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A Danish Journey — Part 1: Royal jewels at Koldinghus
Posted by Thomas on September 10, 2018, 7:45 am
Earlier this summer, I flew from Paris to Copenhagen, took a day train to Roskilde, the burial place of the Danish Sovereigns and the first capital of the country. Leaving Roskilde, I headed to a small town in Jutland, perhaps not very well know (even in Denmark), but one that I was longing to visit: Kolding.
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.
1
2
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.
3
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.
4
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:
5
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.
The display case that attracted my attention immediately after held five diadems:
7
7bis
The top one is Queen Elisabeth of Belgium's Diadème Rinceaux, made by Cartier Paris in 1910. On loan from the Cartier Collection.
8
9
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.
10
11
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.
12
13
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.
14
Last, but not least, the Floral Tiara assembled for Princess Benedikte circa 1962, when she turned 18 years old.
15
16
17
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.
18
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.
19
20
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.
21
Another landmark piece was the diamond Meander Bracelet, ca. 1898, loaned by HE Count Ingolf and Countess Sussie of Rosenborg.
22
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.
23
24
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.
25
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.
26
27
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).
28
29
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)
30
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.
31
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).
32
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.
33
34
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.
35
36
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.
37
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.
38
39
Photo: Doyle, 2011.
Emerald Brooch from the Great Girdle of the French Crown Jewels, Alfred Bapst, altered by Tiffany.
40
A side-view emphasising the very intricate structure of the jewels, which are true masterpieces of French XIXth century jewellery.
41
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.
42
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:
43
44
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.
45
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.
46
47
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.
One of the most modern jewels in the exhibition: H.R.H. Crown Princess Mary’s Kharisma earrings, by Dulong Fine Jewelry, ca. 2007
49
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.
50
51
A lavish Renaissance necklace, made in Southern Germany ca. 1590-1620, was displayed next to the ornament.
52
53
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.
54
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.
Stunning!! One of the most interesting and absorbing posts I have ever read.
Congratulations!! And thank you so much Thomas.
I know I will be reading it again and again all day.
So many questions popped into my mind as I was reading.
So that we do not loose track of various items could posters add an indication of what they want to discuss in the subject heading please? There is just so much arising from Thomas' post which we can discuss.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus
Very nice post Thomas, you must have put in a lot of effort where the pictures and getting them on here are concerned. The Danish jewels are just thrilling and I love the tiara by the Belgium royal house. I look forward to more of your post.
Regards,
Dave.
Previous Message
Earlier this summer, I flew from Paris to Copenhagen, took a day train to Roskilde, the burial place of the Danish Sovereigns and the first capital of the country. Leaving Roskilde, I headed to a small town in Jutland, perhaps not very well know (even in Denmark), but one that I was longing to visit: Kolding.
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.
1
2
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.
3
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.
4
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:
5
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.
The display case that attracted my attention immediately after held five diadems:
7
7bis
The top one is Queen Elisabeth of Belgium's Diadème Rinceaux , made by Cartier Paris in 1910. On loan from the Cartier Collection.
8
9
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.
10
11
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.
12
13
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.
14
Last, but not least, the Floral Tiara assembled for Princess Benedikte circa 1962, when she turned 18 years old.
15
16
17
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.
18
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.
19
20
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.
21
Another landmark piece was the diamond Meander Bracelet, ca. 1898, loaned by HE Count Ingolf and Countess Sussie of Rosenborg.
22
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.
23
24
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.
25
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.
26
27
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).
28
29
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)
30
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.
31
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).
32
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.
33
34
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.
35
36
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.
37
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.
38
39
Photo: Doyle, 2011.
Emerald Brooch from the Great Girdle of the French Crown Jewels, Alfred Bapst, altered by Tiffany.
40
A side-view emphasising the very intricate structure of the jewels, which are true masterpieces of French XIXth century jewellery.
41
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.
42
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:
43
44
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.
45
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.
46
47
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 )
48
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
49
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.
50
51
A lavish Renaissance necklace, made in Southern Germany ca. 1590-1620, was displayed next to the ornament.
52
53
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.
54
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.
I was very interested to read in Thomas' post that the "small" round pearl brooch was originally the clasp of the five row pearl necklace given by Czar Alexander and Empress Marie to Queen Lovisa. That corresponds with what the Duchess of Teck said in her 1877 letter.
