Jewels once owned by princesses, aristocrats and opera royalty: ‘Some of the finest examples still in private hands’

‘These are grand, royal jewels,’ says Christie’s senior specialist Angela Berden, ‘but they also tell us about the evolution of European jewellery from the mid-19th century to the birth of Art Deco in the 1920s.’

The collection of jewels Berden is referring to was assembled over some decades years by an Asian collector with a passion for European royal history. The collection will be offered in Magnificent Jewels on 17 May 2023 at Christie’s in Geneva and includes rare and important diamond tiaras, necklaces and earrings.

‘We don’t see many 19th- and early-20th-century pieces in their original design at auction,’ Berden says, explaining that many antique jewels will have been modified or refashioned in line with changing trends. ‘So it’s really exciting to be offering pieces with royal provenance that are in such excellent condition.’

They are also of remarkable quality. ‘The workmanship that has gone into these jewels is incredible,’ she says. ‘They are some of the finest examples of the period still in private hands.’

Of the 19th-century pieces in the collection, Berden is particularly drawn to the impressive sapphire and diamond parure from the royal house of Württemberg, dating from around the 1860s (above). The set comprises a floral tiara, a necklace and a forget-me-not and anemone spray, which would have been worn as a bodice ornament.

‘By the 1860s, delicate floral designs had given way to more complex and elaborate compositions of flowers and foliage,’ notes Berden. ‘Naturalistic diamond flowers were often set on stalks that resembled little sprigs. This stylistic technique dramatically increased their sparkle and sense of movement. I can imagine just how dazzling the tiara would have looked in candlelight.’

The peak period of the tiara’s popularity was from the 1870s — when diamonds were plentiful following the discovery of new sources in South Africa in 1867, and hairstyles were suitably voluminous — to just before the First World War.

Among the standout British tiaras coming to auction is the Duchess of Roxburghe Diamond Tiara, dating from around 1890 (shown above as a necklace). It is thought that the Duchess of Roxburghe inherited it from her mother, the Marchioness of Crewe. As the the wife of the ambassador to France, Lady Crewe would have attended many grand occasions on which a tiara of this magnificence, also known as a ‘fender’, would have been required.

‘We’re slowly moving towards the Belle Epoque period, so we begin to see designs that are more delicate and refined,’ says Berden. ‘This aesthetic shift, in the British Empire at least, was triggered by the death of Prince Albert in 1861, when Queen Victoria entered a deep state of mourning and imposed a more sober life in court.’

As for mounts and settings, low-carat gold and silver were favoured for much of the late 19th century. ‘New sources of silver were discovered in Nevada in the 1860s, so silver became much more affordable,’ explains the specialist.

By the turn of the 20th century, however, silver and gold were being cast aside in favour of platinum. ‘Platinum is an extremely durable and strong metal with a soft white hue,’ says Berden. For this reason, it could be used in smaller quantities, resulting in even lighter, more delicate designs. ‘Its lustre also enhanced the diamonds’ sparkle,’ adds the specialist.

Edward VII’s ascension to the British throne in 1901 marked the high point of Belle Epoque jewellery.

Chaumet, Cartier and Van Cleef & Arpels were among the leading proponents of the style. Their opulent designs epitomised the decadent and carefree attitude of the era and appealed to aristocrats, actresses and opera singers alike.

‘Belle Epoque jewels typically feature curved lines and intricate details such as wreaths, bows and ribbons,’ says Berden, adding that platinum, old-cut diamonds and pearls also feature prominently. ‘Cartier was the greatest jeweller in the world at the turn of the 20th century, and all the most important society figures in Paris, London and New York would have commissioned jewels from the maison.’

The Cartier diamond and pearl devant-de-corsage in the upcoming sale is a case in point. Of intricate openwork design and dating from around 1902, it was formerly in the collection of the Australian soprano Dame Nellie Melba (pictured wearing the piece, above), who draped herself in impressive jewels by Cartier on stage and at important public receptions. It has since passed by descent through an English family.

‘It’s rare that statement Belle Epoque jewels by Cartier come to auction,’ says the specialist. ‘And this garland-style devant-de-corsage is one of the most magnificent examples of the period we’ve ever offered for sale.’

The end of the First World War heralded a revolt against the excesses of the Belle Epoque era. Sweeping, fluid lines and nature-based motifs gave way to geometric design, with clean lines, contrast and colour coming into vogue. Large gemstones were rejected in favour of small, brilliant-cut diamonds.

First exhibited in Paris in 1925, at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Art Deco jewellery was the visual embodiment of modernist principles.

The Bessborough diamond tiara by Chaumet (above) is a brilliant example of the daring new aesthetic, with its floral and flowing foliate openwork design. The tiara was commissioned by the Earl of Bessborough in 1931 for his wife Roberte, on his appointment as 14th Governor General of Canada.

‘Its geometry and sense of balance are typical of the Art Deco style,’ Berden notes. ‘We know from archive imagery that Roberte wore this tiara on many occasions, including the state opening of Parliament. All eyes would have been upon her.’