bookmark_borderMaria Pia’s Mysterious Brooch

In December 2024, Jewels from the Collection of Princess Maria Pia of Savoy went on sale at Christies Auction house in Geneva.

One lot featured an exquisite diamond bow brooch, which once belonged to her grandmother, Queen Elena of Italy.
Described in the catalogue as:

Can also be worn as a pendant
Rose and old-cut diamonds, 18k gold and silver (French and customs marks), circa 1850
Main diamond: with an approximate weight of 6.0 carats
Remaining diamonds: with a total approximate weight of 11.50-12.50 carats
Size/Dimensions: 8.2 x 6.6 cm
Gross weight: 57.2 grams

Queen Elena was originally a Montenegrin Princess, daughter of King Nicolas I. Born in 1873, she was educated at the Smolny Institute in St Petersburg, Russia. Her sisters had both married into the Imperial family and were later blamed for introducing Grigori Rasputin to the Tsarina Alexandra. Elena would go on to marry Victor Emmanuel of Italy in 1896, becoming Queen in 1900.

After the Russian Revolution of 1917, the Communists seized the Imperial family’s possession, including their vast jewellery collection. Some Romanov’s did manage to get their jewels out of Russia but any that remained were sold to fund the new regime in the famous auction of 1921.

To accompany this sale, the Communists produced an impressive catalogue with high quality photographs and descriptions to encourage buyers.

In Part Three of the Catalogue, Plate 58 (LVIII), there is a selection of brooches, buckles, button, and dress ornaments.

There is no record of who bought this brooch. Many dealers and collectors bought pieces and sold them on not wanting to disclose their dubious provenance. But given the dimensions and the carat weights mentioned in the Russian catalogue and the Christie’s description are extremely similar, there is the tantalising possibility that a Jewel belonging to Catherine the Great may have briefly resurfaced only to be lost to us once again.

bookmark_borderJAR – Joel Arthur Rosenthal – The Greatest Living Jeweller

Joel Arthur Rosenthal is commonly known within the jewellery community as the ‘Greatest Living Jeweller’.

But despite his impressive reputation, he is practically unknown to the general public.
Unlike the other reigning jewellery dynasties such as Cartier and Faberge, Mr Rosenthal has no family connections to jewels and gemstones. He has no website, no social media and his shop in Paris’ Place Vendôme has no jewels displayed in its windows.

So how does a man with no public persona become a living legend?


In 1966, after studying linguistics, art history and philosophy in his native New York, JAR moved to Paris and opened a small sewing shop. There he experimented with unusually coloured yarns, earning himself commissions from designers such as Hermès and Valentino. Rosenthal only began experimenting with fine jewellery when he was asked to design a mount for a Gemstone.

With his background in textiles, JARs pieces were characterised by their fine pavé set formations, which resembled a piece of needlework. His first creations were made of affordable materials such as coral, moonstone and small diamonds. Eventually, he began to work with semi precious stones such as sapphires, rubies & emeralds.

With his growing success it would’ve been assumed that his jewellery business would become a mainstream brand like his Place Vendôme neighbours but this is where the mystery of JAR and his creations lie:

You cannot simply walk into his atelier, buy or commission a piece from him; An introduction has to be made via an established client.
Once you meet with Rosenthal, he will create a piece FOR you; I imagine some input is made but the ‘myth’ is that upon meeting JAR, he decides the design, gemstones and metalwork that you will be adorned in. This intimate connection between JAR, the jewel and the owner is so central to Rosenthal’s philosophy that it makes up an integral part of the experience of any JAR jewel.
His business model is so selective that his workshop only produces around 70 to 80 pieces a year. Because of this tactic, his designs can only be seen at rare exhibitions or at select auction houses.


The Exhibitions

His first public exhibition was held in 2002 at London’s Somerset House. Featuring four hundred pieces from his exclusive clientele, the jewels were displayed in dark cabinets with visitors having to use a torchlight to see them. This, according to Rosenthal, was because “jewellery needs to flicker”.


In 2013, he became the only living jeweller to have an exhibition at the Metropolitan Museum of Art in New York.
“Joel is one of the pre-eminent jewellery designers in the world.,” the Met’s director said in an interview, “He’s almost like a sculptor in gems.”  
The exhibit displayed the key concerns of Rosenthal’s work:
Colour, Sculpture, Nature and Intimacy.


The Auctions

Possibly the most famous event surrounding JAR was the Ellen Barkin auction in 2006.

