This is a charming pendant that was made circa 1900-1910. It takes the form of a witch's heart with stylised stems, a leaf set with graded diamonds and a flower head set with an aquamarineAquamarine (from the Latin, “water from the sea”) is, as the name suggests, a pale green bluish to medium dark blue member of the beryl family. Due to its lovely, limpid color and its durability aquamarine has been one of the most popular gemstones from ancient times to the present day. 7.5 - 8 on the Mohs scale. The birthstone of March and 19th year ann... More. It has a diamondA precious, lustrous gemstone made of highly compressed carbon. Diamonds are one of the hardest materials known to mankind. Colours of diamonds range from colourless, yellow, orange and brown to almost black. Natural coloured (or ‘fancy’) diamonds can be extremely rare. The cut, colour, clarity and carat weight of a diamond are the criteria jewellers use... More set baleA component of certain types of jewellery, mostly necklaces, that is used to attach a pendant or stone.  The bail is normally placed in the centre of the necklace where the pendant hangs. More so that it can be worn as a pendant, but there is also a brooch fitting so it can be worn as a brooch too. The front is silverA metallic element which is malleable and ductile, and white in colour, making it ideal for use in jewellery. It is usually mixed with copper to improve its hardness. More and the reverse is 15ct62.5% pure gold (or 625 parts pure gold and 375 parts other metals). Popular during the Victorian, Edwardian and Art Deco eras but was discontinued in the mid-1930s. More gold. It has long been a tradition for lovers to gift each other with witch’s hearts as love tokens to symbolise that they have been “bewitched” with love. It is typical of the Art NouveauJewellery made in the Art Nouveau era (1890-1915). More period with the flowing naturalA natural stone is called such because it has not been subjected to any}

Something for horse riders! A well modelled silverA metallic element which is malleable and ductile, and white in colour, making it ideal for use in jewellery. It is usually mixed with copper to improve its hardness. More whip set with graded marcasiteThe marcasite of jewellery is in fact iron pyrite as marcasite itself is too brittle alone for the durability required of a piece. This jewellery marcasite is sometimes called ‘fool’s gold’ given its heavily metallic appearance. Marcasite of this kind also offers a kind of iridescence, explaining its use as a more affordable diamond replacement that wi... More (iron pyrites) that was made in the 1920s }

A good looking VictorianJewellery made in the the Victorian era (1839-1901). More brooch that was made circa 1880. It can also be worn as a pendant as it has a hinged ring on the top. It is composed of a flower cluster in the centre set with six well matched Royal blue colour sapphires. Around it are old mine cutAn 18th, 19th and early 20th century diamond shape, typically cushion or asymmetrical, marked by a small table, a high crown and a large culet. Culets are the small flat facets at the bottom of a stone which appear to the untrained eye as a hole in the middle of the stone. Before the advent of modern machinery which allows for the precise faceting we see tod... More diamonds and further sapphires and a mixture of rose cutThe ‘rose cut’, defined by its rounded outline and multiple triangular facets, is one of the earliest diamond cuts, with its origins in sixteenth century Europe. A rose cut typically has a flat base and anywhere from six to twenty four facets, the latter known as a full rose cut. More and old mine cut diamonds on the outer edge. The sapphires are most likely of Burma origin and are naturalA natural stone is called such because it has not been subjected to any treatments.  More stones. This is a very striking and pretty piece of jewellery that would grace any occasion}

A charming silverA metallic element which is malleable and ductile, and white in colour, making it ideal for use in jewellery. It is usually mixed with copper to improve its hardness. More brooch that was made circa 1860-1880. At this time there was a great interest in botanical flora and fauna, so brooches and lockets were made that featured different flowers. This brooch has been finely enamelled with primroses. A lovely brooch to celebrate spring and hope for the future}

A really pretty silverA metallic element which is malleable and ductile, and white in colour, making it ideal for use in jewellery. It is usually mixed with copper to improve its hardness. More brooch that was made circa 1880. It is typical of the late VictorianJewellery made in the the Victorian era (1839-1901). More style with engraved stylised floral petals around the edge with bobbles then a circular bandA type of ring which is an equal width all the way round. They are traditionally used for wedding rings. More of gold around a ribbed and bobble design. In the centre is the daffodil with leaves below with applied rose and yellow gold work. A lovely Spring or Easter gift for a birthday or in celebration of St David's Day on the 1st March.}