I wonder when the clasp was converted into a brooch?
Here worn by the Queen of Denmark.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Khedive's pearl necklace
I am still perplexed about how many pendants there were originally on the pearl necklace the Khedive gave to Queen Lovisa as a wedding present.
If I have correctly understood what Thomas said in his post, the necklace as presented in 1869 had 5 pendants.
Queen Lovisa wearing the necklace with 5 pendants
But I presume that it was Queen Lovisa who removed 2 of the pendants as, when she showed the jewel to the Duchess of Teck in 1877, it had only 3 pendants.
Perhaps Queen Lovisa took the extra two pendants on and off at will as I think she might have had all five pendants on the necklace at the wedding of her son to Queen Maud in 1896.
There seem to be 5 pendants worn when the photo below was taken. The information attached to this on the net says it was taken in the early 1900s. It seems to me that it was taken at the same sitting as the first photo in this post as the Queen is wearing the same dress and jewels.
Getty dates this image (which is from the same sitting) as 1896.
Are there other photos of Queen Lovisa showing her with this necklace?
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Midnight tiara
I see the Midnight tiara in a totally different light from Thomas.
I think that, like a poem, this tiara induces different interpretations. For me it invokes images of gum leaves and gum nuts, and I fancifully imagine that it was designed with Crown Princess Mary in mind. My imagination is indeed fanciful as there is nothing in the jeweller's notes about this to suggest the leaves are meant to be Eucalyptus leaves or the spheres gum nuts. https://www.olelynggaard.com/en/special-pieces/the-tale-of-the-tiara.htm
I doubt if this would suit a majority of ladies, but it suits Crown Princess Mary.
I wonder if it also makes her think of gum nuts? Probably she would loyally say no now that she has made Denmark her home.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Midnight tiara
I agree it may seem strange, but seeing the Midnight tiara up close was actually a deception: I was at first very receptive to its poetical dimension, and in studio photographs it did look facsinating.
What really puzzled me, I think, was the tridimensionality of the tiara: most tiaras are flat, or almost flat; but the Midnight tiara is actually bubbly, for lack of a better word. The metalwork that goes on behind the buds and leaves is also much heavier-looking than I would have thought, as is the accumulation of buds in the lower part of the tiara.
All of this became quite obvious when I saw it under museum lightning.
Like the tiara by Louise de la Laing, I think the Midnight Tiara is an interesting work, but on too big a scale to look right, especially when worn.
Yet, as the French saying goes, les goûts et les couleurs ne se discutent pas (roughly: taste and colours are not to be disputed), so mine is, of course, a very subjective opinion!
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I see the Midnight tiara in a totally different light from Thomas.
I think that, like a poem, this tiara induces different interpretations. For me it invokes images of gum leaves and gum nuts, and I fancifully imagine that it was designed with Crown Princess Mary in mind. My imagination is indeed fanciful as there is nothing in the jeweller's notes about this to suggest the leaves are meant to be Eucalyptus leaves or the spheres gum nuts. https://www.olelynggaard.com/en/special-pieces/the-tale-of-the-tiara.htm
I doubt if this would suit a majority of ladies, but it suits Crown Princess Mary.
I wonder if it also makes her think of gum nuts? Probably she would loyally say no now that she has made Denmark her home.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Midnight tiara Maridje's photos
An interesting analysis of the tiara, thank you Thomas. You have a major advantage over me (and perhaps many) -- you have actually seen the jewel in reality and under good light.
Maridje has very kindly sent some photos some of which I will post below. All the photos below were supplied by Maridje.
One shows the back of the tiara and the metal work Thomas mentioned.
[In many ways this view makes me think of Eucalyptus leaves even more!]
Perhaps this has influenced how Crown Princess Mary has her hair arranged when wearing this tiara.
I agree with Thomas that the jewel looks heavy at the base.
I think that Crown Princess Mary counteracts this by the angle at which she wears the jewel. I wonder if, knowing that most ladies wear tiaras at an angle in modern times, the designers might not have done this deliberately to create an impression of heavy buds, hanging down, almost about to burst open. Perhaps that is a fanciful thought on my part!
