Will Royal Cameo Jewels Take Over the Jewelry Stage¿

Did you notice that the Danish royal family seems determined not to let its historic jewels slip away from the main royal collection? That's one of the things I love about the Danish monarchy. And Queen Mary has made this tradition particularly exciting. Just when we think we know which tiara or necklace she will wear next, another forgotten treasure returns to the spotlight. But what could come next? One extraordinary jewel is already waiting for its moment, and it isn't another diamond sparkler. In fact, it barely sparkles at all, because its most fascinating elements are made of gold and volcanic lava. Among the historic jewels associated with the Danish royal collection is an extraordinary gold and lava cameo parure linked to Queen Desiree of Sweden and Norway, the French-born wife of King Charles XIV John. Her jewels reflect the neoclassical fashion, when ancient Greek and Roman imagery became a symbol of refinement and status. The parure features gray-carved lava cameos depicting profiles of Medusa Gorgona, surrounded by elaborate gold work, with a tiara, necklace, and matching ornaments. But why Medusa? Rather than viewing her as a horrific monster, the jewelers and nobility of the early 19th century viewed her as a talisman of protection that stares back at the world to deflect jealousy. For decades, the set had passed through the descendants of Princess Ingeborg of Sweden and Princess Margaretha of Denmark, and it was worn by members of the Rosenborg family before returning to the Royal Collection, but for now, we have only a few images of it. And here comes the question. Could Queen Mary bring this extraordinary setback into royal use? Its historical importance and unusual appearance would certainly make it a sensation, although there has been no official announcement that Mary intends to wear it. The prospect is especially intriguing because unlike a conventional diamond tiara, this jewel would make a statement through history, craftsmanship, and color. But it wasn't the single large neoclassical cameo parure owned by Desiree. The second one no longer belongs to any of the royal family members and went further under the museum glass case. The set was crafted in Paris around 1820 to 1830 using multi-nuanced gold settings and malachite cameos with classical designs inspired by sculptor Bertel Thorvaldsen. For instance, this malachite necklace measures 44.5 centimeters long and incorporates eight malachite cameos depicting classical figures such as Asclepius, Hygieia, Hercules, and Hebe. And unlike jewels still kept for royal ceremonial occasions, this perure has entered a Nordic where it can be studied as a historic work of decorative art. And Mary is no stranger to wearing antique jewels with cameos, as she already made a huge furor by bringing back the very old pieces. One of the most intriguing pieces connected with the Danish royal collection is the antique cameo tiara associated with Queen Caroline Amalie, wife of King Christian VIII of Denmark. Its appeal is very different from the brilliant cut diamonds and towering floral designs that dominate modern royal gala photographs. The tiara belongs to the neoclassical tradition, using semi-precious cameos and intaglios and elaborate metalwork to create an ornament with a distinctly antique character. Mary's interest in reviving historic royal jewelry makes the possibility of further cameo appearances particularly exciting. A gold cameo tiara could be paired with relatively simple earrings and an evening gown, allowing the cameos themselves to become the focal point. Of course, if there is one royal family that has made cameo jewelry truly unforgettable for decades, it is the Swedish royal family. Their magnificent gold, pearl, and cameo parure is traditionally associated with Empress Josephine, the first wife of Napoleon Bonaparte, and passed into the Bernadotte dynasty through her granddaughter, Josephine of Leuchtenberg, who married the future King Oscar I of Sweden in 1823. The parure is composed of a necklace, a bracelet, a brooch, a pair of earrings, and the tiara that contains seven large carved cameos framed by seed pearls, with delicate pearl ornaments between them, creating a surprisingly light and romantic design. The largest central cameo is generally identified with the mythological story of Venus and Cupid, making the jewel particularly appropriate for royal weddings. That is why the Swedish cameo tiara has become one of Europe's most recognizable bridal heirlooms. But before that, I found a very rare image of the then Princess Ingrid of Sweden dressed as Queen Josephine, wearing this same amazing set of jewelry. Of course, it was the only time she wore cameos. Then Princess Sibylla, the mother of King Carl Gustaf, received the parure upon her marriage into Swedish royal family, and in 1961 her daughter Princess Birgitta wore the tiara for her wedding to Prince Johan Georg of Hohenzollern. Three years later, Princess Desiree chose the same tiara for her marriage to Baron Niklas Silfverskiöld, establishing a beautiful family tradition. Then came one of the most memorable royal weddings of the 20th century. In 1976, Sylvia Summerlath wore the historic cameos when she married King Carl XVI Gustaf in Stockholm. Queen Sylvia continued wearing the tiara at important gala occasions, including Nobel Prize celebrations, demonstrating that the jewel was not reserved exclusively for brides. But perhaps its most emotional appearance came on June 19th, 2010, when Crown Princess Victoria married Daniel Westling, wearing the same tiara her mother wore exactly 34 years earlier. And this is why I find the Swedish cameo perure so fascinating. It has remained relevant for more than two centuries, without needing to be transformed into a jewel carrying precious gems. Its historical associations and family memories are already more than enough to make it extraordinary. But one very similar perure still stays a Napoleonic mystery, the Malachite