Cameo Brooches Information and History

Cameo Brooches. Brooches are probably the most popular setting for a cameo. In the early 19th Century brooches set in gold or silver were luxury items and were the privilege of the rich so brooches of this era are usually of high quality. In ancient times a brooch was also known as a fibula or broach.

Brooches were often used as both fashion accessories or as fastenings for cloaks and other garments.

Ottonian Brooch — Brooch; gold; oval and pyramidal; the truncated apex set with an onyx with cameo inscription in three lines; the sides ornamented with concentric rings of pellets, the lowest stage having loops on which pearls or beads have been threaded. © The Trustees of the British Museum

Spanish Ring Brooch — Ring brooch, gold, ruby, onyx. The outer ring is formed of a lopped branch, naturalistically chased and engraved, to which is applied broad leaves, each of which curls downwards to form a fine scroll. Between each pair of leaves is set a small ruby. Five spiralling stems attach this to a central roundel case set with the onyx cameo, which shows a lion seizing another animal. The case is edged with scrolling crockets alternately trefoil-headed and round-ended, and set with rubies. Traces of the base of a pin (now missing) on the right centre of the outer ring. The settings for the rubies are open at the back. Circa 1300-1500 (made). © Victoria and Albert Museum

Dating Cameo Brooches

Clasps

Clasps are one of the things which should be examined first. During the Georgian and Victorian era a “C” Clasp was commonly used until it was replaced by a safety clasp around 1900. The “C” Clasp takes it’s name because it looks like the letter C.

Heart shaped brooch of marcasite. Probably late 18th century.; Jewellery.

Example of Georgian "C" Clasp — Example of Georgian “C” Clasp. Victoria and Albert Museum

Victorian Sweetheart Brooch Birmingham, 1892 from my own collection.

Late Victorian Brooch Safety Catch — Late Victorian Safety Catch

Art Nouveau Brooch with shorter "C" clasp by Marcus & Co. — Art Nouveau Brooch with shorter “C” clasp by Marcus & Co. (maker). Victoria and Albert Museum

Safety catch diagram — Diagram of the application which was filed on March 8, 1916. Serial N 0. 82,790 for an improved safety catch

Early “C” Clasps tended to have longer pins as in the image of the Georgian “C” Clasp example. The pin sticks out beyond the edge of the brooch and is very long compared to the overall length of the brooch. The image of the Victorian “C” clasp is still long, but not as long as the Georgian clasp. The Victorian brooch can be accurately dated as it has the silver hallmark for Birmingham 1892.

A form of safety catch was used during the late 19th century. It was very similar to the “C” clasp but was extended to eliminate the risk of losing the brooch.

An application was filed on March 8, 1916. Serial N 0. 82,790 for an improved safety catch. The following is an excerpt of that Patent.

“To all whom it may concern:

Be it known that I, FRANK E. FARNHAM, a citizen of the United States, residing at Providence, in the county of Providence, State of Rhode Island, have invented certain new and useful Improvements in Safety- Catches forPins or Brooches, of which the following is a specification.

My invention is an improved safety-catch or guard for the pins of brooches and similar’articles of jewelry to secure them from accidental unfastening. The objects of my improvement are to simplifythe construction, reduce the cost of manufacture and to render the device more eflicient for the purpose intended and more durable in use.” Reference: Google

The Art Nouveau brooch by Marcus & Co also has a “C” clasp but here the pin only goes to the end of the brooch itself.

The other thing to note is the hinge. Prior to 1920 brooches tended to have tubular hinges. Modern brooches have machine made round hinges. These can also be seen in the images above.

Having said all that, it is not always possible to date accurately from the clasp alone. During the years clasps can get broken and replaced, so a modern clasp does not necessarily mean that the brooch is not old. Also, sometimes later designers may have used older type clasps. Whenever examining the piece you should also look for signs to see whether the clasp is original to the brooch. Many cameos during the Victorian era could be used as pendants as well.

Cameo Brooch Styles

The style of a brooch can also help to identify the age of the piece but it also needs experience with handling of the item as fashions come and go. Victorians would copy styles from previous eras just as we would today. One of the ways to tell them apart is whether they are hand-made or mass produced. That is really only possible to tell from handling an item and from experience so it will not be covered here.

