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Firmament Apollinien Tiara, La Nature De Chaumet Collection, 2016

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Firmament Apollinien Tiara, La Nature De Chaumet Collection, 2016 Firmament Apollinien Tiara, La Nature de Chaumet collection, 2016. www.chaumet.com “Gothic” belt (with detachable antique cameo) belonging to Empress Marie-Louise and by François-Regnault Nitot (1779–1853) 1813; Gold, natural pearls, onyx, L. 83 cm; Chaumet Collection, Paris From July 12 until August 20, it may be a good idea to divert your plane towards Nice’s Côte D’Azur airport and head to The Grimaldi Forum in Monaco. This is where an exceptional exhibi- tion by Chaumet under the High Patronage of His Serene Highness Prince Albert II of Monaco is to be held. The ‘Chaumet in Majesty – Jewels of Sovereigns since 1780’ follows on from the Imperial Splendours: The Art of Jewellery Since the 18th Century exhibition organized by Chaumet in conjunction with the Palace Museum in Beijing’s Forbidden City and the retrospective exhibi- tion held at the Mitsubishi Ichigokan Museum in Tokyo – The Worlds of Chaumet: The Art of Jewellery Since 1780, which both took place in 2017. Needless to say, this is an unmissable opportu- and their evolution through time is inextrica- nity to delve into the rich history of the French bly linked to the house’s own history. Beyond house and view some 250 rare treasures lent by the mere study of their extraordinary designs, prestigious international collections, includ- each tiara and diadem marks a political, his- ing that of His Serene Highness Prince Albert II torical and societal main event. As a result, of Monaco and Her Majesty Queen Margrethe ‘Chaumet in Majesty – Jewels of Sovereigns II of Denmark, as well as those of museums since 1780’ is more than meets the eye; it is a from all over the world. And by ‘rare treasures’, tantalising journey through French aristocra- we mean the most iconic of all of Chaumet’s cy, European and beyond royal courts and pa- repertoire: diadems and tiaras. No other cre- pal appointments. Here is a glimpse of what ations have helped define Chaumet’s legacy awaits you. Be prepared to time travel and be better than these ultimate status ornaments, dazzled by utter refinement. www.chaumet.com Chaumet’s Diadem Room at 12 Place Vendôme in Paris, where the collection of historical nickel silver models is exhibited. The exhibition ‘Chaumet in Majesty – Jewels of Sovereigns Since 1780’ is orchestrated by two curators with re- nowned expertise of royal courts – Stéphane Bern, a French media and cul- tural figure, and Christophe Vachaudez, a French historian specialising in jew- ellery – and built around six chapters or moments. In each of those, an array of prime tiaras and diadems alongside precious heritage artefacts, portraits, drawings albums and photographic re- cords are presented in their historical context. ‘The Origins of a Legend’ opens the show by displaying hundreds of histor- ical models in nickel silver, an alloy of copper, zinc and nickel, also known as maillechorts, which rapidly was adopt- ed by metal craftsmen in the first half of the nineteenth century. It is Joseph Chaumet (at the helm of the Maison around 1890), who elected the making of nickel-silver maquettes as an essen- tial step in the creative process. www.chaumet.com Wheat-Ear Tiara by François- Regnault Nitot (1779– 1853) Circa 1811; gold, silver, diamonds; H. 6.5 cm, W. 15 cm; Chaumet Collection, Paris. Tiaras and diadems have taken on many sym- “Jeweller to T.R.H. the Emperor and Empress”, bols throughout history, yet embodied one at Nitot was the only practitioner allowed to vis- all times: ‘The Tiara as Symbol of Power’, this it the Empress once a week when Napoléon comprises the second chapter of the exhibi- I decided to rein in his wife’s expenses. tion. Indeed, there is no other better signifi- The Nitot father and son continued to be er of power and prestige, and although it can highly sought after from 1810, following the be considered as a fashion accessory, it has remarriage of Napoléon to Marie-Louise of however never departed from its function as Habsburg-Lorraine, Archduchess of Austria an emblem of status, wealth and success. and grand-niece of Marie-Antoinette. “Orders In Chaumet’s history, which is didactically for ceremonial jewels as well as sentimental explained throughout the exhibition, a par- jewels for the new empress followed in suc- amount and defining episode was of course cession at a frantic pace, incorporating the Marie-Étienne Nitot’s (1750–1809) relation- most beautiful gems and pearls”. Desirous to ship with Napoléon I (who chose tiaras to preserve a copy of it, Nitot made a repli- “express the grandeur and magnificence of ca of a sumptuous parure of oriental rubies his reign”) and subsequent work from 1805 and diamonds (following spread) delivered for Empress