Saturday, July 31, 2010



Snuffbox Showing a Monument to Catherine the Great

Round Snuffbox with Aventurine Glass and a Map of the Crimea

Snuffbox with Portrait of Count Alexey Orlov

Snuffbox with Stones from Saxony


Snuffbox in the Form of a Pug-dog

Round Snuffbox with Diamond Rosettes

The snuff-boxes of Catherine the Great
...You are not Aurora borealis (Northern lights), you are the brightest star of the North, and there has never existed a star so beneficial - this is how Voltaire characterised Catherine the Great. During her reign, which is considered to be the Golden Age of the Russian history, Russia became a European country and St. Petersburg gained a significant place among the capitals of the educated world. The political success of Catherine II contributed considerably to her personal prestige, but it was really the flourishing of sciences and arts that gave a special brilliance to her reign. Under the Empress's order a magnificent Palace ensemble was erected, which became both the Royal residence and the depository of artistic values.
The main events in Catherine's reign and personal life were reflected not only in monuments, but also in miniature snuff-boxes which were often presented as an award, a diplomatic gift or a private present.


Queen Mary's Crown
Queen Mary’s Crown is set entirely with diamonds and crystals was made for Queen Mary when she was crowned Queen Consort with George VI in 1911.
Queen Mary’s crown originally contained the 3d Star of Africa in the cross pattee which surmounts the heavily jewelled monde and the 4th Star of Africa in the band. Both these diamonds were cut from the Cullinan I diamond, which is the biggest diamond in the world.
Both these diamonds are the personal property of Queen Elizabeth II and are not part of the Crown Jewels. They are known as the Lesser stones of Africa and were mounted in such a way that they can be removed and worn separately as a pendant or brooch. These stones were replaced by replica crystal stones.
The crown contains eight half arches. Unlike any other coronation crowns, it was specially constructed, so that its arches could be removed, allowing for the crown to be worn as a circlet.
Queen Mary used the crown in circlet form at the coronation of George VI and at State Ceremonies involving her granddaughter Queen Elizabeth II.
The crown was regarded as a miracle of construction because it weighed less than 22.85 oz..when mounted with around 2200 diamonds.Since Queen Mary’s death on 24th March 1953 her consort crown has remained unworn

Queen Victoria’s Diamond Crown
This crown whose lightness and elegance contrast with other British crowns, was ordered by Queen Victoria for her personal use. She found the Imperial State Crown too heavy, and very much resented the complicated procedures involved when removing the crown from the Tower of London.
The small crown is a beautiful crown of heraldic Tudor form, which was made from Queen Victoria’s own expense in 1870. It was the crown perhaps most associated with Queen Victoria . Such was the association that the crown was placed on her coffin before her funeral.
Origins: Following the death of her husband, Prince Albert, Queen Victoria withdrew from public life and wore the widows weeds which she continued to wear until her death in 1901.
By government pressure she came back to public life in 1870. Queen Victoria refused to wear the Imperial State Crown partly because it was too heavy and also because it was impossible to wear her mourning veil. The new small crown was created as a replacement. Because of its size it could be worn on top of her mourning veil, so meeting the ceremonial needs of the British monarchy and her own desired form of dress as a widow.
Design: The design of the crown followed the standard designs of British crowns. It is made up of four half arches which are met at a monde, on which sits a cross. Each half arch runs from the monde down to a cross pattee along the band at the bottom. Between each cross patee is a fleur-de-lis. The crown does not have an internal cap.
Jewels: The crown is made of silver. It contains 1187 diamonds which were permitted to be worn in mourning unlike coloured stones. The diamonds all came from a necklace owned by Queen Victoria.
Usage: Queen Victoria first used the crown on the State Opening of Parliament in Westminster on 9th February 1871. It was worn by her on all State Occasions after that date where she was required to wear a crown.
After Victoria: Technically the crown belonged to Queen Victoria personally rather than the British Crown, and therefore did not form part of the British Crown Jewels. In her will Queen Victoria left it to the British Crown. In 1937 King George VI ordered that it should be moved from Windsor Castle and added to the regalia kept in The Tower of London where it remains on show to this day. Height 10cm Across 9cm.

