Sithathoriunet
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Center: Blue Topaz: 7,033 carats
RIght: Blue Topaz: 571.5 carats
RIght: Blue Topaz: 571.5 carats
Royal Jewels
- Thread starter LadyAmythyst69
- Start date
Sithathoriunet
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Left: Opal: 42.9 carats
Right: Opal: 318.4 carats
Right: Opal: 318.4 carats
Sithathoriunet
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Raw & Cushion Cut Diamond: Museum of Natural History, Washington D.C.
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Canary Diamonds! Museum of Natural History, Washington D.C.
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emerald and diamonds..yum
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Persian turquoise and more than 1000 diamonds, weighing over 700 carats, encrust this lovely diadem. Napoleon gave this beauty to his second wife, Empress Marie-Louise in 1810. The crown originally sported diamonds instead of turquoise, but these were subsequently removed and repurposed and replaced with the less valuable but equally lovely turquoise cabochons.
Sithathoriunet
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Star Sapphire: Museum of Natural History, Washington D.C.
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Left: Hall Sapphire and Diamond Necklace. Designed by Harry Winston!
Middle: Bismark Sapphire Necklace. 98.6 carats.
Right: Logan Sapphire. 423 carats.
Middle: Bismark Sapphire Necklace. 98.6 carats.
Right: Logan Sapphire. 423 carats.
Sithathoriunet
Brilliant_Rock
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22,892.5 carats!! Now that''s a ring!
Sithathoriunet
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The Hope Diamond! Museum of Natural History, Washington D.C.
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The Hope Diamond Chain: Museum of Natural History, Washington D.C.
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"Die Smaragd Juwelen der französischen Kaiserin Marie-Louise
The Emerald Parure of Marie-Louise Empress of France
La parure de l'impératrice Marie-Louise
weddingpresent from Napoleon I to his wife Marie-Louise of Habsburg. Her jewels chest is in Die Schatzkammer in Vienna.
This diadem was originally mounted with emeralds and was made by Francois-Regnault Nitot and delivered to the new Empress on march 1810.
The original parure consisted of a diadem; a necklace; a pair of earrings and a comb. Total use of 138 emaralds, 2.162 brilliants and 382 rose-cut diamonds. In the diadem were 22 large and 57 small emeralds, 1002 brilliants and 66 rose-cut diamonds. The central emerald stone weighed 12 carat.
Marie Louise went to Vienna after the fall of Napoleon I and took with her her personal jewelery, including the emarald parure. The parure stayed in the Habsburg family until 1953.
Then a Scandinavian decendant of the Habsburg family sold the diadem and kept the other pieces of the parure. They sold it to the famous Jewelhous Van Cleef and Arpels. They replaced the emaralds with turquoises and sold it to Mrs. Merriweather Post. She donated the diadem to the Smithsonian Institution in 1966."
Deborah
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hi!
it is currently in the Museum of Natural History, Washington D.C...just lovely isn''t it?
jenna
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hi!Date: 12/9/2008 1:47:28 AM
Author: SanDiegoLady
Oh honey, where ever did you find this? I havent ever seen it before! This was VERY early, like engagement timeframe.. wow.
well, i just googled it! lol...they have so many great diana photos that i had never seen before..
she was so young... pretty lady!jenna
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1) Marie-Louise Emerald and Diamond Diadem
The word "diadem" is derived from the Latin and Greek word "diadema" which is derived from "diadein" meaning "to bind around." It is synonymous with the word "crown." The word "tiara" which is of Persian origin means a decorative, jeweled or flowered head band or semicircle, usually worn by women in the front of their hair on formal occasions. Thus the difference between a diadem and a tiara is, that while a diadem is circular going round the head, a tiara is usually semi-circular going only partially round the head in the front.
The "Marie-Louise Emerald and Diamond Diadem" had been variously referred to as a diadem and tiara by different websites. But, in keeping with the above definitions we would prefer to call it a diadem and not a tiara. as it is a circular ornamental headdress like a crown.
