Late 18th Century Jewelry

This ring features an antique, mother-of-pearl Chinese gambling counter with motifs dating back to the 18th century. This piece was originally carved in China for export to Britain. ...

Georgian diamond portrait ring in 18k rose gold and silver. Antique ring composed of a hexagonal bezel enclosing a lady's portrait. The miniature portrait is highlighted by a surroun...

Bague ancienne en or jaune 9 carats (350 millièmes) du début du 19ème siècle sertie d'une plaque de verre portant l'inscription en intaille "Une lettre adoucit les peines de l'absenc...

A Stockert-pattern fruitwood diptych sundial, the lid with applied paper list of towns and cities and their latitudes (mostly rubbed off), the inside of the lid with string gnomon an...

This is a wonderful 15ct rose gold mourning ring from the late Georgian era. The piece has been set with a centralised round window that features a small locket of hair and a border ...

Flat, rectangular case for holding writing utensils in colored gold and vernis Martin (a type of imitation lacquer). A button serves to open the hinged lid. Four panels made of verni...

This delicate engraving shows cupid holding a banner storming up to the temple of love

Rectangular enamelled gold box. The hinged lid is decorated with a scene of young people dressed in neoclassical clothing and approaching near an altar where officiates a person dres...

Past Treasure This surprisingly beautiful antique pendant is Georgian period, 1790 ca The large circular body is set with a rich Royal Cobalt Blue Bristol glass, encircled in gold wi...

A hunter pocket watch made by Rich Evans Shrewsbury and Robert Causer. Very fine half hunter pair cased pocket clock, made in Birmingham England by the sil...

This Georgain era brooch pendant is 1790 ca 18 Kt solid gold topped by silver Typical flower and leaf design so loved by the Georgians artful modelled in a tri-dimensional manner r...

Oval clasp for a bracelet or a necklace with a miniature showing two little girls. The girls have short hair, typical for the post revolutionary fashion. The bigger child is holding ...

A large 18th century hour glass, or sand glass, with brown painted ring-turned end plates connected by four baluster- turned columns, encasing a large colorless glass bulb with white...

Georgian hair, diamond and pearl mourning ring. Set with twenty eight round rose cut diamonds in closed back grain settings with a combined approximate w...

FACTORY / HOUSE: Rolex Watch Company STYLE / REFERENCE: Datejust / Reference 1601 METAL / MATERIAL: Stainless Steel CIRCA / YEAR: Early 1970's DIMENSIONS / SIZE: Length 43mm x Diamet...

Georgian diamond and enamel memorial ring. Centrally composed of an oval plaque of dark blue engine turned enamel, the centre set with three cushi...

Bottle of conical shape in faceted crystal and gold frame which opens by a hinge. Inside, the stopper has a bird-shaped grip. Once closed, the stopper forms a "cage" for the latter. ...

This exquisite 14-karat yellow gold collier is a true masterpiece, combining timeless elegance with a touch of warmth. Weighing 41.45 g, it conveys a pleasant solidity that underline...

This fine solitaire ring is made in 18 kt yellow gold ( gr 6.00 ). The central diamond has an hexagonal setting and weighs Ct 1.05. The ring is embellished with mother-of-pearl inser...

18th Century Giacomo Raffaelli Micro Mosaic Rabbit Plaque A micro mosaic depicting a fat rabbit eating leaves set in a wooden frame. Made by the late 18th century mosaicist Giacomo Raffaelli. Signed on the reverse Giacomo Raffaelli, Roma 1794 Diameter of the micro mosaic: 2.25" Measurements of the frame: 4.63" x 4.63" Provenance: "Micromosaics Private Collections" by Janette Hanisee Gabriel, published by Brian McCarthy...

A rare and striking Georgian-era navette ring, crafted in 18k yellow gold with ornate openwork shoulders. At its center rests a marquise-shaped jade, its vivid green hue radiating a ...

A breathtaking ring from the Georgian (ca1790s) era! Crafted in 18k yellow gold, this ring features an incredible navette centerpiece. The centerpiece features a central, large old m...

Crafted in France during the 1970s, this striking statement ring showcases a superb emerald-cut aquamarine of icy-blue transparency, set in a streamlined 18K white gold mounting. Its...

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...

An authentic 14K yellow gold Victorian enamel tassle bracelet. The gold-mesh bracelet ends off with multi-fringed tassel and is mounted with a crescent...

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 silver bracelet made of antique bible closure created in1700s/1800s. The free links of the bracelet depict different biblical figures on a floral background and are connected with each other by means of three row chain...

This rare antique late 18th century gold ring was made in France and features a painted enamel miniature of a shepherd boy holding a crook. This pastoral scene probably depicts David...

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

Material: Solid 18k Yellow Gold w/ 12k Gold Grate Inside Total Weight: 25.02 Grams Overall Height: 37.8mm (1.4") Overall Width & Thickness: 26.5mm (1") Condition: Antique. Circa 197...

The garnet in this ring is cut in a table cut style, which was a popular cut in the 18th century. This particular cut features a flat, wide top with a faceted surface that gives the ...

A wonderful George III period chamber stick in sterling silver by Henry Chawner of London. An elegant scrolled handle is mounted to an octagonal base underneath a column with reeded ...

