Antique Jewelry University - Recent changes [en]

Unpublished:Cartier

Liz — Thu, 17 May 2012 00:01:56 GMT

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	Just as Cartier’s clock department was able to employ the extraordinary talents of Maurice Couet in the clock department, their small watches came under the purview of another great talent, Edmond Jaeger (1850-1922). Jaeger learned his trade working in several well respected companies, the most formative of these were the Breguet workshops in Paris. By 1905 he had his own company and signed a fifteen-year contract with Cartier’s in 1907, giving them exclusive rights to his products. The European Watch and Clock Company founded in 1919 was a joint venture between Cartier and Edward Jaeger, and supplied almost all of the watch movements for Cartier in Paris. Cartier also worked with such well known firms such as Vacheron Constantin, Patek Phillipe and Auudemars Piguet.		Just as Cartier’s clock department was able to employ the extraordinary talents of Maurice Couet in the clock department, their small watches came under the purview of another great talent, Edmond Jaeger (1850-1922). Jaeger learned his trade working in several well respected companies, the most formative of these were the Breguet workshops in Paris. By 1905 he had his own company and signed a fifteen-year contract with Cartier’s in 1907, giving them exclusive rights to his products. The European Watch and Clock Company founded in 1919 was a joint venture between Cartier and Edward Jaeger, and supplied almost all of the watch movements for Cartier in Paris. Cartier also worked with such well known firms such as Vacheron Constantin, Patek Phillipe and Auudemars Piguet.

		+	=Modern=
		+	Louis and Jacques Cartier both died in 1942 and Pierre who went on to become the president of Cartier International, retired in 1945. Cartier continued to be run by descendents Jean-Jacques Cartier in London and Claude Cartier in New York. In 1972, a group of investors headed by Joseph Kanoui acquired control of Cartier Paris and appointed Robert Hocq as President. Shortly afterwards they acquired the London branch as well. When Cartier New York was sold in 1976, the purchasing investors appointed Joseph Kanoui as chairman and by 1979, the three separate branches were united as “Cartier World”. The world’s leading luxury group, Compagnie Financière Richemont SA, currently owns Cartier, with numerous branches worldwide.
		+	The firm continues to be known for its fine jewelry, many pieces of which reference their noted design achievements from the turn of the twentieth century such as the panthere design, Santos and Tank watches and the Trinity’s tri-colored gold combination.

File:Renaissance VA.jpg

Mary — Wed, 16 May 2012 22:16:50 GMT

uploaded "[[File:Renaissance VA.jpg]]" Category:Renaissance images1540-1560 - Enamelled gold, set with a hessonite garnet and a peridot, and hung with a sapphire

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File:Broad Collar.jpg

Mary — Wed, 16 May 2012 22:00:20 GMT

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	[[Category:Ancient images]]		[[Category:Ancient images]]
		+	British Museum

Unpublished:New Main Page

Tim — Wed, 16 May 2012 21:30:13 GMT

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Tim — Wed, 16 May 2012 21:28:44 GMT

uploaded "[[File:Paper11.jpg]]"

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Tim — Wed, 16 May 2012 21:27:02 GMT

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File:Paper-3.jpg

Tim — Wed, 16 May 2012 21:25:51 GMT

uploaded "[[File:Paper-3.jpg]]"

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Tim — Wed, 16 May 2012 21:20:59 GMT

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File:Paper1.jpg

Tim — Wed, 16 May 2012 21:20:11 GMT

uploaded "[[File:Paper1.jpg]]"

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Bangle

Liz — Wed, 16 May 2012 21:19:49 GMT

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-	Bangles are a rigid [[bracelet]] style, typically in an oval or round shape, completely ~~encircling~~ the wrist ~~which~~ either ~~slips~~ over the hand or ~~has~~ a hinged opening mechanism. In some cultures they are carved from a single piece of gem material such as [[jadeite]] or are crafted in [[precious metal]] and slipped over the hand in childhood to remain there for a lifetime. Bangles can be worn singly or in combinations of two or more. Historically, bangles appear in almost every civilization since the Iron Age.	+	Bangles are a rigid [[bracelet]] style, typically in an oval or round shape, which completely encircle the wrist. They are either slipped over the hand or put on using a hinged opening mechanism. In some cultures they are carved from a single piece of gem material such as [[jadeite]] or are crafted in [[precious metal]] and slipped over the hand in childhood to remain there for a lifetime. Bangles can be worn singly or in combinations of two or more. Historically, bangles appear in almost every civilization since the Iron Age.

	<center>		<center>

Bracelet

Mary — Wed, 16 May 2012 21:19:15 GMT

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	[[File:articulated.jpg\|150px\|link=articulated]]		[[File:articulated.jpg\|150px\|link=articulated]]
	\|align="center"\|[[Bangle]]		\|align="center"\|[[Bangle]]
-	[[File:~~bangle~~.jpg\|150px\|link=bangle]]	+	[[File:VCA Bangle.jpg\|150px\|link=bangle]]
	\|-		\|-
	\|align="center"\|[[Buckle Bracelet\|Buckle]]		\|align="center"\|[[Buckle Bracelet\|Buckle]]

File:VCA Bangle.jpg

Mary — Wed, 16 May 2012 21:13:39 GMT

uploaded a new version of "[[File:VCA Bangle.jpg]]" Category:Contemporary images<br/> Photo: www.langantiques.com

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Unpublished:Cartier

Liz — Wed, 16 May 2012 21:13:11 GMT

← Older revision		Revision as of 21:13, 16 May 2012
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	The influence of ancient Egypt had been a factor in the world of art and design from at least the eighteenth century. The opening of the Suez Canal in 1869 furthered this interest as did the 1911 Franco –Egyptian Exhibition at the Louvre. Cartier’s early Egyptian inspired pieces used scarab motifs, lotus blooms and other recognizable symbols wrought in lapis, turquoise and garnet, highlighted by pearls and diamonds. Later pieces in the early 1900s include stylized designs worked in platinum with diamonds and onyx and punctuated with designs made of calibre cut emeralds, rubies and sapphires. Following the exciting discovery of Tutankhamen’s tomb by Howard Carter in 1922, the interest in the Egyptian style greatly intensified. Perhaps inspired by Louis Cartier’s personal interest and collection, Cartier began designing unique and imaginative pieces around ancient Egyptian faience beads and fragments.		The influence of ancient Egypt had been a factor in the world of art and design from at least the eighteenth century. The opening of the Suez Canal in 1869 furthered this interest as did the 1911 Franco –Egyptian Exhibition at the Louvre. Cartier’s early Egyptian inspired pieces used scarab motifs, lotus blooms and other recognizable symbols wrought in lapis, turquoise and garnet, highlighted by pearls and diamonds. Later pieces in the early 1900s include stylized designs worked in platinum with diamonds and onyx and punctuated with designs made of calibre cut emeralds, rubies and sapphires. Following the exciting discovery of Tutankhamen’s tomb by Howard Carter in 1922, the interest in the Egyptian style greatly intensified. Perhaps inspired by Louis Cartier’s personal interest and collection, Cartier began designing unique and imaginative pieces around ancient Egyptian faience beads and fragments.

-	[[File:Cartier_tutti_frutti_necklace.jpg\|left\|250px\|Daisy Fellowes Tutti Frutti Necklace.Image courtesy of the Cartier Collection.]]<br /><br />Cartier’s combination of ancient pieces set in contemporary mountings was also found in the Indian style jewelry that used rare, carved Mughal stones most memorably, emeralds. These stones were Colombian emeralds that had been imported to India since the late seventeenth century and the carvings based on the Islamic flower cult of the Moghul emperors. In addition to the rare ancient Moghul gems, Cartier imported a large quantity of carved rubies, emeralds and sapphire leaves from India that they used in their iconic multigem “tutti frutti” style of jewelry, popular for over a decade beginning in the 1920s and highly sought after today. Indeed, a splendid Art Deco tutti frutti bracelet produced by Cartier circa 1928 was recently auctioned in June 2011 by Christie's for an impressive record setting price of $1,887,232.	+	[[File:Cartier_tutti_frutti_necklace.jpg\|thumb\|left\|250px\|Daisy Fellowes Tutti Frutti Necklace.Image courtesy of the Cartier Collection.]]<br /><br />Cartier’s combination of ancient pieces set in contemporary mountings was also found in the Indian style jewelry that used rare, carved Mughal stones most memorably, emeralds. These stones were Colombian emeralds that had been imported to India since the late seventeenth century and the carvings based on the Islamic flower cult of the Moghul emperors. In addition to the rare ancient Moghul gems, Cartier imported a large quantity of carved rubies, emeralds and sapphire leaves from India that they used in their iconic multigem “tutti frutti” style of jewelry, popular for over a decade beginning in the 1920s and highly sought after today. Indeed, a splendid Art Deco tutti frutti bracelet produced by Cartier circa 1928 was recently auctioned in June 2011 by Christie's for an impressive record setting price of $1,887,232.
	[[File:Cartier "Tutti Frutti" Dress Clip.jpg\|thumb\|center\|350px\|Cartier "Tutti Frutti" Dress Clip, circa 1930.Image courtesy of Christie's.]]<br /><br />		[[File:Cartier "Tutti Frutti" Dress Clip.jpg\|thumb\|center\|350px\|Cartier "Tutti Frutti" Dress Clip, circa 1930.Image courtesy of Christie's.]]<br /><br />

