COLLIER EMERAUDES

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Lot n° 20
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Estimation :
100000 - 120000 EUR
Result with fees
Result : 386 400EUR
COLLIER EMERAUDES
NECKLACE "EMERALDS" Emeralds and old cut diamonds. 18k gold (750) and silver (<800) Early 19th century. Length : 34 cm - Pb. 45. 8gr. Accompanied by an LFG certificate attesting: Estimated weight of emeralds : 27.1 carats, Origin : Colombia, Color : Bright green, Low oil content PROVENANCE Nicolas-Charles Oudinot (1767-1847) To the present owners by descent It is possible that this necklace is only a part of a larger piece of jewelry. A gold, silver, emerald and diamond necklace, report A NECKLACE OF EMERALDS GIVEN BY NAPOLEON I TO MARSHAL OUDINOT Marshal Oudinot, Duke of Reggio According to family tradition, this emerald necklace was given by Napoleon I to Marshal Nicolas-Charles Oudinot (1767-1848), Duke of Reggio. Subsequently, Marshal Oudinot passed it on to his daughter, Stephanie Oudinot of Reggio on the occasion of her marriage in Paris on December 31, 1828 to Baron James Georges Tom Hainguerlot. Oudinot is one of the most renowned military figures of the Napoleonic epic. His name is inscribed in our national history and engraved on the Arc de Triomphe de l'Étoile. Esteemed and admired for his bravery on the battlefields, Oudinot was awarded the title of Marshal on July 12, 1809 by Emperor Napoleon, after he distinguished himself at the battle of Wagram. Close to his soldiers, an exceptional leader of men, Oudinot, whose courage was legendary, was nicknamed the "Bayard of the French army". On his ducal coat of arms is the flaming grenade carried in his right paw by the lion. This symbol reminds us of the grenadiers of the Reserve of which Oudinot valiantly commanded the three successive formations. Not hesitating to go into contact with the enemy during battles, Oudinot suffered about thirty serious wounds, making him the most frequently hit marshal. He lived for 80 years, his longevity allowing him to experience the succession of regimes from the Ancien Régime to the July Monarchy through the Revolution, the Consulate and the Empire. The neo-classical jewelry of the First Empire Following the fall of the Ancien Régime, jewelry design in France went through a period of turmoil before the emergence of the neo-classical style, which reached its peak under the First Empire. The Rue de la Paix came back to life and Mellerio's house testifies: "Napoleon I, and more particularly the Empress, bought many personal jewels and small objects that Josephine gave as gifts. From then on, the entire imperial family and the new nobility of the Empire followed in their wake. Among the faithful are: Pauline Bonaparte, several marshals of the Empire - Ney, Augereau, Lefebvre - Prince Murat, but also the Countess of Segur, the Duchesses of Broglie and Clermont-Tonnerre. (Mellerio, the jeweler of the Second Empire, by E.Bérard, L-I. Mellerio, D-S. Lanselle, Editions RMN, 2019) At the beginning of the nineteenth century, the fashion is in the antique, the ladies wear long floating dresses, a high waist under the chest and display large necklines that welcome wonderfully adornments full of magnificence. This taste for antiquity, which appeared following the first excavations of Herculaneum and Pompeii in the mid-18th century, also influenced jewelry. During the First Empire, jewelers such as François-Regnault Nitot (later Chaumet) developed this dialogue with Antiquity by using intaglios and cameos extensively. They also created single-color sets whose necklaces take on the appearance of Pompeian garlands adorned with colored gems in settings of small round diamonds. It was not uncommon for larger drop-cut gems to be suspended in tassels. The 1810 Empress Marie-Louise's necklace and earrings by Nitot is a perfect example (shown below, Galerie d'Apollon, Musée du Louvre, Paris). An important Napoleonic emerald necklace Passed down from generation to generation among the descendants of Marshal Oudinot, the necklace we offer for sale today is a witness to this great era. It highlights the quality of French jewelry production, which was already distinguished by its excellence from conception to execution. This emerald-set piece corresponds to Eugène Fontenay's definition of classical jewelry: "simple" form and "quiet" design but "grandeur" and "distinction" (Les bijoux anciens et modernes, Paris, Maison Quentin, 1887). It is composed of emeralds of large and smaller sizes, each stone being accompanied by a border of diamonds. The smallest emeralds are surrounded by five diamonds. BIJ2021
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