Some of you may have heard of the magnificent exhibition that is currently shown in Koldinghus, the town's 750 years old castle, entitled "Magtens Smykker" (The Splendour of Power). It was the promise of seeing this incredible display of insignia and jewellery that decided me to embark on this trip.
I arrived in Kolding too late to visit the museum, so I went for a walk instead. The castle up the hill and the whole town looked radiant in the sunset… but bursting as I was with anticipation, I may have lacked objectivity.
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Later that night, I had a first look at the catalogue, which was presented in the lobby of my hotel.
Needless to say, I was among the very first visitors at the opening of the castle the following morning.
The castle itself was gutted by fire in 1808, and the ruins have been extensively restored in a very modern way.
The exhibit was located in the top floors, and was introduced by a small display of contemporary creations echoing the magnificence of royal jewels. I was quite taken by the delicate work of Louise de la Laing, a goldsmith and jewellery designer.
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I will present the display according to theme rather than following the progression set by the curators. This first part will deal with the royal jewels displayed at Koldinghus in particular. Other posts to follow will be focused on Royal marks of favour and insignia of orders of chivalry (in Koldinghus and in other Danish Museums); and other pieces from the Danish Crown's jewellery collection (including the Crown Jewels kept at Rosenborg Castle).
I have to stress that my presentation, albeit long, is only a brief selection of the objects displayed.
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The exhibition hall at Koldinghus.
Royal Jewellery
No less than nine tiaras were on display, eight of which have royal pedigree. Royal jewels included pieces from the collections (current and former) of the Royal Houses of Denmark, Belgium, France, the United Kingdom, as well as pieces belonged to The Duchess of Windsor and Countess Danner (mistress of Frederik VII).
One of the first jewels I saw was the Naasut Tiara of Queen Margrethe, with accompanying ear-pendants. It looks much better "in the flesh", but you will have to take my word for it, as it doesn't photograph well:
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Nasuut, the Greenlandic diadem. Made by Nicolai Appel. Gift from the Government of Greenland to Queen Margrethe II on her 40th jubilee in 2012.
Property of HM Queen Margrethe II of Denmark.
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Photo: Koldinghus - Per Johansen © Nicolai Appel
The display case that attracted my attention immediately after held five diadems:
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7bis
The top one is Queen Elisabeth of Belgium's Diadème Rinceaux, made by Cartier Paris in 1910. On loan from the Cartier Collection.
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Photo: Cartier Collection.
Just underneath it is The Wedding Tiara, the famous wedding gift from the Khedive of Egypt to Princess Margaret of Connaught. It was also made by Cartier Paris in 1904. On loan from H.M. Queen Anne-Marie.
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Photo: Koldinghus – Iben Kaufmann.
The next tiara is the Star Tiara, now with Princess Benedikte, originally a wedding gift to Queen Sofia of Sweden from her brother, Duke Adolf of Nassau, in 1857.
The tiara is especially beautiful, the pearls being of the highest quality and the brillants very fine as well.
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Next was The Midnight Tiara, made by Goldsmith Charlotte Lynggaard for Ole Lynggaard Copenhagen on the occasion of a tiara exhibition at Amalienborg Palace in 2009.
In my eyes, this tiara is too much of a mess to look right, either worn or displayed. The colouring, the fine chasing work on the leaves, the opalescence of the moonstones and the naturalistic aspect of the design are interesting, but they don't seem to work together.
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Last, but not least, the Floral Tiara assembled for Princess Benedikte circa 1962, when she turned 18 years old.
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Photo: Koldinghus – Iben Kaufmann.
It really is an exquisite piece, both for the delicacy of the floral design, which is perfectly proportionated to such a head ornament, and the fineness of the diamonds, the shine of which is quite staggering!
The Princess herself tells the complete story of her tiara, which is partly new to me:
"In the central flower sits a large brilliant, which can be exchanged with an emerald; I inherited this piece from my grandmother, Queen Alexandrine, and it was then placed on a comb with the emerald. The two side pieces (...) can be used as independent brooches. These two were a gift for my confirmation from my parents on 19 March 1959. They were originally one brooch which my mother inherited from Baron Didrik Bildt, a friend of my grandfather. I used to place them in my hair before I was 18 and allowed to use a tiara. To my confirmation my mother fixed the central section so it could be used both as a brooch and a pendant. The brilliant was a gift from my mother in the summer of 1964; it was an excess piece from the jewellery my mother arranged as a tiara for my sister Anne-Marie's 18h birthday on 30 August." (Excerpt from the exhibition catalogue)
But there were not only tiaras to see:
Princess Benedikte also loaned four important jewels, including her diamond stars, which belonged to Queen Victoria of Sweden and were gifted by Queen Ingrid to her daughter on her 50th birthday, in 1994.