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	Cartier originally met their client’s demands for timepieces by buying special pieces at auction, and specialist dealers. In the 1890s they were chiefly supplied by the great watch-making firm of Vacheron & Constantin of Geneva. Following the move to the rue de la Paix, Louis Cartier had ambitious plans to expand Cartier’s offerings, focusing on table clocks, greater in house production and promoting the further development of the wrist-watch.		Cartier originally met their client’s demands for timepieces by buying special pieces at auction, and specialist dealers. In the 1890s they were chiefly supplied by the great watch-making firm of Vacheron & Constantin of Geneva. Following the move to the rue de la Paix, Louis Cartier had ambitious plans to expand Cartier’s offerings, focusing on table clocks, greater in house production and promoting the further development of the wrist-watch.
	The table clocks of the early 1900s were manufactured to reflect the same aesthetic of eighteenth century décor as the garland style jewelry did, incorporating wreath, vase and garland motifs. The materials were made of marble, hardstone and porcelain with enameled and jeweled cases.[[File:Cartier Enamel Clock Circa 1910.jpg\|thumb\|left\|200px\|Cartier Silver, Agate and Enamel Clock, circa 1910. Image courtesy of Christie's.]]<br /><br /> A number of different firms were involved in the production of their table clocks including movements supplied by the firms of Bredillard and Prevost and enameled cases by workshops such as Dubret. Later models, inspired by the work of Fabergé, were enameled in pastels of violets, pinks, pale blues and spring greens over engine turned designs. The most innovative and spectacular of the Cartier table clocks however, are the ‘mystery clocks’, which made their debut in 1913.		The table clocks of the early 1900s were manufactured to reflect the same aesthetic of eighteenth century décor as the garland style jewelry did, incorporating wreath, vase and garland motifs. The materials were made of marble, hardstone and porcelain with enameled and jeweled cases.[[File:Cartier Enamel Clock Circa 1910.jpg\|thumb\|left\|200px\|Cartier Silver, Agate and Enamel Clock, circa 1910. Image courtesy of Christie's.]]<br /><br /> A number of different firms were involved in the production of their table clocks including movements supplied by the firms of Bredillard and Prevost and enameled cases by workshops such as Dubret. Later models, inspired by the work of Fabergé, were enameled in pastels of violets, pinks, pale blues and spring greens over engine turned designs. The most innovative and spectacular of the Cartier table clocks however, are the ‘mystery clocks’, which made their debut in 1913.
-	The talent behind these famous pieces was a young watchmaker, Maurice Couet (1885-1963) who came from a family of watchmakers. He first learned his craft at his father’s workshop in Evreux and further honed his skills in the Paris workshop of Prevost before eventually setting up his own workshop. By 1911 Couet was supplying table clocks exclusively to Cartier and eight years later, in 1919, he set up the Cartier clock workshop at the rue Lafayette employing a number of diverse and highly skilled specialists including lapidarists, watchmakers, enamellers and stone setters. The workshop also had its own clock designers although many of the more important pieces such as the “mystery clocks’ were designed by the Cartier jewelers Charles Jacqueau and Georges Remy.	+	The talent behind these famous pieces was a young watchmaker, Maurice Couet (1885-1963) who came from a family of watchmakers. He first learned his craft at his father’s workshop in Evreux and further honed his skills in the Paris workshop of Prevost before eventually setting up his own workshop. By 1911 Couet was supplying table clocks exclusively to Cartier and eight years later, in 1919, he set up the Cartier clock workshop at the rue Lafayette employing a number of diverse and highly skilled specialists including lapidarists, watchmakers, enamellers and stone setters. The workshop also had its own clock designers although many of the more important pieces such as the “mystery clocks’ were designed by the Cartier jewelers Charles Jacqueau and Georges Remy.[[File:Portique Mystery Clock. Cartier Paris, 1923.jpg\|thumb\|right\|200px\|Cartier Portique Mystery Clock. Sinto Gate. Rock Crystal, Gold, Enamel, Platinum and Coral, circa 1923. Image courtesy of Cartier Collection]]<br /><br />
-	[[File:Portique Mystery Clock. Cartier Paris, 1923.jpg\|thumb\|right\|~~250px~~\|Cartier Portique Mystery Clock. Sinto Gate. Rock Crystal, Gold, Enamel, Platinum and Coral, circa 1923. Image courtesy of Cartier Collection]]<br /><br />	+
	The hands of a mystery clock seem to operate by themselves, keeping time around a transparent face, typically made of rock crystal, with no visible connection to a movement. Each hand is in fact fixed onto a separate crystal disc set with a saw-toothed metal rim that is driven by gears disguised within the frame of the case. Each part of the clock is completely hand-made and production, even into the 1980s was a painstaking and laborious process requiring three to twelve months to complete a piece. The first mystery clock created, called the ’Model A’ with a vertical frame and heavy stone base, was sold to J.P.Morgan. Subsequent models incorporated many different shapes and motifs many with oriental themes including the famous Portico models, which were designed as freestanding Oriental porticos featuring dragons or Buddha.		The hands of a mystery clock seem to operate by themselves, keeping time around a transparent face, typically made of rock crystal, with no visible connection to a movement. Each hand is in fact fixed onto a separate crystal disc set with a saw-toothed metal rim that is driven by gears disguised within the frame of the case. Each part of the clock is completely hand-made and production, even into the 1980s was a painstaking and laborious process requiring three to twelve months to complete a piece. The first mystery clock created, called the ’Model A’ with a vertical frame and heavy stone base, was sold to J.P.Morgan. Subsequent models incorporated many different shapes and motifs many with oriental themes including the famous Portico models, which were designed as freestanding Oriental porticos featuring dragons or Buddha.
		+
		+