A lovely silverA metallic element which is malleable and ductile, and white in colour, making it ideal for use in jewellery. It is usually mixed with copper to improve its hardness. More brooch that was made in Birmingham in 1890. It has a lot of detail in the design with hand applied silver wire work in the centre and a buckle motif at either end. The buckle motif represents eternity, loyalty, strength and protection and was used a lot in GeorgianJewellery made in the Georgian era (1714-1830). More, VictorianJewellery made in the the Victorian era (1839-1901). More and EdwardianJewellery made in the Edwardian era (1901-1914). More jewellery. What a wonderful brooch to give to a loved one}

A pretty Arts and Crafts silver brooch that was made circa 1940-1950, which is in the form of a flower spray that has been set with different sizes of moonstones. These old moonstones have an extraordinary optical effect called adularescence which is when light is scattered in many directions giving it the characteristic cloudy bluish-white glow. Modern moonstones are much whiter and opaque. The photographs do not show this effect very well. It is a beautiful brooch that can be worn on a dark colour to show off its true blue glow beauty. }

A lovely example of a Scottish brooch that was made circa 1860. It is set with various different agates that were sourced in the river beds in Scotland. This style grew up around Queen Victoria’s purchase of Balmoral Castle in 1860. Many pieces were made as tourist trinkets to the travellers who flocked to the Cairngorms to discover the beauty and serenity of the Scottish mountains. This brooch is a coiled rope design and has been set with specially chosen agates that contrast beautifully }

A very pretty brooch in its original case that was made circa 1890. It was retailed by Henry Tessier who were the Court Jewellers based in 104C Mount Street, Grosvenor Square in London. It is a lovely intertwined design and has been set with three turquoise and graduated diamonds and rose diamonds. The use of the turquoise represents a forget me not flower which literally means “Forget me not” and the diamonds mean “Eternal love”. It comes in its original red Moroccan case. }

A pretty silver bow brooch that has been set with white paste. It was made circa 1880. It is a very wearable piece of jewellery and could easily be mistaken for the real thing! }

A beautiful 18ct gold pendant with silver settings that was imported into France circa 1880. In the centre is a large pear shaped garnet. It has been hollowed out on the reverse and has been foiled. This is to show off the Burgundy red colour. Around the garnet in a scalloped design are graded small rose diamonds. At the top is a bow set with more rose diamonds. There is a small bale for a chain to go through. On the reverse is a brooch fitting that unscrews so you have a choice of wearing it as a pendant or a brooch. This was common in antique European jewellery }

A very stylish silver brooch that is typical of the late Art Nouveau period, circa 1915. Geometric forms are creeping in but there are still elements from the Art Nouveau period. It has been set with dyed blue chalcedony. A company that made similar pieces was Heinrich Levinger, a Jugendstil jeweller and manufacturing jeweller, established in 1875 in Pforzheim, Germany. His company was known as Levinger & Bissinger from 1903-1909. Two designers that worked for him Were Otto Prutscher and Georg Kleemann. There are two maker's marks on the pin and clasp that I have been unable to identify }

A delightful brooch that was made circa 1910-1920. It has a Royal blue enamel base. Mounted on the enamel is a silver basket of flowers which has been set with graded marcasite (iron pyrites) There is marcasite around the edge and marcasite flowers at either end. Marcasite to all intents and purposes looks and is cut like rose diamonds as it glitters when it catches the light. What a lovely gift instead of a bunch of flowers! }

A finely made silver brooch of a rose surrounded by an entwined pattern of leaves. It has been set with graded white paste with a larger one in the centre of the rose. The pierced work is attractive and contrasts well when worn with different colours underneath. This brooch was made circa 1900-1910 and would most likely have been a gift of admiration and love }