King George IV State Diadem

The King George IV State Diadem forms part of the Crown Jewels. The Diadem was made in 1820 for the coronation of George VI. It was constructed to encircle the velvet “Cap of Estate” that he wore in the procession to Westminster Abbey.
The diadem included 1333 diamonds weighing 327.75 carats and 169 pearls along the base. In between the four crosses it features the rose, thistle and shamrock.which are the symbols the England, Scotland and Ireland.
The diadem was also worn during the coronation procession of Queen Victoria and later Queen Elizabeth II. It was also worn by Queen Elizabeth II in the procession of the State Opening of Parliament
The diadem appears worn by Queen Victoria (without the cap)on the penny black and all of her subsequent stamps.
Queen Elizabeth II wore the diadem on her way to her coronation. The diadem is completely circular. The four cross pattee set with diamonds represents St. George. The front cross has a rare honey coloured diamond in the centre and four diamond bouquets of the rose, thistle and shamrock of the United Kingdom. The diamond scrollwork band was remounted for Queen Alexandra in 1902 and is framed between two rown of pearls

Queen Mary’s Circlet
Queen Mary’s circlet is taken from Queen Mary’s original crown which was constructed in such a way that the arches could be removed allowing the crown to be worn as a circlet. The crown was first worn on 22nd June 1911
Queen Mary used the crown in circlet form at the coronation of George VI and at State ceremonies involving her granddaughter Queen Elizabeth II. The crown was made for Queen Mary’s coronation in 1911. It was regarded as the miracle of construction because is weighed less than 22oz. in full.
The Circlet originally contained the 3rd and 4th Stars of Africa, known as the Lesser Stars of Africa. They were the personal property of Queen Elizabeth II and were mounted into the crown in such a way so as to be removed and worn as a pendant or brooch. These stones were later replaced by replica crystal stones.
The weight of the full crown is 22oz. Circumference:23.7 inches Height 25cm

St Edwards Crown
This crown is the most important of all the crown jewels. It is with this crown that the monarch is crowned at the ceremony of the coronation.
The original crown was melted down during Oliver Cromwell’s rule. When the monarchy was restored on 29th May, 1660, new regalia had to be made before there could be a coronation. A copy was instructed to be made, to be traditionally used at the actual moment of crowning, but never worn again during the reign.
The crown is made of solid gold. Up until George V’s coronation it was set with paste stones and enamel mounts, In 1911, for the coronation of George V the crown was perminently set with semi-precious stones, and the imitation pearls were replaced with gold beads, which were plated with platinum.

The Imperial state Crown
The Imperial State Crown is the most magnificent of all the Crown Regalia. It was made in 1838 for the coronation of Queen Victoria, and then altered for the coronation of George VI in 1937 and Elizabeth II in 1953. It replaced the crown of St. Edward on the head of the ruler immediately after the coronation. Although the crown is modern in design it is set with very ancient gems.
The Black Prince’s Ruby is set into the central panel of the crown. The ruby looks like a clot of congealed blood. It is one of the most interesting and admired gems is existence.
Its history is surrounded by murder and bloodshed. It was first heard of in 1369 by which time it was already many centuries old. It was then owned by the King of Granada who was murdered by Don Pedro Castille (Peter the Cruel) who coveted the gem. He then gave it to the Black Prince as a token of gratitude for his assistance in the Battlefield of Navarertte.
On the death of the Black Prince the ruby was passed onto his son Richard II, but it soon figured again in battle, this time in Agncourt in 1915, when Henry V wore it in his coronet. Seventy years later in 1485 Richard III wore it in his helmet in the battle of Bosworth where he lost the throne and his life.
The ruby was hidden in a hawthorn bush, and was retrieved and used to crown the spot Henry VII. Under Oliver Cromwell, the jewels were melted down and destroyed. The Black Princes Ruby was bought by a jeweller who resold it to Charles II after the restoration of the Stuarts in 1660.
The Stuart Sapphire was set into the front of the crown by Charles II after the restoration in 1660. It is now set into the back of the crown. This jewel has somewhat of a romantic history. James II took it to France with him when he was dethroned and for the next 100 years is belonged to the Stuarts.
It was inherited by Cardinal York who bequeathed the sapphire to George III in 1807 and it was presented to him by his granddaughter Charlotte. After the death of Charlotte and George the King was eventually able to buy the gem . Queen Victoria had the sapphire set into her Imperial State Crown below the Black Princes ruby. It was reset to the back of the crown to make room the the Second Star of Africa, then the second largest diamond in the world.
The Cullinan diamond decorates brow of the Imperial State Crown, just below the Black Princes Ruby. It was found in Africa in 1905 weighing 3601 carats – the largest diamond in the world. Later the Transvaal Government made a gift of the enormous stone to Edward VII who had it cut into several pieces. The largest piece known as the Cullinan I (The Star of Africa) was set into the King’s sceptre, and the second largest – the Cullinan II (Second Star of Africa) was mounted to the front of the Imperial State Crown.
St. Edward’s sapphire is set into the Maltese Cross at the top of the Imperial State Crown. According to legend it was worn by Edward the Confessor mounted into a ring.
He was accosted by a beggar and gave him the ring. Many years later two pilgrims from the Holy Land returned the ring saying that it was given to them by an old man who claimed to by Saint John who said that the ring was given to him by a King when he was a beggar. Edward died soon after in 1066 and was buried with the recovered ring on his finger. When his coffin was opened two hundred years later, his body was found to be perfectly preserved. The Abbot of Westminster slipped the ring off his finger and it has remained part of the crown jewels ever since.
In addition the Imperial State Crown also contains 4 rubies, 11 emeralds, 17 sapphires, 277 pearls and over 3000 diamonds.
Weight 1.06 kgs Height 12.4 inches