	Cartier first started producing ladies wristwatches in the late 1880s. These small, jeweled creations typically featured rectangular, octagonal or round bezels, pave set with diamonds and fitted with black moiré silk straps, or bracelets of fine black cord or seed pearls. It was not until the early 1900s when fashion allowed for shorter sleeves and evening wear without long gloves, that wristwatches became appreciated as a fashionable jewelry item. Tonneaus and oval baignoires models gained quick popularity and cabochon ruby, sapphire or pearl winding buttons became associated with the firm.		Cartier first started producing ladies wristwatches in the late 1880s. These small, jeweled creations typically featured rectangular, octagonal or round bezels, pave set with diamonds and fitted with black moiré silk straps, or bracelets of fine black cord or seed pearls. It was not until the early 1900s when fashion allowed for shorter sleeves and evening wear without long gloves, that wristwatches became appreciated as a fashionable jewelry item. Tonneaus and oval baignoires models gained quick popularity and cabochon ruby, sapphire or pearl winding buttons became associated with the firm.

Bangle

Mary — Wed, 16 May 2012 21:11:05 GMT

← Older revision		Revision as of 21:11, 16 May 2012
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-	A bracelet style typically ~~consisting of a rigid~~ oval or round shape, either ~~solid~~ or ~~opening with~~ a hinged mechanism. [[File:Bangle.jpg\|thumb\|left\|~~300px~~\|~~Victorian style bangle bracelet, early 20th century~~]][[File:~~Byzantine bangle~~.jpg\|thumb\|~~right~~\|~~300px~~\|~~Byzantine [[opus interrasile~~]] ~~bangle decorated with~~ [[~~sapphire]]s and [[pearl]]s~~]]	+	Bangles are a rigid [[bracelet]] style, typically in an oval or round shape, completely encircling the wrist which either slips over the hand or has a hinged opening mechanism. In some cultures they are carved from a single piece of gem material such as [[jadeite]] or are crafted in [[precious metal]] and slipped over the hand in childhood to remain there for a lifetime. Bangles can be worn singly or in combinations of two or more. Historically, bangles appear in almost every civilization since the Iron Age.
		+
		+	<center>
		+	{\|width=70%
		+	\|[[File:VCA Bangle.jpg\|thumb\|left\|200px\|Van Cleef & Arpels Gold Solid Bangle Bracelet. Photo Courtesy of ''Lang Antiques''.]]
		+	\|[[File:Victorian Bangle.jpg\|thumb\|left\|200px\|Victorian Gold Bangle Hinged Bracelet. Photo Courtesy of ''Lang Antiques''.]]
		+	\|[[File:Jadeite Bangle.jpg\|thumb\|left\|200px\|Carved Jadeite Carved Bangle Bracelet. Photo Courtesy of ''Lang Antiques''.]]
		+	\|}
		+	</center>
		+
	[[Category:glossary]][[category:Jewelry]]		[[Category:glossary]][[category:Jewelry]]

File:Jadeite Bangle.jpg

Mary — Wed, 16 May 2012 21:08:49 GMT

uploaded "[[File:Jadeite Bangle.jpg]]" Category:Contemporary images<br/> Photo: www.langantiques.com

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Unpublished:New Main Page

Tim — Wed, 16 May 2012 21:04:39 GMT

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File:Gold.jpg

Tim — Wed, 16 May 2012 21:03:13 GMT

uploaded "[[File:Gold.jpg]]"