A fine quality silver and marcasite brooch that was made in the 1920s. It is the form of a basket of flowers within a rectangular frame. It has a pale blue guilloché enamel background. Guilloché is a decorative technique in which a very precise, intricate and repetitive pattern is mechanically engraved into the underlying silver via engine turning then the translucent enamel is applied. The graded marcasite (iron pyrites) glitters like rose diamonds in certain lights so it is a pretty brooch to wear for all occasions and a lovely gift to give to someone you love }

A lovely example of a Scottish brooch that was made circa 1860. It is set with various different agates that were sourced in the river beds in Scotland. This style grew up around Queen Victoria’s purchase of Balmoral Castle in 1860. Many pieces were made as tourist trinkets to the travellers who flocked to the Cairngorms to discover the beauty and serenity of the Scottish mountains. }

A silver brooch that was made circa 1850. It has been set wit three cushion cut rock crystals that have been foiled to reflect the light. }

A striking silver brooch with a central sunburst design. It was made during the Aesthetic period, circa 1870, in England when there was a tremendous interest in the Far East, especially Japan. }

Am impressive Georgian silver and paste set brooch with three drops. It was made circa 1800-1820. This style of brooch would have been worn in the centre of a dress and was known as a corsage brooch. There would have been most likely a pair of earrings to match }

A pretty silver pendant that can also be worn as a brooch. It was made in France circa 1910. It is set with graded marcasite (iron pyrites) and green paste with three cultured pearl drops. This brooch would have been worn at the centre of a dress as a corsage brooch }

An well modelled silver brooch of a dolphin jumping through a hoop. The hoop is studded with marcasite (iron pyrites) so it glitters like black diamonds. It would be very eye catching when worn on a lapel. }

A lovely silver brooch of a peacock that was made between 1920-1940.. The peacock motif was often used in both Art Nouveau. and Arts & Crafts jewellery. In ancient times, the peacock was the symbol of rebirth and eternal life. It has been set with graded marcasite (iron pyrites) and a red paste eye. It has a secure brooch fitting with an added safety chain }

A really beautiful silver model of a leaping hind. She is set with white paste and a cabochon red paste eye. It was made circa 1900-1910. This would be a stunning present for a Scottish lass! }

A really stylish Art Deco brooch that was made in the 9120s. It is such a fluid design with a central circle set with graded marcasite (iron pyrites) and a ribbon flowing over and under it set with further marcasite. This brooch would look stunning worn on a lapel. }

A very pretty and unusual brooch that was made circa 1900. It is an unusual form in that it features two weeping hearts with an inner curved sides. One heart has been set with diamonds, the other with sapphires. Above is an Earl's coronet set with diamonds. This would have been given as a token of love between two people. }

A tortoiseshell brooch that was made circa 1880. At that time England was in mourning following the death of Prince Albert and it became fashionable to wear black pieces of jewellery. These pieces gradually became more decorative and as with this example were inlaid with gold and silver threaded patterns. This brooch has a star in the centre and looks quite dramatic when worn. }

Bernard Instone was a well known Arts and Crafts designer of jewellery. He died about 35 years ago after a long life devoted to his art. His pieces are very wearable and well made. This silver brooch is composed of a large oval faceted citrine with a shaped green chalcedony on either side. Silver engraved leaves frame the stones in a style that is typical of Instone's work. It was made circa 1940-1950. }

Anton Michelsen was the founder of one of the most important jeweller families in Denmark. He established his own company in 1841 and after a short while, the company received its first commissions from the Royal family. For four generations, the company made jewellery of the highest quality. A. Michelsen is now part of Georg Jensen. This set is of the finest quality enamel work in grey and white. It is silver gilt and is in very good condition and was made in the 1960s. }

An unusual pin that is known as a Sûreté Pin pin. A sûreté is a stick pin with a fixed ornament on one end and a detachable ornament on the other. There was a fashion for these pins in the early 1900s. They come in all shapes and sizes from Chinese influenced ones to hunting pins such as this one. The hound and fox have been beautifully modelled and have been set with graded rose diamonds. Each animal also has a cabochon ruby eye. }