Imperial Crown Of India
The Imperial Crown of India was made for King George V to wear at the Delhi Durbar in 1911, when he was acclaimed Emperor of India. The Imperial State Crown cannot be taken out of England. The Imperial Crown of India will probably never be worn again and its significance is now purely historical.
The crown has eight half arches which spring from the cross pattee and fleur-de-lis, and it contains a remarkably fine emerald, a number of other emeralds, sapphires, rubies and over 6000 diamonds which were sent over from India.

Friday, July 30, 2010


Necklace "Kandinsky"
Vera Chernova

Medallion with cameo portrait of Catherine the Great
Johann Georg Gaspar Jeger
Saint Petersburg
Cornelian, gold, silver, diamonds; polishing, chasing, carving

Snuff-box with cameo portrait of Catherine the Great
David Rudolph
Saint Petersburg
Gold, amethysts, topazes,enamel, semiprecious stones; carving, chasing

Bouquets of flowers of precious and semiprecious stones mounted in gold and silver
Jeremie Posier
Saint Petersburg
Gold, silver, diamonds, precious and semi-precious stones, glass, cloth; polishing

Watch on a chatelaine with enamel face
Late 1770-s-early 1780-s
Jean Fay
Saint Petersburg
Gold, silver, diamonds, roses, enamel, glass, emerald; chasing, guillioche

The Jewelers of Saint Petersburg. The Jewelry Articles of the 18th and 19th Centuries from the State Hermitage Collections. The Art of Modern Jewellers26 October 2000 - December 2001

Lilies in a vase
Workshop of Duval
Saint Petersburg
Silver, gold, pearls, diamonds, chrysolite, glass, copper; chasing, polishing
Egg-shaped wine-glass
Saint Petersburg
Gold, glass, ivory; engraving, polishing, chasing

