Lot 224. The Oriental Sunrise. A Unique and Rare Pair of Diamond and Coloured Diamond Earrings. Estimate CHF9,500,000 – CHF12,500,000 ($9,756,757 - $12,837,838). Price realised CHF 11,365,000. Photo Christie's Image Ltd 2016
GENEVA – On May 18, Christie’s will hold its Spring auction of Magnificent Jewels at the Four Seasons Hotel des Bergues. More than 280 lots estimated in excess of CHF 110 million will be offered in Geneva, including the spectacular Oppenheimer Blue diamond and the Superb Jewels from the collection of H.S.H. Gabriela Princess zu Leiningen. Exceptional jewels from noble, private and important collections, as well as prestigious examples of 19th Century, Belle Epoque, Art Déco, Rétro and Contemporary jewellery designs will dominate the sale.
Rahul Kadakia, International Head of Jewellery: “It is a privilege to offer jewellery spanning from spectacular 19th Century examples to more contemporary designs. To present together a selection of the Superb Jewels from the Collection of H.S.H. Gabriela Princess zu Leiningen, alongside the largest fancy vivid blue diamond to be offered at auction and a private collection of 36 jewels mainly by Van Cleef & Arpels, is incredibly rare and the perfect start to the 250th anniversary of Christie’s.”
THE ORIENTAL SUNRISE
A rough diamond displaying promising orange coloration is rare and elusive. As a result, when such a diamond is uncovered, its identity and origin are often held as closely guarded secrets. Historically however, orange diamonds have been known to occur in localities producing other fancy-color diamonds, such as Brazil, India, various African sources, and the island of Borne in Indonesia. The magical occurrence of a perfectly matched pair with vivid orange-yellow color and saturation makes these diamonds incredibly unique (estimate: CHF 9,500,000-12,500,000).
Lot 224. The Oriental Sunrise. A unique and rare pair of diamond and 12.20 and 11.96 carats fancy vivid orange-yellow oval-cut diamond earrings. Estimate CHF9,500,000 – CHF12,500,000 ($9,756,757 - $12,837,838). Price realised CHF 11,365,000. Photo Christie's Image Ltd 2016
Each fancy vivid orange-yellow oval-cut diamond, weighing approximately 12.20 and 11.96 carats, to the marquise-cut diamond link, weighing approximately 0.73 carat each, and oval-cut diamond surmount, weighing approximately 3.03 and 3.02 carats, 4.5 cm, mounted in gold.
Accompanied by report no. 2165619797 dated 17 September 2014 from the GIA Gemological Institute of America stating that the 12.20 carat diamond is Fancy Vivid Orange-Yellow colour, VVS2 clarity.
Report no. 2165199632 dated 9 June 2015 from the GIA Gemological Institute of America stating that the 11.96 carat diamond is Fancy Vivid Orange-Yellow colour, VS1 clarity.
Reports nos. 2214579873 and 6167060840 dated 21 January 2016 and 18 April 2014 from the GIA Gemological Institute of America stating that the 3.02 and 3.03 carat diamonds are D colour, VS2 clarity.
Diamond Dossiers nos. 5172495644 and 5172495633 dated 18 February 2016 from the GIA Gemological Institute of America stating that both 0.73 carat diamonds are D colour, one is VS2 clarity, the other VVS2 clarity.
Further accompanied by a hardbound monograph from the GIA Gemological Institute of America, featuring additional photography, data collection charts and gemological research, attesting of the prestige of the Oriental Sunrise, and a letter.
COLOURED DIAMONDS
It is believed that diamond mining in India began during the 4th century BC and was the only source of diamonds for about 2000 years, until new mines were discovered in Brazil in 1725 and then in South Africa in 1866. Chemically pure, Golconda diamonds are limpid and have a very high degree of transparency and brilliance, setting them apart from all other diamonds. The pink diamond, weighing approximately 11.49 carats, is a fine example of the charming and beautiful stones that came from this Golconda region (estimate: CHF 1,000,000-1,500,000).