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Unpublished:Cartier

Liz — Wed, 16 May 2012 20:49:32 GMT

← Older revision		Revision as of 20:49, 16 May 2012
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	=Clocks & Watches=		=Clocks & Watches=
-	Cartier originally met their client’s demands for timepieces by buying special pieces at auction, and specialist dealers. In the 1890s they were chiefly supplied by the great watch-making firm of Vacheron & Constantin of Geneva. Following the move to the rue de la Paix, Louis Cartier had ambitious plans to expand Cartier’s offerings~~. Hans Nadelhoffer writes that Louis had three main goals with the watch department:~~	+	Cartier originally met their client’s demands for timepieces by buying special pieces at auction, and specialist dealers. In the 1890s they were chiefly supplied by the great watch-making firm of Vacheron & Constantin of Geneva. Following the move to the rue de la Paix, Louis Cartier had ambitious plans to expand Cartier’s offerings, focusing on table clocks, greater in house production and promoting the further development of the wrist-watch.
-	~~"...to add~~ table clocks ~~to the range of pocket-watches; to build up~~ in-house production; and ~~to explore~~ the ~~market possibilities~~ of the ~~wristwatch, of whose future he was convinced"<ref>Nadelhoffer P 245~~.~~</ref><br/><br/>~~	+
-		+
-		+
-		+
	The table clocks of the early 1900s were manufactured to reflect the same aesthetic of eighteenth century décor as the garland style jewelry did, incorporating wreath, vase and garland motifs. The materials were made of marble, hardstone and porcelain with enameled and jeweled cases.[[File:Cartier Enamel Clock Circa 1910.jpg\|thumb\|left\|200px\|Cartier Silver, Agate and Enamel Clock, circa 1910. Image courtesy of Christie's.]]<br /><br /> A number of different firms were involved in the production of their table clocks including movements supplied by the firms of Bredillard and Prevost and enameled cases by workshops such as Dubret. Later models, inspired by the work of Fabergé, were enameled in pastels of violets, pinks, pale blues and spring greens over engine turned designs. The most innovative and spectacular of the Cartier table clocks however, are the ‘mystery clocks’, which made their debut in 1913.		The table clocks of the early 1900s were manufactured to reflect the same aesthetic of eighteenth century décor as the garland style jewelry did, incorporating wreath, vase and garland motifs. The materials were made of marble, hardstone and porcelain with enameled and jeweled cases.[[File:Cartier Enamel Clock Circa 1910.jpg\|thumb\|left\|200px\|Cartier Silver, Agate and Enamel Clock, circa 1910. Image courtesy of Christie's.]]<br /><br /> A number of different firms were involved in the production of their table clocks including movements supplied by the firms of Bredillard and Prevost and enameled cases by workshops such as Dubret. Later models, inspired by the work of Fabergé, were enameled in pastels of violets, pinks, pale blues and spring greens over engine turned designs. The most innovative and spectacular of the Cartier table clocks however, are the ‘mystery clocks’, which made their debut in 1913.
	The talent behind these famous pieces was a young watchmaker, Maurice Couet (1885-1963) who came from a family of watchmakers. He first learned his craft at his father’s workshop in Evreux and further honed his skills in the Paris workshop of Prevost before eventually setting up his own workshop. By 1911 Couet was supplying table clocks exclusively to Cartier and eight years later, in 1919, he set up the Cartier clock workshop at the rue Lafayette employing a number of diverse and highly skilled specialists including lapidarists, watchmakers, enamellers and stone setters. The workshop also had its own clock designers although many of the more important pieces such as the “mystery clocks’ were designed by the Cartier jewelers Charles Jacqueau and Georges Remy.		The talent behind these famous pieces was a young watchmaker, Maurice Couet (1885-1963) who came from a family of watchmakers. He first learned his craft at his father’s workshop in Evreux and further honed his skills in the Paris workshop of Prevost before eventually setting up his own workshop. By 1911 Couet was supplying table clocks exclusively to Cartier and eight years later, in 1919, he set up the Cartier clock workshop at the rue Lafayette employing a number of diverse and highly skilled specialists including lapidarists, watchmakers, enamellers and stone setters. The workshop also had its own clock designers although many of the more important pieces such as the “mystery clocks’ were designed by the Cartier jewelers Charles Jacqueau and Georges Remy.
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	While women were wearing their jeweled wristwatches, the pocket watch was still favored by men up through the first decade of the 1900s. That was to change with the debut of 2 now iconic wristwatches: the Santos and the Tank. The Santos wristwatch was created in 1904 for the famed Brazilian aviator, Alberto Santos Dumont. A friend of Louis Cartier, he had difficulty in using a pocket watch to gauge his performance time while in flight. Strapping on a wristwatch proved eminently practical and the Santos Dumont wristwatch officially went on sale to the public in 1911.[[File: Cartier Tank Watch.jpg\|thumb\|left\|250px\|Cartier Tank Watch.]]<br /><br /> The Cartier tank watch, whose clean lines are said to have been inspired by the silhouettes of American tanks in Europe during WW1, was designed by Louis Cartier in 1917 and went on sale two years later.		While women were wearing their jeweled wristwatches, the pocket watch was still favored by men up through the first decade of the 1900s. That was to change with the debut of 2 now iconic wristwatches: the Santos and the Tank. The Santos wristwatch was created in 1904 for the famed Brazilian aviator, Alberto Santos Dumont. A friend of Louis Cartier, he had difficulty in using a pocket watch to gauge his performance time while in flight. Strapping on a wristwatch proved eminently practical and the Santos Dumont wristwatch officially went on sale to the public in 1911.[[File: Cartier Tank Watch.jpg\|thumb\|left\|250px\|Cartier Tank Watch.]]<br /><br /> The Cartier tank watch, whose clean lines are said to have been inspired by the silhouettes of American tanks in Europe during WW1, was designed by Louis Cartier in 1917 and went on sale two years later.
		+	Just as Cartier’s clock department was able to employ the extraordinary talents of Maurice Couet in the clock department, their small watches came under the purview of another great talent, Edmond Jaeger (1850-1922). Jaeger learned his trade working in several well respected companies, the most formative of these were the Breguet workshops in Paris. By 1905 he had his own company and signed a fifteen-year contract with Cartier’s in 1907, giving them exclusive rights to his products. The European Watch and Clock Company founded in 1919 was a joint venture between Cartier and Edward Jaeger, and supplied almost all of the watch movements for Cartier in Paris. Cartier also worked with such well known firms such as Vacheron Constantin, Patek Phillipe and Auudemars Piguet.

