Visitor's guide 'DIVA, a Brilliant Story' by DIVA museum

DIVA, A BRILLIANT STORY Visitor’s guide: six rooms, six stories

Kindly return this guide at the end of your visit. It can be accessed online at divaantwerp.be. The illustrated book Brilliant Stories takes a more detailed look at DIVA.

INTRODUCTION Diamonds have been associated with Antwerp for centuries. Six themes and 14 highlights from DIVA’s collection provide the framework for the diamond story which DIVA tells in her own inimitable way. This visitor’s guide describes each of the 607 objects on display in the six rooms. Experience DIVA! ≥ You might like to listen to the fictitious audio stories, recorded by theatre and film director Frank Van Laecke, and follow DIVA’s butler. These sound recordings are marked on the plan with the diamond symbol. ≥ The butler’s introductory stories automatically play as you enter each new room. Or you can point the device at the butler symbol and click to activate the stories. ≥ Factual information can be accessed interactively where you see the headset symbol. Diamond (fictitious audio stories) Butler (introductory stories) Headset (factual information)

Highlights If you are short of time, you can follow the highlight tour, marked on the plan with the following star symbol. If you just read the boxed information, you can do the tour in 45 minutes.

Introduction

Ground floor

Visitor’s guide DIVA

Scan your ticket here

Shop

Entrance

DIVA’S ROOM OF WONDER: COLLECTING AND INSPIRING Experience DIVA’s Room of Wonder ≥ L isten to fictitious stories about seven key pieces or consult the historical facts on the tablet in the bench. ≥ T he screens with a red frame contain contextual information and illustrations. ≥ T ouch the large screen to meet several Antwerp collectors and discover their collections. Or zoom in on the jewellery in the portraits. ≥ Y ou can also put together your own collection in the cabinet next to the elevator.

During the sixteenth and the beginning of the seventeenth century Antwerp was a global centre for the production of luxury goods. Rooms of Wonder, cabinets of curiosities and rarities, were very popular in Antwerp during the Golden Age. This contemporary interpretation of a Wunderkammer brings together in a cocoon of luxury valuable objects from every corner of the globe.

Visitor’s guide DIVA

8 DIVA’s Room of Wonder

12 9

The Golden Age antechamber During the sixteenth century Antwerp grew into one of the most important economic and artistic centres in Europe. The city on the Scheldt became a true metropolis, a meeting place for merchants and goods from all over the world. This international trade was the driving force behind the production of art and luxury products. Despite political and religious conflicts and the fall of the city in 1585, Antwerp remained a prime producer and distributor of luxury items until the mid-seventeenth century. Not only did the nobility collect all kinds of precious items, prominent citizens such as magistrates, city officials, rich merchants, artists and artisans did too. Their collections were of an encyclopaedic nature, comprising art, jewellery, natural and exotic objects, and scientific instruments. It was their way of acquiring knowledge, which they then shared by showing their rare objects to each other. Flora (reproduction) Jan Matsys, 1559 Collection Hamburger Kunsthalle Bpk-Bildagentur / photo: Elke Walford

DIVA’s Room of Wonder

4-9

Visitor’s guide DIVA

10 11-15

Mirror frame Southern Netherlands, 2nd half 16th century Collection DIVA, S88/1

4 Gold hairpin Northern Netherlands, late 16th - early 17th century Collection Smidt van Gelder, Sm.0589

2 Jewellery case Antwerp, 1576 Collection DIVA, S59/2

5 Gold ring with table-cut ruby Southern Netherlands, 17th century Collection DIVA, S68/21

3 Textile fragment from the Mayer Van den Bergh collection Because of the rarity and fragility of the fragments, they are not all on display at once, but alternate: • Brocaded lancé taffeta, probably Italy, ca. 1600 • Lancé rep, Italy, 2nd half 16th century • Gold braid, 16th-17th century Precious metals were also worked into textiles to make them even more sumptuous.

6 Gold ring with point-cut diamond Western Europe, 15th century Collection DIVA, DMK01/14 Until the second half of the eighteenth century, India and Borneo were the only two sources of diamond imports. The pointed diamond is the earliest known cut. It retains the natural shape of the diamond.