Crown Princess Mary wearing the jewel.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Midnight tiara
Beth, your thoughts and interpretation of the tiara's design are very convincing and appealing! I love the piece's colours and the execution of the spheres/buds/gum nuts. Regarding the overall design I'd prefer a more reduced composition and downscaled leaves though, and I feel the naturalistic elements might have benefitted from a less rigid shape in the vein of Queen Margrethe's floral aigrette.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Khedive's pearl necklace
It seems likely that all pendants on the necklace were detachable from the start.
Interestingly, the pearl clusters which form the top part of the current ear-pendants seem to be of different make than the clusters on the necklace, so they may have been added to the set.
Another hypothesis is that Lovisa favoured ligther earrings, or that she prefered the necklace in its original form (it does look perfectly balanced with the five pendants).
In the interview, Queen Margrethe tells the following:
"The necklace and earrings belonging to the set, however, have a completely different history. But, like my mother and paternal grandmother, I happily use them together with the tiara because the large pearls and diamonds and the overall design the pieces. The necklace consists of two rows of large diamonds, with eight very large pearls placed at intervals, and with three of what are known as 'pendeloques' attached, each with a large poiré pearl surrounded by diamonds. The earrings, which to use an old-fashioned term are called ear pendants, each consist of one large pearl, surrounded by diamonds, suspending large poiré pearl, also with diamonds. The earrings were probably made in my paternal grandmother, Queen Alexandrine's day - from two pendeloques that had originally also hung from the necklace. Actually, carlier photographs show that the chain once had five of these impressive pendants. The necklace, which means the earrings too, were a wedding gift from the viceroy, the Khedive of Egypt, to my great grandmother, the aforementioned Queen Lovisa, who married King Frederik VIlI on 28 July 1869."
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I am still perplexed about how many pendants there were originally on the pearl necklace the Khedive gave to Queen Lovisa as a wedding present.
If I have correctly understood what Thomas said in his post, the necklace as presented in 1869 had 5 pendants.
Queen Lovisa wearing the necklace with 5 pendants
But I presume that it was Queen Lovisa who removed 2 of the pendants as, when she showed the jewel to the Duchess of Teck in 1877, it had only 3 pendants.
Perhaps Queen Lovisa took the extra two pendants on and off at will as I think she might have had all five pendants on the necklace at the wedding of her son to Queen Maud in 1896.
There seem to be 5 pendants worn when the photo below was taken. The information attached to this on the net says it was taken in the early 1900s. It seems to me that it was taken at the same sitting as the first photo in this post as the Queen is wearing the same dress and jewels.
Getty dates this image (which is from the same sitting) as 1896.
Are there other photos of Queen Lovisa showing her with this necklace?
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus. Khedive's pearl necklace
I think that Queen Lovisa might have been wearing one of the pearl drops when the photo below was taken, and also possibly what is now the stud portion of the pearl drop earrings worn with the necklace.
My reading of what the Queen said about the gift from the Khedive is that the drop section of the earrings were part of the gift because they were originally pendants on the necklace. That leaves the possibility (indeed the probability) that the stud sections of the earrings have a different origin.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus
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.
Thomas, thank you very much for not only including David Bielander's intriguing piece, but particularly for the second part of your comment above, which perfectly sums up what was the main driving force behind my jewellery-related studies and - beside a professional involvement with design - still is my main interest when it comes to jewellery and adornment.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus
I wonder if anything was said in the exhibition or the catalogue about how the jewels of Queen Caroline Matilda ended up in the Danish collections? Was she forced to leave them in Denmark when George III arranged for her to live in Celle? Or did she bequeath them to her son?
Secondly, was any additional information given about the pearls?
I am intrigued that, like the pearls worn by Queen Silvia of Sweden, they appear to be chalky.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus Caroline Matilda's pearls
Like Beth it is one of the most interesting and absorbing posts I have ever read.
Congratulations!! And thank you so much Thomas.
Have an excellent university reopening !
Franck
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I wonder if anything was said in the exhibition or the catalogue about how the jewels of Queen Caroline Matilda ended up in the Danish collections? Was she forced to leave them in Denmark when George III arranged for her to live in Celle? Or did she bequeath them to her son?
Secondly, was any additional information given about the pearls?
