Chaumet
The House of Chaumet (French: [ʃo.me]), founded in 1780, is a high end jeweler based in Paris.
12 Place Vendôme: the Heart and Soul of Chaumet
The soul of Chaumet has emanated from the walls of this private residence since 1907. Built in the reign of Louis XVI, it had already been the setting of many great stories. Mansart designed the facade, and left his architectural mark on the building: clarity, subtlety, rigour, and imagination. Upstairs, in the great XVIII-century reception room - a listed historical monument since 1927 - space and time are suspended through an inventive play on symmetry and perspectives. In his twilight years Frédéric Chopin composed and played under the panelling of this room and...just next door, a second reception room exhibits 150 delicate models of diadems and head jewellery in nickel silver. Dignified princesses, exotic princesses and pirouetting princesses - these exceptional pieces conceal a whole world of power and fairytale magic. Also hung on the wall is a portrait of the Empress Marie-Louise, painted by Robert Lefèvre and acquired by Chaumet in 1975; she was the first sovereign in a long line of princesses that would give their patronage to the House of Chaumet. This painting shows her with jewels created by Marie-Étienne Nitot, founder of this High Jewellery House that today preserves more than two centuries of creation in its archives. The history of France and the history of jewellery come together at Chaumet. A little further on, great name after great name from France and abroad are recorded in the invoice books from 1780 to the present time. A few doors on, the third room dedicated to High Jewellery was revisited by Jean-Michel Wilmotte in 2004 during the refurbishment of the House's flagship boutique in a contemporary setting, on the lower floor. The period woodwork blends marvellously with modern woods; past and present blend together as one on these walls. In the shadow of the Place Vendôme Column, here is depicted all the spirit of a great House with expertise handed down from generation to generation.
Nitot, the Founder: Jeweller to Napoleon (1780-1814)
After working with Auber, jeweller to Queen Marie-Antoinette and then opening his own shop, Chaumet's founder, Marie-Etienne Nitot, quickly built up an aristocratic clientele. But it was really from 1802 onwards that he became known by becoming Napoleon's personal jeweller. Napoleon's taste for jewels was political: they had to act as symbols of the power and exuberance of the Empire period. Nitot thus designed the consular sword, which he had set with the most beautiful of royal French diamonds: the famous Regent diamond, weighing 140 carats, and today exhibited at the Louvre museum. Two years later, he created the Crown jewels for the Coronation, followed by the imperial broadsword. For the Princess Joséphine, whose discriminate tastes allowed her all manner of eccentricities, he created sentimental and bold jewels: for Marie-Louise, he created the most sumptuous finery, such as the wedding jewellery of Empress Marie-Louise, today displayed in the historical rooms, 12 Place Vendôme, or the diamond necklace offered by the Emperor for the birth of his son, proclaimed King of Rome. Nitot and son were succeeded by talented workshop foremen: Fossin, Morel and Chaumet.
The Fossins: Artist-Jewellers (1786 - 1869)
Jean-Baptiste Fossin and his son Jules developed the romantic jewel inspired by the Decorative Arts from the Italian Renaissance and the French 18th century. He seduced the elite of the period: the Duchess de Berry, the family of Louis-Philippe, King of France, foreign aristocracy (for example: Russian Prince Anatole Demidoff, husband of Princess Mathilde Bonaparte, niece of Emperor Napoleon I), but also a new clientele of painters, sculptors, writers and theatre artists. It was the beginning of naturalism: like sculptors, the two jewellers reproduced vine leaves, convolvulus, olive and chestnut trees, eglantine and hawthorn, and fruit such as grapes in an ingenious assemblage of topaz, emerald, ruby and diamond.
Morel: Ambassador of Style (1794 - 1860)
After the 1848 revolution, Fossin's successor, Jean-Valentin Morel, left to develop his business in England, and opened a branch in London. He seduced the aristocracy and dandies alike, and became jeweller to Queen Victoria. Aided by his son Prosper, Morel built up a prestigious clientele, including Emperor Napoleon III and Eugénie of Montijo, the Duc de la Rochefoucauld, the Duc de Luynes, and the Duc d'Harcourt; Parisian bankers such as the Rothschilds, and the major industrialists. Paris was regaining its brilliant lifestyle, and reclaimed its international reputations of high luxury and fashion: an atmosphere conducive to the creation of jewellery to be worn day or evening with sumptuous ball gowns.
Joseph Chaumet: Master of the Diadem (1852-1928)
By marrying the daughter of Prosper Morel, and by taking over the running of the House in 1885, Joseph Chaumet imposed himself as the uncontested Master of the Belle Époque through his outstanding creativity. By creating jewellery that was both elegant and imposing, he attracted a royal and aristocratic clientele. Diadems and aigrettes, social emblem and fashion accessory, were a very important business line for the House, giving rise to such creations as the Colibri Aigrette in gold, silver, rubies and diamonds from 1894, the Aigrette Soleil Levant, with a Sun motif referring to the influence of Japanese art, and the Bourbon-Parme diadem in platinum and diamonds from 1919. In 1907, he opened his boutique at 12, Place Vendôme.
Marcel Chaumet: Avant-Garde Jeweller (1886-1964)
Introduced to the profession of jeweller by his father, Marcel Chaumet succeeded him in 1928. The style of jewellery became more geometric, in harmony with the "boyish" fashion of the 20s, which would become more feminised in the 30s. This style gave rise to Art Deco, crowned by the 1925 Paris Decorative Arts exhibition, and characterised by strongly contrasting colours and materials, and the use of semi-precious stones.
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