Highlight 1: Owl cup (no. 10) Owl cups – so called because of their shape – were highly prized in the Netherlands and Germanspeaking areas during the sixteenth and seventeenth centuries. This owl cup is the oldest known specimen with Antwerp marks. It is made from a hollowed-out coconut mounted in silver. When this cup was made, Antwerp was an international trading centre. Portuguese traders shipped exotic curiosities like coconuts, nautilus shells and ostrich eggs to Western Europe from Africa, India and America, usually through the port of Antwerp. Coconuts were prized for their purported medicinal properties as well as their novelty value. It was also believed that poison unwittingly drunk from a coconut cup was neutralized by the exotic drupe. Engraved under the detachable head of this Antwerp owl cup is the verse: “Als alle ander fogels sin thoe neste sois min flige beste”, which translates as: “When all the other birds are in their nest, my ﬂight is best.” Master with pelican, Antwerp, 15481549, Collection King Baudouin Foundation, in storage at DIVA, B512/1 7 Silver hairpin Master with crescent, Antwerp, 1625-1626 Collection DIVA, S85/2

8 Silver hairpin Southern Netherlands, ca. 1610-1620 Collection DIVA, S2009/6 9 Gold hairpin Southern Netherlands, ca. 1610 Collection DIVA, S2009/7 Hairpins were worn stuck in the hair on the forehead or next to the ears, often with a precious pearl from Ceylon or India attached to them. This specimen was found during excavations in Antwerp. 10 Silver owl cup Master with pelican, Antwerp, 1548-1549 Collection King Baudouin Foundation, in storage at DIVA, B512/1 11 Saint John figurine and Our Lady figurine Mechelen, ca. 1530-1550 Collection DIVA, S61/12b-c 12 Cabinet adorned with embroidery Antwerp, ca. 1650 Collection DIVA, S58/66 13 Commemorative medal of Luis de Requesens Anteo Lotello, 1576 Collection DIVA, M731 14 Commemorative medal of Benedictus Arias Montanus Jacques Jonghelinck, Antwerp, 1569 Collection DIVA, M1446 15 Solidus and Emperor Arcadius Byzantium, ca. 383-408 Collection DIVA, M1809 16 Silver wedding cutlery 1st half 17th century Collection MAS, collection Applied Arts and History (Vleeshuis), in storage at DIVA, B504/32

Jug with tulip motif Westerwald, ca. 1635-1700 Collection DIVA, S91/39

2 Pendant with rose-cut diamonds and enamel Western Europe, 1640-1660 Collection Saint Willibrord Church Antwerp, in storage at DIVA, B503/4 Read the factual story about this key piece in the tablet in the bench. 3 Bow-shaped pendant with rose-cut diamonds Last quarter 17th century Collection de Breyne

DIVA’s Room of Wonder

Visitor’s guide DIVA

17 Art Gallery (reproduction) Frans II Francken, Antwerp, 1619 Collection KMSKA Lukas-Art in Flanders / photo: Hugo Maertens The culture of collecting in Antwerp gave rise to gallery paintings, which depicted an elegant room filled with artworks and curiosities, typically examined and discussed by connoisseurs. Antwerp painters played a crucial role in the development of this genre. One of them, Frans II Francken, invented the Preziosenwand, or encyclopedic still life a sub-genre in which the collected objects are given pride of place in the foreground.

4 Rosette ring with rose-cut diamonds and enamel Presumably France, 2nd half 17th century Collection de Breyne 5 Gold brooch in the shape of a rosette with rose-cut diamonds Ca. 1675 Collection de Breyne

6 Flowers in a niche (reproduction) Osias Beert, 1580-1624 Collection KBC Antwerp, Snijders&Rockoxhuis 2

7 Floral wreath around a medallion depicting the Madonna and Child and John the Baptist (reproduction) Jan Breughel II and Frans II Francken, ca. 1630 Private collection

8 7

8 Gold cluster ring with diamonds and enamel Europe, c. 1670-1690 Collection King Baudouin Foundation, Christian Bauwens Fund, in storage at DIVA, B512/25

2 1

8 6

Relief depicting the Resurrection of Christ Willem van den Broecke, Antwerp, ca. 1550-1575 Collection DIVA, S61/16

