Jewelry History

Bapst & Falize : An exceptional jewelry duo

The result of the creative genius and expertise of Lucien Falize and Germain Bapst, this bracelet in gold, enamel and diamonds, made around 1887 and offered by the Macklowe Gallery in New York, is the perfect testimony to this extraordinary partnership, which for just a few years produced jewelry of exceptional finesse and refinement. Bapst & Falize Paris Diamond and Enamel Bracelet ©Macklowe Gallery A true masterpiece, the bracelet is crafted in yellow gold and embellished with exceptionally fine enamel. Each motif is delicately chiseled, and the sophistication of the ornamentation reflects the absolute mastery of enamel and engraving techniques. On the outside, the bracelet is decorated with medallions representing six distinct species of flowers (narcissus, carnation, clematis, wild rose, gustavia, daisy) composed of diamonds alternated with six species of foliage (orange, maple, chrysanthemum, laurel, columbine, maple negundo) chased and enhanced with translucent red enamel on paillons. Bapst & Falize Paris Diamond and Enamel Bracelet ©Macklowe Galley The reverse of the bracelet is enameled in light blue, and each medallion contains a chased gold representation of the same flower as on the outside. The initials C and D with the date March 15, 1887 suggest that the bracelet was made for a wedding, and the initials B and F for Bapst & Falize. The ornamentation of the bracelet and the choice of flowers were not left to chance. Indeed, each flower, by its symbolism, refers directly to a virtue. For this reason, the Macklowe Gallery researched each species represented. Bapst & Falize, an exceptional duo Germain Bapst was the son of Paul-Alfred Bapst, the eldest of six children and descendant of a family of jewelers. Indeed, Paul-Alfred Bapst was the last Crown jeweler of the French Second Empire. Germain Bapst was educated by the Jesuits, before joining the family business run by his father and cousins Paul and Jules Bapst. I made a video with Geoffray Riondet in which we talked about the history of the Bapst family.  Lucien Falize was the son of the famous Alexis Falize, a brilliant jeweler trained at Mellerio who founded his own company in 1838. Lucien began his apprenticeship in the family business in the 1850s, and for many years worked closely with his father, becoming his partner in 1871. Lucien was passionate about the Renaissance and Japanese art. In recognition of his work for the 1878 Exhibition, Lucien was awarded a Grand Prix and a Croix de la Légion d’Honneur. Historian and jeweler Henri Vever described Lucien as a “scholar, thinker and artist”, as well as a man of “impeccable taste and […] exceptional talent”. In 1879, Lucien went into partnership with Germain Bapst. According to Vever, they didn’t agree on everything, but understood each other perfectly. Their relatively modest but astonishing output can be found in many museum collections. But realizing that he had more aptitude for historical and artistic studies than for business, Germain Bapst left his partner Lucien Falize and relinquished management of the company to him. All his life, Lucien strived for innovation and perfection. To create these incredible jewels, Falize collaborated with several renowned engravers and enamellers. In addition to his admiration for the work of Renaissance and Japanese artists, Lucien loved plants for the infinite inspiration they provided, and studied botany. Flowers such as carnations, forget-me-nots, violets, daisies, buttercups, lilies of the valley, dandelions and irises appear in his jewelry and decorative objects, as do more exotic palm, mimosa and sweet almond leaves, and even humble celery and cabbage. Inspired by the special attention Japanese artists pay to seemingly insignificant flora and fauna, Falize writes that “even dead wood, in winter, can serve as a model”. A modest but high-quality production These luxury items, like entirely handmade works, were exorbitantly expensive to produce. The case of Bapst & Falize, with their extremely fine jewelry, was no exception. Despite hard work and numerous orders, Bapst & Falize’s finances were often precarious due to the small number of craftsmen capable of producing work of this quality, which meant very high manufacturing costs. A bracelet like the one featured in this article perfectly illustrates this attention to detail and the care taken in its creation. If you look at the enamel work, you immediately realize the complexity and skill required to achieve a satisfactory result. Translucent enamels such as these have been created using the highly complex technique of “paillonné” enamel, in which tiny gold leaves are placed one at a time between several layers of enamel. https://vimeo.com/1012085950 What’s remarkable about this bracelet, in addition to its fine craftsmanship, is the care taken to research the symbolism of the flowers and foliage used. Indeed, in the interests of speed and economy, it would have been possible to standardize the bracelet by reproducing the same thing each time, but here the two jewelers go much further, drawing on their extensive knowledge of botany. Each species is chosen for its symbolism linked to love, with references to beauty, purity, friendship, fertility, innocence and pure love. A piece of this quality and level of refinement can only be found in antique jewelry. Bapst & Falize jewelry of this quality is extremely rare on the market, as many are in private collections or museums. To find out more about this bracelet, please visit the Macklowe Gallery website.