Appropriately, the stars shone too much to be photographed properly.
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Photo: Koldinghus – Iben Kaufmann.
Her half of Queen Alexandrine's Rhombus Sautoir, which was a wedding gift from her father in 1968 was displayed as well, with the round brooch attached to it, made in 1968, also a wedding gift from King Frederik IX.
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Photo: Koldinghus – Iben Kaufmann.
The pearl and diamond Heart-shaped brooch was given by Queen Ingrid to Princess Benedikte on the birth of Prince Gustav in 1969. It was an heirloom from Princess Margaret of Connaught.
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Another landmark piece was the diamond Meander Bracelet, ca. 1898, loaned by HE Count Ingolf and Countess Sussie of Rosenborg.
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The jewel originally had ten links, and belonged to Queen Alexandrine, who may have received it on her wedding, perhaps as a gift from her brother or grandfather, Grand Duke Michael of Russia (1832-1909), as the curators suggest. This theory sounds very plausible to me, as the diamonds in the bracelet are of exceptional quality and brilliance, which would be consistent with an Imperial gift.
"The necklace was passed on, first to the heir presumptive Knud, whose consort, Princess Caroline-Mathilde (1912-1995), used it mostly as a bracelet. Two links that were surplus after the necklace was altered into a bracelet were then given to Princess Elisabeth, who has used them as a brooch. After the death of the princess, Count Ingolf inherited the bracelet, which is now used by Countess Sussie of Rosenborg." (note from the exhibition catalogue)
The Royal Danish Collection and The Royal Danish Moveable Property Trust (fideicommis)
H.M. Queen Margrethe generously lent some of the jewels that are in her care as sovereign. Some of those historic pieces have not been worn for a long time, others are traditionally associated with Danish Queens, much like the Crown Jewels.
Use of jewels from The Royal Danish Moveable Property Trust is reserved exclusively to The Queen, it was initiated by Queen Lovisa, consort to Frederik VIII, and since then, has remained with the Sovereign. In 1972, Queen Ingrid had to pass all of the jewellery to her daughter.
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The two strands of pearls in Queen Caroline-Matilda's Necklace date back to 1766. This considerable necklace, composed of a long sautoir and a shorter strand of very big pearls was reportedly presented by Scottish women to the British princess when she travelled to Denmark to be married to Christian VI.
They are one of the most amazing pearl necklaces I have seen, and the pearls, despite the apparent loss of lustre, retain their remarkable qualities: they are almost perfectly round, evenly coloured, of a very deep white that has not tarnished or yellowed much.
The girandole earrings also belonged to Queen Caroline-Matilda. (1751-1775. Quartz and yellow topaz).
The necklace and the earrings are part of The Royal Danish Collection, usually kept at Rosenborg.
Two other pairs of earrings were displayed. The first (left) belonged to Princess Charlotte-Amalie (before 1782, rose-cut diamonds); the second (right) to Queen Sophie-Magdelene (ca. 1780, black agate, rose-cut diamonds, glass). Both pairs belong to The Royal Danish Collection as well.
I think the first pair would complement the brilliant-set of the Crown Jewels quite well.
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Among the jewels that are still worn is this striking "rivière" necklace, probably the oldest such necklace still in existence. It was made before 1759.
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It belonged to Anne, Princess of Orange (1709-1759), inherited by Frederick of the Netherlands (1797-1881), her great-grandson, by whom passed to his daughter Queen Louise of Sweden and then to her daughter, Queen Lovisa of Denmark, who left it to The Danish Royal Property Trust.
The famous "Pearl-poiré Parure" was given its own showcase. I was lucky enough to see the entire parure (the tiara was later removed for President Macron's State visit).
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The diadem consists of 18 pear-shaped pearls in a diamond frame. It "was created for Princess Louise of the Netherlands (1808–1870), who received it as a wedding gift in 1825, presumably from her father Friedrich Wilhelm III of Prussia (1770–1840). The diadem came to Denmark via Frederik VIII’s marriage to the Swedish-born Queen Lovisa, who inherited it from her mother; the daughter of the first owner, Louise of the Netherlands." (note from the exhibition catalogue)
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Photo: Koldinghus – Iben Kaufmann.
The necklace was a gift from the Khedive of Egypt to Princess Lovisa on her wedding to Crown Prince Frederik (VII), on 28 July 1869.
The two smallest pendants of the necklace were later turned into earrings, presumably by Queen Alexandrine.
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The great brooch, a corsage ornament was originally a gift to Princess Louise of the Netherlands, presumably from her father, Frederich Wilhelm III of Prussia, or other members of the Prussian Royal Family. It was also a wedding gift to Princess Lovisa (Louise's granddaughter).
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Photo: The Royal Danish Collection, Rosenborg, 2012.