Roman Imperial Cameo Brooch — Sard gem set in an ancient gold brooch, engraved with Aphrodite holding her drapery; before her is a column on a plinth, surmounted by Eros dancing. On the left are two uncertain objects; on the right is a draped woman standing on rocks and holding two torches. In the field above is a mask (?) and a branch. 1st Century – 3rd Century. Gems with other versions of the same subject were known and published in the eighteenth century, including that in the Medici collection in Florence and another, very close in detail to Hamilton’s, which Winckelmann published as being in the possession of Thomas Jenkins, the painter and antiquities dealer in Rome. The attractive gold setting with its delicate filigree work appears to be ancient and probably contemporary with the gem. D’Hancarville records the interesting fact of Hamilton’s having had it copied by a jeweller in Rome as a frame for a cameo of a youthful Bacchus, also in Hamilton’s collection. This cameo was unfortunately destroyed in the Second World War, but a photograph shows the setting converted into a frame with the addition of an ornamental bow for suspension. A sulphur cast by James Tassie of the cameo also survives and this measures 5.5cm in height. This same cameo, praised by d’Hancarville for the beauty of its colouring, is possibly that which is referred to in a letter from James Byres to Sir William dated 9 September 1768, which also makes mention of a ‘fine cameo’ which Hamilton wished to have included in a portrait by Anton Maron of him and his first wife Catherine Barlow. This painting has not been traced. LITERATURE: D’Hancarville, MS Catalogue, 11, pp. 501-2; for the intaglio cf. Gori, 1731-2, 11, pl. 36; Winckelmann, 1760, p. 338, 124; Winckelmann, 1767, 11, pt 1, p. 29, fig. 24; Furtwangler, AG, 11, p. 200, no. 14. For the cameo, Byres to Hamilton, 9 September 1768, Cambridge, Fitzwilliam Museum, Perceval MS N 5; d’Hancarville, MS Catalogue, 11, p. 503; Tassie, p. 265, no. 4230; Davenport, pl. 19; Dalton, p. 22, no. 136: a bacchante. British Museum

Sardonyx Cameo with Four Head Deities Sixteenth Century — Cameo; sardonyx; four heads conjoined; one represents a young woman to right, Venus?, her hair merging with that of a bearded male above, Jupiter?, of which in turn the hair forms the beard of the head at the back, Pan?; neck of female merges with that of a ram; set in gold as brooch with pendant loop. 16th Century © The Trustees of the British Museum

Michelini Neo Classical Brooch — An early 19th century gold, half-pearl and onyx cameo brooch/slide, possibly by Michelini Oval, depicting the bust of a neo-classical maiden, in profile facing left, with bands in her hair, within a gold and half-pearl border, cameo with scratched signature in field in Greek letters, French import marks, pearls untested, detachable brooch fitting, cameo: length 4.4cm, width 3.7cm, brooch length 5.7cm. Sold at Bonhams for £13,750

Three late nineteenth century shell cameo brooches — Three late 19th century shell cameo brooches. The first two oval plaques depicting the profiles of Bacchante, the third a classical female profile, each in variously decorated gold mount, mounted on card for display, circa 1870, 6.2cm, 5.0cm and 4.6cm respectively. Sold at Christies for GBP 625

Cannetille Cameo Brooch with Doves — A cameo brooch. The cameo carved to depict the Doves of Pliny, to the cannetille border, to the personal engraving on the reverse. Length 3.4cms. Weight 8.6gms. The inscription reads ‘M.S Elizabetha Hare m: Nov XIa 1816 Vixit annos LXX b.m.’ Sold for £220 at Fellows

In general, during the years 1800 to 1810, the styles of cameo brooches followed neo-classicism. This style was encouraged by Napolean. Influences were adopted from the Ancient Greeks, Romans and Egyptians. This was probably due to Napoleons travels to these parts of the world.

Shell cameos became very popular during this era with many depicting mythical creatures and classical groups. Sometimes genuine artifacts were set in gold with designs of laurel leaves, Greek keys and palmettes. Mosaics also became popular and could also be used to surround a cameo.

Frames made of silver or gold cannetille, similar to filigree, became popular around 1830 and these would often be a feature of cameo brooches.

The early Victorian era, 1837 to 1860 saw a change in jewellery styles to that of Romanticism. Seed pearls, grapes, bows, mother-of-pearl, tendrils and leaves. Tiny flowers and enamel, especially in sky blue and navy were also popular so this is another thing to look for in the cameo brooches mounts.

After the death of Prince Albert in 1861, black became customary in both clothing and jewellery. If cameo brooches are carved in jet, black onyx or black glass, it is very likely to be between 1861 and 1901 although mourning brooches were also used before this date.

A revival of neo-classicalism emerged once again, resulting in cameo brooches featuring gods, goddesses and other classical figures.

Advances in technology meant that precious stones could be cut to fit any settings. Stones such as garnet, turquoise and coral also became popular in cameo brooches.

Between the 1860’s to 1880’s, Italian cameos mounted bold hardstone cameos into fine yellow gold. Twisted wirework was popular and popular subject matters were gods and goddesses such as Apollo, Diana, Mars and Mercury.

The 20th century saw a decline in cameos. The quality of those that were made dwindled due to mass production but recently they are beginning to become popular again.