Joséphine, Chaumet’s first great in 1811 and comprising a tiara, comb, coro- client. Appointed “Jeweller in Ordinary” and net, necklace, drop earrings and bracelets. www.chaumet.com Two pieces from the replica of the ruby and diamond parure belonging to Empress Marie-Louise; Circa 1811 – Gold, silver, white sapphires, zircon and garnets. Tiara H. 8.5 cm; D. 19 cm.; Comb H. 12.5 cm; L. 16 cm; Coronet D. 14.4 cm; Necklace D. 24 cm. Girandole Earrings H. 5 cm; L. 3 cm each. Bracelets L. 18 cm each. Paris, Chaumet Collection © Nils Hermann – Chaumet. www.chaumet.com Baroque Pearl Tiara, Chaumet, circa 1930, (loaned on many occasions to Princess Isabelle d’Orléans- Braganza, the Countess of Paris); platinum, natural pearls, diamonds H. 6 cm, W. 15 cm; Chaumet Collection, Paris. www.chaumet.com Clover brooch belonging to Empress Eugénie (second version), Jules Fossin (1808–1869); 1853; gold, silver, diamonds, translucent green enamel H. 3.7 cm, W. 3.4 cm; Private collection. There is no better way to capture an im- From a small charm or medallion to the most portant and intimate moment than by asso- lavish corbeille de marriage (an old French ciating it with the offering of one (or more) tradition that sees the groom officialise fine jewel. Nothing spells ‘precious moment’ his engagement by offering his soon-to-be more than an actual precious token; an heir- wife a basket filled with jewels and other loom that will be passed down from gener- delights), Chaumet has famously catered ation to generation so that the memory will to anyone who has wanted his or her emo- live on. The meaning of love and devotion tion to be captured in a jewellery object. is one of Chaumet’s signatures, which has So many milestones in a lifetime (although made the French house synonymous with some traditions may have fallen into disuse sentimental jewellery, and this is reflected – such as ‘morning gifts’, traditionally of- in the title of the third chapter of the ex- fered on the day after the wedding night – hibition, ‘The Tiara, the Crowning of Love’. tiaras are still the main engagement gift in Indeed, the joaillier has been the go-to house today’s high society wedding baskets); so for anyone, famous or not, to have ceremo- few ways of seizing any fleeting moment, nial or private, elaborate or discreet, always other than sealing the joyous sentiment in celebratory pieces made, since 1780. a precious keepsake. www.chaumet.com Leuchtenberg Tiara, transformable into a brooch and hair ornaments, by Jean- Baptiste Fossin (1786–1848) Circa 1830–40; Gold, silver, emeralds, diamonds, H. 9 cm, W. 14 cm; Chaumet Collection, Paris. Due to their significance, the ultimate heir- A prime example is the Leuchtenberg Tiara. looms that are tiaras and diadems fall in- “The exceptional provenance of this tiara, to the category of heraldic jewels that are once part of the collections of George, handed down and kept as long as possible Duke of Leuchtenberg, grandson of Eugène in the family realm. They indeed possess the de Beauharnais and great grandson of unique attributes attached to a grand family Empress Joséphine, confirms its attribu- and as such act as a seal of right of passage. tion to Nitot, in accordance with the family In a more pragmatic sense, this longevity in tradition. According to this same tradition, the family tree means that tiaras and dia- this tiara, transformable into a brooch, was dems may be updated with a design more in the property of Queen Hortense, daughter line with the times, when not simply entire- of Joséphine and sister of Eugène. While it ly re-imagined or broken apart to be shared, appears to have been acquired under the but in any case, it had to come with the pos- First Empire, the piece was probably mod- sibility of transformation. That way tiaras ified between 1830 and 1840 by Fossin, – whose occasions for wear are infrequent Nitot’s successor, to better correspond to – could become a necklace, bracelet or sev- the Romantic style, as reflected in its deli- eral brooches. This is the theme of the fourth cate floral design.” (excerpt from the cata- chapter, ‘Transmission and Transformation’. logue of the exhibition). www.chaumet.com Pansy Flower Tiara by Jean-Baptiste Fossin (1786–1848) Circa 1850; silver, gold, diamonds, H. 7 cm, W. 18 cm; Chaumet Collection, Paris. As mentioned earlier, tiaras and dia- dems follow the fashion of the times, but most importantly the zeitgeist of sym- bols. Consequently, the chronological study of these jewels sheds a light on where and when some of the most en- during symbols have become common beliefs. ‘Symbolic Variations’ explores this topic. Of all the symbols that could represent the love between two peo- Sunburst Aigrette by Joseph Chaumet ple, the tie (le lien) is the most obvious, (1852–1928) 1916; gold, platinum, and that is precisely why Chaumet has emerald, diamonds, H.
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