©Van Cleef & Arpels
The diadem which is circular is broader in the front and slightly narrows down towards the rear. Symmetrical floral motifs have been used on the diadem, a style that was prevalent throughout the 19th century for jewelry crafting. Jewelry designs of this period reflected a naturalistic style, that used the "language of flowers" such as plant and floral motifs, which also conveyed a message of love or affection. A total of 22 large emeralds, 57 small emeralds, 1,002 brilliants and 66 rose-cut diamonds were used on the diadem. The largest emerald which is the centerpiece of the diadem weighed 12 carats, and was a square-shaped emerald surrounded by a single layer of large rose-cut white diamonds. The square emerald has been placed with one of its diagonals along the median vertical line of the front of the diadem. Thus opposite vertices of the square lie along the median vertical line. A second smaller oval-shaped emerald, also surrounded by rose-cut emeralds, is placed below the square-shaped emerald centerpiece, still along the median vertical line. Other large emeralds are placed at symmetrical positions on either side of the median line. The band that goes right round and forms the base of the diadem, is mounted with a single row of rose-cut emeralds. The entire diadem was set in silver and gold, and overall the diadem represented one of the most exquisitely crafted diadems of this design ever created, attaining a very high level of perfection and refinement in its execution, so characteristic of the highly developed jewel crafting industry in Paris during this period.
Thus it is tragic that such a priceless diadem with an inestimable artistic and historic value was allowed to be partially dismantled and its emeralds re-set in other jewelry settings, with an intention of gaining enhanced profits. However it gives a sense of relief that at least the original framework of the tiara had been preserved, the emeralds being replaced by turquoise, and lies today in the Janet Annenberg Hooker Hall of Geology, Gems and Minerals of the National Museum of Natural History of the Smithsonian Institution, thanks to the foresight of a philanthropist and a connoisseur of jewels and jewelry Marjorie Merriweather Post (1887-1973), who purchased the renowned piece from Van Cleef & Arpels and donated it to the Smithsonian Institution.
The word "diadem" is derived from the Latin and Greek word "diadema" which is derived from "diadein" meaning "to bind around." It is synonymous with the word "crown." The word "tiara" which is of Persian origin means a decorative, jeweled or flowered head band or semicircle, usually worn by women in the front of their hair on formal occasions. Thus the difference between a diadem and a tiara is, that while a diadem is circular going round the head, a tiara is usually semi-circular going only partially round the head in the front.
The "Marie-Louise Emerald and Diamond Diadem" had been variously referred to as a diadem and tiara by different websites. But, in keeping with the above definitions we would prefer to call it a diadem and not a tiara. as it is a circular ornamental headdress like a crown.
©Van Cleef & Arpels
The diadem which is circular is broader in the front and slightly narrows down towards the rear. Symmetrical floral motifs have been used on the diadem, a style that was prevalent throughout the 19th century for jewelry crafting. Jewelry designs of this period reflected a naturalistic style, that used the "language of flowers" such as plant and floral motifs, which also conveyed a message of love or affection. A total of 22 large emeralds, 57 small emeralds, 1,002 brilliants and 66 rose-cut diamonds were used on the diadem. The largest emerald which is the centerpiece of the diadem weighed 12 carats, and was a square-shaped emerald surrounded by a single layer of large rose-cut white diamonds. The square emerald has been placed with one of its diagonals along the median vertical line of the front of the diadem. Thus opposite vertices of the square lie along the median vertical line. A second smaller oval-shaped emerald, also surrounded by rose-cut emeralds, is placed below the square-shaped emerald centerpiece, still along the median vertical line. Other large emeralds are placed at symmetrical positions on either side of the median line. The band that goes right round and forms the base of the diadem, is mounted with a single row of rose-cut emeralds. The entire diadem was set in silver and gold, and overall the diadem represented one of the most exquisitely crafted diadems of this design ever created, attaining a very high level of perfection and refinement in its execution, so characteristic of the highly developed jewel crafting industry in Paris during this period.