Lot 237. A charming 11.49 carats Type IIa octagonal-cut Fancy Brown-Pink diamond ring. Estimate CHF1,000,000 – CHF1,500,000 ($1,027,027 - $1,540,541). Price realised CHF 1,145,000. Photo Christie's Image Ltd 2016
Set with an octagonal-cut coloured diamond, weighing approximately 11.49 carats, to the plain hoop, ring size 6 ½, mounted in platinum
Accompanied by report no. 16030179 dated 1 April 2016 from the Gübelin GemLab stating that the diamond is Fancy Light Orangy-Pink colour, VS1 clarity, a Note indicating that the diamond is Type IIa and an Appendix stating that this diamond, 'outstandingly pink, displays (...) a superior quality in purity of colour and transparency unique to the finest of type IIa diamonds. Diamonds of this kind (...) are extremely rare and comparable to those famous and exquisite diamonds which originated from the kingdom of 'Golconda'.
Report no. 5172487962 dated 17 February 2016 from the GIA Gemological Institute of America stating that the diamond is Fancy Brown-Pink colour, VVS2 clarity.
Other outstanding diamonds includes a pair of fancy intense blue rectangular-cut diamonds weighing approximately 3.02 and 2.50 carats (estimate: CHF 3,500,000-5,500,000) and a fancy bluish-green diamond ring of 7.58 carats (estimate: CHF 1,300,000-1,800,000).
Lot 196. A rare pair of diamond and 3.02 and 2.50 carats fancy intense blue rectangular-cut diamond earrings. Estimate CHF3,500,000 – CHF5,500,000 ($3,594,595 - $5,648,649). Price realised CHF 4,757,000. Photo Christie's Image Ltd 2016
Each fancy intense blue rectangular-cut diamond, weighing approximately 3.02 and 2.50 carats, to the circular-cut diamond link and oval-cut diamond surmount, weighing approximately 2.02 and 2.01 carats, 2.5 cm, mounted in platinum
Accompanied by reports nos. 2175281674 and 6173281736 dated 24 and 20 August 2015 from the GIA Gemological Institute of America stating that the 2.50 and 3.02 carat diamonds are Fancy Intense Blue colour, Internally Flawless clarity.
Report no. 2175281780 dated 18 August 2015 from the GIA Gemological Institute of America stating that the 2.02 carat diamond is G colour, VS2 clarity.
Report no. 1172281775 dated 18 August 2015 from the GIA Gemological Institute of America stating that the 2.01 carat diamond is G colour, SI1 clarity.
WITH NOBLE PROVENANCE
In addition to the 46 jewels from the collection of H.S.H Gabriela Princess zu Leiningen the auction offers several further exceptional lots with Royal provenance.
Formerly in the collection of Queen Victoria Eugenia of Spain is this beautiful ruby and diamond brooch which formed part of a splendid parure (estimate CHF 50,000-80,000). Queen Victoria Eugenia of Spain was the daughter of Princess Beatrice of the United Kingdom, youngest child of Queen Victoria and Prince Albert. It is interesting to note that Queen Victoria recalls in her journal receiving the ruby and diamond parure from Prince Albert in 1849.
Lot 188. Formerly in the collection of HM Queen Victoria Eugenia of Spain (1887-1969). A mid 19th century Mogok Burma ruby and diamond brooch-pendant. Estimate CHF50,000 – CHF80,000 ($51,351 - $82,162). Price realised CHF 365,000. Photo Christie's Image Ltd 2016
Designed as an oval-cut ruby and old-cut diamond cluster within a flowerhead surround, set with ten old-cut diamonds, circa 1850, 3.5 cm, mounted in silver and gold, later rhodium plated
Accompanied by report no. 15080256 dated 1 September 2015 from the Gübelin GemLab stating that the origin of the ruby is Burma (Myanmar), with no indications of heating, and two Information Sheets on 'Rubies from Mogok, Burma' and 'Unheated Rubies'.
HM Queen Victoria Eugenia of Spain wearing lot 188
This portrait shows Queen Victoria-Eugénie of Spain wearing lot 188, the ruby and diamond brooch, alongside the earrings, necklace and tiara that complete the parure.
