Also from the Teck Turquoise Parure, two of the bow brooches with turquoises and diamonds. The Turquoise Diamond Parure and die Turquoise Diamond Cluster Necklace and matching earrings with Turquoise and Diamonds
Princess Aglaë Margarete Tatiana Mary of Baden, the niece of Margrave Max of Baden married in the summer of 2019, in Amorbach, Mr Wolf of Trotha.
The bride wore a Fleur de Lys diadem and the bridal gown of her mother, the Austrian Princess Marianne von Auersperg-Breunner, from 1967, when she married Prince Ludwig of Baden, the Margrave’s brother. The 200-year-old bridal veil also comes from Auersperg-Breunner’s estate.
The diadem is a surprise from the treassures of the Baden family, because it is probably the wedding present of the Emperor Franz-Joseph of Austria, from 1900, when the then Princess Marie – Luise of Hanover, Prince Max of Baden (Prince Maximilian Alexander Friedrich Wilhelm of Baden * 10 July 1867 † 6 November 1929, 1918 was the last Chancellor of the German Empire and the last heir to the throne of the Grand Duchy of Baden), married.
From the press at that time is to be read: Gmunden Austria, July 1900. The wedding gifts, received from Princess Marie Luise, were displayed in a small salon of Cumberland Castle on long, white-covered tables for inspection.
„Emperor Franz Joseph had sent a magnificent crown of large diamonds“ …. nothing was known, about it, for a long time.
Princess Marie-Luise, although often wore two large Fleur de Lys brooches studded with large diamonds, on her dress, as can be seen above in the picture, but the matching crown, was never seen in public.
Now a descendant of her, has solved the mystery, the tiara in the form of a diamond crown of five Fleur de Lys lilies, is still in the family, and property of the house Baden and will hopefully be seen more often now as tiara.
The court jeweler of Emperor Franz Joseph was most A.E Köchert , in this time, but also court jeweler Biedermann.
For me it looks like for another A.E. Köchert diamond tiara.
The coronation was the most spectacular moment of George’s life and came at a cost of more than £240,000.
The King himself oversaw the design of his coronation robes, including the crimson velvet surcoat and a stole made from cloth of silver, gold thread and silk, embroidered with the national flowers of the United Kingdom. Sir Thomas Lawrence’s coronation portrait shows the King in his ceremonial clothing with the Imperial State Crown, traditionally remade for the coronation of each new monarch, placed on a table to his right.
The crown, see below in the picture, was set with more than 12,300 diamonds that had been hired for the occasion.
George wanted to keep the crown after the ceremony, but Parliament refused to support the cost. The King therefore commissioned a gilt-bronze cast of the Imperial State Crown, which is on public display for the first time.
The Diamond Diadem, designed for George IV’s coronation by the jewellers Rundell Bridge & Rundell, is set with 1,333 diamonds, including a four-carat pale yellow brilliant.
Openwork silver frame lined with gold and set transparent with diamonds; narrow band edged with pearls, surmounted by four crosses-pattée, the front cross set with a pale yellow brilliant, and four sprays representing the national emblems of the United Kingdom, incorporating the national emblems of England, Scotland and Ireland,Rose – Shamrock-Thistle – Daffodil.
This feminine association belies its origin, since it was made for George IV’s use at his famously extravagant coronation in 1821. On that occasion, he wore it on top of a large velvet ‚Spanish‘ hat surmounted by ostrich feathers, with a curled wig beneath, at the ceremonies in Westminster Hall and during the walking procession to Westminster Abbey.
The order for the diadem was placed with Rundells in 1820 and work was complete by May of that year.
The design, probably by Rundells‘ chief designer Philip Liebart, reflects something of the discarded plan for George IV’s Imperial State Crown, which was drawn up by Liebart in the same period and was to have included the national emblems in place of the traditional fleurs-de-lis.
Together with a diamond-studded loop (which was broken up to help make Queen Victoria’s Garter armlet) the bill for the diadem amounted to the large sum of £8,216.
This included an £800 hire charge for the diamonds – stones were regularly hired for use at coronations up to 1837 – computed on a percentage of the value of the stones.
When the coronation had to be postponed for a year on account of Queen Caroline’s trial, a further hire charge was levied. Normally the stones would have been returned to Rundells after the coronation, but in this case there is no sign that the delicately worked diamond sprays and crosses, a masterpiece of the new transparent style of setting, have been disturbed. Equally, there is no evidence that the King purchased the stones outright, so it could be that the bill was met by a discreet barter of old stones from George IV’s extensive collection.
