Phenomenal Brooches

Phenomenal Brooches

From Function to Fantasy

A Loan Exhibition Celebrating Wartski’s 160th Anniversary

Throughout history, the brooch has occupied a unique position within the decorative arts: at once utilitarian and ornamental, it is a jewel that reveals the evolving aesthetics, values and technical achievements of the civilisations that produced it. From Function to Fantasy: The Brooch, Wartski’s landmark exhibition commemorating the firm’s 160th anniversary, offers a rare opportunity to examine this evolution across more than three millennia. By juxtaposing antiquity with contemporary interpretations, the exhibition invited visitors to consider not only the brooch’s shifting forms and purposes, but also the creative ingenuity that has ensured its continual reinvention. In doing so, it positions the brooch not merely as an accessory, but as a cultural artefact—an enduring expression of identity, artistry and human imagination.

One of the most delightful jewellery exhibitions I have visited in recent years took place at Wartski in London. From Function to Fantasy: The Brooch was a magnificent celebration of craftsmanship and creativity, organised in support of the vital work of The King’s Trust.

Wartski has long championed heritage, artistry and philanthropy. Their continued generosity—and their commitment to empowering young people—is deeply appreciated. Although the exhibition explored the global history of the brooch, it also shone a spotlight on contemporary designs created by young makers supported by The King’s Trust. These gifted individuals presented brooches that were as imaginative as they were technically accomplished.

The exhibition catalogue is itself a remarkable achievement. Beautifully produced, it documents all the pieces on display and provides insights into their histories and inspirations. Although the exhibition took place in Autumn 2025, the catalogue remains a masterpiece—an essential volume for every jewellery lover and enthusiast.

I was generously given permission to reproduce images from the catalogue on my blog by the Wartski team, and in particular by Katherine Purcell, the jewellery historian and curator of this landmark exhibition celebrating Wartski’s 160th anniversary.

In the acknowledgements section, Katherine recognises the many contributors and lenders whose support made this extraordinary project possible—bringing together masterpieces from museums and private collections across the globe.

Founded by Morris Wartski 160 years ago, the firm now thrives in the heart of St James’s Street, London. To mark this significant anniversary, Katherine Purcell assembled an astonishing 250 works spanning more than 3,000 years. While their forms, materials and functions have evolved, brooches continue to serve much the same purpose as when they were first conceived. From Function to Fantasy explored this enduring jewel and its many incarnations throughout history.

Below is a selection of the remarkable pieces  as presented in the exhibition’s catalogue that defined my visit and left a lasting impression.

Diamond Brooch by Oscar Massin

A gold and silver-mounted brooch formed as a diamond-set ribbon of openwork lace. Quatrefoil motifs shimmer across its delicate surface, arching into two graceful loops with articulated tips that enhance the sense of subtle movement. Intended as decorative ornaments for clothing, these lace-like jewels were sold by the metre—at an astonishing cost of 10,000 to 20,000 francs per metre.

Massin’s technical brilliance was clear even early in his career. Born in Belgium, he arrived in Paris in 1851, already skilled in mounting, setting, polishing and engraving. His innovations included the edge-to-edge setting perfected in 1865, and the use of flexible gold wire wound with metal and set entirely with diamonds—allowing for extraordinarily supple jewellery sprays. When the Shah of Persia attempted to purchase his entire display on the spot, Massin refused, knowing the jewels needed to remain available for the Jury’s consideration.

A gold-mounted, diamond-set traine de corsage by Bapst et Falize

Paris, 1882-1889

This gold-mounted corsage ornament comes in a fitted case containing six brooch fittings, enabling the jewel to be separated into individual brooches, as well as five pins allowing the elements to be worn as hair ornaments. Such botanical sprays by the firm are mostly known from archival photographs. Their naturalism and technical refinement were widely praised.

Made after 1882, the jewel’s lavish scale suggests it may have been intended for the 1889 Exposition Universelle. Its survival in such exceptional condition is remarkable.

Enamelled Orchid Brooch (Mignonette microtis) by Tiffany & Co.