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The lost jewels of the Romanov

Explorons ensemble l’histoire fascinante et tragique des bijoux des Romanov après la Révolution russe et l’assassinat de la famille impériale. Certains de ces joyaux, témoins d’une époque révolue, ont survécu aux bouleversements révolutionnaires et à la fin de la Russie impériale. Mais que sont devenus ces objets inestimables après la chute des Romanov ? Comment ont-ils été dispersés ?  The Tsar and his immense fortune have always fascinated, and are still the subject of much research and controversy. The Romanovs, the reigning family, possessed an extraordinary treasure that reflected their power and the influence of imperial Russia. As proof of this, in 1913 Nicholas II organized a grand celebration to mark the Romanovs’ 300th anniversary, an anniversary he celebrated with great pomp by commissioning 2,000 objects from Fabergé for his guests. It is estimated that the Romanov fortune was worth around 55 billion dollars today. However, war and revolution destroyed the Tsarist empire, the Romanovs were overthrown and assassinated, and their property was confiscated. A veritable fortune disappeared, including gold, jewels and precious stones. What really happened to these priceless objects ? Son of Tsar Alexander III, Nikolai Aleksandrovich Romanov was born on May 6, 1868 in Pushkin, Russia. Nicholas II became Emperor of All Russia in 1894 at the age of 26. He married Alix de Hesse-Darmchtat, who became Alexandra Fedorovna the same month. The couple had 5 children: Olga, Tatiana, Maria, Anastasia and Alexis. The Tsar developed an expansionist policy that led him to support the Franco-Russian alliance and engage in a war against Japan. Its failure increased popular protests, culminating in the 1905 Revolution. Nicholas II was forced to accept a liberal breakthrough in the form of a representative assembly, the Duma. However, this opening soon came to an end, and the Tsar dissolved the Duma and crushed the revolts. During the First World War, the Russian army suffered heavy defeats, while the country was still in crisis. Starving and exhausted by the war, Russians organized general strikes and demonstrations in all the country’s major cities. In Petrograd, the capital, workers demanded the formation of a new government. The movement led to the abdication of the Tsar on March 15, 1917. This marked the beginning of the Romanov family’s period of imprisonment. First at the Alexander Palace, then in Tobolsk, Siberia, still spared by the Bolsheviks. On July 31, 1917, they boarded two trains and moved into a house in the city, where they were allowed to roam as they pleased. The imperial family then took refuge in a convent, entrusting part of their treasure to a nun who hid it first in a well, then in a cemetery. Encumbered by this heavy burden and in search of a new hiding place, she decided to share her secret with a fisherman friend, who reported her to the KGB, who then took possession of the treasure hidden in fish tanks in 1933, where they found numerous jewels and precious stones, including a diamond weighing almost 100 carats. In 1918, the situation deteriorated with Lenin’s seizure of power, who wanted to eradicate the Romanovs without trial. In April, they were sent to Yekaterinburg, where they took up residence in the Ipatiev house. Detention conditions were extremely harsh, and the guards were violent and abusive. When the Bolsheviks came to power, they needed money, and when they discovered many of the jewels stored in the Kremlin, they decided to put them up for sale, dismantling most of them. KGB archives have been found, detailing the inventory of the jewels. In Yekaterinburg, the Romanov family’s situation is seriously complicated. White Army troops were at the city gates to liberate the Tsar. Lenin decided to have the captives secretly executed. On the evening of July 16, they were rounded up and told that Moscow required a photograph to prove their good health. As they took their places on the chairs, armed guards entered the room and fired, while a truck outside covered the sound of gunfire. The Romanovs are no more, their treasures largely seized and dispersed, but what has become of their personal jewels ? The jewels that accompanied the family, their most intimate and easily transportable pieces ? A handwritten list of the tsarina’s jewels was drawn up during her captivity, including enormous diamonds that were to ensure the family’s financial survival in the event of exile from Russia. What became of them ? The execution of the Romanovs took place in the greatest secrecy, with no one knowing about it and the affair being hushed up. However, there are testimonies from the soldiers in the firing squad. They reported that the bullets ricocheted off the Tsar’s daughters without wounding them, forcing them to be executed with knives. When they took a closer look, their corsets were filled with jewels and precious stones, as were the linings of their dresses. Huge diamonds were bathed in blood. However, the trace of these last is lost and their fate is unknown to this day. But is it really the whole treasure ? It’s highly unlikely … One theory I find particularly interesting is that the Romanovs’ most precious possessions were actually in England, in the possession of the royal family. In fact, Nicholas II was a cousin of King George V, to whom he was very close. They spent their childhood vacations together, and even nicknamed each other “Georgie and Nicky”. Not to mention that his wife Alix de Hesse-Darmstadt, better known as Alexandra Feodorovna, was Queen Victoria’s favorite granddaughter. What could be more natural than to ask George V for help when they felt in mortal danger ? What could be more natural than to send one’s most prized possessions to safety in times of crisis ? But the King, fearing that England’s reputation – then at war with Germany – would be tarnished, refused to help. After the assassination of part of the Romanov family, a Royal Navy warship exiles the remaining members (including the Tsar’s mother) from Yalta.

