For the love of an empire

Empress Joséphine was a tastemaker of her era with an exquisite sense of style. She brought cameos and intaglios, displayed in the cabinets of curiosity of the 18th century, back into fashion. She transformed the relics of the Roman Empire into fashion accessories, mounting them as delicately coloured jewels coordinated to match her dress. This set of intaglios, purposefully picked out by Joséphine and steeped in romantic symbolism, offers an overview of Roman mores. Diana is seen beneath a crescent moon that symbolises fertility and beauty. She is juxtaposed with Mercury, winged messenger and Roman god of love and luck as depicted by Veronese. Beneath this winged liberty is Fortuna, goddess of luck and fertility. A bust of a satyr – an illustration of Dionysian luxury – and a Bacchante nymph evoke the pleasures of the flesh and merry-making. Last but not least, two cupids are represented at the centre of the brooch. Joséphine loved to point out the mythical figures and explain their meanings.

Lasting love

Mysterious bliss

In this curving tribute to Chaumet’s 1977 Premiers Liens collection, two rings are united with criss-crossing diamond ties. A romantic promise to bind two lives together forever.

This Art Nouveau signet ring features a mysterious and unexpectedly romantic motif. The bat is in fact a symbol of fecundity, and in the Far East is associated with happiness and longevity. Pliny the Elder even attributed erotic and aphrodisiac powers to this creature of the night.

NAPOLÉON TO JOSÉPHINE

Cherasco, 10 Floréal, Year IV (29 April 1796)

"My happiness is that you be happy; my joy, that you be gay; my pleasure, that you should have pleasure. Never has a woman been loved with more devotion, passion and tenderness.”

Face of the moon

Queen of the night

This brooch deftly depicts the innocence of Pierrot, the gentle hero of the Comedia dell’Arte who is hopelessly in love with the capricious Colombine. Moonstone - used here to show the character’s whiteface - is traditionally exchanged by lovers as a token of commitment.

The shimmer of the pearl is as fleeting and changeable as the moon, its feminine curves fecund with promise. These pearl-set crescents gleamed like queens of the night in Belle Époque hairstyles, lighting up the twilight at the hour when dreams would awaken.

NAPOLÉON TO JOSÉPHINE

Pistoja, Tuscany, 8 Messidor, Year IV (26 June 1796)

“Farewell my dear love, a kiss on your mouth; another on your heart, and another on your little...”

This imposing pair of wings was mounted on an aigrette for American heiress Gertrude Vanderbilt, whose marriage to Harry Payne Whitney had brought together two fabulously wealthy families. A student of sculpture under Rodin, the founder of Vogue magazine and an avid collector, Vanderbilt was above all an artist. She opened the Whitney Museum in New York to express her passion for creativity. Her bold character and confidence translated into a fearless taste in jewellery.

Among myriad pieces by Chaumet, she also owned a second pair of diamond wings. In this pair, the taut rows of diamonds contrast with the translucent curves of blue enamel.

This pair of diamond brooches has been mounted in an aigrette setting that is faithful to their Belle Époque origins. The wings can be pointed in different directions. The feathers are meticulously crafted and layered in a display of exacting skill on the part of the jeweller.