Today the diadem is worn by Her Majesty The Queen when travelling to and from the State Opening of Parliament.
At the coronation banquet, works were displayed from the Grand Service, an unrivalled 4,000-piece collection of dining and buffet silver-gilt that George first commissioned when Prince of Wales and is still used today at State Banquets, see below.
A spectacular silver-gilt tray by goldsmith Paul Storr for Rundell, Bridge & Rundell, weighing over 9kg and engraved with the Royal Arms and the Prince of Wales’s coronet, was put on show prominently behind the King, In the picture above.
George acquired works of art with abandon to decorate his residences, and these remain some of the greatest items in the Royal Collection.
As Prince of Wales, he lived at Carlton House on London’s Pall Mall. Within ten years of taking possession of the mansion in 1783, he had run up debts of around £400,000, furnishing the rooms with paintings, the finest French furniture and decorative arts, and creating a series of interiors that were widely regarded as among the most handsome in Europe.
One of the highlights of his Kunstkammer is the Nautilus cup and cover by Nikolaus Schmidt, which stands at more than half a metre in height. This unusually large shell is elaborately mounted with silver-gilt figures of Jupiter, Neptune, a mythical sea creature called a hippocamp and four double-tailed mermaids playing instruments. In his library at Carlton House, George read voraciously on topics ranging from geography and military history to the work of Jane Austen.
The Times wrote, ‘there never was an individual less regretted by his fellow creatures than this deceased King’, while the Duke of Wellington called him ‘the most munificent patron of the fine arts’ and ‘the most accomplished man of his age’. On the one hand, George was a recklessly profligate showman, who had little regard for the hardships suffered by the rest of the country, and on the other, he was a connoisseur with intellectual interests, whose passion for collecting left a great artistic legacy.
Through more than 300 works from the Royal Collection,
George IV: Art & Spectacle sheds new light on this monarch of extreme contrasts.
George IV: Art & Spectacle is at The Queen’s Gallery, Buckingham Palace, 15 November 2019 – 3 May 2020.
Raja Sir Joginder Sen Bahadur, 18th Raja of Mandi 1913/1986.
Son of Mian Kishan Singh Sahib, born 20 August 1904, educated at Queen Mary’s College and Aitchison College, Lahore; Indian Ambassador to Brazil 1952/56; Member of Lok Sabha 1957/62; Honorary Lt.-Col. 3rd/17th Dogra Regiment and Bengal Sappers and Miners.
Married 1stly, about 1911, a daughter of Thakur Devi Singh of Delath.
Married 2ndly, 8 February 1923, HH Rani Amrit Kaur, born 1904, died 1948, daughter of Col. HH Farzand i-Dilband Rasikhul-Itiqad Daulat-i-Inglishia *Raja-i-Rajgan Maharaja Sir Jagatjit Singh Bahadur of Kapurthala, and his wife, Rani Kanari.
Married 3rdly, 13 May 1930, Kumari Kusum Kumari [HH Rani Kusum Kumari of Mandi], born 27 August 1913, died June 1998, daughter of Kunwar Prithiraj Sinhji of Rajpipla, and had issue, two sons and two daughters. He died 16 June 1986.
Above in the picture, the Raja, in 1930 when he married Rani Kusum Kumari of Mandi, wearing the important emerald jewel pendant.
Important emerald and diamond pendant/brooch combination, Cartier, 1927.
The surmount set with a carved emerald flower, framed with circular-cut diamonds, supporting a plaque set with an hexagonal polished emerald and calibré-cut emeralds, supporting three emerald drops with onyx rondelle crowns and circular-cut diamond terminals, unsigned, brooch fitting detachable, one small emerald deficient.
The pendant will be offered at auction by Sotheys, Geneve November 2019. Accompanied by SSEF report no. 108686, stating that the emeralds are of Colombian origin, with a minor to a moderate amount of oil in fissures.
Cartier’s use of mughal stones in jewellery was an important aspect of their Indian style, these designs were dominant between 1913 and 1930.
Raja is a title for a monarch equivalent to king or princely ruler in the Indian subcontinent and Southeast Asia.
This pendant also calls to mind the brooch worn by Marjorie Merriweather Post, captured in a painting by Giulio de Blaas in 1929.