A history of the brooch. Not complete. WIP

1. A brief history of the brooch

2. Spina brooch
(roman in origin)
Thought to be the first “brooch” made of a thorn or bone mainly used to fasten
clothing. The word brooch come from the French word broche which means “long
needle”. The word broche was changed in the 14th
century to brooch when referring
specifically to jewelry.

3. The word pin has thought to come from the word pinafore, which was a item of
clothing pinned on over your clothes much like a smock. Over time the pins attaching
this item of clothing became more elaborate and eventually became more decorative
than utilitarian

4. Fibula
(Safety pin style)
This is probably the most common style of ancient brooches. It is similar to the
modern day safety pin, made of one piece with a catch. At this time in history
the Fibulae referred to all brooches.

5. Unlike most modern brooches, fibulae were not only decorative; they
originally served a practical function: to fasten clothing, such as cloaks.
Fibulae replaced straight pins that were used to fasten clothing in the
Neolithic period and the Bronze Age. In turn, fibulae were replaced as
clothing fasteners by buttons in the Middle Ages

7. Fibulae, while common all over Europe didn’t reach England until later. This
is due in part to Viking influence which had a completely different style of
brooch. The above style of fibula is called a crossbow fibula because of it’s
resemblance to the weapon of the same name.

9. Annular brooch
(full ring with moving pin) These brooches were worn by both men and
women, usually singly at the shoulder by men and on the breast by women,
and with the pin pointing up.

12. Penannular brooch
(8th to 10th century)
(this is often seen as a highly decorative and usually in a broken ring with
terminals. The actual pin is often attached and moves freely between the
terminals)
The highly ornate pins are often called Celtic pins due to their origins
Scotland and Ireland

17. Fibulae Tizerzai
(20th century 1900s)
Western Morocco not a fibulae. They were more like a Penannular brooch
with a decorative pin head instead of a decorative ring. They were ornate
brooches used to hold traditional Berber women’s wraps closed. Love the
angular geometric design, their sharpness and elegance. It was common in
non english countries to refer to all brooches as fibula.

18. Fibulae Tizerzai
(20th century 1900s)
These pins were usually worn in pairs which may have derived from the
pinafore pins that held up garments.

20. Discoidal brooch
(6th to 15th century)
Flat, decorative front with a pin stem and catch on the back. Often very
decorative. During the Byzantine era these pieces were colorful and often
made from enamel and filigree. This type of brooch is more of a
classification instead of style. Technically it is still used today.

21. By the fifteenth century the discoidal brooch was the most universally worn
and has continued to be so for the next five centuries. The discoidal face has
varied in shape, sometimes is a solid or openwork design, but "the
characteristic of having hinge, pin and catch on the back of a flattish
ornamented front were retained." The sixteenth century produced even
more enameled gold in designs of figures and animals .

22. The use of large stones became scarce in the seventeenth century. In its
place came groups of flowers made of gold and silver openwork set with
smaller stones. These bouquets of flowers were set in a basket or vase, with
the back of the brooch engraved in accordance with the front

24. Tortoise brooch
(7th to 11th century)
Each brooch was made in two layers: a lower shell can be seen through an
openwork upper shell decorated with stylized animals and bosses. Silver wire
has been used to enrich this decoration. On the undersides are the cast
impressions of cloth used in the molding process and the remains of fixings for
iron brooch pins.

25. Oval brooches are sometimes called 'tortoise' brooches because of their
appearance. They were commonly worn by women in the Scandinavian
homelands of the Vikings.

28. Trefoil (three-lobed) brooch
(9th to 11th century)
Brooches of this type were used to fasten a cloak or shawl on the breast.
The form is modeled on Carolingian trefoil fittings from sword-belts of the
ninth century, presumably either seized by the Vikings in raids on the
Continent, or perhaps obtained peacefully through trade or the exchange
of gifts. The decoration, however, uses animal rather than plant motifs, a
style with which the Vikings were familiar. Simpler versions appear to have
been mass-produced.

30. The three lobe motif was appropriated for the holy trinity and can
be seen in a lot of medieval architecture and crosses

31. Sølje brooch
(12th - present)
is considered the national jewelry of Norway. Its lacy filigree style is worked
in silver, pewter, or gold and embellished with small, movable, concave
metal disks that resemble a spoon bowl. It was originally worn in Norway,
through the nineteenth century, as part of folk-dress ensemble by a bride,
but by the early 2000s was worn by European and American women
to show Norwegian heritage

35. Lucknebooth brooch
(15th -19th century)
A Luckenbooth brooch is a Scottish heart-shaped brooch. These brooches
often have a crown above one heart, or two intertwined hearts. They are
typically made of silver and may be engraved or set with stones

36. The heart and crown symbolized betrothal and the pin was also given for good
luck. The “M” is often seen and believed to refer to Mary Queen of Scots. Silver
was commonly chosen for "lucky" charms, and was also an affordable metal for
jewelry that was popular with poorer people

38. An aiguillette, aguillette or aiglet
(16th - present)
(from French aiguille "needle”) is a decorative tag or tip for a cord or ribbon
(often seen at the end of a bolo tie) Originally, the word "aiguillette" referred to
the lacing used to fasten plate armor together, specifically a metal end to the lace
to stop it fraying it is used like a needle to pull the thread through loops

41. Girandole brooch
(16th through 18th century)
a Girandole refers to an earring (or brooch, or pendant) which features three
dangling jewels hanging off a central piece. In jewelry you often see pearl and
garnet and other precious stones.

44. Pilgrimage pin/badge
(5th -15th century)
These pins were often given as evidence at a
pilgrimage site. They were worn as proof of a successful pilgrimage
or a protective charm on a hat. These badges fell out of favor and
were eventually banned after Protestant reformation in the 16th
century.

45. These pins were thought of as the first mass produced pin. Pilgrim badges
usually show an image appropriate to the pilgrimage destination, often
including the shrine itself, or a famous image there, or a saint, their
attribute, or a scene from their life

49. Micro mosaic Brooch
(18th century)
It was during the late 18th Century that Italian craftsman started to produce the
first micromosiacs. This new medium incorporated thousands of tiny glass tesserae
to build up extraordinarily detailed scenes which were small enough to be fitted
into the lids of snuff boxes or into pieces of jewelry.

55. Finift enamel
(12th -19th century)
The name of the technique came from the Greek word "fingitis" (i.e. white
stone)
Characteristics – floral motifs, landscapes. Bright light of paint on the white
enamel plate revives biblical paintings and Russian history, the diversity of real
life and the beauty of mother nature. Each generation of artists, perceiving the
local picturesque tradition, brings in Rostov finift a new attitude, own
understanding of beauty. But, as in a true folk art, Rostov finift has saved the
eternal beauty of Russian nature.

58. Memento/Hair brooch
(18th - 19th century)
The practice began as an expression of mourning, then expanded to keepsakes
of loved ones who were living. Human hair was encased within the brooch or
braided and woven into a band to which clasps were affixed. It was not
uncommon for miniature brooch portraits to incorporate ground human hair as
pigment. Two sided swivel brooches would display a portrait on one side and a
lock of hair on the other; the latter could be crafted with semiprecious stones
to resemble a bouquet

63. Berlin Iron jewelry
(19th century)
The Royal Berlin Foundry started with the production of iron goods such as vases,
knife stands, bowls, and medallions, as well as more commercial articles such as
fences, bridges and garden furniture. The first jewelry items, such as long chains
with cast links, were produced in 1806. Later, necklaces consisting of medallions
and joined with links and wirework mesh were manufactured.