Jewelry collection in Saint Petersburg was started by Peter the Great. European influence in different spheres of Russian life in the early 18th century touched upon jewelry art as well and manifested itself in the new types of jewelry articles, new artistic design, new symbolics. Jewelry objects created in Peter’s time are simple in shape and laconic in their design. The first Russian public museum, the Chamber of Curiosities, demonstrated not only natural science objects but chalices, bowls, silver sets and snuff-boxes.
One of the first registers of the court jewelery compiled after the death of Empress Catherine I (1727) included not only ceremonial jewelry and Crown’s Regalia but a lot of broches, bows and costume decorations as well.
Empress Anna Ioannovna loved luxury things and started the rich collection of the palace treasury rooms. The influence of German art in Saint Petersburg in the 1730-s manifested itself in the fact that German jewelers were invited to the Russian capital and that Russian court acquired jewelry articles preferably in Germany. Of the jewelry objects dating from this period sophisticated ornaments and variety of shapes decorated with diamonds are characteristic. The most widely spread decorative elements of the epoch were medals. The greatest popularity enjoyed works of the medalliers of the Imperial Mint Iohann Carl Gedlinger and Anton Schulz.
The Rococo style, characteristic of Elisabeth’s reign, was inspired by the art of French ornamentalists and revealed in decorative details and variety of shapes of snuff-boxes. Typical of the mid-18th century jewelry art was usage of precious stones. The exhibition features bouquets created by the greatest master of that time Jeremie Posier.
In the 1760-s appeared shuff-boxes of simple shapes with different decorations - from almost ascetic to splendidly chased plated ornaments, enamels and diamonds. Most part of the objects dating back to the mid18th century are not attributed. Following the manner of the predecessors, Elisabeth purchased a lot of jewelry abroad, mostly in France. A significant part of the Hermitage collection, the core of which by 1760 had already been formed, is dated by the 1740-60-s.
The new stage in collecting jewelry started after Catherine the Great had ascended the throne. In 1764 the Diamond Room, where the Crown’s Regalia and jewelry articles were kept together in glass cabinets, was arranged in the newly-built Winter Palace.
The second half of the 18th century can by right be called the flourishing period of jewelry art in Saint Petersburg. It is most comrehensively represented in the Hermitage collection. Creative careers of Jean Jacques Duc, Iohann Baltasar Gass, Georg Heinrich König are illustrated with only a few examples while the collections of works of Jean-Pierre Ador, Johann Gottlieb Scharf, Jean François Xavier Boudder give a chance to see not only items of different shapes but also to witness stylistic changes taking place in the work of these masters connected with the development of Neo-Classicism. The shapes of snuff-boxes became less sophisticated and more austere, their laconic ornamentation originated from antique or antiquelike patterns. Smooth surfaces framed with precious stones or enamels became dominating in the late 1770-80-s. Large diamonds are gradually replaced with these of a smaller size, precious stones are rarely used being replaced with the becoming more and more popular pearls.
A new Diamond Room was arranged in the Loggias of Raphael constructed in 1792. The Imperial Regalia were still kept in the old Diamond Room near the Throne Hall. One can read about the second Catherine’s collection of jewelry in the book of the famous traveller Johann Gottlieb Georgi (1792-1794).
The jewelry art of Saint Petersburg was developing within the framework of the Neo-Classicism traditions. The most significant representatives of the Petersburg school of that time were Hermann Friedrich Pomo, Paul Magnus Tenner and jewelers and goldsmiths of different generations from the families of Keibel and Barbe.
The replenishments of the Hermitage collection of jewelry in the reign of Alexander I (of those that survived till today) were mostly gift salt-cellars. In these articles, made most often by the best masters of Saint Petersburg, the main trends of Russian Classicism found their embodiment. The Historicism style decorative tendencies reflected in the jewelry art in the 1830-s. That time was notable for appearance in great numbers of decorations in which gold was used in alloys or was replaced with silver gilt while precious stones were set next to semiprecious stones.
In 1848 in the premises of the Small Hermitage the Jewelry Gallery was opened for the public. In 1910 it was transferred to the New Hermitage. At the same time the Crown’s treasures, gifts, decorations belonging to the Emperors and Empresses of the 18th-- and early 19th centuries were kept in the Winter Palace.
After the year 1917 the Hermitage collection was replenished from the private collections of the nobility including these of Dolgorukiy, Paskevich, Musin-Pushkin, Faberge, Rudonovsky, Yusupov, Shuvalov, Stroganov. In 1925 a new exhibition of the Special Hermitage Store-room was opened for the public. The State Hermitage Museum today possesses one of the largest collections of jewelry art items in the world, part of which is the world’s best collection of snuff-boxes. The basis for it was formed by the palace collection compiled of the best artistic items made for the Imperial Court and the nobility.


Retrato de la Zarina Maria Feodorovna (1847-1928) Emperatriz consorte de Todas las Rusias y viuda del Zar Alejandro III, padres ambos del último Zar Nicolás II. Nacida Princesa Maria Dagmar de Dinamarca, era la hermana de Alexandra, Reina consorte de Gran-Bretaña e Irlanda y cuñada del rey Eduardo VII, lo que la convertía en la tía carnal del rey Jorge V... Fue de los pocos miembros de la Familia Imperial Rusa que consiguió escapar de la masacre de los Bolcheviques. / Abajo, fotografía de la Gran Duquesa Xenia Aleksandrovna de Rusia (1875-1960) -derecha- y de su hermana la Gran Duquesa Olga Aleksandrovna de Rusia (1882-1960) -izquierda-.

