The Danish Emerald Parure is among most important Jewels at the use of the Danish Queen. This magnificent set of jewels includes a tiara, necklace, earrings and brooch, all of which can still be seen at grand occasions today.
The Emerald Parure has a rich history within the Danish royal family. While the complete set was assembled in 1840 by C.M. Weisshaupt as a gift for Queen Caroline Amalie’s silver wedding anniversary, the some of gemstones themselves are in fact much older. 26 of the emeralds date back to 1723 and were a gift from King Christian VI to his wife Queen Sophie Magdalene celebrating the birth of their son. The additional emeralds belonged to Princess Charlotte, the king’s sister. Weisshaupt incorporated these historic gems with diamonds from the royal collection, crafting a magnificent parure featuring a tiara, necklace, earrings, and a devant de corsage (brooch) that could be separated into smaller pieces. Queen Caroline Amalie left the jewels to the Danish Crown upon her death in 1881, which meant that the suite cannot be taken outside of Denmark or be worn by anyone other than the Queen Regnant or Queen Consort.
The entire parure features 67 emeralds and over 2,650 diamonds. Mounted on a gold frame, the diamonds are set in closed-back silver mounts, while the large emeralds are set in open mounts to allow the light to strike the stones from both sides. The design features bows, foliage and scrolls typical of the Empire style of the time. The brooch can be disassembled, and the individual parts worn separately.
During World War I, Queen Alexandrine had the Danish Crown Jewels, including the Parure, moved for safekeeping to Rosenborg Castle, where they remain on public display but still accessible to the Queen.
Queen Ingrid ushered in a new era for the Emerald Parure, following her husband King Frederik IX’s ascension in 1947. The set became a regular fixture for grand occasions such as state visits and royal banquets.
Following her own coronation in 1972, Ingrid’s daughter, Queen Margrethe debuted the Emeralds in a groundbreaking documentary ‘Margrethe, Queen of Denmark’. Margrethe continued the tradition of wearing the Parure for her royal duties, often pair the set with green fabrics to enhance their colour.
Queen Margrethe abdicated on 14th January 2024 and it was eagerly awaited to see when the new Queen Mary of Denmark would first wear the Emeralds. She did not disappoint and wore them for her official portraits. No doubt we will see these historic gems for many more years to come
Wallis Simpson, born on June 19, 1896, in Pennsylvania, United States, gained worldwide notoriety for her role in the abdication crisis of King Edward VIII of the United Kingdom. While her relationship with the British monarch remains one of the most well-known aspects of her life, Wallis Simpson had an unparalleled passion for exquisite jewellery. Her dazzling collection featured an extensive array of breathtaking Sapphires, exquisite Diamonds, mesmerising Emeralds, and an impressive suite of stunning Ruby jewellery
The Ruby pieces were all given to Wallis during The Year of the Abdication, 1936. Having been his mistress for a number of years, upon his ascension to the throne in January, Wallis Simpson believed that her relationship with the new King Edward VIII would come to an end. However, his love for her only grew stronger, eventually reaching a level of obsession. He turned to the famous French Jewellery house, Van Cleef and Arpels, to help him convey these overwhelming feelings into a suite of fiery, passionate ruby set jewels.
The Ruby and Diamond Bracelet The first piece in this legendary collection was a Ruby and Diamond bracelet given to Wallis in March 1936. Featuring forty Cushion Cut Rubies, the impressive jewel also bore an inscription in Edward’s own handwriting. Determined to have Wallis crowned next to him as his Queen, ‘Hold Tight’ is thought to have been a personal plea from the King to Wallis, begging her not to leave him.
The Ruby and Diamond Necklace
For her 40th Birthday in June 1936, Edward returned to Van Cleef and Arpels with gemstones that he had been given when he toured India in 1921-22 as the Prince of Wales. The meticulous records kept by the jewellers show that several designs were produced before the King settled on the initial ‘Bib’ creation. Like the Ruby bracelet, the necklace carried another handwritten engraving – ‘My Wallis from her David 19 VI 36’ (David was the name his family called Edward)
It is believed that the original necklace was extremely similar to one created for Helen Beaumont that was later sold at Christie’s in 2020.
As she would do with so many of her jewels, Wallis would return to Van Cleef & Arpels to redesign the necklace in collaboration with the master jeweller Renee-Sim Lacaze. In 1939, they transformed the original ‘Bib’ into one of the Duchess’ most iconic pieces, variously known as the Torsade, Entrelac de Rubans or Cravat necklace.
The Ruby and Diamond Brooch
Wallis Simpson, Duchess of Windsor – The Van Cleef and Arpels Rubies – Ruby and Diamond Leaves Brooch – Mystery Invisible Set
As 1936 came to an end, it became obvious that Edward VIII would abdicate his throne rather than give up Wallis Simpson. While he negotiated his departure, he ordered Wallis’ Christmas present from Van Cleef and Arpels – A Ruby and Diamond Brooch (described as Feathers or Holly Leaves)
This Brooch would turn out to be an historically important jewel as it was one of the first to feature Van Cleef and Arpels legendary Mystery Set technique. The “Serti Mystérieux” or “Mystery Set’ was invented in 1933. The technique involves mounting stones into extremely thin gold rails, making the prongs invisible. The stones are specially cut with a groove near the culet so that they can be slid onto the rails and placed alongside neighbouring stones.
The invisible setting technique creates an uninterrupted surface of stones without any visible metal. The gems appear to float on the surface of the jewel, shaped as if by magic. This type of setting is most often used when multiple diamonds are mounted in a row or in multiple rows.
After World War II, Wallis and Edward emerged as the de facto leaders of Café Society. Their prominent status meant they frequently graced glamorous gatherings and social events. At a ball given by Helene Rochas in Paris 1965, Wallis chose to wear her all her Rubies, even fashioning the Brooch into a headpiece which she is supposed to have called ‘my Prince of Wales feathers’
Like her Engagement Ring and her many other bejewelled possesions, the Rubies were sold at auction at Sotheby’s after the Duchess’ death in 1987. The proceeds from the sale were donated to Pasteur Institute in Paris.
Although their Principality may be famous for its Grand Prix, generous income tax laws and being the second smallest state in the world, the Princes of Monaco do not have a conventional collection of royal jewels unlike their dynastic counterparts throughout Europe. The Grimaldi’s may have ruled the principality since 1297, but before the American actress Grace Kelly enlarged the royal jewellery collection with her marriage to Prince Rainier in 1956, the next best thing were the personal jewels of Rainier’s mother, Princess Charlotte, Duchess of Valentinois.
Catherine, Princess of Wales chose to wear a jewel worn by her late mother-in-law Princess Diana for her first state visit in her new role. Continue reading…
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.