Queen Victoria-Eugenie of Spain was the daughter of Princess Beatrice of the United Kingdom, youngest child of Queen Victoria and Prince Albert. She was thought to be the closest to the Queen, staying by her side until her death in 1901. It is interesting to note that Queen Victoria recalls in her journal receiving a ruby and diamond parure from Prince Albert in 1849.
The superb Art Déco tiara by Cartier is the property of a noble Lady. Every time an Art Déco Cartier jewel comes up at auction, it shines with its refinement and elegance. As well as being the golden age of Cartier design, the 1920s and 1930s are synonymous with timeless elegance. What is striking in this jewel is the strong design of stylized fountains. The diamond-set graduated arches are representative of the elegant repetitive style that characterized the Art Déco period (estimate: CHF 200,000-300,000).
Lot 191. The property of a lady of title. An exquisite Art Déco tiara by Cartier. Estimate CHF200,000 – CHF300,000 ($205,405 - $308,108). Price realised CHF 401,000. Photo Christie's Image Ltd 2016
Designed as a graduated line of old-cut diamond-set arches, between old and rose-cut diamond line borders, surmounted to the center with a pear-shaped diamond, weighing approximately 4.31 carats, 1920, with French assay marks for platinum and gold. Signed Cartier Londres Paris New York, with maker's mark for Atelier Renault
Notes: Every time an Art Déco Cartier jewel comes up at auction, it shines with its refnement and elegance. This tiara is a prime example of Cartier’s craftsmanship at its best. Cartier was founded in Paris in 1847 by Louis-Francois Cartier. It was his three grandsons, Louis, Pierre and Jacques, who were responsible for establishing Cartier’s reputation around the world.
As well as being the golden age of Cartier design, the 1920s and 1930s are synonymous with timeless elegance. The use of platinum in jewellery making at the beginning of the 20th century allowed for more freedom in design. It was highly appreciated for its beauty and durability. At the time of the creation of this jewel, platinum had only been used in jewellery for approximately ffteen years; but Cartier’s workshops, the fnest in Paris, such as Atelier Renault, who created this jewel, had already mastered the technique.
What is striking in this jewel is the strong design of stylised fountains. The diamond-set graduated arches are representative of the elegant repetitive style that characterized the Art Déco period. However it is interesting to note that, even though the Art Déco style is synonymous of straight lines and repetitive patterns, the design of this tiara is deeply infuenced by the curved lines of the previous years’ style.
The fountain design had proved very popular and fashionable in the mid-1920s; not only in jewellery, but also in couture and architecture. Notable examples of this fashion include the ‘Parfumerie Française’ stand at the 1925 Paris World Fair, a glass panel by René Lalique, an extravagant dress by Paul Poiret or a diamond tiara by Mauboussin.
The interior of the “Parfumerie Française” at the 1925 Paris Exhibition. Private collection.
“Fontaine” costume, by Paul Poiret. All rights reserved.
A tiara, by Mauboussin. All rights reserved.
Lot 191 is a perfect example of quintessential 1920s fashion. This transitional period gave us some of the best and strongest designs of the century. Signed by Cartier during their most renowned era, it was created by the Renault workshop, who were famous for their delicate work; that only adds to the magnifcence of this tiara.
A 128.10 carat inscribed Mughal Spinel Bead has been consigned for sale by a Royal Family. In India pearls and spinels tended to be worn by the ruler and his most intimate circle. Many of these stones were inscribed with the names of Mughal emperors, some bearing personalized inscriptions in the names of Jahangir, his son Shah Jahan or later owners. It is known that Jahangir was a great connoisseur of gems and his passion for gems was continued by his son, Shah Jahan. The Spinel Bead presented here is a true treasure of nature due to its size, shape and natural pinkish-red colour as well as excellent purity, and its great historical provenance dating all the way back to 1609 and Jahangir Shah Akbar Shah, before being passed on to his son Shah Jahan (estimate: CHF 200,000-300,000).
