The new owner of the imperial jewel.
The story behind the personal jewels of Tsarina Alexandra Feodorovna>>
Zitat aus Kaiser Napoleons Briefe an die Kaiserin Josephine im November 1805 aus Wien nach Strassburg……..
„Ich schreibe an Herrn von Harville, dass Du nach Baden abreisen und Dich von dort nach Stuttgart und München begeben sollst.
In Stuttgart überreichst Du der Prinzessin Paul das Brautgeschenk.
Es genügt, wenn Du für 20 000 Franken in den Korb (Corbeille de Mariage) tust, das Übrige ist für die Geschenke, die Du in München den Töchtern der Kurfürstin von Bayern machst.
Nimm auch das Nötige mit, um den Damen und Offizieren, die den Dienst bei Dir versehen werden, Geschenke zu machen. Benimm Dich recht würdig, aber lass Dir alle Huldigungen gefallen: man ist Dir alles schuldig. Während Du nur Höflichkeit zu geben hast……………“
Prinzessin Charlotte von Sachsen–Hildburghausen, heiratete 1805 den Prinzen Paul von Württemberg (1785-1852) und wurde damals „Prinzessin Paul“ genannt.
Prinzessin Paul, Prinzessin Charlotte von Sachsen-Hildburghausen (1787-1847) war eine Tochter von Herzog Friedrich und Herzogin Charlotte, Nichte der Königin Luise von Preußen und Schwester der bekannten Prinzessin Therese – der späteren Königin von Bayern.
Der Braut des bayrischen Kronprinzen Ludwig, der extrem gegen die Verbindung mit Napoleon war. Somit enges Mitglied der Familie, Ihrer zukünftigen Schwiegertochter Prinzessin Auguste Amalia Ludovika von Bayern.
Kaiserin Josephine Sohn, Eugene Beauharnais, heiratete im Januar 1806, in die bayrische Königsfamile, es wurde ihr von ihrem taktisch-dynastisch denkenden Mann Napoleon aufgetragen, ein besonderes Geschenk zu machen.
1818 trennte sich das Paar und Charlotte kehrte nach Hildburghausen zurück. Sie hatten zusammen fünf überlebende Kinder.
Die älteste Tochter war Prinzessin Charlotte(1807–1873), später Großfürstin Helene Pawlowna ⚭ 1824 Großfürst Michael Pawlowitsch (1798–1849) sie war durch die großzügigen Brautgeschenke und Brautausstattung auch für angeheiratete Bräute, der Familie Romanov, mit Juwelen und Schmuck, versorgt.
Ihr ältester Sohn Prinz Friedrich von Württemberg 1808-1870 heiratete am 20. November 1845 seine Cousine Prinzessin Katharina von Württemberg (1821–1898), eine Tochter von König Wilhelm I. Er erbte von seiner Mutter den Hochzeitsschmuck – die Topazparure.
Das einzige Kind aus dieser Verbindung war der 1848 in Stuttgart geborene Prinz Wilhelm, der 1891 als Wilhelm II. König von Württemberg wurde.
Im Jahr 1877 heiratete Prinz Wilhelm Prinzessin Marie zu Waldeck und Pyrmont.
Und hier ging nun die imperiale Topaz Parure an Prinzessin Marie.
Das Paar hatte drei Kinder, von denen zwei nicht über das Säuglingsalter hinaus kamen. Lediglich die Tochter Prinzessin Pauline (1877–1965), wurde erwachsen und später die Gemahlin von Fürst Friedrich zu Wied (1872–1945).
Im April 1882 verstarb Prinzessin Marie während der Entbindung von Ihrem dritten Kind, das bei seiner Geburt nicht lebensfähig war.
Die Topazparure mit Topas-Tiara, zwei Topas Armbändern, Topas Broschen, Topas Ohrringen und Topas Halsband alles mit Diamanten und rosa Topasen besetzt ging an Tochter Prinzessin Pauline, der späteren Fürstin Wied.
Zum Vergleich: die Kosten für die Erstellung der Saphir Parure der Kaiserin Josephine, wurde 1805, mit ca 84 000 Franc angegeben. Diese bestand jedoch noch zusätzlich zu der Tiara, Halsband und Armbändern aus einem Gürtel, einem Kamm und mehreren Broschen und Ohrringen.
Die berühmten Rosa Topase |Königlicher Schmuck der Prinzessin Marie von Württemberg
Pink Topaz Grand Parure | Empress Marie Louise of France | Tiara, Collier, Bracelet, Guirdle, Comb with Topaz| Joaillerie Marie Louise impératrice des Français
Pink Topaz Parure with Diamonds | Empress Marie Louise of France | Rosa Topase Diadem, Kamm, Halsband,Gürtel | Joaillerie Marie Louise impératrice des Français
Quote from Emperor Napoleon’s letters to Empress Josephine in November 1805 in Strasbourg……….
„I write to Mr. von Harville that you should leave for Baden and go from there to Stuttgart and Munich.
In Stuttgart you present the bridal present to Princess Paul.
It is enough if you put it in the basket (Corbeille de Mariage) for 20,000 francs, the rest is for the gifts you give in Munich to the daughters of the Elector of Bavaria.
Take with you what is necessary to give gifts to the ladies and officers who will serve you. Behave in a dignified manner, but be willing to accept all homages: they owe you everything.
Princess Charlotte von Sachsen-Hildburghausen, married Prince Paul von Württemberg (1785-1852) in 1805 and was then called „Princess Paul“.
Princess Paul, Princess Charlotte of Saxon-Hildburghausen (1787-1847) was a daughter of Duke Friedrich and Duchess Charlotte, niece of Queen Luise of Prussia and sister of the famous Princess Therese – later the Queen of Bavaria.
