Qatari royal showcases rare Indian jewel collection

Chris Dwyer, CNN
3 minute read
Updated 11:03 PM EST, Mon November 5, 2018
Exhibition co-curator Martin Chapman selected 10 items from the show. Scroll through to read about some of the jewels on display.
Corsage Brooch or Aigrette (ca. 1905) —
Exhibition co-curator Martin Chapman selected 10 items from the show. Scroll through to read about some of the jewels on display.
Courtesy Legion of Honor
Martin Chapman calls this necklace "a tour de force of Indian princely jewelry," designed to express the power and wealth of its owner. The piece's eight large diamonds, each weighing between 10 to 15 carats, are modified brilliant cuts. The cuts represent an advance in gem-faceting technology in India. The symmetrical arrangement of the gems and the central pendant reveal Western influences.
The Nizam of Hyderabad Necklace India (1850-1875) —
Martin Chapman calls this necklace "a tour de force of Indian princely jewelry," designed to express the power and wealth of its owner. The piece's eight large diamonds, each weighing between 10 to 15 carats, are modified brilliant cuts. The cuts represent an advance in gem-faceting technology in India. The symmetrical arrangement of the gems and the central pendant reveal Western influences.
Courtesy Legion of Honor
This 20th century necklace was created in France in 1937 for Maharaja Digvijaysinhji of Nawanagar, making the most of a remarkable collection of Burmese rubies amassed by his predecessor, who was a friend of the legendary jeweler Jacques Cartier. Following Indian independence in 1947, Cartier bought the piece and altered the original design to better suit a woman. It was subsequently bought and worn by Mrs. Loel Guinness at Truman Capote's Black and White Ball in 1966.
Nawanagar ruby necklace (1937) —
This 20th century necklace was created in France in 1937 for Maharaja Digvijaysinhji of Nawanagar, making the most of a remarkable collection of Burmese rubies amassed by his predecessor, who was a friend of the legendary jeweler Jacques Cartier. Following Indian independence in 1947, Cartier bought the piece and altered the original design to better suit a woman. It was subsequently bought and worn by Mrs. Loel Guinness at Truman Capote's Black and White Ball in 1966.
Courtesy Legion of Honor
This rare pendant, made in India, was inspired by European Renaissance jewelry, where baroque pearls were used as the torso for figurative compositions depicting mythical creatures, according to the exhibition's catalog. Accompanying the pearl are gems used in the typical Indian "kundan" setting -- a combination of rubies, emeralds, sapphires, along with gold and glass. The figure itself is likely to be a snake god, or Nagadevata.
Pendant (1575-1625) —
This rare pendant, made in India, was inspired by European Renaissance jewelry, where baroque pearls were used as the torso for figurative compositions depicting mythical creatures, according to the exhibition's catalog. Accompanying the pearl are gems used in the typical Indian "kundan" setting -- a combination of rubies, emeralds, sapphires, along with gold and glass. The figure itself is likely to be a snake god, or Nagadevata.
Courtesy Legion of Honor
"Mughal emperors originally wore turban ornaments known as 'sarpechs' to show off dazzling large gemstones, while egret feathers also signaled their rank as an emblem of authority," said Chapman. In the late 19th and early 20th century, Indian Maharajas started to patronize European jewelry houses, including Cartier and Boucheron, to celebrate their vast collection of stones. Here the border of brilliant-cut diamonds and a substantial emerald echo European jewelry designs as the gems are not encased in closed settings that were typical of Indian jewelry.
Al Thani Turban Ornament (ca. 1900) —
"Mughal emperors originally wore turban ornaments known as 'sarpechs' to show off dazzling large gemstones, while egret feathers also signaled their rank as an emblem of authority," said Chapman. In the late 19th and early 20th century, Indian Maharajas started to patronize European jewelry houses, including Cartier and Boucheron, to celebrate their vast collection of stones. Here the border of brilliant-cut diamonds and a substantial emerald echo European jewelry designs as the gems are not encased in closed settings that were typical of Indian jewelry.
Courtesy Legion of Honor
At 17th-century Indian courts, rosewater was sprinkled over guests as a sign of hospitality or at the close of a meal, according to Chapman. Great court gatherings -- or "durbars" -- also allowed the Mughal court to parade treasures and ceremonial objects from (its) imperial workshops, such as boxes for paan or this stunning gem-encrusted sprinkler bottle. An inscription in Persian on its base suggests that it was a treasury object.
Rosewater sprinkler (1675-1725) —
At 17th-century Indian courts, rosewater was sprinkled over guests as a sign of hospitality or at the close of a meal, according to Chapman. Great court gatherings -- or "durbars" -- also allowed the Mughal court to parade treasures and ceremonial objects from (its) imperial workshops, such as boxes for paan or this stunning gem-encrusted sprinkler bottle. An inscription in Persian on its base suggests that it was a treasury object.
Courtesy Legion of Honor
This 1937 turban ornament with a 61-carat golden diamond was influenced by Art Deco. The piece reflects the creative dynamic between European jewelry houses and Indian princes. The large diamond could be removed from its mount so that the maharajah could handle it.
Nawanagar Tiger's Eye turban ornament (1937) —
This 1937 turban ornament with a 61-carat golden diamond was influenced by Art Deco. The piece reflects the creative dynamic between European jewelry houses and Indian princes. The large diamond could be removed from its mount so that the maharajah could handle it.
Laziz Hamani
Pen cases and inkwells were symbols of the highest distinction and would be worn by high-ranking courtiers in their sashes. According to Chapman, this set perfectly reflects the hybrid culture of the Mughal court, as its design is a Persian shape but its decoration includes a sacred bird called a "hamsa," a symbol of Sarasvati, a Hindu goddess of learning.
Pen case and inkwell (1575-1600) —
Pen cases and inkwells were symbols of the highest distinction and would be worn by high-ranking courtiers in their sashes. According to Chapman, this set perfectly reflects the hybrid culture of the Mughal court, as its design is a Persian shape but its decoration includes a sacred bird called a "hamsa," a symbol of Sarasvati, a Hindu goddess of learning.
Courtesy Legion of Honor
Jade was very important to the Mughals and this dagger's hilt represents a high point of jade carving. "The unusual and distinctive boy's head, wearing a ruff around his neck, is clearly influenced by European sculpture, suggesting that the craftsman who carved it could have been European," said Chapman. The blade is inscribed with Shah Jahan's title as well as two symbols of kingship, namely an umbrella and a fish.
The Sh