Royal Jewelry & Tiaras / Fabergé Eggs / The Royals

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The Cambridge and Delhi Dunbar Parure

Origin of the word "parure"

The word "parure" meaning "adornment" in French, came into usage in the 17th century Europe to refer to a set of three or more matching pieces of jewelry, which became popular during this period. Eventually the meaning of the word was widened to include an entire wardrobe or suite of matching jewelry. The ownership of a "parure" (pronounced pah-rur) became a status symbol for the royalty and the wealthier classes. In the case of the royalty a "parure" would include a diadem. tiara, bandeau, comb, necklace, bracelets, rings, earrings, brooch, and stomacher. It is on record that Emperor Napoleon Bonaparte lavished such expensive "parure" on his beloved first wife Josephine and later his second wife Marie Louise, which they wore at state functions.

Origin of the name Cambridge and Delhi Dunbar Parure

The "Cambridge and Delhi Dunbar Parure" refers to a complete suite of emerald jewelry, which also included an emerald and diamond tiara. The suite now belongs to the personal jewelry collection of Queen Elizabeth II, which she inherited from her grandmother Queen Mary, the Queen consort of King George V. The "Cambridge and Delhi Dunbar Parure" was designed and crafted by the crown jewelers, in anticipation of the coronation of King George V and Queen Mary on June 22, 1911, and their subsequent proclamation as the Emperor and Empress of India, at a special Durbar organized for this purpose in Delhi, on December 12, 1911.

The name Cambridge was derived from the Duke of Cambridge, Adolphus, the seventh son of King George III, who together with his wife Princess Augusta of Hesse, were the original owners of the magnificent emeralds that were incorporated in different pieces of the "parure". At least two of the pieces in the "parure", an emerald necklace and an emerald brooch were presented by the wives of the Maharajah's of India, the Maharanis, including the Maharani of Patiala. Thus the name "Delhi Dunbar Parure" seem to have been inspired for two reasons, one, the parure being specially designed and executed in anticipation of the Delhi Durbar and two, some of the pieces in the parure were received as gifts by Queen Mary during the durbar.

Constituent pieces of jewelry of the Cambridge and Delhi Dunbar Parure

The list of the pieces of jewelry that constitute the Cambridge and Delhi Dunbar Parure include the following :-

1) The Delhi Durbar Tiara

2) The Cambridge emerald choker

3) The Cambridge emerald earrings

4) The Delhi Durbar necklace

5) The Delhi Durbar brooch

6) The Cambridge emerald stomacher

The Delhi Durbar Tiara
The Delhi Durbar Tiara created by Garrards in 1911

The Delhi Durbar Tiara was designed and constructed by the Crown Jewelers, Garrard & Co. in anticipation of Queen Mary's visit to India together with her husband King George V, to attend the special durbar organized in Delhi in December 1911, to celebrate the coronation of her husband and the start of his reign as King and Emperor of India.

Reasons that prompted the creation of the special Imperial Crown of India and the Delhi Durbar Tiara

Garrards also created a special crown for King George V, for this occasion, known as the Imperial Crown of India, as it was forbidden by an old royal tradition, for the British Crown Jewels to leave the United Kingdom. Thus the Imperial Crown of India was created from the King's own personal resources, and was considered as the personal property of the King. The status quo prevails up to this day, and the Imperial Crown of India is considered as part of Queen Elizabeth II's personal jewelry collection, even though it is on display in the Jewel House of the Tower of London. Perhaps the creation of the Delhi Durbar Tiara using emeralds and diamonds that belonged personally to Queen Mary, might also have been prompted by this ancient royal restrictions, and hence the Cambridge and Delhi Dunbar Parure is also considered toady as the personal property of Queen Elizabeth II.

Features of the original Delhi Durbar Tiara

The Delhi Durbar Tiara is made up of a circlet of brilliant-cut diamonds, mounted in gold and set in platinum, and arranged in a pattern of forget-me-nots and lyres. When the tiara was first made in 1911, it was topped with five drop-shaped cabochon Cambridge emeralds, that arose as spikes from the tiara. Two satellite diamonds from the Cullinan were also incorporated in the tiara.

Queen Mary wearing the Cambridge and Delhi Dunbar Parure

The black and white photograph of Queen Mary above showing her wearing the complete set of jewelry belonging to the Cambridge and Delhi Dunbar Parure, clearly shows the emerald spikes on the Delhi Durbar Tiara, and also the cushion-cut Cullinan IV diamond placed as the centerpiece of the tiara.

The modified Delhi Durbar Tiara

Queen Mary subsequently removed the emeralds from the Delhi Durbar Tiara, and incorporated them into a newly designed tiara, which is also now the personal property of Queen Elizabeth II. The Cullinan diamonds were also removed and converted to brooches. The photograph of Camilla the Duchess of Cornwall wearing the Delhi Durbar Tiara in October 2005, at a state banquet held in the Buckingham Palace in honor of the visiting King and Queen of Norway, shows the modification of the centerpiece of the tiara after the removal of the Cullinan IV diamond.

The Delhi Durbar Tiara used by Queen Elizabeth, the Queen consort of King George VI, during a trip to South Africa in 1947.

Both the Imperial Crown of India and the Delhi Durbar Tiara were worn by King George V and Queen Mary respectively, only on the ceremonial occasion of the Delhi Durbar held in 1911, as they were made specifically for that purpose. The Imperial Crown of India has not been worn by any sovereign since then. Likewise the Delhi Durbar Tiara was not worn by Queen Mary after 1911. However, in 1947, Queen Mary lent the tiara to her daughter-in-law, Queen Elizabeth (the Queen mother) and the consort of King George VI, for an official visit to South Africa by the King and Queen. This was just the second occasion that the Delhi Durbar Tiara was worn by the Queen of the United Kingdom. After the death of Queen Mary in 1953, the Cambridge and Delhi Durbar Parure including the Delhi Durbar Tiara was inherited by the Queen Mother, Queen Elizabeth, who gave emerald and diamond suite to her daughter Queen Elizabeth II. The suite entered the personal jewelry collection of Queen Elizabeth II, and she wore some of the pieces in the suite, such as the Delhi Durbar necklace, the Cambridge emerald choker and earrings on different occasions, but she had never had the opportunity to wear the Delhi Durbar Tiara. In fact the Queen's most favorite piece in the suite turned out to be the Delhi Durbar Necklace, a piece she had been seen to be wearing on many occasions.

The Delhi Durbar Tiara back in the limelight after 58 years

The Delhi Durbar Tiara, which had not been worn by any member of the royal family since 1947, was worn again for the third time, when Camilla, the Duchess of Cornwall wore it for a state banquet held in Buckingham Palace in October 2005, in honor of the visiting King and Queen of Norway. This was the first time the Duchess of Cornwall had worn a tiara for a state function, and had been loaned to her by Queen Elizabeth II for the occasion. Thus the historic Delhi Durbar Tiara is back in the limelight again after a lapse almost 60 years. The tiara was however displayed on two occasions prior to this, once in June 1988, when it was part of an exhibition of Royal Jewelry at the auction house of Christie's, and again in 2001 at an exhibition of tiaras at the Victoria and Albert Museum.

http://www.royal.gov.uk/Home.aspx

2) The Cambridge Emerald Choker

The photograph of Queen Mary above show her wearing the Cambridge Emerald Choker, designed and crafted by Garrard & Co. as part of the Delhi Dunbar Parure. The original choker was set with 16 Cambridge emeralds matching the necklace and bracelet. However, in the 1920s at the request of Queen Mary, Garrards remodeled the bracelet, into an Art Deco style piece using 14 emeralds and brilliant-cut diamonds set in platinum.

© Her Majesty Queen Elizabeth II

The Art Deco Emerald Choker has as its centerpiece the largest oval-shaped cabochon emerald with three other large oval-shaped cabochon emeralds of equal size, spaced equally on either side. The smaller emeralds seven in all are placed in-between two large emeralds somewhere in the center. Thus there are seven larger emeralds and seven smaller emeralds placed symmetrically on the choker, making a total of 14 emeralds. Each large emerald is surrounded by an octagonal shaped single layer of round brilliant-cut white diamonds. The area in-between the octagonal-shaped areas are rectangular, with the small emerald flanked by two smaller diamonds at the center, and a double layer of small rounded brilliant-cut emeralds on either side.

The Cambridge Emerald Choker, the Lover's Knot Tiara and some other valuable pieces of jewelry were given as gifts to Princess Diana at the time of her marriage to Prince Charles, the Prince of Wales and Heir to the British throne. Princess Diana initially wore the Cambridge Emerald Choker for the purpose it was designed for, but later she wore the choker as a bandeau across her forehead, as she was seen doing at a charity event in Melbourne, Australia, in 1984, and again in 1988 at a formal event also in Australia, at which she appeared dressed in a dark green gown.

http://dianasjewels.net/tiaras.htm

Princess Diana was allowed to keep the jewels given by the Queen after her divorce, on condition that they could not be lent or sold. However, after her death the jewels were returned to the Queen.

3) The Cambridge Emerald Earrings

The photograph above also show Queen Mary wearing the Cambridge emerald earrings. Each of the earrings is set with a single large cabochon emerald surrounded by a row of small rounded brilliant-cut diamonds. Queen Elizabeth II, whose favorite piece is the Delhi Durbar Necklace, usually wears the necklace with the matching Cambridge emerald earrings, as most of the photographs depicting the Queen on different occasions reveal.

4) The Delhi Durbar Necklace

The Delhi Durbar Necklace was a gift by the Maharanis of India, the consorts of the Maharajahs, including the Maharani of Patiala, to Queen Mary, when she visited India in 1911 with her husband, King George V, to attend the Durbar organized in Delhi, for the proclamation of King George V and Queen Mary as the Emperor and Empress of India. The necklace consisted of eight large cabochon emeralds surrounded by diamonds, set in two chains of small diamonds, with a single big diamond between each emerald. Emeralds of similar size and shape are placed in symmetrical positions on the necklace. Originally a removable pendant with a pear-shaped emerald was attached to the cushion-shaped emerald centerpiece of the necklace. Subsequently Queen Mary herself added a marquise-cut 11.5-carat diamond, the Cullinan VI to the pendant, the two stones hanging in a neglige pendant of unequal length.

© Her Majesty Queen Elizabeth II

In the photograph above, Queen Mary is seen wearing the Delhi Durbar Necklace just below three diamond collet necklaces. After Queen Elizabeth II inherited the Delhi Durbar Parure from Queen Mary, after her death in 1953, the Delhi Durbar Necklace became her favorite piece of Jewelry and she had been seen wearing this necklace on many occasions, including two recent occasions when she met Nelson Mandela of South Africa and King Juan Carlos of Spain.

http://www.pricescope.com/forum/jewelry-pieces/royal-jewels-t73838-1170.html

5) The Delhi Durbar Brooch

Together with the Delhi Durbar Necklace that was gifted to Queen Mary during the Delhi Durbar of 1911, by the Maharanis of India, an engraved hexagonal emerald brooch was also part of this gift. In the Photograph above, Queen Mary is seen wearing the brooch attached just below her right shoulders. The large hexagonal emerald is engraved with a rose flower pattern in the front, and a foliage pattern on the reverse, and the emerald is surrounded by a layer of round brilliant-cut diamonds, with four large round brilliant-cut diamonds placed at four points outside the surrounding layer of diamonds, corresponding to the vertical and horizontal axes of the hexagon. The hexagonal emerald brooch was inherited by Queen Elizabeth II, but she has never been seen wearing the brooch on any occasion.

6) The Cambridge Emerald Stomacher

A stomacher is a decorated triangular panel that fills in the front opening of a woman's gown or bodice. A decorative piece of jewelry fixed to the stomacher was also known as a stomacher. In the photograph Queen Mary is seen wearing the Cambridge Emerald Stomacher, fixed to the triangular stomacher of her dress. It consists of six large cabochon-cut emeralds placed in the form of a floral pattern, with diamonds also incorporated. The emeralds seem to be surrounded by small round brilliant-cut diamonds, and the center of the stomacher seems to be occupied by a large pear-shaped diamond.

History of the Cambridge Emeralds

The story of the Cambridge Emeralds goes back to the early 19th century, when King George III's seventh son Adolphus, the Duke of Cambridge got married to Princess Augusta of Hesse, in 1818. The newly wedded couple visited Germany for their honeymoon, and happened to visit Frankfurt, where coincidentally a lottery was being held to raise funds for a charitable cause. Prince Adolphus and Princess Augusta purchased a lottery ticket, with a view of helping a worthy cause, but to their utter amazement it so happened that the Princess became the lucky winner of the prize box of 40 large emeralds, that was offered as the top prize of the lottery. The lucky couple reached England after the honeymoon, and the Princess then went about getting her newly acquired emeralds set in different pieces of jewelry such as necklaces, earrings, pendants etc.

After the death of Princess Augusta, the Duchess of Cambridge, the emerald-studded pieces of jewelry and any unset emeralds were inherited by her youngest daughter, Princess Mary Adelaide, the Duchess of Teck, who is said to have incorporated some emeralds into a stomacher that she had previously bought from Garrards.

The Duchess of Teck died without leaving a will, and her jewelry was eventually divided among her four children. It so happened that all the emeralds were removed from their settings and given to one child, who happen to be her second son, Francis. One of the four children of Princess Mary Adelaide was Queen Mary, the queen consort of King George V. She too received her share of her mother's jewelry.

Francis who inherited all the emeralds gave them to his mistress, and he died suddenly at the age of 40. Following his death, Queen Mary sent an emissary to Francis' mistress, with a strong warning note and demanding the return of the emeralds. She obliged, and the emeralds originally owned by the Duchess of Cambridge thus came into Queen Mary's possession. and the collection of emeralds came to be known as the Cambridge Emeralds.

When King George V ascended the British Throne after the death of his father King Edward VII on May 6, 1910, he also inherited the Cullinan Diamonds consisting of six large and 96 smaller satellite diamonds, which were originally presented as a rough diamond weighing 3,106 carats (which incidentally remains as the largest rough diamond ever discovered), to King Edward VII, by the Transvaal Government to mark the occasion of his 66th birthday, that fell on November 9, 1907. Thus, besides the Cambridge emeralds, Queen Mary also had a wide range of diamonds of different sizes, cuts and shapes, from which she could choose, in preparing a set of jewelry for her coronation on June 22, 1911, and for her proclamation as Empress of India, at a Durbar to be held on December 12, 1911. It was finally left to the artisans of Garrard & Co, the Crown Jewelers, to employ their skills and experience gained over the years, in fashioning one of the most exquisite suite of jewelry ever created in the history of the British Monarchy, that came to be known as the Cambridge and Delhi Dunbar Parure.

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Tiaras in the Iranian Crown Jewels

Among the fabulous collection of jewels and jewelry in the Museum of the Treasury of National Iranian Jewels, there are three beautiful and exquisitely crafted tiaras. They are :- 1) The emerald and diamond tiara 2) Noor-ul-Ain tiara 3) Farah’s favorite tiara. Fath Ali Shah’s hat decoration which he usually wore over a black woolskin hat is also essentially a tiara.

1) The emerald and diamond tiara

Nothing much is known about the origin of this tiara and during whose period it entered the royal treasury. But the design of the tiara gives an indication as to the possible period of its origin. The design of the tiara depicts a sunburst, with the rays of diamond blossoms ending in an emerald or pearl. This design can also be seen in the aigrettes produced in the second half of the 19th century, and therefore we can safely predict that this tiara too originated during that period. This roughly corresponds to the period of Nasser-ed-Din Shah who ruled between 1848 and 1896. It is well known that after most of the crown jewels of Iran were stolen after the assassination of Nadir Shah in 1747, two of the subsequent Shahs who did their best to build up a respectable collection of crown jewels were Fath Ali Shah and Nasser-ed-Din Shah. Thus we can safely conclude that the emerald and diamond tiara may have originated during the period of Nasser-ed-Din Shah, and perhaps may have been worn by his Shahbanou, the queen consort.

The height of the tiara at its line of symmetry at the center, along which falls the large red spinel and the large drop shaped emerald, is 7.2 cm. The length of the arc of the tiara is not known, but should be between 15 to 20 cm, as the length of the forehead is approximately one-third of the average circumference of an adult head, which is 50 to 60 cm. The striking feature of the tiara is the motif of the sun burst on which it is based. The center of the sunburst is occupied by a 25-carat cushion-shaped pink spinel, from which the rays depicting the sunburst arise. The pink spinel is surrounded by a row of diamonds, and each diamond of this row is the base of a ray. The rays are made up of one or two diamond blossoms. The longer rays made up of two diamond blossoms end up in a white natural pearl. The shorter rays with a single diamond blossom end up in a drop-shaped emerald cabochon, of which the largest emerald is along the line of symmetry. The size of the emeralds then decrease symmetrically on both sides, and the smallest symmetrical emeralds are situated towards the base of the sunburst. Besides the central large emerald there are four symmetrical pairs of emeralds on either side, making a total of nine emeralds. The largest emerald has a weight of 20 carats.

On either side of the sunburst placed symmetrically at each end of the tiara are two identical floral motifs. The center of each floral motif is occupied by a diamond and so are the eight petals surrounding the central diamond. The arc shaped base of the tiara is also studded with a row of diamonds.

The sun motif and the lion motif are two insignia that symbolizes the Aryan origin of the Iranian people. These two motifs are used as the royal insignia of Iran. The Iranian Flag of the pre-Islamic revolution period depicts the lion insignia. The same lion insignia is found on the Sri Lankan flag, whose inhabitants the Sinhalese also claim to be of Indo-Aryan origin.

2) The Noor-ul-Ain tiara

The Noor-ul-Ain tiara is of recent origin, designed and constructed in the year 1958, by Harry Winston Inc. of New York, jewelers to monarchies and celebrities around the world, for the occasion of last royal wedding of the 2,500 year-old Iranian monarchy, in which the last Shah of Iran, Mohammed Reza Shah Pahlavi, got married to Empress Farah Diba. Incidentally this was Mohammed Reza Shah Pahlavi’s third marriage, the first two marriages having ended up in divorce as they failed to produce a male heir to the throne.

The frame of this tiara is made up of platinum and set entirely with diamonds of varying colors, mainly pink, yellow and colorless. In this respect the Noor-ul-Ain tiara differs with the other tiaras of the National Iranian Jewels, which contain other jewels like emeralds, rubies, sapphires, and spinels, besides diamonds. Thus, being composed of diamonds only varying in size from 14 to 60 carats, the Noor-ul-Ain tiara is more valuable than the other tiaras of the collection. The tiara is known as the Nur-ul Ain tiara, because of the incorporation of the 60-carat Nur-ul-Ain diamond as the centerpiece of the tiara. The other diamonds in the tiara have weights ranging from 14 to 19 carats each, and there are a total of 324 diamonds in the tiara. A row of colorless tapering diamonds known as diamond baguettes are also incorporated on the base of the tiara.

The famous and historic 60-carat pink diamond, the Nur-ul-Ain, is the second largest pink diamond in the world. It is a pale pink, oval, brilliant-cut stone. A team of Canadian experts who conducted research on the Iranian Crown Jewels in 1965, were of the opinion that the Nur-ul-Ain (light of the Eye) diamond, and the Darya-i-Nur (Ocean of Light) diamond had a common origin, and most probably originated from the “Great Table Diamond” (Diamanta Grande Table), which Tavernier saw when he visited Golconda in Southern India, in 1642, and which according to him was at one time mounted on the Peacock Throne of Mogul Emperor Shah Jahaan (1628-58). The Nur-ul-Ain diamond was one of the diamonds among the large booty carried away by the Iranian Conqueror Nadir Shah when he invaded the capital cities of Delhi and Agra of the Mogul Empire in 1739, a raid motivated either by Nadir Shah’s desire to lay his hands on the enormous riches of the Mogul Empire or as some historians believe was a punitive raid for the refusal by the Mogul Emperors to return the vast collection of Iranian crown jewels, plundered previously in 1722, by the Afghan ruler Mahmud, when he invaded and captured Isfahan, killing the last ruler of the Safavid dynasty. Most of the stolen jewels eventually entered the treasury of the Mogul Emperors. After Nadir Shah’s death the Nur-ul-Ain diamond together with other diamonds went missing, stolen by people close to Nadir Shah which included his generals and his blind grandson Shah Rukh. Eventually Agha Muhammad Khan Qajar (1779-96) who reunited the whole country and founded the Qajar dynasty, was able to bring together at least part of the stolen jewels, and a significant number of jewels were also recovered from Shah Rukh, the blind grandson of Nadir Shah, and this may have included the Nur-ul-Ain diamond. Since then the Nur-ul-Ain diamond had remained in the treasury of the Qajar kings as a loose diamond, until mounted on the tiara by Mohammed Reza Shah Pahavi.