The bride of the Bavarian crown prince Ludwig, who was against the connection with Napoleon.
Thus close member of the family, her future daughter-in-law Princess Auguste Amalia Ludovika of Bavaria.
Empress Josephine’s son, Eugene Beauharnais, married in January 1806, into the Bavarian royal family. Her tactically dynastic husband Napoleon instructed her to make a special gift.
In 1818 the couple separated and Charlotte returned to Hildburghausen. Together they had five surviving children.
The eldest daughter was Princess Charlotte (1807-1873), later Grand Duchess Helene Pavlovna ⚭ 1824 Grand Duchess Michael Pavlovich (1798-1849) she was provided with jewels and jewellery by the generous bridal gifts and bridal equipment also for married brides, the Romanov family.
Her eldest son Prince Friedrich von Württemberg 1808-1870 married on November 20, 1845 his cousin Princess Katharina von Württemberg (1821-1898), a daughter of King Wilhelm I. He inherited from his mother the wedding jewellery – the Topazparure.
The only child from this marriage was Prince Wilhelm, born 1848 in Stuttgart, who became King of Württemberg in 1891 as Wilhelm II.
In 1877 Prince Wilhelm married Princess Marie zu Waldeck and Pyrmont. This marriage with a small princely house, a marriage of affection, met with little enthusiasm in Württemberg.
Princess Marie of Wurtemberg Pink Topaz Parure Tiara Napoleons wedding present to Princess Paul of Wurtemberg
And here the imperial Topaz Parure went to Princess Marie.
The couple had three children, two of whom did not go beyond infancy. Only the daughter Princess Pauline (1877-1965) grew up and later the wife of Prince Friedrich zu Wied (1872-1945).
In April 1882 Princess Marie died giving birth to her third child, who was not viable at birth.
The topaz parure with topaz tiara, two topaz bracelets, topaz brooches, topaz earrings and topaz collar all set with diamonds and pink topazes went to daughter Princess Pauline, later Princess Wied.
Jewels given to Princess Alice, Duchess of Gloucester as wedding presents:
Above the Alice Duchess of Gloucester in 1953 wearing the Resille Diamond Fringe Necklace with Turquoises
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
More history about the Royal Turquoise Jewelry:
A magnificent crown of large 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.
Royal Jewel History :
The wedding gift of Emperor Franz Joseph of Austria | Royale and Imperial Gifts Princess Marie Louis Duchess of Cumberland Margravine of Baden
Royale und Imperial Geschenke zur Hochzeit | Mitgift der Prinzessin Marie Louise von Hannover Herzogin von Cumberland, Herzogin von Braunschweig Lüneburg
Princess Marie Louise|Baden Hanover Cumberland |Royal Wedding Gifts Imperial Marriage Presents|Diamond Tiara Diadem Brooch
Royale and Imperial Gifts Princess Marie Louis Duchess of Cumberland Margravine of Baden| Historic Royal Jewelry
Prinzessin Marie Louise von Hannover Herzogin von Cumberland Markgräfin von Baden |Diamant Halsband Choker| Hochzeitsgeschenk Köchert Wien
Palmetten Diamant Tiara der Großherzogin Luise von Baden
Prinzessin Thyra von Dänemark |Kronprinzessin von Hannover | Herzogin von Cumberland | Royale Hochzeit Schmuck Geschenke
Princess Thyra of Denmark|Crown Princess of Hanover| Duchess of Cumberland | Royal Wedding Imperial Marriage Gifts
Grand Duchess Stephanie – Imperial Emerald Necklace – Parure
Weiteres Bild der Smaragdgarnitur Grossfürstin Stephanie Beauharnis Baden >>
Die spannende Geschichte der Juwelen des Hauses Baden
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.
Danke an Volker für den Tipp.
Cartier Sautoir with Emerald Diamond Pendant Brooch | Raja of Mandi Maharaja and Royal Ruler of India| Maharajah Mughal Jewelry| Royal India| Jewel history
this impressive stomacher pin was given by Napoleon I (1769-1821), Emperor of the French from 1804 until 1814 and again briefly in 1815 during the Hundred Days, to Countess Maria Walewska (1786-1817).
Napoleons Love Token!
The motif surmounting the central sapphire is a Roman Helmet, alluding to Napoleon’s wish to associate himself with the great rulers of the Roman Empire.
Other emblems, including two crossed canons, a drum and lances demonstrate further Napoleon’s desire to represent military strength.
To the right of the central sapphire is a monogram depicting a ‘WN’ entwined, alluding to the Emperor and the Countess Waleska.
It is believed that the ruby-eyed eagle, surmounting the piece represents the Imperial Eagle.
However, it is not depicted in the usual proud stance, instead it is a recumbent eagle, considered to provide a form of protection to the rest of the jewel, and therefore to the person it is given to.
The story behind the jewel, more history:
From the collection of 1861-1931 Nellie Melba:
Belle époque TURQUOISE AND DIAMOND BROOCH
Cabochon turquoises, rose and old-cut diamonds, platinum and gold, 1910s, 16.0 cm, red Cartier case offered on auction at Geneve Nov 2019 by Christie’s Est. $250,000-350,000
Click for more history:
From the jewelry collection of DAME NELLIE MELBA
BELLE EPOQUE TURQUOISE AND DIAMOND BROOCHES
Cabochon turquoises, rose and old-cut diamonds, detachable brooch fttings, with interchangeable central collets and additional half-pearl fittings , 1910s, 11.0 cm and 5.2 cm, red Cartier case
Christie’s will be offered in Geneve Nov 2019 this jewelry $150,000-200,000
click for more history: