Colorado - Brooches

Antique silver topped yellow gold brooch and pendant centering a gem quality natural approximately 22 ct. Siberian amethyst in a fancy octagonal shape. This stone, prong set, has an ...

This 18K white gold pendant pave set with white diamonds accented with enamel depicts a cute jockey and even cuter stallion trying ever so hard to win! This pendant, which can also ...

Platinum, 15K and fine diamond leaf motif vintage hair barrette, c. 1950. 19 straight baguette cut diamonds are channel set in the center and su...

Large platinum and fine diamond flower matching brooches of slightly different in size - they are more credible as natural objects as oppose to perfectly identical objects. Things...

Well executed seahorse motif brooch in platinum and set with buff topped sapphires, buff topped emeralds, diamonds and a ruby eye. Buff topped stones (sometimes referred to as jelly...

Art Deco pair of double clip dress clips, by Cartier, post 1935. It has been said that one cannot understand fully art history without appreciating the...

Large and Exquisite Etruscan Revival pale pink hand carved conch shell cameo of Medusa, American, 1875. Set in 14K yellow gold with an acid finish or "bloom" so that the gold color ...

Rare solid amber brooch handcrafted in Latvia. This unique ring was a part of my late grandmothers robust collection of amber jewelry. She brought the ...

Yellow and white gold large hand crafted butterfly brooch/pendant possessing approximately 57 fine white brilliant cut diamonds, 10 bright blue natural sapphires, 16 vivid red natura...

Art Nouveau gold barrette with 8 fine, well matched, round natural oriental pearls with fine luster. This antique hair barrette measures slightly less than 2 7/8th inches across. I...

18K, white diamond, bright green natural Tsavorite and ruby set in a realistic long salamander vintage brooch well made in 18K and silver. 34 well matched and finely cut diamonds ar...

Antique gold and diamond filigree bar pin, the three diamonds are bezel set in the center. The estimated weight of these 3 old cut diamonds is .35 cts. This pin is 2.5 inches in le...

Made popular by the world famous House of Van Cleef & Arpels, this Flame motif diamond set platinum piece backed with 18K yellow gold can be worn as either a brooch or hair barrette....

Antique pin/pendant centering a cameo which is accented with rose cut diamonds and natural pearls. The carnelian cameo of lovers on a swing has, on the verso, the word Printemp (Fre...

Crafted in the 1920s from platinum, this exquisite Art Deco brooch features a blister white pearl measuring 9 mm which sits in the middle of a line of eight Old European cut diamonds...

Antique brooch of a finely painted beautiful lady surrounded by 70 rose cut diamonds set in silver and all backed with 18K yellow gold. The maker's name G. W. Schumann and Sons in a ...

Antique heart shaped, buff-topped natural amethysts are suspended from a platinum and rose cut diamond garland. The natural 3 amethysts are prong ...

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...

The carved deep red tourmaline (rubelite) of a proud and noble figure with the dress of a native American Indian chief respected by his people. It is 18K and marked on the verso....

Antique enamel brooch, 18K, Renaissance Revival, c. 1880. Slightly more than 1 inch in diameter, this brooch has French import marks both on the ...

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...

Platinum, diamond, frosted rock crystal and carved hard stones depicting leaves and budding flowers in a vase, this brooch can also be worn as a pendant with the flip up bale. Chain ...

Antique micromosaic 18K gold brooch bearing French hallmarks. The brooch was made in France and the micromosaic is probably Italian. The motif is unusual of a watermelon seller. T...

18K textured gold hippo brooch with diamond eyes. The hippo measures 1.75 inches across. The diamonds are round brilliant cut stones estimated to be ...

Antique old cut diamond and multi color enamel stickpin, c. 1875. Approximately 26 rose and old cut diamonds are set in silver. The head of the pheasan...

Large and Exquisite Etruscan Revival pale pink hand carved conch shell cameo of Medusa, American, 1875. Set in 14K yellow gold with an acid finish or "bloom" so that the gold color is a rich but soft finish (not highly polished) which appears to be a high, 20 or 22, karat gold. This brooch/pendant is a vertical oval (denoting the 2nd half of the 19th century) measures 3-1/16 inches tall, by 2-1/8th inches wide without the 5/8 inch long pendant bale. Though unsigned or hallmarked the craftsmanship associated with the gold work in the Etruscan Revival style is nothing short of exceptional from the stylized wing and snake motifs to the perfectly shaped and spaced tiny spherical gold granulation. And, as for the carving of the pink shell cameo...

Platinum and 18K yellow gold charming cockatiel vintage pin and pendant. He has 37 diamonds estimated to be H in color, near colorless and very slightly included. These diamonds ar...

Edwardian pin with diamonds and a natural pearl, c 1907. With a frame of platinum and yellow gold (in the back), this is probably an American piece executed circa 1905 to 1910. It ...

Fancy cut white diamonds are border with fine natural sapphires and rubies. A spectacular long brooch with fine well matched and well cut stones. The 34 diamonds weigh an estimated 3.40 cts. They are F/G color (colorless to near colorless) and VS1 to VVS2 (very very slightly included to very slightly included). These white diamonds are set off with fine natural sapphires and rubies. The 26 natural bright blue sapphires weigh an estimated 1.45 cts. They display a pure, clean even blue color. The 26 natural vivid red rubies (probably from Burma), weigh an estimated 1.45 cts. Totally there are 6.3 cts. of fine gemstones. Well made and in excellent condition, this vintage double clip brooch...

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...

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...

Antique enamel brooch, 18K, Renaissance Revival, c. 1880. Slightly more than 1 inch in diameter, this brooch has French import marks both on th...

Fancy cut white diamonds are border with fine natural sapphires and rubies. A spectacular long brooch with fine well matched and well cut stones. The 34 diamonds weigh an estimated 3...

Fancy cut white diamonds are border with fine natural sapphires and rubies. A spectacular long brooch with fine well matched and well cut stones. The 34 diamonds weigh an estimated 3...

Fine iridescent enamel with delicate shading from pink to light yellows and green. Wonderfully executed, this five petal blossom centers a white natural pearl measuring approximately...

28 natural seed pearls strung on wire and interspersed with 4 old cut diamonds milgrained in bezels. Just over 3 inches in length, this Edwardian pin has approximately .30 cts of dia...

An Old European cut diamond weighing approximately 0.15 carats, G color, VS clarity, centers this stunning two-toned Art Deco brooch with delicate filigree, fashioned in 14kt yellow ...

Asprey, London has designed and hand crafted a very unusual and dramatic long Leopard motif brooch, 5 1/2 inches, composed of very fine brilliant cut diamonds and a fine pear cut cle...