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The world’s most famous diamonds

“Diamonds are forever”. De Beers may not have realized it at the time, but this advertising slogan completely revolutionized the world of diamonds. A symbol of eternity and strength, these precious stones, steeped in history and legend, have captured the imagination of millions of people through the ages. Even today, diamonds remain the stone of choice for jewelry creations. Le Régent The Regent is an almost colorless, rectangular cushion-shaped faceted diamond with a slight blue-green tint, weighing almost 140 carats. Discovered in 1698 in the Golconde mines in India, it originally weighed 426 carats. It immediately aroused the interest of Thomas Pitt, the English governor of Madras, who purchased it. The diamond was cut in England for two years by the London jeweler Harris to its current weight. It was then sold to the regent Philippe d’Orléans in 1717. The Regent surpassed in beauty and weight all diamonds previously known in the West. After the Regency, this jewel remained one of the most precious pieces in the Crown’s possessions, and served as an adornment for all crowned heads. The Regent was first worn by Louis 14 at the reception of the Turkish Embassy in 1721. It was then provisionally set on the crown for the coronation of Louis 15 on October 25, 1722. For the coronation of Louis 16 on June 11, 1775, a new crown was made, similar to that of Louis 15, with the Regent on the front. Translated with DeepL.com (free version) Stolen in 1792, then found in 1793 hidden in a roof frame, it was pawned several times by the Directoire and then the Consulate before being finally recovered by Napoleon Bonaparte in 1801. It was then used to embellish the sword of the First Consul made by the silversmiths Odiot, Boutet and Nitot. Following the changes of regime, it was set on the crowns of Louis XVIII, Charles X and Napoleon III, then on the Greek diadem of Empress Eugénie. In 1887, it narrowly escaped the sale of French crown diamonds organized by the Republic. Today, it is displayed in the Galerie d’Apollon at the Louvre and is still considered the most beautiful diamond in the world for its purity and quality of cut. Le Sancy Sancy is an asymmetrical pear-shaped diamond, faceted on both sides and weighing nearly 55 carats. The gem is almost colorless, but very pale greenish-yellow around the edges. Very little is known about the origin of this diamond, apart from the fact that it was mined in India and must have weighed close to 100 carats. It was first found in Bruges in 1476, where it was cut for Charles the Bold. Following battles, the stone was lost, only to reappear in Portugal among the Portuguese crown jewels. Portugal’s King Manuel the First pawned the diamond to Nicolas Harlay de Sancy, who then decided to buy it and presumably gave it its current appearance. Following financial difficulties, the Duc de Sancy sold the diamond to the King of England, where it remained until James II’s exile, when he took refuge in France with Cardinal Mazarin, who recovered it and bequeathed it to Louis XIV on his death. During the French Revolution, the Sancy diamond was stolen when the Hôtel du Garde-Meuble was sacked. It was eventually found in Russia and sold to an Indian prince, who kept it for a year. It made another brief appearance in France at the 1867 Paris Exhibition, and then disappeared for almost forty years. Its last purchaser, the Astor family, kept it for 72 years, finally selling it to the Musée du Louvre in 1978 for the sum of 1 million francs. Since then, the diamond has been on display at the Galerie Apollon. Le Hope It is one of the world’s