2 Plate with medallion of the archduke Albrecht and archduchess Isabella embossed Daniël Dor, Antwerp, ca. 1601 Collection DIVA, S59/15 3 Mars plate François Briot, Neurenberg, ca. 1600 Collection DIVA, S81/1 4 Plate bearing the coat of arms of Charles V Nurenberg, ca. 1520-1550 Collection DIVA, S75/118

5 Gold lion pendant with tablecut diamonds, rubies, emeralds, sapphires, pearls and enamel Presumably Germany, late 16th century Collection de Breyne Gemstones, pearls and coral were incorporated into colourful, sculptural pieces of jewellery. Pendants with large, fanciful baroque pearls in the shape of an animal were particular favourites. Prints were diffused spreading the style to different parts of Europe. Gold pendant in the shape of a rosette 6 with table-cut and rose-cut diamonds and enamel Ca. 1625 Collection de Breyne

8 Landscape with the Flight into Egypt (reproduction) Joachim Patinir, 1516-1517 Collection KMSKA Lukas - Art in Flanders / photo: Hugo Maertens 9 The Rape of Europa (reproduction) Abraham Govaerts en Frans II Francken, 17th century Collection KMSKA Lukas - Art in Flanders / photo: Hugo Maertens

DIVA’s Room of Wonder Visitor’s guide DIVA

7 Gold necklace with 14 rosette-shaped links with table-cut diamonds and enamel Germany or Austria, late 16th century Collection de Breyne

5 4

Gilded lobed cup Heinrich Straub, Nurenberg, 1608-1635 Collection MAS, collection Applied Arts and History (Vleeshuis), in storage at DIVA, B504/5 Knorrenbekers or lobed cups are typical German showpieces, conspicuous by their pronounced lumps. Knorren means knot or burl in German and refers to the protrusions that occur on tree trunks. This type of ornamental cup spread throughout Middle Europe in the sixteenth century and regularly appeared in Antwerp still lifes.

2 Silver octagonal dish Master CT, Antwerp, 1625-1626 Collection DIVA, S82/16

3 Gilded tazza with scene from the life of Mucius Scaevola Anthoni Beijs or Gabriël II Dijck, Antwerp, 1561-1562 Collection DIVA, S60/120 Under Italian influence, the wide drinking cup with a shallow bowl on a high stem became fashionable even before 1550. This type of drinking cup (otherwise known as a tazza) was also used for serving fresh or candied fruit and other sweets. Drinking cups were often given as diplomatic gifts. 4 Gilded coconut cup Master with lion’s mouth, Antwerp, 1543-1544 Collection DIVA, S63/5 5 Gilded tazza Master with the uncial M, Antwerp, 1548-1549 Collection DIVA, S79/356

DIVA’s Room of Wonder

Silver cup Master with arrow, Antwerp, 1700-1725 Collection DIVA, S55/27

2 Silver windmill cup Master with six-pointed star, Antwerp, 1603-1604 Collection DIVA, S67/51 Read the factual story about this key piece in the tablet in the bench.

3 4

Visitor’s guide DIVA

3 Guild chain of the Herenthout Saint Sebastian Guild Petrus Van Eesbeeck, Brussels, ca. 1740 Collection King Baudouin Foundation, donated by Baroness Monique della Faille d’Huysse, in storage at DIVA, B512/2 4 Silver popinjay Master with cross, Antwerp, ca. 1761 Collection DIVA, S1283

The walk-in cupboard with luxury utility objects As well as being collector’s items, objects made of silver or gold were actually used at the dining table. The execution and design of the piece along with the choice of materials communicate an implicit message about affluence and status.