After an unpleasant divorce, Ms Barkin decided to auction all the jewels that she had received from her ex husband. Amongst them were an astonishing 17 pieces by JAR, the largest collection of his work to ever come on the market.

JAR - Joel Arthur Rosenthal - The Greatest Living Jeweller - Ellen Barkin

Offered for sale were several impressive examples of JAR’s signature ‘needlework’ designs.
One notable piece was the Diamond ‘Thread’ Ring which featured a magnificent 22.76ct D VVS1 Oval cut Diamond housed within a diamond set two tiered ‘threadwork’ mount

So (in)famous was this auction that it became the inspiration for the Samantha Jones’ storyline in the iconic Sex and the City Movie.
The ring is question was modelled on JARs Diamond ‘Gardenia’.
Designed as a sculpted gardenia blossom, it featured pavé-set in diamonds and was set in both in silver and gold,

JAR - Joel Arthur Rosenthal - The Greatest Living Jeweller - Ellen Barkin - Samantha Jones - Sex and the City

The Auction of the Lily Safra Collection was held in Geneva in 2012 to benefit Mrs Safra’s charitable foundation.
Arguably, two of the most impressive jewels ever created by JAR were to be featured at this historic occasion:

The Tourmaline and Diamond Flower Brooch
Designed as two green and pink tourmaline poppy flowerhead and bud, linked by a green tourmaline scrolling stem centering upon a pear-shaped diamond, weighing approximately 37.23 carats,

JAR - Joel Arthur Rosenthal - The Greatest Living Jeweller - Lily Safra

The Ruby Flower Brooch
Truly an iconic jewel, the flower was entirely pavé-set with rubies weighing a total of approximately 173.09 carats, mounted in silver and gold.

JAR - Joel Arthur Rosenthal - The Greatest Living Jeweller - Lily Safra

This jewel is not just visually stunning, it is a true testament to JARs dedication to fine craftsmanship.
Rubies come in all different shades and hues of Red; from deepest blood coloured to borderline pink.
Every ruby on this brooch matches all the others exactly. These stones would have taken months if not years to source.

In the ever-evolving world of craftsmanship and artistry, JAR continues to leave an indelible mark on the industry to this day. His exceptional talent and unwavering dedication has set him apart as a true visionary, redefining the boundaries of beauty and elegance in every creation.
As time goes on, this living legend’s influence remains a source of inspiration for aspiring artisans and budding collectors alike, ensuring that their illustrious impact on the world of jewellery endures for generations to come.


bookmark_borderQueen Alexandra’s Jewels – The Wedding Parure

Alexandra of Denmark holds the distinction of being the longest-serving Princess of Wales, a title she held from 1863 to 1901. During this time, her grace and fashionable style resonated deeply with the public, making her a popular figure whose dress and bearing were widely emulated. Subsequently, from January 22, 1901, to May 6, 1910, she reigned as Queen of the United Kingdom and the British Dominions, and Empress of India.

While celebrated more for her influence on fashion, Alexandra did enrich the royal jewel collection with some significant pieces.

Queen Alexandra's Jewels - The Wedding Parure

While rumours suggested she arrived in England for her wedding in 1863 with a trove of jewels, but the Court of Denmark was relatively poor so the Dagmar Necklace was her sole significant piece. Consequently, the new Princess of Wales required a complete parure. Despite the common attribution to the former Crown jeweller, Rundell, Bridge & Rundell, Garrard actually crafted this set in 1862.

Tiara Mania: Queen Alexandra of the United Kingdom's Wedding Parure Tiara

The tiara’s design featured trefoils and lovers’ knots, all set in diamonds.

Queen Alexandra's Jewels - The Wedding Parure

The diamond elements were removable and could be worn as brooches or replaced with diamond stars.

The accompanying necklace, earrings and brooch featured central pearl elements surrounded by diamonds

As her only tiara until 1888, Alexandra made full use of her wedding jewels.

As these was a personal jewels and not Heirlooms of the British Crown, they were not automatically inherited by Queen Mary when she ascended the throne in 1910.

When Alexandra died in 1925, the set was split up. The Necklace, Earrings and Brooch remained with the main branch of the royal family but the tiara was inherited by her daughter, Princess Victoria of Wales.

Just as she had allegedly done with the Alexandra Emeralds, Princess Victoria ‘disposed’ of the tiara and the piece is no longer in existence.

The Necklace, Earrings and Brooch have been worn by various members of the Royal family as recently as 2018. It is now on display at The Kings Mews