most famous diamonds, not only for its beauty, but also for its reputation as a cursed diamond. The Hope diamond is a 45.52-carat blue cushion. The diamond was brought to France by Jean Baptiste Tavernier, who sold it to Louis XIV. It had long been assumed that it had been stolen from an Indian temple, but Mughal archives record the diamond’s discovery and sale at the Golconde diamond market. Louis XIV had the stone cut from 112 to 67 carats and named the diamond Bleu de France. Recent discoveries have revealed that the Bleu de France was presented on an enamelled gold stick with the diamond as the pommel. The transparent enamel revealed a sun in the center of a blue sky. In September 1792, the diamond disappeared during the theft of the French crown jewels and ended up in England, where it was cut to disguise its provenance. It was lost until 1812. In 1824, the stone was sold to Thomas Hope, a wealthy London banker who gave his name to the stone. Thomas Hope died in 1831. The diamond remained in the family for several years until 1902, when it was sold for $250,000 to an American banker after the Hope family went bankrupt. In 1910, it was bought by Cartier, who, aware of the diamond’s reputation, mounted it as a pendant and sold it to a wealthy client at a relatively low price. She kept it until her death in 1947, after seeing the death of her two children and her husband sent to an asylum. The diamond then passed to Harry Winston, who was unable to sell it, preferring instead to donate it to Washington’s Smithonian Institute in 1958, where it can now be seen and admired by almost 6 million visitors every year, right behind the Mona Lisa. Le Cullinan It is the largest rough diamond ever discovered, weighing in at nearly 3106 carats. It was discovered on January 26, 1905, in the Premier mine near Pretoria, South Africa, and bears the name of the mine’s owner, Thomas Cullinan. The Transvaal government purchased the crude for $750,000. In 1907, the Transvaal government decided to present it to King Edward 7 of the United Kingdom for his

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The genius of René Lalique at the Macklowe Gallery

If you’re an Art Nouveau jewelry lover visiting New York, the Macklowe Gallery is presenting an exceptional exhibition devoted to René Lalique, featuring an extraordinary collection that reveals the extent of this talented jeweler’s artistic genius during the Art Nouveau period, until September 26. ©Macklowe Gallery “To seek beauty is a more worthy aim than to display luxury.” René Lalique The Macklowe Gallery has recently acquired an exceptional collection of Art Nouveau jewelry by René Lalique. This unique collection is currently on display until the end of September at the gallery at 445 Park Avenue. The diversity of the pieces on display is remarkable, providing an insight into the breadth of René Lalique’s style, with jewels inspired by nature, wildlife and women, as well as more intimate pieces with allusions to his native region, where he explored as a child, taking an interest in everything around him. René Lalique Four Damselflies Brooch Diadem ©Macklowe Gallery René Lalique Diamond and Carved Crystal Brooch René Lalique Dragonfly Bracelet ©Macklowe Gallery We were delighted to feature an interview with Benjamin Macklowe, the gallery’s current director, who gave us an exclusive look at a large part of this exceptional collection. You can watch the video here : RENÉ LALIQUE : COLLECTOR’S RESERVE Macklowe Gallery presents the most comprehensive offering of René Lalique jewels in over three decades Read more

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Stage jewels from the Comédie Française