Lot 238. The property of a Royal Family. A 128.10 carat inscribed Mughal Spinel Bead Pendant. Estimate CHF200,000 – CHF300,000 ($205,405 - $308,108). Price realised CHF 413,000. Photo Christie's Image Ltd 2016
The spinel bead, weighing approximately 128.10 carats, engraved 'Jahangir Shah Akbar Shah', dated 'AH 1018/1609-10 AD', and 'Shah Jahan, Jahangir Shah', dated 'AH 1049/1639-40 AD', to the fabric torsade necklace
Accompanied by report 81037 dated 29 June 2015 from the SSEF Swiss Gemmological Institute stating that the origin of the spinel is Tajikistan, with no indications of heating, and an Appendix letter stating that 'A natural spinel from Tajikistan of this exceptional size and quality is very rare and exceptional. Together with the historical context of such spinels, this jewel can be considered a true treasure of nature'.
Notes: In Indian imperial miniatures such as in the Windsor Padhahnama, which documents the reign of Shah Jahan (1628-1658), pearls and spinels tended to be worn by the ruler and his most intimate circle. Many of these stones were inscribed with the names of Mughal emperors, some bearing personalized inscriptions in the names of Jahangir, his son Shah Jahan or later owners. It is known that Jahangir was a great connoisseur of gems. He was described by a contemporary English visitor, the Rev. Edward Terry, as ‘the greatest and richest master of precious stones that inhabits the whole Earth’. His passion for gems was continued by his son, Shah Jahan.
Emperor Shah Jahan © V&A Images, Victoria and Albert Museum
The habit of inscribing objects and gems in order to personalize them was a Timurid fashion. The Timurids were founded by Timur (Tamerlane), they ruled over Afghanistan, large parts of Iran and Central Asia, from the late 14th to the late 15th centuries. It was to the Timurids that the Mughals ultimately owed many debts in the development of their particular imperial style. A very large red spinel, known as the Timor Ruby, now in the British Crown Jewels, was once in the possession of Jahangir. The stone was presumably once inscribed with Tamerlane’s name and thus may have set a precedent for the habit of inscribing precious stones. Several objects made of semi-precious stones and inscribed with his name are known. In the case of gemstones, every new royal owner had his own inscription added as a mark of ownership, often having the old eradicated.
Jahangir Shah Akbar Shah, dated AH 1018/1609-10 AD.
Shah Jahan, Jahangir Shah, dated AH 1049/1639-40 AD.
PRIVATE COLLECTIONS
An important private collection made up of 36 pieces predominantely by Van Cleef & Arpels showcases a wide variety of spectacular jewels from affordable cocktail rings (estimate: CHF 15,000-20,000) to a breathtaking D-colour diamond ring of 25.94 carats (estimate: CHF 2,500,000-3,000,000), amongst many other classical and timeless designs.
Lot 173. A rare ‘mystery-set’ sapphire and diamond bracelet-watch, by Van Cleef & Arpels. Estimate CHF150,000 – CHF200,000 ($154,054 - $205,405). Price realised CHF 185,000. Photo Christie's Image Ltd 2016
The concave front panel mystery-set with sapphires between diamond-set shoulders, opening to reveal a cream dial with baton and dot hour markers and blued steel hands, to the bracelet set with diamonds between sapphire line borders, mechanical movement, 15.0 cm, mounted in platinum and gold. Bracelet and dial signed Van Cleef & Arpels, no. N.Y.22570 (bracelet).
Lot 174. A magnificent 25.94 carats D-colour pear-shaped Type IIa diamond ring, by Van Cleef & Arpels. Estimate CHF2,500,000 – CHF3,000,000 ($2,567,568 - $3,081,081). Price realised CHF 2,909,000. Photo Christie's Image Ltd 2016
Set with a pear-shaped diamond, weighing approximately 25.94 carats, between tapered baguette-cut diamond shoulders, ring size 5 ½, mounted in platinum and gold, in black suede Van Cleef & Arpels case. Signed VCA for Van Cleef & Arpels, no. 40540
Accompanied by report no. 5171474913 dated 3 February 2016 from the GIA Gemological Institute of America stating that the diamond is D colour, VVS1 clarity; also with a working diagram indicating that the clarity of the diamond is potentially Internally Flawless, and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa.
Further accompanied by a copy of report no. NY36892 dated 28 December 1967 from the GIA Gemological Institute of America stating that the diamond is D colour, Internally Flawless clarity.