DIVA’s Room of Wonder

4 2 5

Gilded tazza Master with the uncial M, Antwerp, 1548-1549 Collection DIVA, S79/356

2 Gilded coconut cup Master with lion’s mouth, Antwerp, 1543-1544 Collection DIVA, S63/5 3 Silver cup Master with heron, Antwerp, 1613-1614 Collection DIVA, Bequest Pierre Lunden, S75/1

Visitor’s guide DIVA

4 Silver cup Master with peacock, Antwerp, 1623-1624 Collection DIVA, S55/29 5 Delftware jug with silver lid Thomas Lissau, Antwerp, 1661-1662 Collection DIVA, S96/11 6 Silver cup with gilded interior Master with peacock, Antwerp, 1622-1623 Collection DIVA, Bequest Pierre Lunden, S75/2

3 2

Silver windmill cup Anthoni Lepies, Antwerp, ca. 1688-1689 Collection DIVA, Bequest Pierre Lunden, S75/4

2 Silver spoon Master with pear with two leaves, Antwerp, 1664-1665 Collection DIVA, Bequest Pierre Lunden, S75/7 3 Rummer Presumably Southern Netherlands or Germany, 1640-1680 Collection DIVA, S89/91 A rummer is a wine-cup with a knopped stem.

4 Silver windmill cup Master with six-pointed star, Antwerp, 1603-1604 Collection DIVA, S67/51 Read the factual story about this key piece in the tablet in the bench. 5 Silver cup Master with arrow, Antwerp, 1700-1725 Collection DIVA, S55/27 6 Silver spoon Antwerp, 1632-1633 Collection DIVA, S96/12

DIVA’s Room of Wonder

4-6

14 19

Gold snuffbox with enamel Daniel Marchand, Hanau, ca. 1780-1785 Collection Smidt van Gelder, Sm.1220

10 15 20

5 Pipe-bowl in the shape of a Turkish man’s head Berlin / Paris, ca. 1765 / 1800-1900 Collection DIVA, S5374

2 Silver snuffbox with engraved flowers Antoine Warquant, Aat, 1778 Collection DIVA, Bequest Pierre Lunden, S75/32

6 Pipe-bowl in the shape of a Turkish woman’s head Meissen / Paris, ca. 1765 / 1800-1900 Collection DIVA, S5375

3 Silver snuffbox Jean-François de Raismes, Aat, ca. 1750 Collection DIVA, S1362

7 Gold snuffbox with diamond and miniature portrait of King Leopold II C.M. Weishaupt, Hanau, ca. 1875-1883 Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/9

4 Silver pipe Jacques Cupper, Paris, 1809-1819 Collection DIVA, S80/12

Visitor’s guide DIVA

8 Gold snuffbox with rocaille decoration Pierre Croissant, Paris, 1739-1740 Collection DIVA, Bequest Pierre Lunden, S75/139 The gold snuffbox was based on a design sketch by the famous French designer Juste-Aurèle Meissonnier. This beautifully executed box is a fine example of the Rococo style. In 1815 King William I gave it to Jean van Hal, great grandfather of jonkheer Pierre Lunden. Van Hal had been instrumental in returning to Antwerp paintings by Peter Paul Rubens which had been seized and taken to Paris during French rule. This precious gift was a demonstration of William I’s gratitude and appreciation for the part Van Hal had played. 9 Commemorative pipe Jean François van Deuren, Mechelen, ca. 1817-1820 Collection King Baudouin Foundation, Fund Courtin-Bouché, in storage at DIVA, B512/7 10 Sepiolite pipe L. Baumgartner, Trieste, 1867-1872 Collection DIVA, S80/62a 11 Gold snuffbox with enamel Charles Magnin, Genève, 1815-1881 Collection Smidt van Gelder, Sm.1235 12 Gold snuffbox with enamel Rémond, Lamy, Mercier et Compagnie, Genève, 1709-1810 Collection Smidt van Gelder, Sm.1229 13 Silver snuffbox Louis Joseph Piette, Liège, 1815-1832 Collection DIVA, S2005/35

Highlight 2: Snuffbox with portrait of Leopold II (no.7) Small ornate boxes for holding snuff were particularly fashionable in the eighteenth century, but they were still in vogue in the nineteenth century too. The materials used varied from simple copper to extremely costly versions set with diamonds, enamel and/or miniatures. Like pocket watches, snuffboxes were an indicator of wealth, but also of preferences and taste. In royal circles snuffboxes were often given as diplomatic gifts. The box set with diamonds and with an enamelled portrait of King Leopold II on the lid was a diplomatic gift, possibly to mark the birth in 1883 of the King’s granddaughter Elisabeth Marie of Austria, born to crown Prince Rudolf. Several payments were made to purveyor to the royal household Auguste Dufour for supplying or adapting snuffboxes, but this snuffbox, like several others bearing Leopold I’s monogram and dating from ca. 1889-1890, is by the prestigious firm Weishaupt in Hanau. Weishaupt won several prizes for pieces shown at world fairs, including London in 1851 and Paris in 1867. C.M. Weishaupt, Hanau, ca. 1875-1900, King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/9