An attractive brooch of a duck that has been set with graded rose diamonds and two cabochon rubies for the eyes. It was made circa 1900-1910 and would have been worn on a stock or the lapel of a jacket. }

An attractive brooch that was made circa 1900-1910. The snipe's head has been set with graduated rose diamonds and has a ruby eye. It has been mounted on to a 9ct gold bar pin and would have been worn on a stock or a jacket lapel. }

A beautiful and unusual 15ct gold brooch with a silver front that was made in the early 1800s. It has a flower basket in the middle set with a largish rose diamond with further small rose diamonds set in to the leaves and flower. Below is translucent Royal blue enamel that reveals the decorated surface below. Around the edge are graded rose diamonds. It is a timeless piece of jewellery that is utterly stunning and quite rare. }

This is a very large and very stylish pendant brooch. It can be worn across as a brooch or down as a pendant. It is set with mother of pearl with a cultured pearl in the centre. Tiny emeralds and rubies and marcasite highlight the design. There is no maker's mark but it is similar to designs by Theodor Fahrner who was a German designer. }

A rare model of a grouse set with rose diamonds, rubies and emeralds in a silver setting with a gold wash on the reverse. It was made circa 1880-1900 when sporting was at it's zenith. It would make a wonderful present to someone for the Glorious Twelfth! }

A good Moderenist silver brooch designed by Henning Koppel for Georg Jensen. Koppel was born in 1918 and died in 1981. He was an artist and sculptor but is most known for his work for the Danish firm, Georg Jensen in the years after World War II. This brooch is typical of his stylish design and dates from 1956. We also have a pair of earrings to match this brooch in the "Earrings" section. }

A stunning 18ct gold brooch of four swallows perched on a tiny gate. Their bodies are studded with rose diamonds and they have tiny ruby eyes. There are twelve pearls on the gate. The swallow was considered daring, risk-seeking, and a symbol of change for good in the future. It also meant “Everlasting love” and “loyalty” as swallows mate for life. This brooch is comparatively rare and is called a "Novelty brooch". It was made in France circa 1900-1910. }

A striking large silver butterfly brooch. It is set with coloured and clear paste and is presented in a velvet and silk lined leather case. Concealed under the velvet pad is a "tremblant" pin which screws on to the butterfly so that it can be worn as a head ornament and trembles as the French word suggests. It was made circa 1860-1890. }

An unusual silver butterfly brooch set with two carved carnelian agates for the wings. The body has been enamelled in red and green translucent enamel over a decorated silver base. It was made circa 1920-1930. }

An attractive pair of silver Art Deco clips that can be worn on either side of a square cut collar as they were in the 1920-1940 period, or separately on a lapel. They have been set with graded marcasite (iron pyrites) that glitter like small rose diamonds. }

A cheeky silver squirrel brooch set with graded marcasite (iron pyrites) with a red past eye and a silver collar. It would look great worn on a lapel. }

A stylish silver brooch set with brown, grey colour granite in the middle. It was made by David Andersen in the 1950s. David Andersen opened his shop in Oslo, Norway in 1876 specialising in jewellery and silver wares. Andersen died in 1901 and his sons took over company operations and designs. Today, David-Andersen (the company’s name since the early 20th century) is well known for its mid-century silver jewellery. }

An attractive silver and paste brooch of a flower and stem that was made circa 1900-1910, possibly in France. It would look really good when worn on a lapel. }

A pretty silver brooch that was made circa 1910. It is silver with a blue glass base and set with clear white paste in a rectangular design. }

A wonderful Georgian brooch of a lyre with a crown above. It is most likely of French origin as the crown has two fleur de lys within it. It was made circa 1800-1820 and is set with graded paste. It is 9ct gold and the paste is set in silver. }

An attractive late Victorian brooch that was made circa 1880. It has a raised design of ivy leaves and the word "Souvenir". On the reverse is a locket section which can be used to contain a photograph or a lock of hair etc. It is silver with a gold wash, this is called "silver gilt". }

A silver gilt brooch with detailed hand applied work. It was made circa 1880 in Sweden. }