Another private collector fascinated by Cartier Panthers will offer seven pieces from her collection. The highlight of this group is a diamond and onyx double panther bangle entirely pavé-set with diamonds (estimate: CHF 250,000-350,000).
Lot 11. A diamond and onyx 'double panther' bangle, by Cartier. Estimate CHF250,000 – CHF350,000 ($256,757 - $359,459). Price realised CHF 323,000. Photo Christie's Image Ltd 2016
Realistically modelled as two swivelling facing panthers, entirely pavé-set with diamonds, interspersed with buff top onyx spots, the heads further set with onyx noses and pear-shaped emerald eyes, inner circumference 17.0 cm, with French assay marks for platinum and gold, in red suede Cartier pouch. Signed Cartier, no. H6S00077
A unique Tutti-Frutti “Inde Mystérieuse” bracelet is offered on behalf of a Lady. It is based upon the Cartier Tutti-Frutti production of the 1920s and whilst this bracelet is a later model from 2007, it epitomizes the classic Cartier design (estimate CHF 550,000- 650,000).
Lot 223. An unique gem'set “Tutti-Frutti Inde Mystérieuse” bracelet, by Cartier. Estimate CHF550,000 – CHF650,000 ($564,865 - $667,568). Price realised CHF 869,000. Photo Christie's Image Ltd 2016
The openwork pavé-set diamond branch with carved ruby, sapphire and emerald leaves, carved ruby berries and beads, the front suspending an articulated fluted emerald bead pendant with ruby and carved sapphire surmount, 2007, 17.0 cm, with French assay marks for platinum and gold, in red leather Cartier case and outer box. Signed Cartier, no. 48348B
Accompanied by copy of an invoice dated 26 June 2008 from Cartier and 'Inde Mystérieuse' pamphlet.
THE MAKERS OF THE 19th CENTURY
The Belgian goldsmith Louis Wolfers founded Wolfers Frères in 1834. Only 131 unique pieces were made and one of these, a glycines tour-de-cou, by Philippe Wolfers, made in 1900 and designed as five alternating carved watermelon tourmaline and opal wisterias, between purple and green plique-à- jour enamel scrolling leaf clusters will be offered for sale with an estimate of CHF 50,000-80,000.
Lot 203. An Art Nouveau multi-gem and enamel 'glycines' tour-de-cou, by Philippe Wolfers. Estimate CHF50,000 – CHF80,000 ($51,351 - $82,162). Price realised CHF 257,000. Photo Christie's Image Ltd 2016
Designed as five alternating carved watermelon tourmaline and opal wisterias, between purple and green plique-à-jourenamel scrolling leaf clusters, enhanced by scrolling garnet-set accents and ruby details, 1900, 34.0 cm, mounted in gold. With maker's mark for Philippe Wolfers, signed Ex-Unique for 'Exemplaire unique'.
Literature: Adriaenssens W. & Steel R., La Dynastie Wolfers De l'Art Nouveau à l'Art Déco, Pandora, Anvers, 2006
Exhibited: Brussels, Hotel Solvay, Le Bijou 1900, no. 96, 1965
Notes: The Belgian goldsmith Louis Wolfers founded Wolfers Frères in 1834. Philippe Wolfers, his son, joined his father’s workshop in Brussels in 1875. His initial designs were in the Rococo style, but by 1890 he had begun ascribing to Art Nouveau aesthetics. His creations dating between 1897 and 1905 are stamped “ex [emplaire] unique” to differentiate them from the pieces made by the Wolfers Company. He only created 131 unique pieces. In 1908, he halted his jewellery production to become a sculptor. Since 1987, Patrick Descamps has been managing this prestigious company whose luxurious premises are currently located at 1, Boulevard de Waterloo, in Brussels, Belgium. As well as an exceptional collection of antique jewellery of worldwide reputation, Wolfers also designs custom made contemporary jewellery.
Philippe Wolfers. As published in Adriaenssens W. & Steel R., La Dynastie Wolfers De l’Art Nouveau à l’Art Déco, Pandora, Anvers, 2006, p. 312.
