Inspirations EN

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Bowknot corsage brooch, 1922

Gustave Flaubert, Sentimental education, 1869

« He loved her without a single

mental reservation, without any hope of his love

being reciprocated, unconditionally »

Inspirations

Choker with criss-crossed ribbons, circa 1905

Necklace with criss-cross motifs, 1951

Necklace with négligé tie and moon crescent brooch, circa 1910

Tubogas necklace with knot motif, 1955

Mapping the affections

Une Éducation Sentimentale exposes the human heart at all stages of life, from the unconditional love between parent and child to fond friendships, the bonds of matrimony and all-consuming passion. In a palette of reds that glitters with romance and creative genius, this retrospective retelling of the Chaumet legacy of sentimental jewellery from the First Empire to the present day is illustrated by drawings and photographs, establishing Chaumet as a jeweller that has over the centuries found inspiration in emotion.

Bowknot corsage brooch, 1922

Arrow brooch and his negative on glass, 1905

Arrow brooch, 1920

Bowknot corsage brooches, 1915

Top right: Heart pendant with Cupid’s arrow, quiver and torch motifs, 1906

Milestone moments

Chaumet, as a confidant of its clients’ personal lives, commemorates

milestone moments with precious keepsakes. Rites of passage are celebrated

with birth gifts, baptism charms, 18th birthday pearl necklaces, engagement

rings, wedding bands, tiaras, “morning gifts” - traditionally presented the

day after the wedding night - and anniversary presents. These special gifts

obey a cherished ritual, of which the presentation of the jewellery box is the

first step; customised, elegant, mysterious, it sparks the first emotion.

Medallion with

criss-cross motifs,

1909

Heart medallion,

1916

Marriage medal,

1971

Marriage medal,

1919

Clover medallion,

1940

Portrait medallion, 1933

Forget-me-not motifs, 1908

Negative on glass of the above photograph

Openwork choker necklace, 1906

La corbeille de mariage:

Be my bride

Before the engagement ring, there was the corbeille de mariage. According to this French tradition, which dates back to the 1700s and continued well into the 20th century, a young man would present his betrothed with a basket or chest filled with jewellery, lace and other trinkets. This symbolic offering made the engagement official in the eyes of the wider community. In wealthy families, the groom’s parents and friends would make gifts of jewellery to the bride on the day of the signing of the marriage contract. These tiaras, corsage brooches, pearl necklaces and other statement pieces were displayed on a table or in a glass case and sometimes labelled with the name of the benefactor.

Corbeille de mariage of Princess Mercedes of Bourbon, wife of Infante Juan of Spain, son of King Alfonso XIII, 1935

Sapphire and diamond set from the corbeille de mariage of Princess Alicia of Bourbon-Parma, wife of Infante Alfonso of Spain, 1936

Pearl corsage brooch with knot motifs, 1913

NAPOLÉON TO JOSÉPHINE

1795

“I awake filled with you. Your portrait and the memory of the intoxicating evening have left my senses no respite.”

The tiara: Love’s crowning glory

The true predecessor of the engagement ring - which was historically to be treasured in private - was the tiara. For young ladies of noble birth, the tiara was the centrepiece of the corbeille de mariage. Brought back into fashion by Empress Joséphine, who wore a tiara for her coronation, the piece quickly became a status symbol for a young bride - and indeed for any lady who wished to sparkle with queen-like radiance at a ball, opera, social function or official ceremony. Since 1780, Chaumet has adorned heads with some 2,500 tiaras, ethereal aigrettes and geometric headbands. A symbol of happiness and prosperity, the tiara is the crowning glory of glittering parties and celebrations.

Fuchsia tiara know as Bourbon-Parme, 1919

Bow and ribbons tiara, 1907

Princess Yusupov’s sun tiara, 1914

Wings of desire

Wings are the most striking motif in the Chaumet legacy of love tokens. The lofty hair ornaments that were fashionable in the Belle Époque seemed to scale the heights of the impossible. Powerful yet subtle, steeped in symbolism, the motif was inspired by the winged Roman deities Mercury and Minerva. Variously suggesting the frivolity of love, the serenity of virtue and the dutiful spouse, and the victory of love over destiny, these pieces were worn by ladies of character, freeing their spirits to soar on the wings of love.

Drawing of the above bandeau

Winged bandeau, 1913

Gertrude Vanderbilt Whitney’s enamel and diamond wings aigrette, 1908

Aigrette, 1915

Drawing of an aigrette, circa 1890

Drawing of a winged bandeau, circa 1910

Drawing of Gertrude Vanderbilt Whitney’s wings aigrette, 1908

Aigrette, 1906

Aigrette, 1907

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