I am intrigued that, like the pearls worn by Queen Silvia of Sweden, they appear to be chalky.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus Caroline Matilda's pearls
After the catalogue notice, the pearls were inherited by Caroline Matilda's daugther (probably fathered by Struensee) Louise Augusta, who married Frederik Christian II, Duke of Augustenborg. The pearls were kept by the Augustenborg Ducal Family and are "today housed in the Royal Danish Collection at Rosenborg Castle".
It is unclear how the necklace entered the Royal Collection. Louise Augusta's daughter, Caroline Amalie, became Queen of Denmark as the wife of Christian VIII, so maybe she brought the pearls with her...
By the way, Caroline Amalie is also responsible for the current settings of the Crown jewels.
The museum lighting was very bright, so the pearls appear duller in photographs. As I mentionned, they have lost most of their lustre, but retain a certain brilliance which has disappeared completely in my pictures. I wonder if Queen Silvia's pearls appear chalky for a similar reason... old pearls under flashlights.
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I wonder if anything was said in the exhibition or the catalogue about how the jewels of Queen Caroline Matilda ended up in the Danish collections? Was she forced to leave them in Denmark when George III arranged for her to live in Celle? Or did she bequeath them to her son?
Secondly, was any additional information given about the pearls?
I am intrigued that, like the pearls worn by Queen Silvia of Sweden, they appear to be chalky.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus Caroline Matilda's pearls
It's a pitiy that they are not worn by Queen margrethe soemtimes. Or are they not availible to her like toe other Crown jewels at Rosenborg?
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After the catalogue notice, the pearls were inherited by Caroline Matilda's daugther (probably fathered by Struensee) Louise Augusta, who married Frederik Christian II, Duke of Augustenborg. The pearls were kept by the Augustenborg Ducal Family and are "today housed in the Royal Danish Collection at Rosenborg Castle".
It is unclear how the necklace entered the Royal Collection. Louise Augusta's daughter, Caroline Amalie, became Queen of Denmark as the wife of Christian VIII, so maybe she brought the pearls with her...
By the way, Caroline Amalie is also responsible for the current settings of the Crown jewels.
The museum lighting was very bright, so the pearls appear duller in photographs. As I mentionned, they have lost most of their lustre, but retain a certain brilliance which has disappeared completely in my pictures. I wonder if Queen Silvia's pearls appear chalky for a similar reason... old pearls under flashlights.
Previous Message
I wonder if anything was said in the exhibition or the catalogue about how the jewels of Queen Caroline Matilda ended up in the Danish collections? Was she forced to leave them in Denmark when George III arranged for her to live in Celle? Or did she bequeath them to her son?
Secondly, was any additional information given about the pearls?
I am intrigued that, like the pearls worn by Queen Silvia of Sweden, they appear to be chalky.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus Caroline Matilda's pearls
It is indeed sad that those pearls are unworn... maybe the curators at Rosenborg don't want to let the jewels leave the vaults for too long, otherwise Q. Margrethe could try to give the pearls some lustre back, like her mother reportedly did.
On Facebook, Rosenborg posted a photo of the necklace, and notes that when Caroline Mathilde left Denmark, she had to abandon her jewels, which were later returned to her daughter.
The necklace is usually displayed with the Crown Jewels:
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I wonder if anything was said in the exhibition or the catalogue about how the jewels of Queen Caroline Matilda ended up in the Danish collections? Was she forced to leave them in Denmark when George III arranged for her to live in Celle? Or did she bequeath them to her son?
Secondly, was any additional information given about the pearls?
I am intrigued that, like the pearls worn by Queen Silvia of Sweden, they appear to be chalky.
Re: A Danish Journey — Part 1: Royal jewels at Koldinghus Caroline Matilda's pearls
Many thanks Thomas. I had never thought of how old pearls might look in photos taken with a flash.
That Queen Caroline Matilda was forced to leave her jewels in Denmark is not surprising; yet, as they are said to have been a gift from Scottish ladies, it is interesting that she was not allowed to take them. If at some stage I find time I will see if there is any mention of them in the correspondence of George III which the Royal Collection has made available.
I had a brief look in the contemporary newspapers to see if I could verify if the pearls were a gift from Scottish ladies but, so far, I have not found any references.