3) Farah’s favorite tiara

The name Farah’s favorite tiara is self explanatory, as she was often seen wearing this tiara on formal occasions such as during her husbands official visit to the United States and Canada in 1965. Like the Noor-ul-Ain tiara this tiara was also designed and manufactured by Harry Winston Inc. the New York Jewelers, and also for the same occasion, the marriage of Empress Farah Diba, to Mohammed Reza Shah Pahlavi in 1958.

he metal used for the frame of the tiara is platinum, and unlike other tiaras the base of this tiara is double arched. The jewels used on the tiara are diamonds and emeralds. Two rows of diamonds arise from the base of the tiara, and additional diamonds fill up the space between the two arches. The diamonds used are of three different colors – pink, yellow and colorless. The size of the diamonds in the center are larger, and decreases towards either side. The outer surface of the upper row of diamonds produces an almost smooth curve because of this arrangement. Seven large emeralds arise from the outer surface of the upper row of diamonds. Each emerald is arranged as the centerpiece of a floral pattern, surrounded by smaller diamonds. All the emeralds are spherical in shape and cabochon-cut. The largest emerald is situated along the line of symmetry of the tiara which corresponds with the depression between the two arches. The size of the other emeralds decrease gradually on either side, with similar emeralds occupying symmetrical positions. The largest emerald weighs 65 carats, and the smallest emeralds on either side weigh 10 carats each.

The jewels used in the tiara have different origins. The emeralds are possibly of Brazilian origin. The yellow diamonds are of South African origin, and the other pink and white diamonds are possibly of Indian origin, re-cut as modern brilliant-cuts from loose Indian diamonds in the Iranian treasury.

4) The Hat decoration of Fath Ali Shah

This exquisitely crafted piece of jewelry which in essence is a tiara, was used by Fath Ali Shah as a hat decoration, which he wore often on a tall black woolskin hat. The hat decoration is clearly depicted on several miniature paintings of Fath Ali Shah belonging to this period.

The hat decoration of Fath Ali Shah can be considered as a masterpiece in jewelry designing for its excellent symmetry, and surpasses the other three tiaras given above in this respect, including the two modern tiaras designed by Harry Winston. This perfectly designed ornament of the second half of the 19th century, with accurate mathematical symmetry speaks volumes about the great abilities of craftsmanship possessed by the Iranian jewelry craftsmen of the period, which even modern craftsmen with all recent technology at their disposal find difficult to achieve. Great masterpieces of ancient Iranian origin have been lost for ever due to frequent conquests and destruction the country had gone through during its long history. But, fortunately the hat decoration being of relatively recent origin had been spared the calamity that befell its predecessors. The world is indeed grateful that such masterpieces of jewelry have been preserved for posterity in the Museum of the Treasury of the National Iranian Jewels.

The gemstones of this unique ornament are mounted on gold with a silver frame. The gemstones are mainly spinels and diamonds, with perhaps a few rubies. The largest spinel in the tiara is 50 carats, and the largest diamond 10 carats in weight. The height of the tiara is 13.5 cm. The tiara defies an accurate description because of its unique design and perfect symmetry. The reader is advised to carefully examine the design of the ornament in the photograph, instead of depending on a description. Starting from the line of symmetry examine one half of the ornament, and then starting from a particular area or section of this half move to the other half to verify whether an identical area or section to the one examined previously is found. Also take note of the color, size, cut, number and arrangement of the stones, and you will be surprised to find that the two halves are almost perfectly identical in all respects. You can repeat the exercise with the other three tiaras and verify to what extent they are symmetrical.

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Grand Duchess Vladimir Tiara

Origin of name

The Grand Duchess Vladimir Tiara which belongs to the personal jewelry collection of H.M. Queen Elizabeth II, and was inherited from her grandmother Queen Mary, after her death in 1953, gets its name from Grand Duchess Maria Pavlovna of Russia, wife of the Grand Duke Vladimir Alexandrovich, the third son of Czar Alexander II, and the brother of Czar Alexander III of Russia. Grand Duchess Maria Vladimir Alexandrovich got jewelers and artisans working for the Russian court to design and execute this exquisitely crafted tiara in the year 1890. During the late 19th century, the Russian jewelers and artisans had a penchant for incorporating a combination of diamonds and pearls into their jewelry creations, such as necklaces, earrings, crowns and tiaras, being the trendsetting style in vogue at that time. The Grand Duchess Vladimir Tiara was designed and executed in the tradition of the late 19th century, and consisted of a combination of diamonds and pearls. Following the 1917 Bolshevik Revolution of Russia and the associated upheavals, the Grand Duchess Vladimir escaped with her family to the Caucasus, where she remained till 1920, hoping for an improvement in the situation, and finally escaped to Venice in an Italian ship on February 13, 1920. The Duchess left her renowned collection of jewelry including the Vladimir Tiara, hidden in a vault in the Vladimir Palace in St. Petersburg, at the time of her escape. Subsequently, a member of Britain's Secret Intelligence Service, who was a friend of the Vladimir family, helped them to recover the jewels from the vault, which was then smuggled out of Russia in a diplomatic bag. The Duchess died soon after she settled down in France, in August 1920. The Vladimir Tiara was then purchased by Queen Mary in 1921, from Princess Nicolas of Greece, the daughter of Duchess Maria Vladimir.

Queen Mary took pride in superbly bejeweling herself for formal occasions

Characteristic features of the Vladimir Tiara

Tiaras are traditionally made of precious metals such as platinum, gold and silver. The precious metal used in the "Vladimir Tiara" appears to be either platinum or silver. The tiara designed by an unknown Russian jewelry craftsman, consists of fifteen interlaced thick metal circles. At the bottom, the overlapping circles are attached to a semi-circular thick band of metal, that forms the circlet of the tiara. At the top the overlapping circles are held together by a wavy snake-like band that intertwines the circles passing in and out of them. The thick circles as well as the upper and lower bands are closely laden with round brilliant-cut diamonds, that impart the brilliant sparkle so characteristic of this tiara. The beauty of the tiara was further enhanced by the swinging oriental pearl drops or pendants with small diamond set mounts, positioned inside each circle, but hanging from the wavy band and not from the circle. This was the original setting of the "Vladimir Tiara" at the time of its purchase in 1921, by Queen Mary.

Vladimir Tiara with original pearl setting

© Her Majesty Queen Elizabeth II

Queen Mary, who was renowned for her collection of royal jewels, and took pride in superbly bejeweling herself for formal occasions had an intimate knowledge of jewelry and their designing, and decided that the "Vladimir Tiara" needed modification. Her intention was to make provision for the pearl drops to be interchanged with emerald drops, as and when the need arose. Accordingly she got the court jewelers Garrard & Co. to cut and polish fifteen of her remaining Cambridge emeralds as drop shaped emeralds, and to make provision for their replacement on the tiara whenever it was needed, after removing the pearl drops. As anticipated the replacement of the pearls with the emerald drops further enhanced the beauty of the tiara, which became a favorite tiara for Queen Mary, particularly when she was wearing the matching emerald suite, the Cambridge and Delhi Durbar Parure. Thus the incorporation of the exceptional quality Cambridge emeralds into the "Vladimir Tiara" made it a complementary piece to the Cambridge and Delhi Durbar Parure.

Vladimir Tiara with pearls interchanged with emeralds

© Her Majesty Queen Elizabeth II
Her Majesty Queen Elizabeth II inherits the Vladimir Tiara

The "Vladimir Tiara" that was a favorite piece of Queen Mary, was inherited by Her Majesty Queen Elizabeth II, in 1953, according to the last will left by Queen Mary. Thus the "Vladimir Tiara" entered the personal jewelry collection of Her Majesty the Queen.

