Georgian Brooches

Antique Cannetille jewelry is highly admired for its exquisitely detailed hand wrought gold work reputedly inspired by fine lace embroidery of the 1...

This gorgeous pendant brooch is modelled in 15carat yellow gold and is set with aquamarine stones. The central stone measures 1carat and the stones surrounding it total 7.8carats. Th...

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...

This exceptional antique piece dates back to the Georgian design period (1714-1840). This design period is quite lengthy as it encompasses the rule of five British monarchies. This G...

These gorgeous 18 Carat gold cannetille earrings are so decorative. They have flown detail near the hooks and delicate detail all the way down to the bottom. Drop from ear: 6mm Wei...

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 ...

Late Georgian era 5.54 Ctw. Diamond Moon & Stars 'En Tremblant' Brooch composed of 10k rose gold and silver. This spectacular Georgian era brooch has 3 diamond-set stars that move sl...

The Cut Steel in this brooch is remarkable because of the multitude of forms that make up this heavily textured design. The center is cut like a rose cut dia...

Dating from around the 1830s, this magnificent Georgian pendant features a silver-over-gold "bow" set with 13 beautiful old rose-cut diamonds that total at least 1 carat. From this s...

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...

A beautiful historical antique 18k gold pin of four flowers accented by diamonds and enamel by Cartier. This pin is a rare pin by Cartier made in 1938 to commemorate the English Royal visit of King George to Paris. It was made in limited edition. The visit took place July 10-22, 1938. The pin features the English Rose, the Scottish Thistle, Ireland's Shamrock and the Welsh Daffodil to signify the United Kingdom held together by a red white and blue ribbon made with enamel. The colors are also French colors. This pin is illustrated in several Cartier books including "The Cartier Collection Jewelry...

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...

Superb antique Georgian Regency period black dot paste and silver turban ornament brooch. Circa 1810 The hand cut, hand polished stones set in a substant...

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...

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...

Designed as a flower set en tremblant . The center is set with a round brilliant diamond weighing approximately 1.25 carats, further set throughout with round, baguette ,pear and marquise cut diamonds weighing approximately 14.76 carats. The stem and leaf...

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 ...

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...

This 18k yellow gold multi gemstone brooch from 1810 is an exquisite display full of symbolism. The brooch was meant to spell 'REGARD' in a refined procession of ruby, emerald, garne...

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...

Indulge in this romantic Georgian Antique Women and Lovebird Portrait Pearl Pendant Necklace or Brooch in Silver dating to circa 1830. The magnificent Georgian pendant is centered ...

Love for Ever Magnificent little treasure as survivor of a past pledge of love will please the next keeper with its un discussed beauty and hidden secret tales of love Georgian perio...

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

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...

19th Century Emerald and Diamond “en Tremblant” Aigrette Brooch in Silver and Gold, likely France or Portugal, circa 1800–1830. A monumental 19th-century aigrette of exceptional scal...

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...

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...

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...

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...

A late Georgian diamond-set aigrette brooch, in the form of a diamond-set spray with two diamond-set flowers and a diamond-set bow, the knot of the set with an old mine-cut diamond estimated to weigh 0.7 carats, the small old mine-cut diamonds estimated to weigh a further total of 9 carats, all grain and cut-down set in silver to yellow gold back, with later gold brooch fitting, circa 1810, measuring 6.5 x 3.5cm, gross weight 15.9 grams. This antique brooch is in very good condition for its age. Unmarked, tested as silver and 18ct gold, with 15ct gold later brooch fitting. This superb late Georgian diamond aigrette...

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

Here we have an exquisite Georgian brooch adorned with shimmering rose-cut diamonds. The intricate design features a harmonious arrangement of stones, each set in silver atop a gold ...

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

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...

Georgian 14k Yellow Gold Weight 2.48g Rose Cut Diamonds on some wings Pearl Pin Measurements 3inx 0.32in Has a makers mark on the side as pictured.

This stunning brooch would also make a stunning pendant! There are four large flat cut garnets and at the centre is a run garnet. The brooch is also de...

A fine antique Georgian gold, seed pearl, hair, and enamel mourning brooch. With braided or plaited hair behind glass in a worked gold setting set with seed pearls and surrounded by a black enamel band. The reverse bears a pin for attachment and likely had a jump ring removed. In the Georgian and Victorian eras, woven hair art was used to memorialize a departed loved one or given as a keepsake memorial for a loved one in their absence. The gold tests at 10k. Simply a wonderful Georgian mourning brooch...

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

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...

Trifari Alfred Philippe Regence Pave Georgian Revival multi tremblant rose clip brooch of rhodium plated metal, and faceted crystal rhinestones...

This exquisite brooch is designed in the shape of a miniature round-backed mandolin. It was created around 1825 out of 18K gold. The body, the neck and the headstock of the mandolin ...

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...

Silesian Wirework Bow Brooch from the Georgian period, circa 1830's. Intricately woven iron wire is formed into a bow formed brooch with drop and gut...

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 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 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...

This antique Georgian brooch showcases the delicate artistry of the period with a finely crafted insect motif. The wings and body are set with glittering rose-cut diamonds, their old...

This Cut Steel brooch has telltale Georgian characteristics. Georgian era cut steel has a variety of cut steel bits held in place by rivets to the back brass...

--Stone(s):-- Numerous Natural Genuine Diamonds - Rose Cut - Pave Set - 2-3ctw (approx.) (3) Natural Genuine Rubies - Round Cut - Pave Set - Pinkish Red Color Material: 12k Yellow G...

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

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...

This gorgeous 18 Carat gold cannetille brooch holds a shiny red garnet stone. The detail surrounding this stone is exquisite. This piece could be either a brooch or a pendant. Face...

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...

Here we have a charming little Halley's Comet brooch taken from the Georgian period. Crafted from a blend of old gold and silver, it showcases a striking design with a white rose cut...

19th century Bohemian garnet brooch A Early Bohemian Garnet Brooch. Has a gold wash or filled mounting with a floral motif Design. Has a step up...

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.

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...

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 ...

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