L’École des Arts Joailliers has taken up quarters at the Hôtel de Mercy-Argenteau on boulevard Montmartre in the 9th arrondissement. For its inauguration, the School is presenting a new exhibition, this time focused on the stage jewelry of the Comédie-Française. Designed to create illusion, worn by actors through the ages, they are no less precious for their attention to detail and exquisite refinement. A look behind the scenes at the Comédie-Française… Brooch once belonging to Sarah Bernhardt / René Lalique, 1896 © Coll. Comédie-Française Photo: L’École des Arts Joailliers – Benjamin Chelly Like a theatrical play, the exhibition is divided into acts. The first two plunge visitors into the darkness, backstage, where they discover the beginnings of stage jewelry. Indeed, before the end of the 18th century, the jewelry worn by actors came mainly from their personal collections, and was of no real interest to the play. It was only at this time that the Comédie-Française began to supply jewelry related to the subject, as seen in the various pieces on display in the second room. Talma’s ceremonial sword, early 19th century Gilded metal, mirrored pearl glasses © Coll. Comédie-Française Photo: L’École des Arts Joailliers – Benjamin Chelly During the First Empire, the jewelry designed by the Comédie-Française obviously met the stylistic standards of the time, as evidenced by this magnificent antique-style sword, or this laurel crown for the role of Nero in Racine’s Britannicus. The jewels are so impressively fine, you’d almost forget they’re made of gilded metal, glass or, in the case of the crown below, paper. Crown of laurels : worn by Talma as Nero (Britannicus, Jean Racine), 1814 Paper, textile © Coll. Comédie-Française Photo: L’École des Arts Joailliers – Benjamin Chelly Further down the hall, the “sacred monsters” of the Belle Époque are honored, Sarah Bernhardt and Julia Bartet, with jewelry designed for them to sublimate their roles, such as this loan from the Musée Lambinet: an Art Nouveau tiara made by René Lalique for Mlle Bartet in the role of Bérénice, in aluminum, ivory silver and enamel. Once again, the École des Arts Joailliers presents a unique exhibition of jewelry in a magical setting open to the general public, on an astonishing subject that takes us behind the scenes of the Comédie-Française. Diadem by René Lalique ©Musée Lambinet BIJOUX DE SCÈNE DE LA COMÉDIE FRANÇAISE L’École des Arts Joailliers du 13 Juin au 1er Septembre 2024 En savoir plus

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Seaman Schepps with Anthony Hopenhajm

https://youtu.be/2aBfamQSDEM Discover the captivating world of Seaman Schepps jewelry through this exclusive video in which Anthony Hopenhajm, the current owner of the Maison, talks about the history and sources of inspiration of Schepps. With a penchant for exotic gems such as jade and lapis, Seaman Schepps has revolutionized the world of jewelry by emphasizing originality and boldness in its creations. Discover how the brand has fused tradition and modernity, inspiring contemporary jewelry trends.

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Vienna 1900 : Imperial jewels at Sotheby’s

