Georgian Brooches

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...

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...

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...

A wonderful, diminutive Georgian or early Victorian gold-filled and woven hair brooch or pin. With braided hair behind glass set in a gold-filled setting surrounded by small pink coral cabochons. In the Georgian and Victorian eras, woven hair art...

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...

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.

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

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 ...

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 truly exceptional French pin and necklace set from the Georgian (ca1780) era! Made of silver and old Rose Cut diamonds, this well-preserved piece is absolutely gorgeous. Much of Ge...

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...

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

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...

--Stone(s):-- Numerous Natural Genuine Diamonds - Rose Cut - Prong, Pave & Bezel Set Total Carat Weight: 4-5 (approx.) Material: Solid 14k Yellow Gold Weight: 20.66 Grams Overall Wi...

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 wonderful Georgian mourning brooch. The outer edge is lined with magnificent red flat cut garnets, with an inner circuit of split seed pearl...

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 ...

Here we have an exquisite antique brooch showcasing a floral motif, meticulously crafted with a impressive round faceted old mine-cut diamond at the centre. This principal stone, wit...

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...

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...

A Georgian cannetille brooch-cum-pendant, with a cushion shaped emerald in the centre, surrounded by a cluster of eight, old mine-cut diamonds, with six, oval faceted rubies and six ...

Circa 1820, this 14k gold pin would have been worn in the Georgian era as a way to memorialize someone. In its center, hair is woven tightly together to m...

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...

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...

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...

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 Aquamarine and Lapis Cannetille Pendant-Brooch of beautiful quality and condition. Extraordinary detailed gold work forms the surrounds fo...

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 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...

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...

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

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...

A late Georgian topaz brooch, the brooch set with a central oval-shaped faceted golden topaz, measuring approximately 13.5 x 11.7 mm, rose gold c...

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...

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

Antique Georgian Engraved Braided Hair Mourning Brooch Enamel and 14 Karat Yellow Gold The Brooch is Hand Engraved and Embellished with a Black Enam...

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...

Dainty Georgian pansy pin set with amethysts and citrines in 18K gold. Pansy pins were often given as a gift from a loved as the sound of the word pansy was similar to the French "pe...

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

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 ...

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.

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...

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...

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...

This stunning brooch would also make a stunning pendant! The hair behind the locket front is surrounded by beautiful flat cut garnets, typical of the Georgian period...

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 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...

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...

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...

Antique Stunner! Georgian Gold & Silver Diamond Brooch Brooch measures 2 1/4 ” wide x 2 ” height. The brooch has One Hundred Thirty-One -131 Old Mine, Rose Cuts and Old European Diamonds weighing from 0.02 carat to 0.65 carat. Total diamond weight is approx. 3.00 + Carats. There is One pin on the back, a “C’ clasp with frame safety to keep it in . No maker’s stamps on brooch. Age: Georgian Period. The Georgian era is a period in British history from 1714 to c. 1830-37, named after the Hanoverian kings George I, George II, George III and George IV. Very good condition. Brooch weighs 20.25 grams. Arrives in an antique pin box...

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...

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. ...

--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...

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...

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

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

A large coral brooch of an angel, Italy, 18th century. weight: 19.1 grams dimensions: 6.1 cm.

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 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...