cameo. Perure is also adorned with pearls and is believed to have been commissioned by the Empress herself, because one cameo seems to resemble her portrait miniature. This rare set, featuring Malachite cameos of Greek gods, natural pearls and yellow gold, was made by jeweler Nitote, and later passed down to Augusta of Bavaria. The complete set survived intact, and was acquired at auction in 1979 by collector Dr. Marshall LaPierre, who later donated it to the Napoleon Foundation, where it stays up now. So for sure this one is well preserved like a museum jewel, and can make a comeback only at great exhibitions. But the Swedish royal family had one more parure, which now belongs to its creator, the Niccolo Intaglios Parure. This was the set associated with Queen Josephine of Sweden, made from layered agate stones engraved with classical figures. Unlike raised cameos, intaglios are carved into the surface of a stone, creating miniature images that were particularly admired in antiquity. It is highly likely that Nietot made this set for the wedding of Auguste Amalia in 1806 and was given to her as part of a big casket of fine jewelry ordered by Napoleon for this important alliance. When Augusta Amalia of Leuchtenburg died in 1851, it is possible that she left it to her daughter Queen Josephine of Sweden and Norway. What happened to the matching bandeau is another mystery, and its whereabouts have not been established. But the necklace and earrings now belong to the collection of Chaumet, the very same house that created it. So here we have a fascinating contrast. While Sweden's famous cameo tiara continues appearing at royal weddings, another related jewel from the Napoleonic era has returned to the archives of its historic maker. But not every royal cameo was designed to be worn as a tiara or necklace. Some were created as royal decorations, carrying an extraordinary personal connection to the monarch who presented One beautiful example is the Royal Order of Victoria, and Albert, established by Queen Victoria in 1862, and decorated with a carved double portrait of the Queen and Prince Albert. Queen Maud of Norway, a granddaughter of Queen Victoria, received the order and wore it as part of her royal insignia. The historic badge eventually passed to her granddaughter, Princess Astrid of Norway, who incorporated it into a distinctive bracelet. Astrid wore this bracelet at official engagements for many years, often pairing it with her magnificent turquoise and diamond jewels, but in 2019, she presented the historic decoration to her great-niece, Princess Ingrid Alexandra, as a confirmation gift, and this is a particularly meaningful example of royal jewelry preservation. The cameo that began as a personal gift from Queen Victoria has continued through generations of women and is now in the possession of Norway's future queen. And between, bracelets with cameos look very appealing today. And I wonder if jewelry fashion may shift into it. And to my greatest surprise, cameos were not only fashionable among Swedish and Danish Reigning royal families. British aristocrats also embraced them, sometimes on a scale that could rival an imperial treasury. One of the most spectacular examples is the Devonshire Parure, commissioned in 1856 by William Cavendish, the 6th Duke of Devonshire. The occasion was the coronation of Tsar Alexander II of Russia, where the Duke's niece, Marie, Countess Granville, was to accompany her husband, Britain's representative at the imperial celebrations. The Duke entrusted the jeweler Hancock with transforming historic carved gems from the Devonshire collection into a magnificent ceremonial suite. The result was astonishing. Seven separate ornaments incorporating 88 cameos and intaglios, hundreds of diamonds, and elaborate enameled gold work. The collection includes a necklace, bracelet, stomacher, and four different head ornaments, allowing the wearer to select the appropriate combination for each occasion. And unlike so many aristocratic jewels that were dismantled or sold, the Devonshire Parure survives within the Chatsworth Collection, where it has also been displayed in major exhibitions, and even worn by Lady Burlington for a magazine cover. And another British aristocratic family possessed a jewel with an even more direct connection to Napoleon's extraordinary dynasty. The Bedford Intaglio tiara is associated with Caroline Bonaparte, Napoleon's younger sister, who became Queen of Naples through her marriage to Joachim Murat. The ornament contains nine oval engraved stones surrounded by pearls and gold work, with mythological scenes reflecting the neoclassical taste of the early 19th century. The jewel was subsequently acquired by Francis Russell, the 7th Duke of Bedford, for his wife and became part of the family's historic jewelry collection. It has also been associated with international jewelry exhibitions, although published accounts differ on its later ownership and precise present location. And that uncertainty is part of the fascination. A jewel created for Queen of Naples crossed national borders, entered an English ducal collection, and survived into the modern age. But it would be much better if the family could wear these jewels to show the beauty of neo-classical jewelry craftsmanship. And now we return to Denmark, where the story that began our journey has become particularly exciting. For sure, I hope Queen Mary can show its beauty to us under the lights of chandeliers, and I believe this set won't be changed or reworked, as it's not flexible at all to make any type of manipulation. And perhaps this is the real comeback of cameo jewelry. Not necessarily a sudden fashion trend, but the rediscovery of treasures whose greatest value lies in their stories. So which royal cameo jewel would you most like to see return to the spotlight? And do you think Queen Mary should be the next royal to wear Queen Daisy Ray's extraordinary lava tiara? If you liked this video, don't forget to subscribe to help us bring you more jewelry stories.