16 Gold snuffbox with enamel Rémond, Lamy, Mercier et Cie, Genève, 1709-1810 Collection Smidt van Gelder, Sm.1227

DIVA’s Room of Wonder

15 Gold snuffbox with miniature paintings Edmond-Honoré Langlois, Paris, after 1844 Collection Smidt van Gelder, Sm.1225

Visitor’s guide DIVA

14 Gold snuffbox with cameo Robert-Joseph Auguste, Paris, 1769-1771 Collection Smidt van Gelder, Sm.1221

17 Gold snuffbox with enamel Jean-Georges Rémond et Cie, Genève, 1800-1810 Collection Smidt van Gelder, Sm.1228 18 Silver snuffbox with music trophy Jean-Jacques Prévost, Paris, 1767-1768 Collection DIVA, S58/25 19 Silver snuffbox with porcelain Catherine-Adelaïde Duponnois, Paris, 1822-1837 Collection Smidt van Gelder, Sm.0505 20 Gold snuffbox with enamel miniatures Alexandre-Jean-Marie Leferre, after 1838 Collection Smidt van Gelder, Sm.1222

6 11 13

Silver Chatelaine hook Jean Baptiste Fallon, Namen, 1791 Collection DIVA, S2005/43

2 Chatelaine watch in three different colours of gold featuring music trophies France, 2nd half 19th century Collection Smidt van Gelder, Sm.0582 3 Silver and crystal scent bottle Bohemia, 1814-1906 Collection Smidt van Gelder, Sm.1433 4 Silver and crystal scent bottle Bohemia, 1814-1906 Collection Smidt van Gelder, Sm.1815 5 Silver and crystal scent bottle Huibrecht van der Aa, Schoonhoven, 1863-1892 Collection Smidt van Gelder, Sm.1417 20

6 Silver and rock crystal rattle Joannes Balthasar II van Oppervelt, Antwerp, 1788 Collection DIVA, S63/11 7 Gold, white and red enamel Chatelaine watch with pearl decorations Master AV, 2nd half 19th century Collection Smidt van Gelder, Sm.0583 8 Gold and crystal scent bottle Bohemia, 2nd half 19th century Collection Smidt van Gelder, Sm.1218 9 Gold and crystal scent bottle Master M, Baccarat, after 1853 Collection Smidt van Gelder, Sm.0599.1-2/2 10 Gold and crystal scent bottle France, after 1853 Collection Smidt van Gelder, Sm.0605.1-2/2

13 Gilded parasol grip with amethyst Adolphe Lambert, Brussels, 1906 Collection DIVA, S2018/2 14 Lodderein box Josephus Franciscus van der Borcht, Antwerp, 1754 Collection DIVA, S90/46 Lodderein boxes were the successors of pomanders. The Dutch word lodderein is a corruption of l’eau de reine, or Hungary Water. The box contained a little sponge soaked in toilet water. Scent damages silver, so these small boxes were gilded on the inside to prevent discoloration.

DIVA’s Room of Wonder

12 Case with three gold and enamel scent bottles 19th century Collection Smidt van Gelder, Sm.1248.01-04

Visitor’s guide DIVA

11 Silver and mother-of-pearl rattle France, 1838-1900 Collection DIVA, S2009/20

15 Silver and crystal scent bottle Bohemia, 1856-1867 Collection Smidt van Gelder, Sm.1425 16 Gold and crystal scent bottle Bohemia, 2nd half 19th century Collection Smidt van Gelder, Sm.0606 17 Silver powder box Ca. 1890-1910 Collection DIVA, S93/1