Bandeau

Mary — Wed, 16 May 2012 20:20:22 GMT

← Older revision		Revision as of 20:20, 16 May 2012
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-	[[File:Bandeau.~~png~~\|thumb\|center\|600px\|~~A bandeau is an ornamental headband~~. ~~The word is also used for a style~~ of ~~[[tiara]]~~]]	+	[[File:Bandeau.jpg\|thumb\|center\|600px\|Belle Epoque Diamond and Pearl Bandeau. Photo Courtesy of ''Christie's''.]]

-	[[~~category:glossary~~]] [[category:~~french terms~~]][[category:Jewelry]]	+	A bandeau is an ornamental headband or type of [[tiara]]. They were particularly popular during the Middle Ages in Italy and in Europe c.1840s. During the Art Deco period they enjoyed a return to the spotlight and bounce intermittently in and out of vogue on into the 21st century.
		+
		+
		+	[[category:glossary]][[category:Jewelry]]

File:Bandeau.jpg

Mary — Wed, 16 May 2012 20:19:10 GMT

uploaded "[[File:Bandeau.jpg]]" Category:Edwardian images

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Tim — Wed, 16 May 2012 18:20:44 GMT

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Tim — Wed, 16 May 2012 18:14:25 GMT

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Tim — Wed, 16 May 2012 17:56:28 GMT

uploaded "[[File:Vintagebutlightnowhite.jpg]]"

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Tim — Wed, 16 May 2012 17:27:24 GMT

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Tim — Wed, 16 May 2012 17:25:48 GMT

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File:Vintagebut1.jpg

Tim — Wed, 16 May 2012 16:57:02 GMT

uploaded "[[File:Vintagebut1.jpg]]"

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Beau Sancy

Mary — Wed, 16 May 2012 16:32:57 GMT

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-	[[Image:Beau Sancy.jpg\|right\|thumb\|200px\|The Beau Sancy]]This [[diamond]]'s name is taken from its first recorded French owner, Nicolas Harlay de Sancy, a fancier of fine gems who just happened to be King Henri IV’s exceptionally talented Minister of Finance. With de Sancy’s name already attached to another larger diamond in his possession the adjective “beau” was added to identify this smaller stone. Like its larger namesake, this diamond would make the rounds of royal families, moving from country to country but with considerable less fanfare and intrigue. Being the smaller of the “Sancy” stones, it sometimes suffered a lack of respect. It was once considered to be a kind of “consolation” prize when the buyer who purchased the diamond did so only because of his failure to acquire the larger Sancy for his wife. However the time would come when this diamond would find an owner who would appreciate the stone on its own merits. Although its origins remain unknown, strong evidence suggests it came from India. Fortunately its current location is no mystery. Such is the story of the Beau Sancy diamond (sometimes referred to as the Little Sancy).	+	[[Image:Beau Sancy.jpg\|right\|thumb\|200px\|The Beau Sancy]]
		+	This [[diamond]]'s name is taken from its first recorded French owner, Nicolas Harlay de Sancy, a fancier of fine gems who just happened to be King Henri IV’s exceptionally talented Minister of Finance. With de Sancy’s name already attached to another larger diamond in his possession the adjective “beau” was added to identify this smaller stone. Like its larger namesake, this diamond would make the rounds of royal families, moving from country to country but with considerable less fanfare and intrigue. Being the smaller of the “Sancy” stones, it sometimes suffered a lack of respect. It was once considered to be a kind of “consolation” prize when the buyer who purchased the diamond did so only because of his failure to acquire the larger Sancy for his wife. However the time would come when this diamond would find an owner who would appreciate the stone on its own merits. Although its origins remain unknown, strong evidence suggests it came from India. Fortunately its current location is no mystery. Such is the story of the Beau Sancy diamond (sometimes referred to as the Little Sancy).<br/><br/>

