Trifari Mid-1940s Sterling Vermeil, Turquoise Glass and Ruby Paste Vintage Fur C

This exceptionally rare pair of pins were created in the early 20th century by the German high quality costume jewellery maker, Knoll and Pregizer. Condition Report: Very Good - There are a few stones which are showing some signs of dulling due to age. However, this is only apparent upon very close inspection and they do not detract from the appeal and rarity of the piece. The Details... This pair of brooches or collar pins are each constructed from silver and depict a tortoise and hare...

This stylish brooch was created by Chanel in the 1980s. Condition Report: Excellent The Details... This gold plated brooch features three diamond shaped panels detailed with the fa...

This outstanding brooch was made in France and features a wonderfully elegant original Art Nouveau design. Condition Report: Excellent The Details... This brooch is constructed fro...

Dramatic and historic, this brooch was created in the Georgian era. Condition Report: Very Good - Some clouding to a couple of the stones and scratches to the surface of a couple t...

Exceptionally rare and intricate, this Austro-Hungarian brooch was created in the mid 1800s. Condition Report: Good - Some wear to the enamel work and a tiny chip to the right-hand ...

This stylish necklace dates from the 1930s and was created by Jakob Bengel. Condition Report: Excellent The Details... This necklace is constructed from chrome plated metal. It is...

Here we have a superb vintage brooch. The piece has been crafted from 18ct yellow gold into the shape of a classic car from the 1930s. Automobiles of the 1930s exhibited many notable...

Sapphire and diamond bow brooch by Marcus & Co, American, circa 1935. A yellow gold and platinum bow form brooch set with one central row of twenty eig...

Antique shell cameo brooch and earrings by John Brogden, English, circa 1870. A yellow gold suite of jewellery, the brooch composed of a horizontally situated oval Bull’s Mouth shell cameo of the Greek goddess Selene riding a serpentine dragon in a rubover collet setting, encircled by a conforming frame of gold beading and twisted gold wire punctuated with four gold palmette form plaques engraved and decorated with dark blue enamel and placed at the cardinal points, the reverse mounted with a hinged pin and scroll clasp, the earrings each composed of a vertical oval Bull’s Mouth shell cameo engraved with a bust length portrait of Selene with crescent-set headdress, encircled by a conforming frame matching that of the brooch with the addition of a pendant decoration composed of a horizontal bar of gold beading and twisted gold wires suspending gold link chains graduated from centre and ending in conical gold elements, the reverses mounted with French wire fittings, all in a fitted red leather case, the interior marked ‘FIRST CLASS PARIS MEDAL/ 1855.1867.1851/ PARIS FIRST CLASS & LONDON PRIZE MEDALS/ JOHN BROGDON/ Goldsmith/ MANUFACTORY/ 16, Henrietta St. Covent Garden/ London’. The cameo—defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief—is believed to have originated in Hellenistic Greece, during the third century BC. These miniature sculptures, at that time confined to the medium of hardstone, are thought to have been made with the primary purpose of personal adornment. The same practice of mounting cameos in jewellery was then continued by the Ancient Romans, and they are known to have been worn by many a Roman emperor. After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient world. At this time both antique and contemporary cameos were mounted in jewellery, as well as collected as objet d’art. The art of cameo cutting was revived in Italy, where it would remain a centre for the coming centuries. Again there was a lull in interest in carved gemstones, until the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum. As with the Renaissance, antique specimens were generally prized over modern cameos, and the worldliest men in Europe held them among their collections of art and antiques. That said, carving centres in Rome and Torre del Greco (near Naples) in Italy were established in response to the demand of the Grand Tourists, who travelled to Italy and Greece to become educated in the wonders of the ancient world. It was at this time that shell cameos, mostly made in Torre del Greco due to its proximity to the sea, became more popular, owing to the relative ease in carving shell over hardstone. In addition to Rome, hardstone cameos also became a specialty of Idar Oberstein, Germany, which had a long history with both the gem mining and cutting trade. In a shift away from the collector’s cases of the previous century, the nineteenth century saw a strengthening in the fashion for wearable cameos. After the Empress Josephine donned a cameo-set suite of jewellery at the coronation of Napoleon in 1804, cameo jewellery became all the rage. Napoleon played a further hand in promoting the art by establishing a gemstone carving school in Paris, inspired by his appreciation for the arts of the ancient world. By the mid-nineteenth century shell cameos, in part due to their lightness compared with hardstone cameos, were the height of fashion. Large shell cameos as well as hardstone cameos were set into contemporary mounts, often as suites of jewellery. Some of the best cameos of the nineteenth century—carved by a select group of recognized carvers—were set into revivalist mounts, corresponding to the subject matter. In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome, who also produced cameos for the maker of the present suite, John Brogden. To meet demand some carvers set themselves up in London, including William Schmidt, a German carver from Idar Oberstein, who produced cameos for top London jewellers, including Brogden, Carlo Giuliano and Child & Child. In fact, Schmidt purports to have been the first to carve cameos out of opal, which Brogden reportedly displayed in the Paris Exhibition of 1878. An extant example, now in the collection of the British Museum, was set by the Giuliano firm. Regarding subject matter, cameos throughout time have been largely figural, from bust length profile portraits to scenes with multiple full-length figures, and sometimes animals. Ancient Greek and Roman cameos often depicted mythological scenes as well as contemporary figures. During the Renaissance, mythological scenes were popular, often taken directly from ancient sculpture, as well as portraits of notable contemporary figures. During the eighteenth and nineteenth centuries, due to the revivalist styles, both Renaissance and Classical subjects were copied and set into matching (and sometimes unmatching) revivalist mounts. From the Renaissance through the Victorian era, being able to recognize the source of the carving in a cameo was a mark of erudition, revealing in the wearer knowledge of Classical art. As mentioned, the present cameo parure...

Victorian amethyst and citrine brooch. Set to centre with one round old cut citrine in an open back claw setting with an approximate weight of 60 carats, encircled by four round old ...

Ruby and diamond brooch. Set to centre with thirty four square baguette cut natural unenhanced rubies in open back channel settings with a combined approximate weight of 3.40 carats,...

Cartier Paris Yellow Cognac White Diamond Panther Brooch Cartier describes the Panther as 'The Panther is Cartier’s iconic animal: a wild, untamable anim...