Georgian antique cluster earrings. Exceptional antique pair, created in England during the Georgian period, circa 1785. These diamonds cluster earrings was carefully crafted in soli...

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

In terracotta with black marble medallion centered by a white marble profile depicting Roman emperor framed by the inscription T. VESPESIAN. A U G .; the terracotta frame with engrav...

Finds such as these Venetian Silver Candlesticks are incredibly rare, that truly deserve a museum display. It’s a fascinating piece of the XVIII century history, originating from ...

French neo classic desk seal. Wonderful desk seal, created in France during the late 18th century, back in the 1798-1808. This magnificent piece of art was conceived as a miniature sculpture mounted in a Louis XVI neoclassical style base. This base is crafted in 18 karats gold over silver with chiseled and incised decorations, supporting a magnificent extremely detailed carving of a women. The carved piece, depicts, the naked portrait bust of the classical Greek-Roman goddess of the flowers and nature Flora (Heba), facing forward and exhibiting her breasts, undressed and crowned with flowers, wheat and ivy. Flora or Heba She was the deity of the flowering plants, fertility, spring, and blossoming. Although she was a minor figure compared to other goddesses of the Roman empire, she was important as a fertility goddess. Flora was responsible for the abundance of the crops in spring, so her worship strengthened as this season approached. Her name derives from the Latin floris, which means flower, and her Greek counterpart was the nymph, Chloris. The Sabine King Titus Tatius introduced Flora into the Roman pantheon...

An antique Georgian period gold and oval foiled-back citrine ring featuring the martyrdom of Christ with two mourners, with fluted undergallery and split shoulders accented with leaf...

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...

Flat trapezoidal shaped tablet case in enamelled gold. The upper part is hinged and opens with a push-button. The case is composed of four translucent blue...

Amethyst memorial ring for the Right Honourable George Grenville (British Prime Minister, 1763-1765). Set to centre with one cushion shape old cut amethyst in a closed back cut-down ...

This unusual ring houses what is often referred to as a 'Tassie Glass' intaglio. The aubergine glass intaglio which depicts a nymph with a tambourine like...

A Magnificent 18th Century English Gilt Bronze and White Marble Clock. Clock is Beautifully Comprised with a Bird Form Finial over the Circular dial with Arabic Numerals, flanked by ...

Early portrait miniature memorial ring. Vertically set with an oval portrait miniature of a lady in late eighteenth century period dress wearing a floral hat on a blue ground, covere...

18th Century Hunting Eagle Micro Mosaic Plaque A micro mosaic set in silver depicting an eagle grasping a rabbit. The design is a recreation of a part of the title page of "Various Birds & Beasts Drawn From Life" by Francis Barlow...

A 'vinaigrette' in the shape of a small tobacco box. In 18- carat, two- colored, gold (rose and green), it is studded with flower decorations. Marked with two eagles, warranty mark f...

A set of four George III sauce tureens and covers, the shaped octagonal urn form with angular handles, demi fluted bodies, the incurved dome covers with urn finials, engraved with cr...

Vauchez A Paris. A Rare Three Colour Gold Rose Cut Diamond Enamel Verge Keywind Pocket Watch C1770 Dial: The white enamel dial signed Vauchez A Paris with Roman numerals and l...

A Georgian hardstone cameo ring, the oval-shaped layered agate cameo, measuring approximately 27 by 17mm, and depicting the finely carved profile ...

A Magnificent Solid Silver Pair of Georgian Candlesticks. PLEASE NOTE: These are not weighted to base, the weight is in Sterling Silver. Dating from the first years when France bec...

Italian earrings in 8ct gold and silver with rose cut diamonds. With a lever back fastening, from the end of the 18th Century.

Objet d'art watch in the shape of an egg. It has romantic scenes in enamel on cooper with a gilt brass fusee movement and round baluster pillars. This piece ...

This beautiful and original silver cross was handcrafted in the second half of the 18th century, in the 1770's. The jewel is set with old mine rose diamonds in closed settings. From a bow shaped slide a cross is suspended. The large drop shaped element at the bottom of the cross is articulated. Four arrow shafts arranged as an X or St. Andrews cross...

This beautiful Georgian ring is 1790 ca. Made of 18 Kt gold with silver potions Round head overwhelmed by antique Flemish cut Diamonds for a total estimate of 2.40 Ct full of sparkle...

These substantial vintage clip-on earrings were created by Kenzo of Paris in the 1980's out of metal. The tops of the earrings are designed as flowers from which a wreath made out of...

A fine antique Georgian salt cellar. In sterling silver. By Robert Hennell I. With scroll handles, a beaded edge & foot, repousse decoration around ...

Modeled as a satyr, incised CLODION, raised on variegated red and green marble plinth. height 13in (33cm) 33cm high, 13in high)

Magnificent Georgian period Urn ring set with natural untreated Ruby and Diamond, possibly Burma, in 18 KT and silver Elaborate scroll work with the Urn in the middle beautifully adorned with 1 pear mine cut...

An extraordinary pair of earrings created from very rare buttons dating to the time of the French Revolution (1789-1799). The earrings are hand painted enamel. One bears a person st...

A gorgeous oxblood coral bead necklace from the Victorian (ca1880) era! This lovely necklace is comprised of a single strand of graduated oxblood coral beads, which are hand strung o...