Thus it is tragic that such a priceless diadem with an inestimable artistic and historic value was allowed to be partially dismantled and its emeralds re-set in other jewelry settings, with an intention of gaining enhanced profits. However it gives a sense of relief that at least the original framework of the tiara had been preserved, the emeralds being replaced by turquoise, and lies today in the Janet Annenberg Hooker Hall of Geology, Gems and Minerals of the National Museum of Natural History of the Smithsonian Institution, thanks to the foresight of a philanthropist and a connoisseur of jewels and jewelry Marjorie Merriweather Post (1887-1973), who purchased the renowned piece from Van Cleef & Arpels and donated it to the Smithsonian Institution.
Sithathoriunet
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Partial dismounting of the Marie-Louise Emerald and Diamond Diadem
Van Cleef & Arpels, who acquired the celebrated diadem dismounted the emeralds from the setting but left all the diamonds in tact. As a renowned jewelry firm they too appreciated the historic and artistic value of the diadem and therefore decided to preserve its original framework. However, the spaces occupied by the emeralds were re-set with Persian turquoises of matching sizes and shapes.
marie-louise-emerald-and-diamond-diadem-replaced-with-turquoise
The partially modified diadem was then purchased in 1971 by Marjorie Merriweather Post (1887-1973), the owner of the Postum Cereal Company, who was America''s first business woman and the wealthiest woman in America at the time, and was a socialite, philanthropist and a great connoisseur and collector of works of art. Mrs. Post then donated the diadem to the National Museum of Natural History of the Smithsonian Institution of Washington DC, where it is exhibited today at the Janet Annenberg Hooker Hall of Geology, Gems and Minerals. Other significant pieces donated by her to the Institution include a pair of diamond earrings that once belonged to the unfortunate Marie Antoinette, the 30.82-carat "Blue Heart Diamond" ring, and an emerald and diamond necklace that once belonged to Emperor Maximilian of Mexico.
Van Cleef & Arpels, who acquired the celebrated diadem dismounted the emeralds from the setting but left all the diamonds in tact. As a renowned jewelry firm they too appreciated the historic and artistic value of the diadem and therefore decided to preserve its original framework. However, the spaces occupied by the emeralds were re-set with Persian turquoises of matching sizes and shapes.
marie-louise-emerald-and-diamond-diadem-replaced-with-turquoise
The partially modified diadem was then purchased in 1971 by Marjorie Merriweather Post (1887-1973), the owner of the Postum Cereal Company, who was America''s first business woman and the wealthiest woman in America at the time, and was a socialite, philanthropist and a great connoisseur and collector of works of art. Mrs. Post then donated the diadem to the National Museum of Natural History of the Smithsonian Institution of Washington DC, where it is exhibited today at the Janet Annenberg Hooker Hall of Geology, Gems and Minerals. Other significant pieces donated by her to the Institution include a pair of diamond earrings that once belonged to the unfortunate Marie Antoinette, the 30.82-carat "Blue Heart Diamond" ring, and an emerald and diamond necklace that once belonged to Emperor Maximilian of Mexico.
Sithathoriunet
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Marie-Louise Emerald and Diamond necklace
The design of the necklace is classical in nature conforming to the architectural style developed for the period by Charles Percier and Pierre Fontaine. The necklace is composed of 32 emeralds, 264 rose-cut diamonds and 864 brilliant-cut diamonds. The necklace set in gold and silver consists of symmetrically arranged alternating square-shaped and cushion-shaped large emeralds, surrounded by a single layer of white rose-cut emeralds, separated by smaller round-shaped emeralds, surrounded by small round brilliant-cut diamonds. There are five square-shaped emeralds, and five cushion-shaped emeralds and twelve small round-shaped emeralds. Usually only a single round-shaped emerald has been placed between a square-shaped emerald and a cushion-shaped emerald, except at the rear of the necklace where two round-shaped emeralds have been placed symmetrically on either side.
marie-louise-emerald-diamond-necklace
From each of the large square-shaped and cushion-shaped emeralds arise a drop-shaped or briolette emerald, also surrounded by diamonds increasing in size from the pointed end towards the rounded end. Briolettes were very popular in France in the 18th and 19th centuries, particularly during the period of Napoleon Bonaparte, who is said to have gifted a 275-carat diamond briolette necklace to his Empress Consort Marie Louise, to celebrate the birth of their son, the future King of Rome. This necklace is also part of the Smithsonian collection in the National Museum of Natural History in Washington DC.
