Empress Eugénie’s Pearl and Diamond Tiara

/

The tiara was made by Gabriel Lemonnier around 1853, and was commissioned by Napoleon III to celebrate his marriage to Eugénie de Montijo (1826-1920). It has an astounding 212 pearls and 1998 diamonds. The tiara that was created for Eugénie is part of a parure which included bracelets, a stomacher, and a six strand pearl necklace. 
The pearls and diamonds that were used to create the tiara belonged to the French state treasury in the form of jewelry that had belonged to Empress Marie Louise (1791-1847, second wife of Napoleon I) and the Duchess of Angoulême (1778-1851). Because of this the tiara actually belonged to the state, not Eugenie. The tiara and other state jewels were subsequently returned to the state when she was exiled from France after Napoleon III’s 1870 defeat. 

Empress Eugénie, as painted by Winterhalter, Princess Margarethe of Thurn and Taxis, Princess Gloria of Thurn and Taxis

Empress Eugénie, as painted by Winterhalter, Princess Margarethe of Thurn and Taxis, Princess Gloria of Thurn and Taxis

The tiara was part of the crown jewels until the Third Republic decided to sell the entire collection in 1887. The tiara was eventually purchased by Prince Albert I of Thurn and Taxis as a wedding gift to his bride Archduchess Margarethe Klementine of Austria in 1890. The tiara remained a part of the Thurn and Taxis family for the next century. In 1989 the tiara was given to Prince Johannes future wife Gloria who wore the tiara on her wedding day.

Princess Gloria (the “Punk Princess”) was known for her unique fashion combining family jewels with wild outfits and hairstyles. In 1992 her husband, Prince Johannes, died leaving large amounts of debt. As a result Gloria sold a lot of the family’s jewelry collection. Empress Eugénie’s Pearl and Diamond Tiara was sold for 935,000 Deutsche Marks. The tiara did not however end up in another a personal collection. Instead it was bought by the Friends of the Louvre, who gifted it to the museum. It now resides in that Paris museum along with other recovered French jewels. 

The Grand Duchess Stephanie Emerald Parure

/
photo courtesy of the Victoria & Albert Museum

photo courtesy of the Victoria & Albert Museum

It is believed that the French emperor Napoleon Bonaparte and his consort Joséphine gave the emerald parure (set) to their adopted daughter, Stéphanie de Beauharnais, on her arranged marriage to the heir of the Grand Duke of Baden in 1806 (the marriage was arranged to consolidate the Confederacy of the Rhine).
Nitot & Fils were the principal jewelers to Napoleon and Joséphine and probably made this set as well. The large stones and the relatively simple design are typical of the neo-classical tastes of Napoleon’s. 
The necklace is comprised of faceted table-cut emeralds bordered by diamonds and briolette-cut emerald drops all set in gold and silver. The drops at the back of the necklace were added later in the 1820s. They can be detached and worn as earrings. 
The parure originally included a tiara, necklace, a pair of earrings and a pair of bracelets. The set came to be known as the “Grand Duchess Stephanie Emerald Parure”. Sadly, only the emerald necklace and the pair of earrings of the original parure survived up to this day. 
It is thought that the parure was broken up after World War II. The necklace and the pair of earrings were acquired by Count Tagliavia. The necklace and earrings were later donated to the Victoria and Albert Museum in London by the widow of Count Tagliavia, Countess Margharita Tagliavia.

Grand Duchess Stephanie de Beauharnais wearing the emerald parur

The Olive Wreath Tiara

/

The olive wreath tiara was commissioned from Cartier by Princess Marie Bonaparte on the occasion of her marriage to Prince George of Greece and Denmark in 1907. 
Marie was both a princess and an heiress. She was descended from French royalty by way of Lucien Bonapart (a younger brother of Napoleon) as well as being the granddaughter of François Blanc (a real estate developer whose casino projects included the famous Monte Carlo Casino in Monaco). Prince George of Greece and Denmark was one of the sons of King George I of the Hellenes.
The tiara, designed by Cartier, was a nod to Marie’s imperial heritage. Diamond olive leaves with eleven diamond “olives", which could be swapped out for other stones at will. Apparently the original “olives” were emeralds which Marie switched out in favor of rubies occasionally. 
In the center of the already magnificent tiara was a jaw dropping enormous pear-shaped diamond set en tremblant. 
Princess Marie died in 1962. Approximately thirty years later the tiara went up for auction without the central diamond or the emerald and ruby stones. The tiara was purchased in 1999 by the Albion Art Institute and the central diamond was replaced. 
The marriage between Marie and George was…complicated (for lack of a better term). Suffice to say as a result of her marriage she became a devout follower of Sigmund Freud. I won’t go into the sordid details here but, if you’re curious take a minute to google them.

 

Iron Clad Patriotism: Berlin Iron

/

THIS SPLENDID PIECE COMBINES A NEO-CLASSICAL CAMEO (ALSO OF CAST IRON) WITH GOTHIC REVIVAL ORNAMENT. COURTESY OF THE VICTORIA & ALBERT MUSEUM

Berlin iron's roots start with the establishment of the Königliche Eisengiesserei bei Berlin or Royal Berlin Foundry in 1804. The Royal Berlin Foundry initially began with the production of iron goods such as vases, knife stands, candelabra, bowls, plaques and medallions, as well as more commercial articles such as fences, bridges and garden furniture. The first jewelry items were produced in 1806 and consisted of mostly long chains with cast links. Later, more elaborate necklaces with medallions joined with links and wire work mesh were manufactured.

Iron jewelry reached its peak in both production and artistic expression between 1813 and 1815 when war fanned  the flames of the iron forges.  To aid in the uprising against Napoleon during the War of Liberation the Prussian royal family urged all citizens to contribute their gold and silver jewelry. In return the people were given iron jewelry 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. 

The numbers of pieces produced started declining after 1850, but still continued to be manufactured until the end of the century. Towards it's decline there appears to have also been a shift in design favoring a more Gothic style. 

An attempt to emulate the previous Prussian example was made be the Austro-Hungarian's and German's during the 1900's (First World War). This was done again by exchanging gold jewelry for an iron, much of which was inscribed with some variation of the words: Gold gab ich zur Wehr, Eisen nahm ich zur Ehr (I give gold towards our defence effort and I take iron for honor). This attempt, however, was not as successful.

 

Engraved iron finger ring given as replacement for gold jewelry offered as gift to the war funds of the Austro-Hungarian empire during the First World War.  inscribed 'Gold gab ich fur Eisen 1914' Coutesy of the Imperial War Museums © Crown Copyright: IWM

Today Berlin Iron Jewelry pieces are considered collector's items. Because iron is a very brittle material and also susceptible to rust, comparatively few examples have survived. The best and most authentic pieces are usually found in museums or private collections. Replicas are widely manufactured today and buyers should be well informed before purchasing.  

 

 


Photos courtesy of: The V&A Museum, The Birmingham Museum or Art, The Imperial War Museums