19 - A museum-quality historicist ruby and diamond set, convertible into a floral trembleuse tiara, necklace, brooch and earrings

A museum-quality historicist ruby and diamond set, convertible into a floral trembleuse tiara, necklace, brooch and earrings 1880 circa L. 42 cm (Collier)| Blüten Ø 2,1-3,2 cm 750/000 red and yellow gold (tested) with silver. 49 rubies in various cuts, totalling approx. 13.50-15.50 ct; probably from Burma. Approx. 780 diamonds in various antique cuts, totalling approx. 15.00-17.00 ct, of varying quality. One diamond is damaged. Three diamonds are missing; two loose ones are included (0.04 | 0.10 ct). Two diamonds have been added at a later date. Condition is consistent with its age, with minimal defects. Case, not original. Total weight 151.4 g. Some minor repairs; the clasps and brooch mounting were renewed in the 20th century. Since generations propety of an important North German Industrial family The necklace takes the form of a stylised ribbon featuring naturalistically crafted flowering branches, with a circular band at its centre; three-dimensional flower pendants in graduated sizes are attached to the necklace. These, along with two further flowers crafted as earrings, can be screwed onto a headband; the fastenings are fitted with spirals, allowing the flowers to move freely and creating a ‘trembleuse’ flower tiara. The ribbon can also be detached from the necklace and pinned onto a brooch base, and can then be worn as a brooch with or without the flower pendants. The individual flowers could also be pinned loosely into the hair using hairpins; however, the pins themselves have not survived. It is also likely that there was a second headband onto which the necklace could be attached, allowing it to be worn as a tiara with or without the flowers. The versatility of this luxurious jewellery set is a magnificent example of historical jewellery design. Thanks to its versatility, it is certain that this piece of jewellery was worn as often as possible. Around 1880, the naturalistic design of jewellery featuring flowers, twigs and stars was extremely popular. This is also evidenced by the three dated design drawings by Kreuter & Co from the Stern graphic collection. The rubies used in our piece of jewellery symbolise passion, power, vitality and deep love. Since ancient times, the ruby has been regarded as one of the most valuable and powerful gemstones. Its red colour represents love and passion. However, the colour red also symbolises power and regal dignity, which is why it is an essential part of any crown jewels. We would like to thank Mr Stefan Stern, of the Stern Graphic Collection, for his kind support. Bibliography: David Bennett & Daniela Mascetti: *Understanding Jewellery*, Woodbridge 1989. For the type, see pp. 147, 197-200; Diana Scarisbrick: *Ancestral Jewels*, London 1989. For the type, see p. 119. A sign of victory, a symbol of power and a fascinator The cultural history of the diadem The ancient Greek term ‘diadema’ translates as ‘headband’ and is derived from ‘dia-dein’, meaning ‘to bind’. In antiquity, the headband initially served as a simple headdress to hold the hair in place. This then evolved into a headband that was presented to victorious athletes as a mark of honour. In antiquity, it quickly became customary to honour victors with a laurel wreath, the ‘kotinos’ or, in Latin, ‘laurus’. From this symbol of honour and victory developed the royal headband, one of the most important insignia of secular rule. Under Emperor Diocletian, it became customary to wear the diadem in the form of a half-crown as a sign of state power. Under Emperor Constantine the Great, the royal headband - now consisting of gold plates - became part of the imperial regalia. Only the Augustus and the Augusta were permitted to wear it as a sign of their sovereign power. Emperor Justinian then fitted the diadem with a crown-like headband. Other rulers, for example in Byzantium, also used the diadem as a symbol of their power. During the Baroque and Rococo periods, this piece of jewellery was worn only by high-ranking women of the aristocracy. The tiara enjoyed its heyday during the Classical period, from around 1800 onwards. It fitted perfectly with the fashion for classical styles, serving as an important and, moreover, authentically stylish symbol of authority. Empress Josephine owned a large collection of magnificent tiaras, lavishly set with diamonds. Queen Louise of Prussia, on the other hand, preferred simple designs, often in the shape of a Greek temple pediment. Over the course of the 19th century, as the privileges of the ruling classes gradually faded, the tiara gained great significance as a magnificent and festive headpiece. And even today, the tiara remains a much-admired and decorative accessory that lends splendour not only to its wearer but also to grand occasions and celebrations.