As much as the "Vladimir Tiara" was Queen Mary's favorite, it also became the favorite tiara of Queen Elizabeth II. Her Majesty the Queen, had been wearing this tiara on formal occasions since the time of her coronation in 1953. Photographs of Her Majesty Queen Elizabeth II, appearing below, show Her Majesty during the early years of her reign, wearing the Vladimir Tiara with the emerald drops, together with matching pieces of the Cambridge and Delhi Durbar Parure such as the Delhi Durbar Necklace, and Cambridge emerald earrings.

Her Majesty Queen Elizabeth II gave the "Vladimir Tiara" to Princess Diana after her marriage to Prince Charles, the Prince of Wales and heir to British Throne. Soon the "Vladimir Tiara" became one of the most favorite and cherished pieces of the Princess of Wales, who was often seen with the Tiara on formal palace occasions. Thus the legendary "Vladimir Tiara" came to be associated mainly with Princess Diana, during her reign as the Princess of Wales.

Her Majesty Queen Elizabeth II still uses the "Vladimir Tiara" for formal occasions, and she was seen wearing the Tiara during her official visit to the Vatican for an audience with Pope John Paul II, and also when she received the South African leader Nelson Mandela in the Buckingham Palace. The photograph below shows Her Majesty the Queen, wearing the "Vladimir Tiara" on a recent formal occasion.

Grand Duchess Maria Vladimir Alexandrovich

Grand Duchess Maria Vladimir Alexandrovich was born on May 14, 1854, to the Grand Duke Friedrich Franz II of Mecklenburg-Schwerin and Augusta of Reuss-Kostritz. In 1871, at the age of 17 years she met and fell in love with Grand Duke Vladimir Alexandrovich, the third son of Czar Alexander II (1855-81) of Russia, but the Czar would not give his consent to their marriage, as Maria was a Lutheran and refused to convert to the Russian Orthodox Church. Finally in 1874, three years after they first met, Czar Alexander II gave his consent to the marriage, even though she still remained a Lutheran. The marriage produced five children, four sons, Alexander, Kirill, Boris, and Andrei and a daughter Elena. The eldest son Alexander died in his infancy.

In 1881, after Czar Alexader II was assassinated during an uprising of the revolutionary organization called the "People's Will" his second son ascended the throne as Czar Alexander III and ruled from 1881 to 1894. Czar Alexander III was succeeded by his eldest son Czar Nicholas II, the last of the Romanov emperors, who with his wife Alexandra and their children, were killed by the Bolsheviks after the October 1917 Revolution.

Czar Nicholas II was the nephew of Grand Duchess Maria Vladimir Alexandrovich, and since he ascended the throne, the Grand Duchess harbored a hatred and jealousy towards him and his wife the Czarina, and tried to advance the cause of her own son Kirill Vladimirovich to the throne of Russia. In fact towards the height of his unpopularity in the winter of 1916 to 1917, she along with her sons contemplated a coup, to force the Czar's abdication, and replacement by his son, with the Grand Duke Nicholas Nikolayevich as regent.

When the revolution broke out in 1917, Grand Duchess Maria, escaped with her sons to the Caucasus in her own train, and remained their till 1918, hoping that the situation would calm down and her son Kirill Vladimirovich would still be able to ascend the Russian throne as the Czar. But, the situation worsened, and as the Bolsheviks were approaching the Caucasus. Maria and her children, escaped by a fishing boat to Anapa, in December 1918. She continued to remain in Anapa, refusing several opportunities to leave Russia, partly because of the humiliation she might have to face having lost all her power, prestige and privileges. However, on February 13, 1920, she and her family were reluctantly compelled to leave Russia, after a general of the army warned her that they were losing the battle in the civil war. Grand Duchess Maria and her youngest son Andrei together with his mistress Mathilde and their son Vladimir, boarded an Italian ship headed for Venice. Thus Grand Duchess Maria went down in history, as the last of the Romanovs to escape from revolutionary Russia.

Grand Duchess Maria Vladimir Alexandrovich , wearing the Vladimir Tiara

Having reached Venice safely, Grand Duchess Maria found her way to Switzerland, from where she moved to France and set up permanent residence in Contrexeville with her family, where she purchased a Villa. After reaching France, her health began to fail, partly caused by the anxiety and worry of the past two years, and finally she died on August 24, 1920, surrounded by members of her family.

Grand Duchess Maria, the aunt of the last Czar of Russia, Czar Nicholas II, was a prominent member of the Russian noble families, and had her own palace in St. Petersburg, Russia. She dressed elegantly on all formal occasions and bedecked herself with exquisite jewelry, made by Russian jewelry craftsmen. One of her favorite pieces of jewelry was the "Vladimir Tiara" which she is seen wearing in the photograph appearing above. The photograph also shows her wearing other unidentified pieces of jewelry, which probably includes pearl chokers and necklaces, and what looks like an emerald and diamond necklace, and also earrings, bracelets and a brooch. Her collection of jewelry was one of the most renowned collections among the nobility of Russia.

With the outbreak of the Bolshevik revolution of 1917, the Grand Duchess and her family had to leave St. Petersburg at short notice. She and her family fled in her own train to the Caucuses, but felt unsafe to carry her valuable collection of jewelry. Therefore, she decided to leave her valuable collection, in a secret underground vault in the Vladimir Palace, hoping to return one day after the crisis had passed. But, having finally settled in France, and the situation in Russia changed irreversibly, the Grand Duchess' family sought the assistance of a family friend, a British intelligence officer, to retrieve the hidden jewelry from the underground vault. The operation was carried out successfully, and the jewelry was finally smuggled out of Russia in a diplomatic bag. Pieces of the collection were then disposed of by members of the Grand Duchess' family, and the "Vladimir Tiara" was sold to Queen Mary in 1921, by Princess Nicolas of Greece, the daughter of Duchess Maria Vladimir.

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Crown Princess Victoria Jewellery

http://www.theroyalforums.com/forums/f20/crown-princess-victoria-jewellery-1-january-2003-june-2005-a-140-4.html

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Queen Mother wearing the five rows necklace, also a gift of Mrs Greville. Königin Elizabeth die Königinmutter und ihre Juwelen Sammlung

The Queen wearing the Oriental-Circlet-Tiara with rubies and diamonds , in Valetta, Malta, first time! This also called Indian-Ruby-Tiara was one of the favourite headjewels of the late Queen Elizabeth the Queen Mother.

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Royal Jewelry & Tiaras / Fabergé Eggs / The Royals - Pagina 2 Dianawedding09

http://dianasjewels.net/diamondearrings.htm

Royal Jewelry & Tiaras / Fabergé Eggs / The Royals - Pagina 2 AADS001906

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http://www.royal-magazin.de/england/queen/aquamarine-parure-queen.htm

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gratie Isabelei

tiara cu safire a imparatesei Alexandra Feodorovna:

Jewels of the Romanovs were many. Sapphires

Very interesting story sapphire tiara of Empress Alexandra Feodorovna wife of Emperor Nicholas I. Known for a very interesting portrait of Empress Alexandra in the tiara brushes Christine Robertson.
This tiara Tsar Nicholas I gave to his wife in 1825 to mark their accession to the throne. Tiara complements the magnificent sapphire brooch with pendants.

