostic jewelry was first created by Jean-Baptiste Mellerio of the House of Mellerio, who started designing jewels with gems that spelled out “j’adore.” Napoleon Bonaparte admired Mellario’s acrostic designs and commissioned acrostic jewels for both Empress Josephine and his second wife, Empress Marie Louise. Secret messages of love encoded in gems went perfectly with the Georgian and Victorian love of romance and symbolic meanings. These sentimental jewels would have been gifted to lovers, family members, or even treasured friends. Further to being acrostic jewels, these doves also represent love and faithfulness, because they mate for life, work together to build nests and raise their young together. They are immortalized in literary and poetic works, such as the Old Testament, and artists like Shakespeare, Edmund Spenser...

This 14 karat yellow gold rare Dutch Frisian brooch, crafted between 1825 and 1840, is an exquisite example of early 19th century jewelry design of the regional costume in the Netherlands. This piece features intricate craftsmanship, characteristic of the Georgian era, with a focus on elegance and opulence. The brooch's structure is made from 14 karat yellow gold, which provides a warm, rich backdrop for the vibrant stones. The design has intricate patterns and motifs, such as this lovely floral design and scrollwork, which were popular during this period. The surface of the brooch has a stunning arrangement of garnets, known for their deep red hue. The garnets are faceted to catch the light and enhance their natural brilliance. These garnets are set in various drop-shaped configurations, scattered near the border. The garnets are accompanied by colored crystal stones or also known as paste stones, which add a rich contrast to the red garnets. These colored stones are also faceted and carefully set to ensure they complement the overall design of the brooch. This 14 karat yellow gold brooch with garnets...

This rare Georgian diamond set miniature brooch. Hand painted, this painting is a scene from the poem “Paradise Lost” by John Milton. It depicts the Archangel Raphael issuing a warni...

The Magic of 19th Century This rare antique brooch is 19th Century A master crafted piece made of solid 18 KT gold topped by silver Extraordinary design made of rectangular body is m...

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