The exotic salon Rare and exotic objects and materials from other continents kept surprising and fascinating Western elites throughout the centuries. The East, in particular, exerted a strong attraction. It was seen in the West in a fragmented way, clouded

DIVA’s Room of Wonder

8 9

10 15

Visitor’s guide DIVA

Chinoiserie The term chinoiserie, for instance, refers to Europe’s fanciful interpretations of the styles of China and the Orient, which also included Asia, Persia and Japan. Porcelain was one of the Oriental exports that were very popular in Europe. Chinese porcelain was also adapted to European tastes. First, it was mounted in silver. Later, around the mid-eighteenth century, gilt bronze finishes became very fashionable. China also produced porcelain directly based on Western prints and designs. 1

Ceramic figurine of a monkey playing a flute Delft Collection Smidt van Gelder, Sm.1052.01

2 Pair of Chinese porcelain candlesticks Late 17th - early 18th century Collection Smidt van Gelder, Sm.0568.1-2/2 3 Pair of wall sconces 2nd half 18th century Collection Smidt van Gelder, Sm.0569.2-6 4 Five Chinese porcelain vases 2nd quarter of the 18th century Collection Smidt van Gelder, Sm.1749.1-5 5 Porcelain painted duck tureen, with enamel China, 1723-1736 Collection DIVA, Bequest Pierre Lunden, S75/108 23

6 Vase Rose Pompadour, decorated with two parrots 1775 Collection Smidt van Gelder, Sm.0075 7 Teapot or sake pot China, 1662-1722 Collection DIVA, Bequest Pierre Lunden, S75/99 8 Figure of a white crane China, Qianlong, 18th century Collection Smidt van Gelder, Sm.0141 9 Pair of porcelain vases China, 1662-1722 Collection DIVA, Bequest Pierre Lunden, S75/102 10 Turtle cabinet Werkhuyzen Franck, Antwerp, ca. 1920-1925 Collection Smidt van Gelder, Sm.3044 11 Pair of enamelled Ho-Ho figurines China, 1662-1722 Collection DIVA, Bequest Pierre Lunden, S75/103 12 Porcelain Kuan Yu figurine Téhua, 1662-1722 Collection DIVA, Bequest Pierre Lunden, S75/97 13 Porcelain plate China, 1723-1736 Collection DIVA, Bequest Pierre Lunden, S75/111 14 Teacup with saucer with décor au plumet China, ca. 1740 Collection DIVA, Bequest Pierre Lunden, S75/113

15 Gold hair jewel set with diamonds and rubies, in case Presumably France, 18th century The Phoebus Foundation collection, in storage at DIVA, B541/1

16 Two porcelain vases in the shape of an elephant China, Qianlong, 18th century Collection Smidt van Gelder, Sm.0222.1-2 17 Porcelain teacup with saucer Cornelis Pronck, China, 1740 Collection DIVA, Bequest Pierre Lunden, S75/106 18 Inkpot, Chinese man lying down Li-Tai-Po 17th century Collection Smidt van Gelder, Sm.0219 19 The Empress of China picks the first Mulberry Leaves (reproduction) Ch. B. Rode, ca. 1770 Collection Gemäldegalerie der Staatlichen Museen zu Berlin Bpk-Bildagentur / photo: Jörg P. Anders

DIVA’s Room of Wonder

2-4

6 7

Visitor’s guide DIVA

Turquerie and Indomania After 1683, Western fears of an Ottoman invasion gradually gave way to a fascination for Turkish culture that expressed itself during the eighteenth century in turqueries. Turkish culture and art, until then largely unknown in the West, made their way into painting, architecture and fashion, and the consumption of exotic products from the Ottoman Empire soared. DIVA’s collection captures this Ottoman inspiration with a number of coffee pots and smoking accessories. 1

Gold demi-parure with black enamel and rose cut diamonds Western Europe, 1850-1870 Collection Saint-Gummarus Church Lier, in storage at DIVA, B519/2