A la muerte de la Emperatriz Viuda Maria Feodorovna de Rusia (1928), su importante colección de joyas fue puesta en venta por sus hijas las grandes duquesas Xenia y Olga Aleksandrovna. Éstas, que tenían la reputación de no saberse manejar muy bien en los negocios, cometieron el craso error de dejar que su pariente la reina Mary se ofreciese, como quien no quiere la cosa, de intermediaria en las transacciones.
Una estimación de 350,000 Libras Esterlinas fue presentada por entonces, pero el resultado que habría permitido a las dos hermanas vivir holgadamente hasta el final de sus vidas no pareció concretarse. Tan solo se les dio un tercio de la cantidad estimada!

Ante la extrañeza de las grandes duquesas en el momento de percibir la irrisoria suma de dinero, la reina Mary les explicó que la venta de las alhajas había ido mal. Más extrañadas estuvieron cuando, al poco tiempo, vieron a la reina Mary lucir ostentosamente las mejores y más preciadas alhajas de la Emperatriz Vda. Maria Feodorovna en los actos oficiales de la corte británica. Olga y Xenia, aprovechando un encuentro con la reina, le hicieron notar su malestar con elegancia, y Mary de Teck les replicó sin florituras que debían estar agradecidas por los esfuerzos que había hecho el rey para darles techo y comodidades que, por cierto, suponían una carga para el real bolsillo. Pese al disgusto, las grandes duquesas callaron su indignación por no hacerle un feo al rey Jorge V, que había tenido la gentileza de acogerlas en Londres y proporcionarles alojamiento gratis en la finca real de Hampton Court

La Reina Mary de Teck (1867-1953), consorte del rey Jorge V de Gran-Bretaña e Irlanda. En la fotografía, posa con la famosa diadema de la Gran Duquesa Maria Pavlovna de Rusia, que pasó a la Emperatriz Vda. Maria Feodorovna y de ésta a sus hijas Xenia & Olga. / Fotografía -abajo- de la diadema de la Gran Duquesa María Pavlovna, actualmente en la colección privada de la reina Elizabeth II

Tras el deceso de la reina Mary en 1953, el grueso de sus joyas personales fueron legadas a su nieta la reina Elizabeth II, su principal heredera. Otras pocas fueron a parar a la hermana de la soberana, la Princesa Margaret, Condesa de Snowdon que, posteriormente fueron vendidas por sus hijos tras su fallecimiento.

Al producirse la muerte de la gran duquesa Olga de Rusia (1960), sus hijos descubrieron finalmente la verdad. La reina Mary de Teck había metido mano en aquellas suntuosas alhajas imperiales y escogido las piezas que más le gustaban. Dicho de otro modo, la esposa de Jorge V se había servido y apropiado indebidamente de aquellas alhajas pagando un precio irrisorio!
Entre aquel botín que representaban las alhajas de la penúltima zarina de Todas las Rusias, destacaba una hermosa diadema de diamantes y perlas que había pertenecido a la gran duquesa Maria Pavlovna (1854-1920), esposa del gran duque Vladimir Aleksandrovich de Rusia, nacida princesa de Mecklenburg-Schwerin ( en la fotografía de la izq.).
Tihon y Guri Kulikovsky, los hijos de la gran duquesa Olga que descubrieron el pastel, no se quedaron de brazos cruzados y se dirigieron directamente a la reina Elizabeth II para que saldara la deuda de su abuela usurera. El escándalo estaba servido...
Tras consultar con sus abogados, Elizabeth II satisfizo rápidamente la cuantía exigida por los hijos de las grandes duquesas estafadas.
Habían pasado 33 años desde la defunción de la gran duquesa Olga, pero Elizabeth II no quería separarse de su diadema preferida, y prefirió pagar las alhajas al precio actualizado de 1993 antes que devolverlas a sus hijos. Por fortuna, los trapos sucios fueron lavados en privado y no tuvieron que ser aireados ante los tribunales.