-	The earliest notation regarding this diamond occurs in January of 1589 when a flawless diamond weighing 37 or 38 [[carat]]s is described in a document pledging it to Sieur de Sancy for him to pawn in Switzerland or Germany. Set in a [[gold]] frame that suspended a very large [[pearl]], the rounded [[pear Shape\|pear-shaped]] diamond had 110 [[facet]]s, including the [[table]] and the [[culet]]. Later, de Sancy attempts to sell this stone, along with its larger namesake, the Sancy. A letter describing the desired terms for sale, written by Sancy himself, explains that he will sell the larger diamond for a price not less than 80,000 ecus and 60,000 ecus for the smaller stone. The letter also states he wants the money immediately with terms not to exceed three years. He enters negotiations with the Duke of Mantua for the diamonds in October of 1589. Amazingly, they continue those negotiations until 1604 without it ever resulting in a sale to the Duke.	+	The earliest notation regarding this diamond occurs in January of 1589 when a flawless diamond weighing 37 or 38 [[carat]]s is described in a document pledging it to Sieur de Sancy for him to pawn in Switzerland or Germany. Set in a [[gold]] frame that suspended a very large [[pearl]], the rounded [[pear Shape\|pear-shaped]] diamond had 110 [[facet]]s, including the [[table]] and the [[culet]]. Later, de Sancy attempts to sell this stone, along with its larger namesake, the Sancy. A letter describing the desired terms for sale, written by Sancy himself, explains that he will sell the larger diamond for a price not less than 80,000 ecus and 60,000 ecus for the smaller stone. The letter also states he wants the money immediately with terms not to exceed three years. He enters negotiations with the Duke of Mantua for the diamonds in October of 1589. Amazingly, they continue those negotiations until 1604 without it ever resulting in a sale to the Duke.<br/><br/>

-	[[Image:Henry4.jpg\|right\|thumb\|200px\|Henry IV of France]]Eventually, the undeterred de Sancy sells the larger Sancy Diamond to the King of England, James I. The buyer for the smaller stone winds up being de Sancy’s boss, King Henri IV of France, who buys the Beau Sancy for 25,000 ecus. Rumors at the time indicate that Henri may have purchased the diamond to appease Marie de Medici, his Queen consort, who was angry that the larger diamond went to the King of England. Perhaps in order to further ease the queen’s “pain,” the King ordered an impressive [[crown]] to be created for her 1610 Coronation that would prominently feature the Beau Sancy diamond.	+	[[Image:Henry4.jpg\|right\|thumb\|200px\|Henry IV of France]]
-	Whether it was the demands of the office or his demanding queen, the reign of Henri IV came to an abrupt end later that same year. ~~[[Image:180px-Marie de medicis.jpg\|left\|thumb\|180px\|Marie de Médicis]]~~	+	Eventually, the undeterred de Sancy sells the larger Sancy Diamond to the King of England, James I. The buyer for the smaller stone winds up being de Sancy’s boss, King Henri IV of France, who buys the Beau Sancy for 25,000 ecus. Rumors at the time indicate that Henri may have purchased the diamond to appease Marie de Medici, his Queen consort, who was angry that the larger diamond went to the King of England. Perhaps in order to further ease the queen’s “pain,” the King ordered an impressive [[crown]] to be created for her 1610 Coronation that would prominently feature the Beau Sancy diamond. Whether it was the demands of the office or his demanding queen, the reign of Henri IV came to an abrupt end later that same year. <br/><br/>
-	With the death of Henri his son, King Louis XIII, succeeds him. It’s an arrangement that does not sit well with the Queen. Eventually developing an estranged relationship with her son -- no doubt due to her failed attempts at some power grabbing -- an exasperated Louis finally exiles his mother to Compiegne. Not to take this rebuke lying down, Marie de Medici manages to escape to Brussels in 1631, taking many of her possessions with her – including the Beau Sancy diamond. She later winds up in Cologne, where she stays until her death in 1642. To clear the debts she left behind her estate is sold off. Enter Frederick Henry, Prince of Orange who buys the Beau Sancy for 80,000 florins. The Beau Sancy would stay in the Orange family, being handed down to Fredrick Henry’s grandson who would soon become King of England as William III. Taking the Beau Sancy with him across the English Channel, the diamond temporarily rejoins the larger Sancy diamond in becoming part of the British Crown Jewels. William presents the Beau Sancy to his wife, Queen Mary II, on their wedding day and the diamond remains in her possession until her death in 1694.	+

-	[[Image:~~225px~~-~~Queen Mary II~~.jpg\|~~right~~\|thumb\|~~225px~~\|~~Queen MaryII of England~~]]~~Because William and Mary had no children to inherit~~ the ~~diamond it was returned to the House~~ of ~~Orange where another grandson of Fredrick Henry~~, ~~the future~~ King ~~of Prussia Frederick I~~, ~~becomes~~ the ~~new owner~~ of the Beau Sancy. Frederick ~~I has~~ the Beau Sancy ~~set into~~ the ~~royal crown where it finally achieves the lofty status it has long deserved~~, ~~gaining a reputation~~ as the ~~most important gem~~ in the Crown Jewels ~~of that country~~.	+	[[Image:180px-Marie de medicis.jpg\|left\|thumb\|180px\|Marie de Médicis]]
		+	With the death of Henri his son, King Louis XIII, succeeds him. It’s an arrangement that does not sit well with the Queen. Eventually developing an estranged relationship with her son -- no doubt due to her failed attempts at some power grabbing -- an exasperated Louis finally exiles his mother to Compiegne. Not to take this rebuke lying down, Marie de Medici manages to escape to Brussels in 1631, taking many of her possessions with her – including the Beau Sancy diamond. She later winds up in Cologne, where she stays until her death in 1642. To clear the debts she left behind her estate is sold off. Enter Frederick Henry, Prince of Orange who buys the Beau Sancy for 80,000 florins. The Beau Sancy would stay in the Orange family, being handed down to Fredrick Henry’s grandson who would soon become King of England as William III. Taking the Beau Sancy with him across the English Channel, the diamond temporarily rejoins the larger Sancy diamond in becoming part of the British Crown Jewels. William presents the Beau Sancy to his wife, Queen Mary II, on their wedding day and the diamond remains in her possession until her death in 1694.<br/><br/>