The smaller round brooch was originally the clasp of a five-row pearl necklace, a wedding present to Princess Lovisa from Dagmar and Alexander (III) of Russia, her sister-in-law and brother-in-law.
The complete set was bequeathed by Queen Lovisa to The Danish Royal Property Trust.
The suite of jewels is absolutely breath-taking, for its size, for its pearls, which almost out-shine the diamonds, and for its patent elegance.
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A very nice pearl Bracelet with a portrait of Jean Baptiste Bernadotte, Marshal of France and later King of Sweden, was on display alongside Empress Joséphine's Bracelets (reading H.O.R.T.E.N.S.E. and E.U.G.E.N.E.). All the bracelets are the property of The Royal Danish Moveable Property Trust.
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Photo: Koldinghus – Iben Kaufmann.
Nearby was another relic of the Napoleonic Era: Queen Hortense's moonstone parure, on loan from the Napoleon Museum Thurgau, in Schloss Arenenberg, Switzerland.
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Photo: Koldinghus – Iben Kaufmann.
Other jewels with a French connection were the Brooch from the "Leaf Currant Parure" of the French Crown Jewels, Alfred Bapst, ca. 1855, (Sold at Doyle New York, 13 April 2011, Lot 308 — now in the Tiffany Collection). Displayed with two elements of the Parure, later converted into earrings.
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Photo: Doyle, 2011.
Emerald Brooch from the Great Girdle of the French Crown Jewels, Alfred Bapst, altered by Tiffany.
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A side-view emphasising the very intricate structure of the jewels, which are true masterpieces of French XIXth century jewellery.
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Another showcase held jewels and insignia in relation to Queen Alexandra, born a Princess of Denmark. Photography of this particular showcase was not allowed.
Queen Alexandra's Dagmar Necklace, a wedding gift from her father Christian IX in 1863, was the centrepiece of this cabinet. It entirely different "in the flesh" than in photographs, again thanks to exceptional gems and craftsmanship.
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Illustration from "A memorial of the marriage of H.R.H. Albert Edward, Prince of Wales and H.R.H. Alexandra, Princess of Denmark" 1863 (RCIN 1055746) Royal Collection Trust – H.M. Queen Elizabeth II.
Queen Alexandra's Scarab brooch and necklace, part of a wedding gift from her husband (RCINs 14571 and 14622) were shown as well:
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Both photos: Royal Collection Trust – H.M. Queen Elizabeth II.
More personal jewels, such as this gold armlet, were highlighted. It was a gift from Frederik VII to his morganatic wife, Countess Danner, Bernhard Hertz for Frederik Wilhelm Knoblich, 1858. Loan from Designmuseum Danmark.
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Photo: Koldinghus – Iben Kaufmann.
Many Cartier pieces were shown, including The Duchess of Windsor's famous Amethyst and Turquoise bracelet, Cartier. Bought by the Duke of Windsor in December 1954. Now part of the Cartier Collection; and the accompanying ring.
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Photo: Sotheby's, 2013.
The small brooch in tutti-frutti style, also by Cartier, is attributed to Queen Mary by the Maison Cartier. I gather it was acquired at auction by the Cartier Collection in 2017.
(see the page on Cartier.com — on Woolley & Wallis)
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Photo: Woolley & Wallis, 2017.
One of the most modern jewels in the exhibition: H.R.H. Crown Princess Mary’s Kharisma earrings, by Dulong Fine Jewelry, ca. 2007
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Photo: Koldinghus – Iben Kaufmann.
And one of the oldest pieces on display: Queen Dorothea's Bridal ornament, from 1557, which was worn on a detachable velvet collar, a partlet, which closed on the front of the dress. This massive jewel was donated by the Queen to Copenhagen City Hall, for all the daughters of mayors and counsellors to wear at their wedding.
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A lavish Renaissance necklace, made in Southern Germany ca. 1590-1620, was displayed next to the ornament.
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As a fitting end to this first part, here is a modern take on the jewel that epitomizes royal status, and power in a broader sense: David Bielander’s “Cardboard Crown” made of 18 carat gold with white gold staples, 2015.
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An incredible and powerful work of art, it resembles a child's crown, only that it is made with the very material that composes true crowns… hence questioning our perception, our relation to preciousness and appearances, to wealth and power, and to the power of images, which is at the very heart of our fascination with jewellery.
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Photo: courtesy of Ornamentum Gallery.
Thomas Ghysdaël
[END OF PART 1]
IMPORTANT
All photographs were taken by me, unless otherwise mentioned. They can be shared, duplicated or saved as long as I am duly acknowledged as the author (©Thomas Ghysdaël, 2018). The authors of the other pictures have been identified whenever this was possible. Please respect their work as well. Thanks for your comprehension!
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