La Reina Elizabeth II de Gran-Bretaña e Irlanda del Norte, posando con la diadema de la Gran Duquesa Maria Pavlovna de Rusia, heredada de su abuela la Reina Mary de Teck, en una foto oficial como soberana de Canadá.


Detalle del famoso retrato de la Emperatriz Elisabeth "Sissi" de Austria (1837-1898), realizado en 1865 por Franz-Xavier Winterhalter, con sus estrellas prendidas en su hermosa cabellera.

Una de las joyas "Star Sissi", que la emperatriz de Austria solía llevar prendidas en su peinado, robada en 1998 y que fue devuelta al Tesoro Imperial de los Habsburgo-Lorena, del Palacio de La Hofburg (Viena), en agosto de 2008 por el Gobierno Canadiense. /

En agosto de 2008, la prensa escrita y televisiva austríaca anunciaban la recuperación de la "Star Sissi" de diamantes que antaño perteneció a la más famosa de las emperatrices del siglo XIX: Elisabeth zu Bayern, Kaiserin von Oesterreich (Elisabeth en Baviera, Emperatriz de Austria), consorte del kaiser Francisco-José I, penúltimo soberano del Imperio Austro-Húngaro, que vivió entre 1837 y 1898

Robada en 1998, en el curso de la exposición consagrada al centenario del asesinato de Elisabeth Amelia Eugenia von Wittelsbach, Duquesa en Baviera, más conocida bajo el apodo familiar de Sissi, la estrella ha sido finalmente restituida al Estado Austríaco por el gobierno de Canadá, dónde finalizó recientemente el juicio contra el ladrón de 35 años de edad.
Pese a que las estrellas de diamantes (que conforman una diadema si se desea o como broches por separado) fueron en su día puestas tras un cristal blindado, el ladrón canadiense consiguió dar el cambiazo reemplazando una de las joyas por una imitación. Un agente de seguridad se percató accidentalmente del subterfugio.
La estrella de Sissi no fue encontrada hasta un año después, gracias a las investigaciones llevadas a cabo en Canadá, a partir del robo cometido en un banco canadiense. De este modo, y por un casual, la policía descubrió el paradero de la "Star Sissi" en Winnipeg (en la provincia canadiense de Manitoba), en el domicilio de la abuela de uno de los sospechosos.

"Set" de diamantes y rubíes de Sissi, compuestos por una diadema, una gargantilla y un broche pectoral, cuyas gemas pertenecieron a la reina Maria-Antonieta de Francia y a su hija Maria-Teresa, Duquesa de Angulema.

La emperatriz Elisabeth de Austria poseía una hermosa y admirada cabellera que decoraba a menudo, para las grandes ocasiones, con diademas y joyas que han sido inmortalizadas en sus retratos, cual catálogo de alhajas imperiales de la época.

Retrato de Elisabeth, Emperatriz de Austria (1837-1898), según Georg Raab, 1875.

Un buen ejemplo es el retrato de Sissi con su diadema, gargantilla y broche de diamantes y rubíes, realizado por el artista Georg Raab en 1875. Y resulta curioso comprobar la trayectoria de dichas alhajas: habían pertenecido nada menos que a la reina Maria-Antonieta de Francia, que se los dejó en herencia a su hija mayor Madame Royale (la Princesa Maria-Teresa Carlota de Francia), posteriormente casada con el primogénito de su tío el conde de Artois (el rey Carlos X), Luis XIX de Francia, duque de Angulema y delfín de Francia, que reinó cinco minutos antes de abdicar. Al morir en el exilio, la duquesa de Angulema lo legó a sus parientes Habsburgo-Lorena. De ahí que pasaran a formar parte del joyero de la emperatriz Elisabeth de Austria.


Las célebres diademas de Maria-José de Bélgica o de Margarita de Saboya-Génova...

La corona de la emperatriz Eugenia de Montijo, que le fue devuelta a cambio del valor equivalente de diferentes piedras que Napoleón III había comprado de su bolsillo y entregadas al fondo de los Diamantes de la Corona, fue donada al Louvre en 1988 por el Sr. Roberto Polo.