Inheritance to her grandson, Grand Duke Vladimir Alexandrovich, son of Alexander II and his wife Grand Duchess Maria Pavlovna. In 1909, the Grand Duchess Maria Pavlovna (Mihen) commissioned a jeweler Cartier remake old tiara and brooch in a new, more modern form, which we see in her famous portrait painter Kustodiev.

After the revolution, the Grand Duchess managed many of their ornaments by friends of the diplomats to take out to Nice. She sells her tiara niece her husband and sister of his sister Queen Mary of Romania - Missy, the daughter of Grand Duchess Maria Alexandrovna and the Duke of Edinburgh and Saxe-Coburg-Gotha. Queen Mary wore it at his coronation in 1922

Queen Mary gave the tiara that her daughter Ileana. Ileana wore it on her wedding in 1931 with the Archduke of Austria Anton Habsburg.

Ileana wore it on the anniversary celebrations King George V. At one time the tiara was on the preservation of the Bank of the United Kingdom. But with the beginning of the Second World War it was moved to Austria. In 1948, together with owner Tiara moved to Switzerland and from there to Argentina. In 1950, the U.S. she had to sell the family jewels. The buyer is unknown.
PS If Maria Pavlovna withdrew their jewels in 1920 outside of revolutionary Russia, we would not know what possessed the treasures of the ladies of the Great Russian Empire.

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Bijuterii celebre - celebrele oua Fabergé

https://www.youtube.com/watch?v=vNRvnxvbuRA&feature=player_embedded#!

FABERGE | RUSSIAN IMPERIAL ANTIQUES

http://www.romanovrussia.com/page1.html

Bijuterii din metale şi pietre preţioase, ouăle de Paşti create de marele meşter francez au fost mîndria Rusiei ţariste

Cele mai cunoscute ornamente preţioase de Paşti din lume sînt ouăle Faberge. Acestea au fost create între 1885 şi 1917, pentru ţarii Rusiei, de bijutierul Peter Carl Faberge. Primul ou a fost un cadou de Paşti comandat de ţarul Alexandru al III-lea pentru soţia sa, Maria Fedorovna. Împărăteasa de origine daneză a fost atît de încîntată, încît Faberge a trebuit să facă în fiecare an, de Paşti, un astfel de ou. În total au fost create 54 de ouă. Astăzi, multe dintre ele se află în colecţii particulare. Bijutierul de origine franceză Gustav Faberge a fondat compania care i-a purtat numele în 1842, dar celebritatea sa avea să atingă apogeul 40 de ani mai tîrziu, atunci cînd Peter Carl, fiul său, a vîndut primul ou familiei imperiale ruse.

Cele mai faimoase si mai pretioase oua de Pasti impodobite, sunt desigur cele create de bijutierul Peter Carl Fabergé, lucrate pentru ultimii tari ai Rusiei. Se estimeaza ca intre 1885 si 1916, din atelierul mesterului Fabergé au iesit cam 56 de oua decorate, lucrate din aur, argint si pietre pretioase, adevarate opere de arta.

La originea intregii serii sta un ou pe care tarul Alexandru al III-lea i l-a comandat lui Fabergé in 1884, pentru a-l oferi drept cadou de Pasti, sotiei sale, Maria Feodorovna. Aceasta ii povestise tarului despre un pretios ou de aur care avea in interior o surpriza – un puisor, pe care tarina il admirase in colectiile regale din castelul Rosemborg (castelul unde traise ea cu familia inainte de a se casatori).

Asa i-a venit tarului ideea sa-i comande un ou lui Fabergé, care sa semene cu cel din castelul de la Rosemborg, pentru a-i aduce sotiei sale aminte de tara sa natala. Acest prim ou lucrat de Fabergé, era compus dintr-un smalt transparent cu reflexe de sidef, cu incrustatii din aur, argint si pietre pretioase. Devenit bijutier al curtii regale, din acel an, Fabergé a creat in fiecare an de Pasti cate un ou impodonit altfel sau asezat altfel, pe care tarul il va oferi sotiei sale drept cadou de Paste.

Dupa moartea tarului Alexandru al III-lea, in 1896, tarul Nicolae al II-lea si fiul sau Alexandru vor continua traditia. Oul trebuia sa contina, de fiecare data, o alta surpriza, care avea sa ramana secreta, chiar si pentru membrii familiei imperiale pana in ziua de Pasti. Se spune ca, uneori, curios sa afle ce surpriza se afla in ou, tarul il ruga pe Fabergé sa-i dea macar un indiciu cat de mic dar acesta, de fiecare data ii raspundea la fel, pentru a nu strica surpriza: “Maiestatea voastra va fi multumita!”.

Unele din ouale colectiei nu sunt numai cadouri de Pasti, ele comemoreaza evenimente celebre din viata familiei regale sau a Rusiei, de exemplu: incoronarea tarului Nicolae al II-lea sau momentul in care calea ferata a fost construita pana in indepartata Siberie; alte oua simbolizeaza constructii cum ar fi iahtul imperial, catedrale sau, ceva mai tarziu vor reprezenta Crucea Rosie si soldatii de pe front.

Dupa ce dinsatia Romanov nu a mai fost la putere, faimoasa colectie a fost imprastiata; se stie insa sigur ca 10 dintre aceste frumoase bijuterii se afla la Kremlin, 2 in posesia reginei Elisabeta a II-a a Marii Britanii, iar 12 dintre ele se afla in America, fiind cuparate de un celebru om de afaceri.

Trecerea timpului le-a facut sa fie si mai valoroase, ultimul ou vandut in cadru unei licitatii (1994) a ajuns la fabuloasa suma de 3,5 milioane lire sterline.

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Povestea lui Peter Carl Faberge

Peter Carl Faberge (Karl Gustavovici) creatorul celebrelor bijuterii care ii poarta numele, s-a nascut pe 30 mai 1846 in Sankt Petersburg, Rusia, fiind unul din cei doi fii ai lui Gustav Faberge, bijutier si aurar. Mama sa, Charlotte, era fica unui pictor danez.

Viitorul bijutier si-a facut studiile la Gimnaziul Sf Ana, scoala germana din Sankt Petersburg, iar de la varsta de 18 ani incepe sa calatoreasca in intreaga lume, pentru a se pregati pentru profesia de bijutier. Isi face ucenicia in mai multe ateliere celebre in epoca, ramanand mai mult timp in Frankfurt, Paris si Londra, dar calatoreste apoi si in Italia.

Revine la Sankt Petersburg in 1870 si preia afacerea familiei. Doi ani mai tarziu se casatorea cu Augusta Julia Jacobs, fiica directorului atelierelor imperiale de mobilier. Cei doi vor avea patru fii, care mai tarziu vor lucra in cadrul afacerii de familie.

Din 1872 Faberge incepe sa lucreze pentru Hermitage, realizand restaurarile si catalogarea pieselor din Palatul de Iarna, unde era adapostita o colectie de arta unica in lume si antichitati. Cu migala si pasiunea bijutierului, Faberge s-a dedicat intru totul noului proiect.

Pentru urmatorul deceniu, atelierul lui Faberge a produs bijuterii clasice, foarte apreciate pentru calitatea si finetea executiei, dar cu nimic deosebit fata de alti bijutieri rusi ai vremii. Continua sa lucreze pentru Cabinetul Imperial (Hermitage), evaluand, catalogand, restaurand adevarate comori adunate in timp de tarii rusi.