A collection of almost 250 jewels gathered over time in Vienna during the heyday of the Austro-Hungarian Empire is about to be auctioned on November 6 at Sotheby’s in Geneva. This impressive collection, locked away in a bank vault for almost half a century, brings together unique pieces that bear witness to the wealth and power of 20th-century imperial Vienna. It offers us a precious journey through time into the intimacy of the ruling houses linked to the Habsburg dynasty. https://youtu.be/aKiPZWFKLNw Impressive ruby and diamond tiara, circa 1896 by Köchert ©Sotheby’s This incredible collection bears witness to the grandeur of Viennese court life in the 19th century. Some pieces are linked to the intimate history of the great Austro-Hungarian families, such as this magnificent tiara (est.180-350,000) set with diamonds and rubies of Burmese origin, signed Köchert and belonging to Duchess Isabelle of Württemberg, Princess of Saxony (1871-1904). Exceptional natural pearl and diamond devant-de-corsage, circa 1865 As is this impressive bodice front (est.270-450,000) designed as a floral crown set with diamonds and adorned with natural pearls, signed Emil Biedermann around 1865 (Emil Biedermann was a renowned Viennese jeweller and Köchert’s main competitor in the mid-19th century). Given by Philipp, Duke of Württemberg (1838-1917) as a wedding present to Archduchess Maria Theresa of Austria-Teschen, Duchess of Württemberg (1845-1927). Superb ruby and diamond necklace/tiara by Köchert ©Sotheby’s This tiara necklace set with unheated Burmese rubies and diamonds (est. 110-160,000) is also a wedding present that Emperor Franz Joseph bought from Köchert for his niece Archduchess Margarete Sophie of Austria when she married Albrecht, Duke and Crown Prince of Württemberg in 1893. The necklace was intended to form a suite with the ruby and diamond brooch (lot 1071). Superb ruby and diamond brooch by Köchert ©Sotheby’s Important natural pearl and diamond tiara by Köchert ©Sothebys This transformable tiara, adorned with diamonds and natural pearls (est.270-450,000), once belonged to Princess Maria Immaculata of Bourbon-Deux-Siciles, Archduchess of Austria-Tuscany (1844-1899), is a masterpiece of this collection, thanks to its delicacy and beauty. This sale, organised by Sotheby’s, highlights jewellery production in 19th-century Vienna. Von Mack, Biedermeier, Köchert: the end of the Habsburg monarchy deprived these jewellers of their raison d’être. Without court life, the magnificent jewellery had become obsolete. With the exception of Köchert, almost none of Vienna’s leading fin-de-siècle jewellers survive today. This unique imperial and royal collection, which has remained virtually undivided and unchanged since the early 20th century, offers a unique opportunity to study Viennese jewellery from the Belle Époque and rediscover the talent of these forgotten masters. Vienna 1900 : An Imperial and Royal Collection Live Auction : 6 November 2023 – 18h00 – Geneva More info

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Incredible Art nouveau jewels

Plaque de cou necklace by Henri Dubret ©Macklowe Gallery Art Nouveau is an artistic movement that emerged in Europe at the end of the 19th century and continued to develop until the beginning of the 20th century. The movement was marked by a search for new, organic forms inspired by nature and Japanese aesthetics. In the field of jewellery, this period saw the emergence of designers and jewellers who pushed back the boundaries of tradition and created truly unique works of art. Art Nouveau had its roots in the intellectual and artistic climate of the late 19th century. With industrialisation in full swing, many artists and craftsmen felt the need to break away from impersonal mass production and create unique and original works. It was in this context that Art Nouveau began to emerge. Several factors contributed to the genesis of Art Nouveau. Artistic movements such as Arts and Crafts in England and Pre-Raphaelitism paved the way by revaluing craftsmanship and advocating a return to nature. Japan, long considered an underdeveloped country, came back into fashion in the 19th century. It was in art galleries and at world exhibitions that the work of Japanese craftsmen was rediscovered, and prints were given pride of place. Pendentif signé Georges Fouquet ©Albion Art Institute The lines, curves and irregularity of the shape are in stark contrast to the standards of European mass production. It was a veritable breath of fresh air that arrived in Europe. This fresh air from Asia immediately inspired Art Nouveau artists, who used exotic elements such as animals, insects and flowers like the lotus. Inspired by nature, organic shapes and flowing curves, this innovative style broke with the rigid designs of the past to create jewellery that was a true work of art. Several jewellers played a key role in the emergence and development of Art Nouveau. Among them were René Lalique, who stood out for his innovative designs and use of glass, Georges Fouquet and his use of unusual gems, Henri Vever, Philippe Wolfers and Léopold Gautrait. In total keeping with the movement, jewellery from this period often depicted delicate flowers, butterflies, dragonflies and elements from mythology, tales and legends. Pendentif par René Lalique ©Christie’s Art Nouveau jewellers pushed back the boundaries of traditional techniques to create unique and innovative jewellery. One of the most emblematic is enamelling. Using this technique, floral and organic motifs were brought to life, creating a palette of vibrant colours that enhanced the beauty of the jewellery. The use of unconventional stones and materials is also emblematic of the style. Instead of limiting themselves to diamonds and a few traditional precious stones, they incorporated semi-precious stones such as Peridot or Aquamarine, pearls, shells and even materials such as ivory and horn. Gone are the days of jewelled ornaments, with diamonds overshadowed by opal, enamel or glass and serving only to enhance the work. Devant de corsage par Henri Vever ©Faerber Collection Many celebrities, including Sarah Bernhardt, La Belle Otero, Julia Bartet and Calouste Gulbenkian, were won over by the beauty of the pieces that came out of the workshops. As the years went by, the jewellery became more and more exceptional, and true masterpieces were created, such as this magnificent tiara adorned with an enamelled peacock and set with opals by Philippe Wolfers, and recently restored by Epoque Fine Jewels, until the decline of Art Nouveau and the outbreak of the First World War. Tiare par Philippe Wolfers ©Epoque Fine Jewels Un Art nouveau : Métamorphoses du bijou Exposition sur les bijoux Art nouveau à l’École des Arts Joailliers Lire

