#parure

The Sutherland Diamonds

The Sutherland Diamonds, comprising a necklace of twenty large old brilliant-cut diamonds in silver-topped gold collets with two extension lengths and a pair of earrings, are an extraordinary survival amongst British noble jewels: a magnificent and historic collection of diamonds that has been prominently worn at multiple coronations, adapted and reworked over time to suit changing fashions. They might so easily have been broken up were it not for their grandeur, heritage and alleged link with Marie Antoinette. Worn by successive Duchesses of Sutherland from the early Nineteenth Century onwards, the diamonds were the most striking family jewel in the celebrated receptions at Staffordshire House, the grandest town house in London until its sale by the 4th Duke of Sutherland in 1912. Recorded in paintings and film footage of coronations, they were worn by Harriet (1806-1868), wife of the 2nd Duke, and Mistress of the Robes to Queen Victoria, to the Queen’s coronation in 1838 as an enormous upright headband of diamonds. Millicent (1867-1955), wife of the 3rd Duke and Canopy Bearer at the Coronation of Edward VII and Alexandra in 1902 wore the diamonds as a tight choker with a line of diamonds extending down the front, very much in the style of a lavalière of the day. In 1937, Eileen (1891-1943), wife of the 5th Duke, wore them à la mode as a long necklace, or sautoir to the Coronation of George VI and Elizabeth. Tradition links the diamonds to the scandal that contributed to the downfall of Marie Antoinette – the so-called ‘Affair of the Diamond Necklace’. The French queen was implicated in this, one of the grandest jewellery scams in history, and although innocent, her reputation never truly recovered. The connection is unproven, but the size, beauty, and role these diamonds played in royal and aristocratic life in Britain place them among the most remarkable surviving noble jewels.

A four piece antique amethyst parure, 1830s, comprising of a graduating oval faceted necklace, a pair of circular- and pear cut amethyst ear pendants with dangling amethysts and an amethyst brooch, all mounted in gold.

"Aqua parure including a necklace, 2 pairs of earrings, a bracelet, a ring and a pair of clips by Seaman Schepps in original fitted box."

- 1st Dibs

"Pat Saling is well-known for her signed pieces from Art Deco through mid-century. This Seaman Schepps aquamarine suite from the 1950s is a true find for collectors who prefer retro and vintage pieces to those of the Georgian and Victorian time periods. The aquamarines are of the finest quality – deep and clear, conjuring up sea-blue waters. The pieces in the suite combine both aquamarine beads and faceted small and large pear-shaped stones in a warm gold setting, with various earring and pendant options and a central necklace with an oval-set aquamarine and gold clasp."

- The Jewellery Editor

• Lily of the Valley Necklace.

Maker: Maison Gripoix for Christian Dior

Place of origin: Paris, France

Date: 1950

Adèle Romany  (French, 1769–1846) • Portrait of a Woman at a Pianoforte • 1808

I came across so many portraits from the early 19th century of young women wearing coral jewelry that I had to look into why.

Thomas Barber  (British, 1771–1843) • Lady Caroline Gordon, Lady Chesham (1785-1866) • Between 1805-1815

It was believed by the people of the era that coral contained properties that protected the health and well-being of the wearer. Coral was worn mostly by young women and children because their health was considered the most vulnerable. If the coral remained bright, it signified its wearer was in good health. If it turned dull, it indicated that the person wearing it was either ill or soon to be. Wearing coral for a portrait helped to portray that the sitter was "the picture of health".

Jewelry sets, such as this one, were called parure. The comb in the upper center was called a diadem. These matching sets are evident in portraits (see the Romany portrait), mostly coral or pearl studded.