Din 1882 Agathon, fratele mai mic, incepe la randul sau sa lucreze in atelierul familiei, iar cei doi simt ca trebuie sa aduca ceva nou in arta rusa.

In acelasi an Faberge participa pentru prima oara la Expozitia Pan-Rusa de la Moscova, castigand si o medalie de aur. Dar marele sau succes a fost faptul ca tarul Alexandru III, un iubitor al artelor, i-a remarcat cateva bijuterii. A si cumparat o pereche de butoni din aur, in forma de cicade, simbolizand in vechea Grecie norocul.

Tarul Alexandru a remarcat creatiile lui Faberge printre alte sute de bijuterii, si in scurt timp numele artistului era des rostit la curte, tarul fiind cel mai important sustinator si client al celui despre care spunea ca a reinventat arta bijuteriilor in Rusia. Pentru Faberge era o onoare, chiar daca tarul era un client pretentios si greu de multumit. Bijutierul a realizat pentru familia imperiala numeroase piese deosebite - brose, miniaturi, coliere, pandantive - lucrand cu aur si argint, combinate cu malahit, jad, lapis lazuli si pietre pretioase, cu care realiza modele florale, figurine, animale.

In 1885 artistul va realiza si primul ou Faberge, idee care ii va aduce celebritatea si il va impune ca cel mai important artizan al Rusiei. Acest prim ou de Paste, o creatie unica prin originalitatea si finetea lucraturii, a fost un cadou pentru Tarina Marie si i-a adus lui Faberge nu doar aprecierea, ci si postul de bijutier al Curtii Imperiale, precum si dreptul de a folosi Vulturul Imperial in sigla firmei.

Cum Pastele era ce mai importanta sarbatoare crestina, ideea lui Faberge de a crea oua-bijuterii pentru aceasta ocazie s-a bucurat de un deosebit succes. Intre 1885 - 1916 artistul a realizat 54 astfel de oua, pentru Curtea Imperiala, fiecare fiind o adevarata capodopera, un singur ou Faberge original valorand astazi milioane de dolari.

In afara Sarbatorii Pascale, Faberge a realizat astfel de creatii pentru a marca si evenimente importante ale epocii, precum a 15-a aniversare de la incoronarea tarului si tarinei, incoronarea tarului Nicolai II, terminarea caii ferate trans-siberiene, nasterea mostenitorului tronului si altele. In timpul razboiului Faberge a continuat sa realizeze astfel de piese in cinstea Crucii Rosii si a armatelor rusesti. In total, Curtea Imperiala a comandat 56 astfel de bijuterii, dar multe dintre ele s-au pierdut in timpul revolutiei bolsevice. Dar atunci Faberge se bucura de onoruri si distinctii mai mult decat orice alt artist. In 1897 este numit bijutier al Curtii in Suedia si Norvegia, iar trei ani mai tarziu cateva dintre ouale Faberge din colectia Tarului sunt prezentate in premiera in afara Rusiei, la Targul International din Paris.

perfectioneze, incercand sa combine diverse nuante de pietre pretioase, sa propuna modele si linii noi, sa foloseasca materiale si metale inedite. Isi dorea sa realizeze mai mult decat simple obiecte deocrative, si mai ales dupa 1880 atelierele Faberge au inceput sa produca obiecte ce nu erau doar bijuterii, ci aveau si utilitate practica, de la rame de fotografii la scrumiere si ceasuri.

Chiar daca unele obiecte comune nu erau foarte valoroase, aveau aceeasi linie eleganta care consacrase marca Faberge. Insa artistul era si un talentat om de afaceri, care si-a transformat atelierul din Sankt Petersburg in Casa Faberge, gazduita intr-un impresionant imobil de cinci etaje. Ajunsese sa lucreze cu peste 500 de mestesugari si artisti, deschizand mai tarziu filiere in Moscova, Odessa si Kiev. Invita si bijutieri straini, care colaboreaza cu Faberge pentru anumite comenzi, si se lucreaza intr-un ritm infernal, de dimineata pana noaptea, recompensa materiala fiind insa foarte buna.

Practic, mai ales dupa ce s-a ocupat mai mult de partea de creatie, Faberge nu a mai realizat nici o bijuterie cu mainile sale. Prefera sa realizeze schitele si proiectele, sa se ocupe de partea financiara a afacerii, si pana la sfarsitul vietii se pare ca a realizat peste 100.000 de modele de bijuterii, desenele sale fiind deosebit de pretioase astazi. Pornea de la un astfel de model, desenat cu precizie, iar artizanii si bijutierii de la Faberge realizau sub indrumarea sa bijuteria.

In perioada primului razboi mondial Faberge ar fi putut sa plece in strainatate, dar a preferat sa ramana in Rusia si si-a transformat magazinul din Moscova in fabrica de munitii. Odata cu izbucnirea Revolutiei bolsevice, tarul a fost nevoit sa abdice, iar familia imperiala a fost ucisa in vara lui 1918. Revoltat, Faberge a inchis atelierul si a parasit Rusia, alaturi de multi dintre angajatii sai. Pleaca mai intai in Germania, stabilindu-se in Elvetia in vara lui 1920. Se imbolnaveste grav si moare pe 24 septembrie 1920, la varsta de 74 de ani, la Lausanne, Elvetia.

Dupa moartea genialului bijutier, soarta bijuteriilor sale si mai ales a celebrelor oua Faberge parea pecetluita. O buna parte din bijuteriile aflate in colectia imperiala au fost topite si transformate in lingouri, si totusi creatiile lui Faberge au scapat de aceasta soarta.

La inceputul anilor 30 guvernul sovietic a vandut 14 piese din colectia de oua Faberge unor colectionari americani si europeni, la preturi impresionante. Doi dintre fiii lui Faberge, Alexander si Eugene au incercat sa reia afacerea familiei la Paris, deschizand un nou atelier in 1924. Dar produsele lor erau departe de stralucirea celor facute de tatal lor, asa ca succesul a fost minim, iar falimentul rapid. In anii 30 au aparut si primele probleme legate de dreptul de autor, dupa ce un om de afaceri american, Sam Rubin, a folosit numele Faberge fara acordul familiei. Abia in 1951 cele doua parti vor ajunge la un acord de principiu, care permitea folosirea celebrei marci pentru anumite produse.

Creatiile lui Faberge au fost redescoperite de public in 1977, dupa ce cateva dintre bijuteriile sale au fost expuse la Londra. Dupa o serie de alte expozitii la Helsinki, Londra, New York si Munchen povestea artistului a revenit in atentia presei si colectionarilor, iar urmasii bijutierului au incercat din nou sa creeze alte piese. Cu ajutorul lui Victor Mayer creatiile marca Faberge se bucurau de succes, dupa o pauza de peste sapte decenii. O noua colectie a fost prezentata la Munchen in 1990, cea de a doua fiind dezvaluita publicului in 1996 la New York, pentru a sarbatori implinirea a 150 de ani de la nasterea lui Faberge.