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Alhambra by Van Cleef & Arpels

The Alhambra Collection by Van Cleef & Arpels

©Van Cleef & Arpels A true jewelry icon and now the signature of the Maison Van Cleef & Arpels, the Alhambra collection has never ceased to renew itself over the eras, and today takes on a wide range of materials and colors … The clover motif appeared as early as the 1920s, as documented in the company’s archives. However, the first genuine Alhambra sautoir appeared in 1968. Inspired by the four-leaf clover, symbol of good luck, more than a talisman it’s a real everyday lucky charm it features 20 crinkled yellow gold motifs delicately edged with gold pearls. The Alhambra long necklace was an instant hit, and many celebrities, including Romy Schneider, Françoise Hardy and Princess Grace of Monaco, wore the precious lucky charm; Grace de Monaco Françoise Hardy Romy Schneider In 1971, Van Cleef & Arpels decided to add color to its four-leaf clovers. The motifs were set with hard stones such as malachite and lapis lazuli. In 1998, the Alhambra collection was extended to bracelets and watches, and the catalog of available materials continued to expand with carnelian, chalcedony, mother-of-pearl and onyx. In half a century, the collection has been greatly enriched and has become a true ambassador for the craftsmanship of Van Cleef & Arpels. Voir la collection Alhambra sur le site de la Maison Van Cleef & Arpels

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Serpenti by Bulgari

Serpenti Collection by Bulgari

©Bulgari 75 years of the Italian snake A true icon of the Bulgari House, the multi-faceted snake is celebrating its 75th anniversary. A symbol of wisdom, eternity and vitality it is a recurring subject in Jewelry, particularly at Bulgari. Presented as a powerful talisman, the Italian Serpenti has taken many forms over the years. The Roman House was the first to adapt it as a watch in the 1940s. To celebrate this anniversary, an exhibition totally dedicated to this motif was held at the Saatchi Gallery in London in collaboration with artist Refik Anadol, taking visitors on an immersive journey through multimedia works, Maison archives and exclusive pieces from the 1940s to the present day. Previous slide Next slide Founded in 1884 in Rome by Sotirio Bulgari, a goldsmith of Greek origin, the House of Bulgari has established itself over the years as an emblem of Italian excellence and Haute Joaillerie through numerous creations born of incomparable expertise, like the Serpenti collection. Emblem of seduction and rebirth, the snake symbol has been linked to human history for centuries. In the 1940s, the House of Bulgari, charmed by this bewitching power, transposed the powerful symbol into jewelry. The first supple bracelets were created to fit the shape of the wrist, made from tubogas rings or gold mesh. The elegance of this precious snake, finally erect, was an immediate success in a post-war world, with ever more sought-after versions. ©Bulgari It wasn’t until the end of the 50s that totally realistic, extremely precise bracelets appeared. The body of the snake is made up of hand-worked links fixed together independently, with a gold spring running through them to guarantee the jewel’s flexibility. The result is pieces offering multiple combinations of colors and materials, the scales adorned with enamel and diamonds. Today, these are highly sought-after pieces, like a 1965 bracelet sold by Christie’s in 2014 for over a million dollars. Today Bulgari offers a Serpenti collection of rings and bracelets at relatively more affordable prices, while still offering Haute Joaillerie creations.  ©Bulgari Collection Bulgari Serpenti sur le site officiel Bulgari

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