18th Century and Earlier Brooches

We present a true work of art to your attention - a rare and unique brooch carved from a single Italian Mediterranean coral Sciacca. This antique brooch, made in the form of a putto - a little boy angel with a diamond necklace, is imbued with the spirit of the times and the sophistication of the Renaissance when images of cherubs in the form of winged babies were especially popular. Exquisite hand carving amazes with its high detail and craftsmanship. Every element—from the soft features of the angel's face to the finest lines of the wings—conveys the magnificence of the master's work. The brooch is fixed on 14K gold, which gives it strength despite a crack in the wing and small damage in the area of the necklace, which is quite acceptable for such a venerable age and does not spoil this work of art in any way. This angel once soared in the heavens, but time has left its mark on his delicate wing. Perhaps this crack is a silent witness to the trials he has endured, making him not just a piece of jewelry, but a symbol of resilience and timeless beauty. There is a unique charm in this imperfection—a story that transforms him into something greater than just an adornment. The history of this jewelry is shrouded in mystery. Perhaps this cherub was created in the 18th century, or its history goes even further into the depths of the centuries. The 14K gold clasp was probably added in the 20th century, giving the brooch extra security and preserving it for future generations. This is not just a piece of jewelry; it is a unique artifact with a soul that takes you back to the past, preserving a piece of history and craftsmanship from long-gone eras. Description: Carved coral cherub...

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...

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...

Demonstrating the epitome of miniature decorative art by Renaissance European goldsmiths who fashioned quatrefoil and/or cruciform jewelry with heraldry or religious symbols, this ce...

This antique amuletic bronze framed pendant cages a dozen 7mm-diameter single-cut rock crystals that each feature a table-cut decagon crown, deep pavilion, 21 facets and uncut girdle, while the culets range from off-center to blunted. They are tightly set within four linked rings to overlap at the same angle in a sparkling single row. Seeming to retain a little of its original yellow-gold gilding on just the interior, the frame that surrounds each of the four sections of three crystals enables them to reflect pale-yellow-and-lime light when the pendant is viewed from certain angles. Each crystal can be manually rotated. Suggesting French heritage, the Medieval Frankish culture in northern France made jewelry in similar segmented or openwork shapes of wheels or whorls, which were worn as gem-decorated disk-shaped brooches or gold-caged rock...

Designed as a silver-topped set of dimensional tied ribbon-like bows Each centering old mine cut diamonds bead set east to west Flush set with additional old mine and rose cut diamon...

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...

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...

Antique 18th century Iberian emerald demi-parure composed by earrings and brooch/pendant in yellow gold, with Spanish hallmarks and accompanied by fitt...

Museum-quality antique late 17th/early 18th century diamond and yellow gold Baroque “sequilé” earrings and pendant/brooch demi-parure, Portuguese, with hallmarks from the period and ...

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

An important late 17th to early 18th century diamond “laça” pendant-brooch, Portuguese, in 19.2kt yellow gold, set throughout with rose-cut and lasque diamonds in closed-back collet ...

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...

The Gigantas Pendant, an important late 16th century Renaissance baroque pearl, gold and enamelled pendant, with later alterations, depicting...

14 kt Flower Brooch With 6 Carat Rose Cut Diamonds, Colombian Emerald,Enamel Stunning brooch in the shape of a flower the pestle is a beautiful Natural Colombian Emerald and the pet...

Old European Butterfly brooch dating from ca. 18th century with 2 natural Rubies and 29 sparkling rose cut Diamonds set in Silver , 10K Rose and Green Gold. One Ruby is of old table...

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 diamond sequile pendant/brooch in 19.2kt yellow gold, Portugal, early 18th century. This Portuguese jewel from the Georgian period of an intr...

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

A Heliotrope (Bloodstone) cameo depicting the profile Christ. Italian, 17th century. Mounted in a mid 19th century high carat gold brooch setting. The cameo measures 3.2 x 2.4cm,...

Material: Solid 14k Yellow Gold Weight: 6.78 Grams Clasp: Pin Backing w/ Rotating Closure Height: 38.1mm (1.5") (when pin is running vertically, including bail) Width: 17.4mm (0.68"...

Antique 19th century Victorian gold brooch Brooch is mounted with pearls and pearl surround and European cut diamonds Center Pearl measuring 10 ...

An antique pearl, enamel, hairwork, and yellow gold brooch, comprising a panel of hair beneath glass, a border of enamel, and thirty-four seed pearls, in 14 karat yellow gold. My f...

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

Details: Rare find! A wonderful Georgian diamond deer brooch! Beautiful pair of sweet reindeer with rose cut diamonds and little ruby eyes. Both a doe and a buck depicted in this swe...

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

An elegant brooch featuring a delicate arrangement of lustrous pearls, set in a graceful oval shape. The pearls are meticulously aligned along a slender gold frame, creating a refine...

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...

This brooch is so intricate and thought out! He is accented by an array of gemstones, including a hidden sapphire behind the head! Brooch Details Material: 14K Gold & Silver Top Era...

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

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...

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 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...

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 ...

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...

A European vintage brooch in 18k yellow gold set with rubies (NH, 1.16ct total) and diamonds (1.87ct total).

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...

Pieces like these transcend being a piece of jewelry alone; this is history. Made some time between the early 1700’s and the early 1800’s, this brooch has been hand made in silver and 18K yellow gold. It is centered by a partially faceted and carved, high-relief amethyst cameo...

“Laça” brooch in 833‰ silver with topazes, Portuguese, second half of the 18th century. Floral decoration with stylised bow, with 3 removable “girandola” pendants in the shape of sty...

An 18th century enamel on gold brooch embellished with pearls, circa 1790. The enamel miniature on the front shows a boy flying a kite against a sunny Mediterranean landscape. The b...

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

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

Magnificent Victorian 18K Yellow Gold Convertible Pendant and Pin with diamonds. They don't make 'em like this anymore! Metal: 18K Yellow Gold Diamonds: Approximately 2.50cts Old M...

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...

Brooch in 18 karat rose gold and silver. A lovely antique brooch representing a blooming flower with a large pear-shaped rose-cut diamond at its heart, and rose-cut diamonds at the p...

Rare, large Ostrogothic silver eagle-headed buckle, circa 6th Century A.D. A bold projecting eagle head profile set with a cabochon ruby color glass eye, the neck chased with linear ...

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...

A brooch shaped like a bee, probably from the 70s. French. 18k gold and approximately 0.30ct of diamonds.

A beautifully preserved piece of jewelry history. This original Georgian period brooch has been done in 18K multi-toned gold and silver topped in sections set with rose and peruzzi c...

Finely crafted in silver on top of gold with an Old Mine cut center Diamond weighing approximately 1.00 carat, and surrounding Old Mine cut Diamonds weighing approximately a total of...

This historic gold brooch hails from the illustrious Mughal Empire and showcases the beauty of traditional jadau jewelry. Using the jadau technique, arti...

This early 16th-Century Renaissance silver-repousse round medallion "lovers" pendant depicts a romantic encounter in a rural landscape between a man and smiling woman wearing Europea...

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

CHANEL - (Made in France) Silvery metal brooch enameled with black. Additional information: Condition: Very good condition Dimensions: Length: 5 cm SKU:BR39

This is a charming antique mourning brooch from the Georgian era. The brooch showcases exceptional enamel work for a period piece and depicts a lady visiting a companion's gravestone...

This beautiful mid-18th century piece of jewellery has been executed in 14 carat gold and is set with facetted onyx .

Georgian jewellery is highly sought after. The Goldsmiths of this period were highly skilled. This unique and beautiful brooch features 51 rose cut diamon...

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...