Aprilie 2007

www.artline.ro

Peter Carl Fabergé (Karl Gustavovici) s-a nascut la 30 mai 1846 in Sankt Petersburg. Tatal sau, Gustav Fabergé, a fost bijutier si aurar, iar mama sa a fost fiica unui pictor danez. Karl Gustavovici a facut scoala germana din Sankt Petersburg, iar de la 18 ani, a inceput sa-si faca ucenicia in lume, in ateliere renumite din Frankfurt, Paris, Londra, Italia.

Intors in tara, se implica in afacerea familiei, iar din 1872,Fabergé realizeaza restaurarile la Hermitage, in plus ocupandu-se si de catalogarea pieselor si colectiilor unice din Palatul de Iarna.

Cand, de Sarbatorile Pascale din 1884, tarul Alexandru al III lea a comandat bijutierului Peter Carl Fabergé un ou pe care sa-l daruiasca sotiei sale Maria Feodorovna, a iesit din atelierul bijutierului primul ou Fabergé din seria renumitelor oua Fabergé. Comanda initiala a avut ca model un ou de aur admirat de tarina in colectiile regale din castelul Rosemborg. Asadar, pentru a-i aduce aminte sotiei sale de tara natala (castelul Rosemborg era castelul unde traise ea inainte de casatorie), Fabergé creaza si lucreaza la cererea tarului, primul ou Fabergé, o pretioasa bijuterie dintr-un smalt transparent cu reflexe de sidef, cu incrustatii de aur, argint si pietre pretioase. Avea inauntru o coroana in miniatura cu rubin si era cuibarit de o gaina de aur, intr-un cuib de aur.

Dar, in fiecare an, de Pasti, Fabergé a creat cate un ou impodobit altfel, in pozitii si contexte diferite pe care tarul le-a daruit sotiei sale si astfel, din atelierul bijutierului, au iesit 68 de oua lucrate in aur, argint, platina si pietre pretioase, adevarate opere de arta din care 56 au apartinut familiei regale.

Chiar si dupa moartea tarului Alexandru al III- lea, traditia s-a continuat. Fabergé a devenit bijutierul Curtii Imperiale obtinand si dreptul de a folosi Vulturul Imperial in sigla firmei sale. An dupa an, celebrele oua, fiecare cu surpriza sa diferita de la an la an, nu au fost numai cadouri de Pasti, dar au consemnat si evenimente importante precum incoronarea tarului Nicolae al II-lea, constructia unei catedrale, Crucea Rosie si soldatii de pe front si nu numai.

La capatul dinastiei Romanovilor, faimoasa colectie a fost imprastiata sau mai bine zis vandute pe mai nimic in strainatate de catre bolsevici. In prezent 10 s-ar afla la Kremlin, 2 ar fi in posesia reginei Elisabeta a II-a a Marii Britanii, iar restul cumparate de oameni de afaceri, miliardari celebri sau in muzee. Trecerea timpului le-a sporit valoarea, arta casei Fabergé a reprezentat, chiar daca a fost si contestata, un fenomen de talie mondiala, ele valorand sume enorme la licitatii ( de exemplu, in 1994 o piesa a valorat 3.5 milioane de lire sterline, iar cel mai mare pret platit pentru un ou Fabergé a fost de 9.8 milioane de dolari si a fost obtinut la o licitatie din Statele Unite).

Creatiile lui Fabergé au fost redescoperite in 1977, iar dupa o serie de expozitii la Helsinki, Londra, New York, povestea artistului a revenit in atentia colectionarilor, iar cu ajutorul lui Victor Mayer, bijutier originar din Pforzheim ,creatiile marca Fabergé s-au bucurat de succes. Victor Mayer a obtinut dreptul de a realiza bijuteriile Fabergé, iar atat nepotul cat si stranepotul au continuat sa creeze astfel de opere de arta, avand mereu grija sa ramana fideli stilului unic Carl Fabergé, presedintele actual al Fabergé fiind Marcus Mohr, stranepotul lui Victor Mayer.

Se spune ca nu poti cu adevarat aprecia si intelege frumusetea unui de ou Fabergé pana nu vezi unul in realitate, dar , din pacate, putini au sansa de a se bucura de frumusetea lor, majoritatea existand in colectii private.

Acestea ar fi cele mai scumpe oua oferite cu ocazia celei mai mari sarbatori ortodoxe , Pastele!

Faberge Eggs

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In Rusia, sarbatorirea Pastelui a ajuns in epoca imperiala la cea mai mare stralucire. Pastele era cea mai mare sarbatoare a calendarului ortodox rus. Tolstoi, Gogol, Dostoievski nu alegeau oare noaptea de Paste (Noaptea de Inviere) pentru a face sa renasca personajele lor dupa drame si ravasiri sufletesti?

Aici, Pastele este sarbatorit prin schimbarea unui ou, urmat de trei imbratisari si sarutari. Tipul de ou oferit depinde de situatia materiala a fiecaruia, dar oul de gaina, pictat, este cel mai popular. Urmeaza, apoi, oul de sticla, de portelan, de lemn, de argint, pana la oul pretios din aur.

Ouale imperiale de Paste sunt cele mai renumite realizari ale bijutierului Carl Fabergé. Intre 1885 si 1916, tarii Alexandru al III-lea si Nicolae al II-lea au comandat 54 din aceste uimitoare obiecte pentru a le oferi tarinelor Maria si Alexandra Feodorovna cu ocazia sarbatorilor pascale. Astazi se stie doar de 47 dintre ele. Fiecare dintre ele ascundeau « o surpriza » in interior, executata cu meticulozitate si finete. Fiecare ou este o capodopera de ingeniozitate si de maiestrie.

In 1885, Alexandru al III-lea a comandat primul ou, destinat sotiei sale, tarina Maria Feodorovna. Obiceiul oferirii acestor oua in dimineata de Paste si cele trei sarutari, era adanc inradacinat in traditiile Rusiei ortodoxe. Aceasta zi era considerata drept cea mai importanta din intregul an si oul, simbol al renasterii, era un element esential.

Fabergé s-a inspirat din arta bizantina. Alte oua au fost adaugate colectiei pentru aniversarea unor date importante ca incoronarea tarului Nicolae al II-lea sau aparitia cailor ferate in Siberia. Altele imortalizau iahtul imperial, catedrala Uspensky, palatul Gatchina si, mai tarziu, in timpul razboiului, Crucea Rosie si militarii. Colectia era formata acum din 56 de oua.

Intre 1885 si 1894, anul mortii sale, Alexandru al III-lea a oferit 10 oua de Paste sotiei sale, imparateasa Maria Feodorovna. Fiul lor, tarul Nicolae al II-lea, a oferit unul din aceste somptuoase cadouri, nu numai sotiei sale, dar si mamei sale. Deci, din 1895 si pana in 1916, fiecare imparateasa a primit 22 de oua (44 pentru amandoua). Numarul total era 54! Dar pana in zilele noastre nu s-a putut dovedi ca ouale de Paste au fost daruite si in 1917, anul revolutiei!

Din cele 47 de oua cunoscute, 10 sunt pastrate la Moscova, Kremlin, 11 fac parte din colectia Forbes, in New York, 16 sunt detinute de alti americani, 8 sunt in colectii europene particulare, iar doua nu se stie unde sunt localizate…

Deci, doua oua Fabergé lipsesc…exista, desigur, posesorii lor care doresc sa-si pastreze anonimatul…