The small round-shaped emerald between a large square-shaped emerald and a large cushion-shaped emerald is the base of a palmette derived from Greek and Roman art. As there are twelve round-shaped emeralds in the necklace, there are a corresponding number of palmettes. Each palmette has five rays, like the five fingers of the palm. Each ray of a palmette is made up of round brilliant-cut diamonds that increase in size from the base towards the tip; the largest round-brilliant being placed at the tip of each ray.
Overall the combined emerald and diamond necklace was a masterpiece of its kind ever created imparting an elegant look on its wearer especially if fair-skinned, like the Empress Marie Louise. This necklace of great historic and artistic value, and imperial provenance, was preserved in its pristine pure state, by the person who acquired it from the ancestors of Marie Louise. This indeed is a great relief to all lovers of historic artifacts and the owner of the historic piece needs the commendation of art lovers worldwide, for preserving an irreplaceable piece of the world heritage. Fortunately, the Louvre Museum in France, had taken the unprecedented step of acquiring the celebrated necklace together with a pair of earrings, also part of the original parure, for a whopping sum of 3.7 million euros, the highest ever sum of money paid by a museum for items of jewelry. It is heartening to note that at least now the Louvre Museum in France, had realized the folly of those who were instrumental in dispersing the crown jewels of France in 1887, and are leaving no stone unturned to restore the lost heritage of one of Europe''s greatest nations.
The design of the necklace is classical in nature conforming to the architectural style developed for the period by Charles Percier and Pierre Fontaine. The necklace is composed of 32 emeralds, 264 rose-cut diamonds and 864 brilliant-cut diamonds. The necklace set in gold and silver consists of symmetrically arranged alternating square-shaped and cushion-shaped large emeralds, surrounded by a single layer of white rose-cut emeralds, separated by smaller round-shaped emeralds, surrounded by small round brilliant-cut diamonds. There are five square-shaped emeralds, and five cushion-shaped emeralds and twelve small round-shaped emeralds. Usually only a single round-shaped emerald has been placed between a square-shaped emerald and a cushion-shaped emerald, except at the rear of the necklace where two round-shaped emeralds have been placed symmetrically on either side.
marie-louise-emerald-diamond-necklace
From each of the large square-shaped and cushion-shaped emeralds arise a drop-shaped or briolette emerald, also surrounded by diamonds increasing in size from the pointed end towards the rounded end. Briolettes were very popular in France in the 18th and 19th centuries, particularly during the period of Napoleon Bonaparte, who is said to have gifted a 275-carat diamond briolette necklace to his Empress Consort Marie Louise, to celebrate the birth of their son, the future King of Rome. This necklace is also part of the Smithsonian collection in the National Museum of Natural History in Washington DC.
The small round-shaped emerald between a large square-shaped emerald and a large cushion-shaped emerald is the base of a palmette derived from Greek and Roman art. As there are twelve round-shaped emeralds in the necklace, there are a corresponding number of palmettes. Each palmette has five rays, like the five fingers of the palm. Each ray of a palmette is made up of round brilliant-cut diamonds that increase in size from the base towards the tip; the largest round-brilliant being placed at the tip of each ray.