64. The production of iron jewelry reached its peak between 1813 and 1815, when
the Prussian royal family urged all citizens to contribute their gold and silver
jewelry towards funding the uprising against Napoleon. In return the people
were given iron jewelry such as brooches and finger rings, often with the
inscription Gold gab ich für Eisen (I gave gold for iron), or Für das Wohl des
Vaterlands (For the welfare of our country / fatherland), or with a portrait of
Frederick William III of Prussia on the back. Suddenly it became a symbol of
patriotism and loyalty and with its obvious aesthetic appeal, became popular
overnight

67. Art Nouveau Jewelry
(19th
– 20th
Century)
René Jules Lalique (6 April 1860, Ay, Marne – 5 May 1945, Paris) was a
French glass designer known for his creations of glass
art, perfume bottles, vases, jewelry, chandeliers, clocks and automobile hood
ornaments

72. Fabergé
(19th
– 20th
Century)
The House of Fabergé (French pronunciation: [fab e]) (Russian: Дом Фаберже) is​ ɛʁʒ
a jewellery firm founded in 1842 in St. Petersburg, Imperial Russia, by Gustav Faberge, The
firm has been famous for designing elaborate jewel-encrusted Fabergé eggs for the Russian
Tsars and a range of other work of high quality and intricate details. In 1924, Peter Carl's son
Alexander with his half-brother Eugène opened Fabergé et Cie in Paris, making similar
jewelry items, but adding the city to their rival firm's trademark as "FABERGÉ, PARIS"

76. Art Deco jewelry
(early 20th
century)
Art Deco jewelry of this period displays clean lines, geometrical forms, the use of
colored gemstones, and vibrant motifs. Diamonds were used prolifically, and the
metal of choice was platinum. Invention was everywhere and during this era the
baguette diamonds was introduced, as well as the French cut and the Asscher cut.
Old European diamonds are at their height.

77. DeBeers started to promote diamonds at every income level. In 1948 they coined the
slogan "Diamonds are Forever" and in 1954 introduced the annual Diamonds
International Awards encouraging the use of diamonds in both casual and formal
jewelry.

78. The large jewelry houses created lavish jewels "dripping" with diamonds and precious
gems. One of the greatest innovators and trend setters of the time was Harry
Winston in New York. He designed flexible settings that almost invisibly showcased
and secured important diamonds, rubies, sapphires, emeralds and pearls. He believed
the gems to be the essential element of the jewel; they alone dictated the design.

79. Modernist jewelry
(1940-1960)
Jewelry design split in two directions. The large fine jewelry houses and
manufacturers produced traditional and classic styles of jewelry while there co-
existed a growing community of avant garde studio artists producing new
"modernist" designs. Creativity and individuality were the hallmarks of the period
Artists such as Art Smith, Margarette De Patta, George Jensen, Alexander Calder,
Betty Cooke stretched traditional jewelry into a new direction. This brought the
term “Art Jewelry”, not manufactured and more expressive and experimental.
Alexander Calder

80. Margaret De Patta

81. Margaret De Patta

82. Art Smith

83. Sam Kramer

84. Sam Kramer

85. George Jensen

86. George Jensen

87. Art Jewelry
1960-present day
Art jewelry is one of the names given to jewelry created by studio craftspeople. As
the name suggests, art jewelry emphasizes creative expression and design, and is
characterized by the use of a variety of materials, often commonplace or of low
economic value. In this sense, it forms a counterbalance to the use of "precious
materials" (such as gold, silver and gemstones) in conventional or fine jewelry,
where the value of the object is tied to the value of the materials from which it is
made.
The proliferation of craft-based education and therapy for soldiers and veterans in
the United States during and after the war provided an extraordinary stimulus for
all studio crafts, but especially jewelry and metalsmithing. Public and private
resources devoted to veterans' craft programs planted the seeds for longer-lasting
educational structures and engineered broad interest in craft as a creative, fulfilling
lifestyle
By the early 1960s, the graduates of these programs were not only challenging the
conventional ideas of jewelry, but teaching a new generation of American jewelers
in the new university programs in jewelry and metalsmithing courses that were
established during this decade.

88. Arline Fisch

89. Arline Fisch

90. Stanley Lechtzin

91. Stanley Lechtzin

92. Stanley Lechtzin

93. Albert Paley

94. Albert Paley

95. Albert Paley

96. Eleanor Moty