Corona Real de Portugal, ejecutada en oro para el Rey Don Juan VI, en Río de Janeiro (1813). Ha servido para las coronaciones de los monarcas lusos desde Juan VI hasta Manuel II.

Thursday, July 29, 2010


Par de pendientes de zafiros en forma de pera de la Reina María-Pía de Saboya (finales del s. XIX).

Anillo de Oro con un Solitario (diamante cortado en cojín) del Rey José I de Portugal, realizado hacia 1750-1755. -pieza robada en diciembre de 2002-.

Caja de sobremesa de despacho (Tintero o Plumier) del Rey Carlos I de Portugal, realizado en oro por los orfebres de Sheffield entre 1901-1902; regalo diplomático de la Ciudad de Londres durante la visita del monarca a Gran-Bretaña en 1904.

Bastón o Bengala de Oro y Brillantes del Rey José I de Portugal -detalle del pomo-, realizado en París entre 1750-1755. -pieza robada en diciembre de 2002-.

Broche pectoral de brillantes y esmeraldas de Brasil, que perteneció a la Infanta Maria-Benedicta de Portugal, Princesa de Beira y de Brasil (siglo XVIII). -pieza robada en diciembre de 2002-.

Tiara "Braganza" de la Reina María-Pía de Saboya (2ª mitad del siglo XIX).

Wednesday, July 28, 2010



Otra notable adquisición por parte del Museo del Louvre, es el hermoso broche o nudo de diamantes de la Emperatriz Eugenia de Montijo, consorte de Napoleón III, que había sido vendido en 1887 por la IIIª República Francesa, junto con otras alhajas de la Corona de Francia. Tras una primera tentativa fallida de adquirirla en la casa de subastas Sotheby's en 2002, el departamento del museo parisino ha podido finalmente comprarla para reintegrar la joya de la emperatriz a la colección real e imperial expuesta en la Galería de Apolo.
En su origen, el nudo de diamantes formaba parte de una cintura con dos borlas, creada por el joyero François Kramer por encargo del emperador Napoleón III, quien lo regaló a su esposa para la Exposición Universal de 1855. En 1864, la joya fue adaptada en broche para el busto de la emperatriz (22,5 x 11 cms.) antes de ser alienada, veinte años más tarde, por la República.
El Museo del Louvre, por intermediación de Christie's en Nueva York, ha recomprado (abril 2008) la alhaja por la friolera de 6,72 millones de €uros. Tal cantidad de dinero pudo reunirse en parte gracias al depósito, por los Amigos del Louvre, de 5 millones de €uros procedentes del legado universal consentido por los Sres. Michel Rouffet.


Broche-Alfiler de diamante amarillo y diamantes blancos, del siglo XVIII.

Par de Alfileres de diamantes, de la Reina Maria I de Portugal.

Binoculos de la Reina María-Pía de Saboya, con diamantes rosas engarzados (1880).

Juego de Botones de plata y brillantes del Rey José I de Portugal (siglo XVIII).

Detalle del pomo de la Bengala o Bastón de oro y brillantes del Rey José I de Portugal (París, 1750-1770). -pieza robada en 2002.-

Brazalete "Serpiente" de oro, brillantes, zafiros y rubies de la Reina María-Pía de Saboya (finales del s. XIX).

Caja de Rapé de oro, brillantes y diamantes del Rey José I de Portugal (París, 1755).

Cetro Real de la Reina María II de Portugal (Londres, 1828).

Collar de diamantes o chatones de la Reina Carlota-Joaquina de España, consorte de Juan VI de Portugal. -pieza robada en diciembre 2002-.

Espada "de Corte" o ceremonial del Rey Juan VI de Portugal, en oro con brillantes; principios del siglo XIX.

"ROSA DE ORO" concedida en 1892 por el Papa León XIII a la Reina Amelia de Orléans (1865-1951), consorte del Rey Carlos I de Portugal -asesinado en 1908- y madre del último monarca luso Manuel II. Es una pieza rarísima por su belleza y delicadeza, además de ser escasamente concedida por los papas... Entre las agraciadas, figura una Reina de España, Maria-Luisa Gabriela de Saboya, consorte del Rey Felipe V, que se hizo merecedora de la Rosa de Oro por ser la primera reina de estirpe italiana en suelo ibérico.