New York, c.1890

One of as many as 24 orchid varieties recreated as brooches and exhibited at the 1889 Exposition Universelle, this jewel exemplifies the naturalistic marvels that captivated critics of the time. Publications such as Le Figaro praised Tiffany’s orchids for their “life-like grace” and “marvelous illusion.”

Designed by the inventive Paulding Farnham, this brooch comprises tiny white, green and orange enameled flowers accented with rose-cut and brilliant-cut diamonds on an engraved stem. Farnham meticulously copied many orchids life-size from specimens originating in Central and South America and the Far East. The Mignonette microtis species remains widespread across Asia, Australia and the Pacific.

Diamond-set Snowdrop Brooch by Mellerio dits Meller

This poetic jewel features two foliate stems bearing blossoming and budding snowdrops, tied with a delicate bow. Exhibited at the 1855 Exposition Universelle, it showcases a patented technique (1854) enabling gemstones to be set on flexible stems that tremble gently—as if swaying in a breeze. Its naturalistic elegance won Mellerio a Medal of Honour and significantly expanded the firm’s clientele.

German Heraldic Eagle Brooch by Charles Du Ve

A gold, turquoise, pearl and gem-set brooch in the form of an eagle, its body richly covered in turquoise cabochons. The eagle clasps two large pearls; its beak is set with diamonds and its eye with a cabochon ruby.

This jewel was presented to Lady Mary Augusta Grimston, trainbearer to Queen Victoria, at the royal wedding on 10 February 1840. Victoria recorded the occasion in her journal:

“I gave all the Trainbearers a small eagle as a brooch of turquoise… they cheered us most warmly and heartily, the crowd was immense.”

The brooch retains its original white ribbon rosette and is housed in a later fitted red leather case recording its history.

Enamelled Cicada Brooch by Frédéric Boucheron

Paris, 1880–1890

An exquisite example of Boucheron’s mastery of colour and form, this cicada brooch features enamel graduating from moss green to sky blue. Its abdomen is adorned with rows of diamonds; the thorax is composed of sapphire scales; the head set with diamonds and cabochon sapphire eyes. The legs are engraved in red gold, and the wings are set en tremblant, creating a lifelike flutter when worn.

Reflecting Japanese, Egyptian and Persian influences, the brooch highlights the artistry of enamellers such as Charles Riffault.

Rock Crystal and Diamond Brooch by Suzanne Belperron

Paris, c.1942

Commissioned by Herz for Belperron, this jewel incorporates one of the designer’s signature materials: rock crystal. Belperron herself often wore a similar brooch composed of outward-scrolling carved crystal motifs set with diamonds.

Here, geometric Art Deco elements—possibly repurposed from the owner’s original jewel—meet the softness of rounded crystal forms. The diamond-set border, resembling delicate lace, echoes Belperron’s iconic Eventail motif.

Art Deco Diamond Brooch by Boucheron

Paris, c.1925

A platinum-mounted diamond brooch designed as a stylised knot, with one edge threading through the square form to create two articulated tassels. The technical sophistication of the piece lies in the illusion that the tassels fall both in front of and behind the central motif. Predominantly set with baguette-cut diamonds, the jewel exemplifies the sleek, modern silhouettes of the 1920s and 1930s.

Aquamarine and Diamond Brooch by Garrard & Co.

England, c.1910

A platinum-mounted brooch featuring an oval aquamarine of approximately 122 carats, framed by brilliant-cut diamonds and suspending a detachable pear-shaped aquamarine of about 162 carats. The original fitted case accompanies the jewel.

A near-identical brooch was owned by Deborah, Duchess of Devonshire—the youngest Mitford sister and celebrated patron of the arts. The aquamarines in this piece possess exceptional colour, clarity and cut, creating an almost hypnotic luminosity.

Final thoughts

Each of these extraordinary brooches tells a story—of innovation, artistry, cultural exchange and timeless beauty. From Function to Fantasy was not merely an exhibition; it was a journey through the evolving language of jewellery, celebrating the brooch as both functional ornament and miniature work of art.

Let the journey begin…