-	~~In 1881 the Beau Sancy is seen around the neck of Princess Mary of Sachen-Altenburg who wears it as part of a~~ [[~~necklace~~]] ~~during her wedding~~ to ~~Prince Albert~~ of Prussia~~. Later~~, ~~a 1917 inventory~~ of the ~~Prussian Crown jewels notes that~~ the ~~diamond was~~ set ~~as a [[pendant]]. Six years following there is a description that refers to~~ it as ~~pendant~~ in ~~a necklace with 23 diamonds~~.	+	[[Image:225px-Queen Mary II.jpg\|right\|thumb\|225px\|Queen MaryII of England]]
		+	Because William and Mary had no children to inherit the diamond it was returned to the House of Orange where another grandson of Fredrick Henry, the future King of Prussia Frederick I, becomes the new owner of the Beau Sancy. Frederick I has the Beau Sancy set into the royal crown where it finally achieves the lofty status it has long deserved, gaining a reputation as the most important gem in the Crown Jewels of that country.

-	~~During an examination of~~ the ~~diamond by renowned author and gem expert Edwin Streeter, he describes this diamond~~ as ~~{{quote\|…a thick stone cut all over with facets~~. ~~The author has had this stone examined and many models~~ of ~~it taken and his impression is~~ that the ~~stone commonly called the ‘Beau Sancy’ is the work of an Indian Lapidary. <ref>(2) Streeter, p. 21</ref>}}~~ [[~~Image:Hohenzollern castle.jpg\|left\|thumb\|350px\|Hohenzollern Castle in Prussia~~]]~~However finding documentation to support this claim has never been successful~~. ~~Most certainly an Indian diamond fitting the~~ description ~~of the stone destined~~ to ~~be known~~ as ~~the Beau Sancy is not recorded~~.	+	In 1881 the Beau Sancy is seen around the neck of Princess Mary of Sachen-Altenburg who wears it as part of a [[necklace]] during her wedding to Prince Albert of Prussia. Later, a 1917 inventory of the Prussian Crown jewels notes that the diamond was set as a [[pendant]]. Six years following there is a description that refers to it as pendant in a necklace with 23 diamonds. <br/><br/>

-	What we do know for certain is that today this beautiful diamond is the property of the house of Hohenzollern, specifically Georg Friedrich and, although royal titles are no longer recognized, he is the current Prince of Prussia.	+	During an examination of the diamond by renowned author and gem expert Edwin Streeter, he describes this diamond as {{quote\|…a thick stone cut all over with facets. The author has had this stone examined and many models of it taken and his impression is that the stone commonly called the ‘Beau Sancy’ is the work of an Indian Lapidary. <ref>(2) Streeter, p. 21</ref>}}
		+
		+	[[Image:Hohenzollern castle.jpg\|left\|thumb\|350px\|Hohenzollern Castle in Prussia]]
		+	However finding documentation to support this claim has never been successful. Most certainly an Indian diamond fitting the description of the stone destined to be known as the Beau Sancy is not recorded.<br/><br/>
		+
		+	What we do know for certain is that today this beautiful diamond is the property of the house of Hohenzollern, specifically Georg Friedrich and, although royal titles are no longer recognized, he is the current Prince of Prussia.<br/><br/><br/><br/>

	==UPDATE==		==UPDATE==
-	5/15/2012 - The Beau Sancy sold for CHF 9.7m, twice its ~~reserve~~, to an an anonymous buyer - Royalty or Commoner???	+	5/15/2012 - The Beau Sancy sold for CHF 9.7m, more than twice its high estimate, to an an anonymous buyer - Royalty or Commoner???

	The Beau Sancy Diamond weighing 34.98 carats, the largest gemstone within the House of Prussia's collection, will go on the block in Geneva at the May 2012 Sotheby's Magnificant & Noble Jewels auction. Estimate: CHF 2.000.000-4.000.000.		The Beau Sancy Diamond weighing 34.98 carats, the largest gemstone within the House of Prussia's collection, will go on the block in Geneva at the May 2012 Sotheby's Magnificant & Noble Jewels auction. Estimate: CHF 2.000.000-4.000.000.

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