Antique 18th Century Italian Matched Pair of "Vaso di Fiori" Clips & Pendants

The style known as "Giardinetti" (meaning "little gardens") was created from an array of multi-colored gems fashioned into brooches, pendants, earrings and rings into the forms of branches, bouquets or baskets of flowers. The style originated in Italy and spread throughout Europe in the mid 18th Century. Pieces were often exchanged as tokens of friendship or love between friends and lovers. This exceptional matched pair of symmetrical bodice ornaments represents the pinnacle of 18th-century Mediterranean luxury and are rare survivors from the Kingdom of the Two Sicilies that survived the French Revolutionary upheavals in Italy. Historically known as Spille Gemelle (twin brooches) or Spille da Petto (breast pins), they were handcrafted in Sicily circa 1760, commissioned as a symmetrical set for the high aristocracy of the Bourbon Court. Originally designed as modular, repeating components to sit flush against a corseted bodice or a formal lace stomacher, they feature a vibrant floral arrangement in the Vaso di Fiori (Vase of Flowers) motif. This motif was a high-status symbol of abundance and classicism frequently worn by the Queen and her ladies-in-waiting to signal their refined taste. True to the opulent Sicilian "Pizziddu" tradition, this distinctive style involves setting small, natural stones into silver-topped gold with an ornate, decorated back. The word pizziddu comes from the Sicilian verb "pizzicare", which means "to pinch." In this technique, the artisan takes a thin sheet of metal, forms a cup around the gemstone, and physically pinches or crimps the top edges of the metal inward to secure the stone. This leaves a ring of tiny, distinctive metal points or ridges around the stone. These jewels showcase a sophisticated "Harlequin" palette of vibrant, natural gemstones, a specialty of Naples and Sicily, where jewelry was meant to be as colorful and sun-drenched as the landscape. The central pear-shaped yellow stones are natural citrines, chosen for their honeyed clarity and set entirely open-back (à jour) to let natural light pass cleanly through and form the body of the vase or urn. They are surrounded by a contrasting bouquet of rubies, garnets and spinel set in hand-beaten gold cups. The smaller, shimmering stones are rose-cut diamonds set in ornate, blackened (oxidized) silver-topped settings to maximize their flash and make the colored stones pop - a very literal interpretation of the Vaso di Fiori motif. High-ranking Bourbon-era jewelry was modular. These pieces started life with the small loops or "slides" you can still see on the back. They could be slid or pinned onto a velvet ribbon for a gala or pinned to the stomacher for a more formal court appearance. This design mirrors the jewelry worn by Queen Maria Carolina of Naples in her famous 1768 portrait by Anton Raphael Mengs. She frequently wore "ladders" of floral sprays pinned down her bodice. These were often designed to be taken apart so individual pieces could be worn as hair pins, shoulder knots, or sleeve clips. The use of vibrant yellow topaz and citrine in these pieces beautifully reflects the wider Neapolitan court's love for warm, golden gemstones—a highly fashionable palette used by nobles to emulate the opulence of royal gold and yellow diamonds. Unlike flatter Northern European pieces, these Southern Italian survivors feature a distinct anatomical curvature (camber). This technical detail allowed the plaques to sit perfectly flush against the rounded, rigid front of an 18th-century corseted bodice or the cylinder of a neck ribbon. The reverse of the garnet/spinel settings displays jagged “Tremolierstich” (zigzag) - assay scrapes hand-carved into the back of every individual flat-cut garnet setting. These distinct marks are a hallmark of Bourbon-era craftsmanship, created by official assayers in major 18th-century Italian centers like Naples or Sicily to verify the gold's purity after the piece was fully constructed. Because these marks follow the unique shape of each hand-beaten cup, they serve as a rare "fingerprint" of authenticity, proving that every component of this jewelry underwent rigorous quality inspection under strict Bourbon-era guild laws. In the 1920s or 1930s, these museum-quality ornaments were professionally converted into high-fashion dress clips. Heavy 9k gold, double-pronged spring mechanisms were affixed to the reverse above the original ribbon slides (one loop missing as shown in photos), allowing them to transition seamlessly into modern versatility. They can now be worn as symmetrical clips, lapel pins, or threaded onto ribbons as pendants. True to their 250-year history of active wear, love, and evolution, the pieces exhibit a mixed layout typical of a historic jewel. Some stones have chips or have been replaced or are missing their internal foil backings, allowing their natural, deep body color to shine directly through. The pair has a combined weight of 18.52g and each measures 38mm x 24mm. Crafted in 9k gold with silver-topped settings. Unmarked, which is highly characteristic of independent 18th-century regional workshops. Wear is commensurate with 250 years of age and use. They will ship with period-appropriate black and cranberry double-sided velvet ribbons. Note: Due to the historic, foil-backed nature of the remaining original perimeter stones, these pieces must never be exposed to liquids, moisture, or ultrasonic cleaners. Clean only via dry, soft-bristled dusting. Keep away from jewelry torches or high heat to protect the original lead solder joins. * Portrait of Maria Carolina of Austria, Queen of Naples', 18th century, French School. by Anonymous * Maria Carolina of Austria (Queen of Naples) by Anton Raphael Mengs (c. 1768) All my pieces ship from my studio in Toronto, ON. Please read shop policies before purchasing and/or should you have any questions. You can view my newest pieces on Instagram at @black.umbrella.jewelry