The Wolfers Frères stand at the 1897 Brussels World Fair. As published in Adriaenssens W. & Steel R., La Dynastie Wolfers De l’Art Nouveau à l’Art Déco, Pandora, Anvers, 2006, p. 64.
Entry of the Catalogue Raisonné. As published in Adriaenssens W. & Steel R., La Dynastie Wolfers De l’Art Nouveau à l’Art Déco, Pandora, Anvers, 2006, p. 367.
Gustave Baugrand was pivotal in the first Egyptian Revival of the 19th century. The exquisite Egyptian revival pendant offered for sale is a very fine example of Egyptian inspired jewellery produced by the house, and has been referenced many times since it was first presented at the Paris World Fair of 1867. The magnificent enamel work and craftsmanship makes it an extremely rare piece of exceptional quality that would be worthy of any museum (estimate: CHF 150,000-250,000).
Lot 210. An exquisite pearl, coloured pearl and gem-set pendant, by Gustave Baugrand, circa 1867. Estimate CHF150,000 – CHF250,000 ($154,054 - $256,757). Price realised CHF 185,000. Photo Christie's Image Ltd 2016
Designed as an oval rock crystal bombé plaque, applied with the enamel profile of Cleopatra, adorned with a rose-cut diamond and vari-cut ruby and emerald headdress and decoration, within a similarly-set frame, to the diamond, yellow diamond and grey pearl scrolling surmount, and diamond and pearl drop, circa 1867, 9.0 cm, with French assay mark for gold. Signed Baugrand for Gustave Baugrand
Please note that the pearls have not been tested for natural origin, and that the yellow diamonds have not been tested for natural colour origin.
Literature: H. Vever, La Bijouterie Française au XIXe siècle, Tome II, Paris, Imprimerie Georges Petit, 1908, p. 276
Notes:
Vever H., La Bijouterie au XIXème siècle, Tome II Le Second Empire 1850-1870, Paris, Imprimerie Georges Petit, 1908, p. 301.
BAUGRAND
Gustave Baugrand was born in 1826. He learned under the apprenticeship of his father, Victor, a well noted Parisian stone setter and jeweller. He first came to the attention of the public in 1852, when he formed a partnership with Paul Marret.
Marret, six years previously, had taken over his uncle’s business, located at 19 rue de la Paix in Paris, France. After Marret’s unexpected death in 1853, Baugrand continued to run the atelier with the help of Marret’s widow, until eventually becoming the sole proprietor in 1864 when Paul Marret’s widow remarried.
‘Marret & Baugrand’ presented at the Paris World Fair of 1855 and were awarded a ‘Médaille d’Honneur’. They were particularly acclaimed for ‘a garland of cornflowers so delicately mounted that the slightest breath set the flowers trembling’. They created simple and elegant jewels and the finesse of their work was outstanding. So much so that the same year Marret & Baugrand earned their first commission from Empress Eugénie for a diamond ‘tour de peigne’ which allowed them to supply the imperial court as official ‘Joaillier de Sa Majesté l’Empereur’.
Inside the 1855 Paris World Fair.
In the year of 1862, at the London World Fair, they presented a collection of jewellery including a pearl and diamond necklace that was considered very modern and chic for the time. Their collaboration flourished. Marret & Baugrand became well-known jewellers to the aristocracy.
Gustave Baugrand was pivotal in forerunning the development of jewellery in fashion, by turning to Ancient Egypt and Greece for sources of new inspirations and idea. These themes were present at the London 1862 World Fair, where they exhibited a fantastic diamond tiara in the Ancient Greek style.
The Greek Style tiara, by Baugrand
The Baugrand exhibition was largely commented and praised in ‘Les Merveilles de l’Exposition Universelle de 1867’ by Jules Mesnard. It is said that the harmonious group of diverse and varied artistic pieces represented what every exhibitor should aspire to. ‘Le Beau’ is what attracted Baugrand, whatever the era, whatever the country; he produced pieces inspired by the Middle Ages and Renaissance artists, Ancient Greece and Egypt alongside modern technology.