Overall the combined emerald and diamond necklace was a masterpiece of its kind ever created imparting an elegant look on its wearer especially if fair-skinned, like the Empress Marie Louise. This necklace of great historic and artistic value, and imperial provenance, was preserved in its pristine pure state, by the person who acquired it from the ancestors of Marie Louise. This indeed is a great relief to all lovers of historic artifacts and the owner of the historic piece needs the commendation of art lovers worldwide, for preserving an irreplaceable piece of the world heritage. Fortunately, the Louvre Museum in France, had taken the unprecedented step of acquiring the celebrated necklace together with a pair of earrings, also part of the original parure, for a whopping sum of 3.7 million euros, the highest ever sum of money paid by a museum for items of jewelry. It is heartening to note that at least now the Louvre Museum in France, had realized the folly of those who were instrumental in dispersing the crown jewels of France in 1887, and are leaving no stone unturned to restore the lost heritage of one of Europe''s greatest nations.
Sithathoriunet
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one of a set of
Marie Louise Emerald and Diamond Earrings
Marie Louise Emerald and Diamond Earrings are based on a simple but elegant design, matching the design on the celebrated necklace. The central theme of this design is the drop-shaped emerald or briolette, suspended from a square-shaped emerald aligned with one of its diagonals lying vertically. The square-shaped emerald is surrounded by a row of small rounded brilliant-cut diamonds. The briolette hangs freely from the square-shaped emerald, but is surrounded by a loop of gold wire mounted with large rose-cut diamonds. A single round-shaped emerald is also incorporated in the loop right at its bottom.
marie-louise-emerald-diamond-ear-ring
marie-louise-emerald-diamond-ear-ring
Overall the design of the earrings matches perfectly with that of the necklace, particularly that part of the necklace with a combination of square and drop-shaped emeralds. The two earrings are composed of 6 emeralds, 20 rose-cut and 40 brilliant-cut diamonds.
The pair of emerald and diamond earrings was also part of the parure of the Empress Marie-Louise, that had miraculously escaped any tampering or alteration, like the celebrated Marie-Louise Emerald and Diamond necklace, and was purchased by the Louvre Museum under the same deal by which they acquired the celebrated necklace.
Marie Louise Emerald and Diamond Earrings
Marie Louise Emerald and Diamond Earrings are based on a simple but elegant design, matching the design on the celebrated necklace. The central theme of this design is the drop-shaped emerald or briolette, suspended from a square-shaped emerald aligned with one of its diagonals lying vertically. The square-shaped emerald is surrounded by a row of small rounded brilliant-cut diamonds. The briolette hangs freely from the square-shaped emerald, but is surrounded by a loop of gold wire mounted with large rose-cut diamonds. A single round-shaped emerald is also incorporated in the loop right at its bottom.
marie-louise-emerald-diamond-ear-ring
marie-louise-emerald-diamond-ear-ring
Overall the design of the earrings matches perfectly with that of the necklace, particularly that part of the necklace with a combination of square and drop-shaped emeralds. The two earrings are composed of 6 emeralds, 20 rose-cut and 40 brilliant-cut diamonds.
The pair of emerald and diamond earrings was also part of the parure of the Empress Marie-Louise, that had miraculously escaped any tampering or alteration, like the celebrated Marie-Louise Emerald and Diamond necklace, and was purchased by the Louvre Museum under the same deal by which they acquired the celebrated necklace.
Sithathoriunet
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sweden''s ruby tiara
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Marie-Louise''s ruby necklace
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Queen ElizabethII''s Godman Necklace
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The Norwegian Emerald Tiara
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QEII''s Vladimir tiara with emeralds
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Rosenburg tiara
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hey!
everyone, if you want to find pictures, and loads of them, of royal jewels and historical photos of everyone wearing them, go check out this site...i just stumbled on it and there are so many photos i can''t even get them all to put up here, it would just take too long!
http://www.royaldutchjewels.nl/
the pic here is one from that site..maxima in aquamarine
everyone, if you want to find pictures, and loads of them, of royal jewels and historical photos of everyone wearing them, go check out this site...i just stumbled on it and there are so many photos i can''t even get them all to put up here, it would just take too long!
http://www.royaldutchjewels.nl/
the pic here is one from that site..maxima in aquamarine
Sithathoriunet
Brilliant_Rock
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and another of maxima from that same site....
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