Jeweller of the emperor

The story begins with an encounter between a brilliant Parisian jeweller, Marie-Étienne Nitot - a former employee of Aubert, the jeweler of Queen Marie-Antoinette – and Napoleon Bonaparte. Nitot caught the Emperor's runaway horse by its bridle and, as an expression of Napoleon's interest and gratitude,the young jeweller was made the official Imperial jeweller.The new Emperor was ambitious to transform France into the European centre of creativity, luxury and fashion. He was insistent that the ImperialCourt should appear at official ceremonies brilliantly bejewelled and Chaumet's founder and his fabulous creations helped to enhance the myth of the Emperor. In 1815 the House was inherited by the master jeweller Jean-Baptiste Fossin, an artist and a poet.He interpreted flowers, fruit and foliage motifs with sentimental connotations in a visionary marriage of precious stones and enamels. Forget-me-not personified the memory of the beloved, and pansy, myrtle or ivy leaves symbolized eternal love.Chaumet attracted a new clientele composed of painters, sculptors, actors and writers like Honoré de Balzac. In 1885, the new master jeweller, Joseph Chaumet, gave his name to the Jewellery House and was to become the uncontested master of the Belle Époque and Naturalism.

CHAUMET, FROM INDIAN STYLE TO ART DÉCO

The jeweller took part in the 1925 Decorative Arts Exhibition in Paris and became a leading master in the style known as “Art Déco”. The Chaumet townhouse hosts the flagship boutique, the historic rooms, the Fine Jewellery workshop and the design studio. The Grand Salon, listed as a historic monument since 1927 Situated on the first floor, Chaumet's master salon was commissioned in 1777 from the architect Bélanger by King Louis XVI's Treasurer General of the Navy. In perfect harmony with Mansart's facades, the Corinthian columns are multiplied into infinity by means of mirror effects. The memory of the first maître des lieux is still present, thanks to the many references to the maritime theme in the woodwork, marquetry and painted medallions. It was in this salon, too, that Frédéric Chopin composed and played his last Mazurka Opus 68 No. 4.

 

 

The Salon des Diadèmes, The Tiaras' Salon, Showcase of Chaumet's historic collections   
Chaumet's historic collections decorate the walls of the Salon des Diadèmes, where hundreds of “maillechorts” illustrate Chaumet's prestigious past.These tiara models, in nickel silver, are the final concept prior to the jewel being made with precious metals and stones. The heritage of Chaumet is exceptional within the history of jewellery: several hundred thousand gouaches and drawings made by winners of the “Grand Prix de Rome”, almost 300,000 photographic prints, 35,000 glass plates, account books and correspondence are all archived and stand witness to the accomplishments of the House of Chaumet through the generations.