It is important to remark that Baugrand was an exception to his trade, as both a salesman and a creator of jewellery. Behind the shop at 19 rue de la Paix were the ateliers where his workers were designing, drawing and crafting the spectacular pieces that he imagined. Gustave Baugrand was interested in the participation of the craftsmen in the company, and he surrounded himself with brilliant artists that were able to create the inspiring pieces he envisioned.
Baugrand passed away during the ‘Siege of Paris’ in 1870. He died at the top of his glory, respected by all for his creativity and craftsmanship. Henri Vever moved his business from Metz to Paris at the same time, and ended up buying Baugrand’s shop after his death. It is a testament to Baugrand’s genius that another master jeweller of its time should decide to invest in Baugrand business and name.
EGYPTIAN REVIVAL
The World Fair of 1867 in Paris, for which Baugrand earned the Legion of Honour, was a pivotal point for French jewellery. It exhibited the latest in technologyand design. Jewellers turned to new sources for inspiration, and the Egyptian style began to shine. Ancient Egypt had been infuential throughout the 19th century, dating back to the Egyptian campaign of Napoléon Bonaparte in 1798. With him embarked many scientists, explorers and painters, including Dominique Vivant Denon, who published the critically acclaimed ‘Voyage dans la Basse et Haute Egypte’ in 1802. He was appointed the frst director of the Louvre museum, then called ‘Musée Napoléon’, and was a pioneer in the ever growing interest in Egyptology across Europe.
Napoléon Bonaparte at the Battle of the Pyramids in 1798
The efect of these expeditions was only really felt through jewellery during the time of Baugrand in the 1860’s, following the discoveries of ancient Egyptian ornaments by the French archaeologist Auguste Mariette. The collection of more than a thousand pieces of ancient Greek, Roman and Etruscan jewellery owned by the Cavaliere Campana, which was installed in the Louvre in 1861, served as inspiration. The opening of the Suez Canal by Empress Eugénie in 1869, was also a historical and signifcant moment in raising Egyptian awareness worldwide. As the mania for Egyptian art, artefacts, jewels and style spread across Europe, the revival thrived, and remained a signifcant factor in decorative design through the turn of the century. It perfectly conveyed the wave of exoticism and intoxicating romance that was to come in the following decades.
The opening of the Suez Canal by Empress Eugénie in 1869
Passion for the Egyptian style was further intensifed by the Franco-Egyptian exhibition at the Louvre in 1911, and following the historic discovery of Tutankhamun’s tomb in November 1922, which was flled with spectacular jewels, objects and the magnifcent golden burial mask, Egyptomania transcended fashion.
Jones O., Grammar of Ornament, 1856, Egyptian Ornament Plate V.
CLEOPATRA
Bas-relief of Cleopatra VII, Temple of Hathor, Dendera, Egypt
The spectacular pendant that we are ofering as lot 210 is a very fne example of Egyptian inspired jewellery produced by Baugrand. It has been referenced many times since it was frst presented at the Paris World Fair of 1867. The magnifcent enamel work and craftsmanship makes it an extremely rare piece of exceptional quality that would be worthy of any museum today.
Cleopatra VII (c. 69-30 B.C.) was the daughter of Ptolemy XII Auletes. She ascended the throne of Egypt at the age of 17, with the help of her lover Julius Casear, by whom she had a son and heir, Ptolemy XV Caesarion. After Caesar’s death, the Roman Empire was divided between Octavian in the west and Mark Antony in the east. As a skilled politician, she allied herself with the strong and victorious Mark Antony, bearing him three children who were assigned various parts of her empire.
Seduced by Cleopatra, Mark Antony spent an increasing amount of time in Alexandria enjoying the sybaritic life of festivals and dining clubs. Estranged from his Roman wife Octavia and the Emperor Octavian, he sufered a series of military defeats. As the victorious Octavian marched on Alexandria, Mark Antony committed suicide. Cleopatra was allowed to pour a fnal libation over Antony’s grave before retiring to her apartment where she poisoned herself on 12 August 30 B.C. From there she passed into history as well as myth, continuing to exercise the same allure over men’s minds today as she did over 20 centuries ago.
Cartouche of Cleopatra VII.