A very pretty 15ct gold Edwardian brooch that was made circa 1900-1910. It has a diamond set surround and a central swirly leaf design in diamonds with one natural pearl. The background is translucent apple green enamel which echoes the swirly design in the centre. There is a locket section inset to the reverse. It is very well made and in excellent condition. }

A beautiful Scottish silver brooch that was made circa 1860. The different coloured agates have been cut to fit an interlocking pattern. This was time consuming and very skilled work. The fashion for Scottish pebble jewellery began when Queen Victorian purchased Balmoral castle in the Highlands in the 1860s. Stones were sourced in river beds and polished and set in to all sorts of styles of jewellery and sold to the burgeoning tourist trade. These brooches are highly collectable today as they are small works of art. }

In the Victorian era in Whitby on the Yorkshire coast was where the finest quality jet was sourced. Whitby Jet is actually fossilised wood which has been compressed over millions of years. Most frequently found in seams of shale between Robin Hood's Bay and Boulby. In addition to the distinctive shale or 'Jet line' which appears above sea level, the seams extend under the sea and pieces often break away in bad weather to be washed up on to the shore. In 1851, Whitby Jet was exhibited at the Great Exhibition, London and soon became coveted by a number of high profile royal persons including the Queen of Bavaria and the Empress of France. But Whitby Jet's most prolific patron was Queen Victoria. When her beloved Albert died in 1861, Victoria took to wearing Jet jewellery in remembrance of him, and it soon became the etiquette to accessorise the period's mourning fashion with jewellery made from jet. So much so, that the only jewellery allowed to be worn in court during the period was Whitby Jet. Craftsman in Whitby would also take fossils such as ammonites and inlay them into Jet to produce souvenir brooches for sale to the tourists who visited Whitby. This brooch is an excellent example of the craft. }

A sweet oval silver brooch with a pierced work design with a flower in the centre. Perhaps this originally meant the start of a relationship. It was made circa 1880. }

A smart Art Deco silver brooch that was made circa 1920-1930. It is set with graded marcasite (iron pyrites) The intention was that the marcasite imitated rose diamonds and the silver imitated platinum. It was essentially a copy of a diamond and platinum brooch with all the hand set and milgrain detail of the real thing! }

An unusual silver clip. It was made circa 1910-1920 and is in the Arts and Crafts style that was so popular at the time. It is set with an oval blister pearl. }

A wonderful model of a running fox. He is studded with graded old mine cut and rose cut diamonds and has cabochon ruby eyes. He was made circa 1900-1910. }

A stunning diamond set large crescent brooch that was made circa 1880. The diamonds are well matched and graded old mine cut stones, and are a wonderful bright white colour. It is beautifully made with a brooch fitting that unscrews so that it could have been attached to another piece of jewellery such as a tiara. The diamonds are set in silver with a gold back which was the normal practice at this period. The crescent moon signified the start of a relationship which, it was hoped, would "wax" into a marriage. https://static.antiquejewellerycompany.com/2018/10/613K.mp3 }

An unusual Victorian silver brooch of a jockey on a horse. It is beautifully modelled and was made circa 1860. }

An unusual Scottish silver brooch. It is in the shape of a horn and inset with different agates including bloodstone. The silver has been beautifully engraved on both ends. It is in excellent condition and was made circa 1860-1880. }

A well designed silver brooch by George Jensen. It is attributed to Nanna Ditzel. }

A lovely silver model of a feather set with paste that was made circa 1900-1910. It looks fantastic on a lapel with different colours behind it. }

A good example of a silver gilt brooch made by the well known firm, Theodor Fahrner. His factory was a major player in the production of well designed good quality jewellery in the Art Deco period. He was one of the foremost designers in Pforzheim in the Black Forrest in Southern Germany. This brooch is in the form of an orchid set with a pearl with a stem set with graded marcasite (iron pyrites) It was made circa 1920-1930. }

A good quality silver brooch set with graded white paste. The design is a stylish bow and looks great when worn on a lapel. This was a costume jewel of the 1920s as it imitated its superior platinum and diamond cousin. It was made circa 1920-1930. }