2 Pipe-bowl in the shape of a Turkish man’s head Berlin / Paris, ca. 1765 / 1800-1900 Collection DIVA, S5374 3 Pipe-bowl in the shape of a Turkish woman’s head Meissen / Paris, ca. 1765 / 1800-1900 Collection DIVA, S5375 4 Silver pipe Jacques Cupper, Paris, 1809-1819 Collection DIVA, S80/12 5 Marabout-type coffeepot Jean Jacques Coetermans, Antwerp, 1832-1869 Collection DIVA, S87/119 Inspired by the Ottoman coffeepots, this type of coffeepot first appeared in the Southern Netherlands at the end of the

eighteenth century. In the nineteenth century, they regularly featured in oriental paintings. 6 Sepiolite pipe L. Baumgartner, Trieste, 1867-1872 Collection DIVA, S80/62a 7 Ivory tobacco grater Dieppe, 1680-1720 Collection DIVA, S80/1337 8 Aigrette with three feathers, with rose cut diamonds Presumably Russia, late 18th century Collection Boelens-Hellemans 9 Aigrette with rose cut and table cut diamonds Presumably Great Britain, ca. 1780 Collection DIVA, DMK02/2 Read the factual story about this key piece in the tablet in the bench. 10 Peacock brooch with diamond, sapphire, emerald, ruby and pearls After a design by Gustave Baugrand, France, 1867 or later Collection DIVA, DMK05/1 11 Silver coffeepot Jean-Louis Philippront, Aat, 1783 Collection DIVA, Bequest Pierre Lunden, S75/31 This type of coffeepot is derived from the Persian water jugs. Coffee had been a staple drink in the Arab world since the middle of the fifteenth century. In 1615 raw coffee beans found their way to Europe via Venice. The first coffee beans to arrive here were preserved as exotic treasures in collections of curiosities. Around 1650 imports of coffee increased and the first European coffee houses were established.

Highlight 3: Peacock Brooch (no. 10) The peacock brooch is an example of superb craftsmanship. The gemstone decorated feathers are set en tremblant, creating a trembling effect. The rubies are of exceptionally high quality and come from Burma (now Myanmar), while the sapphires are from Ceylon (now Sri Lanka) and the emeralds from India. In 1867, Gustave Baugrand exhibited a peacock brooch at the Paris International Exposition together with other jewellery, silverware and Egyptian-themed objects, thus capitalising on the interest generated at the time by Egyptologist Auguste Edouard Mariette’s excavations and the impending opening of the Suez Canal. After a design by Gustave Baugrand, France, 1867 or later Collection DIVA, DMK05/1

12 Gold necklace and earrings with turquois, pearls and enamel India Collection Boelens-Hellemans 13 Gold brooch with diamond, ruby, pearls and enamel India, ca. 1860 Collection Boelens-Hellemans 14 Sultana (reproduction) Charles-André Van Loo, Paris, 1747 Collection Musée des Arts Décoratifs, Paris Photo: Jean Tholance

5 9

1112

6-7

13-15 16

1820

3 Bronze Bastet figurine Late-pharaonic to Ptolemaic Collection MAS, AV.1879.001.088 4 Bronze Mahes figurine Late-pharaonic to Ptolemaic Collection MAS, AV.1879.001.122 5 Diadem with coral Presumably France, ca. 1870 Collection Boelens-Hellemans

DIVA’s Room of Wonder

3-4

2 Silver jug with portrait medallion of Napoleon Bonaparte Joseph Lecocqmartin, Antwerp, 1809-1815 Collection DIVA, S2006/5

Visitor’s guide DIVA

6 Bronze Thot Ibis head Late-pharaonic to Greek-Roman Collection MAS, AV.1879.001.104 7 Bronze Horus figurine Late-pharaonic to Greek-Roman Collection MAS, AV.1879.001.027

Egyptomania Forms and motifs from Ancient Egypt also inspired European decorative art. In the early nineteenth century, Egyptian style was present in architecture, interiors, gold- and silversmithing, and jewellery, often mixed with other Eastern, but also Greek and Roman, references. Napoleon’s Egyptian campaign (1798-1801) and Description de l’Egypte, the monumental book written by his scientists, further fanned interest in the Middle East. 1

Silver coffee set with Egyptian motifs Alexandre François Heyvaert, Brussels, 1798-1809 On loan from Philippe d’Arschot

8 Platinum Brooch with Egyptian motifs set with diamond, ruby, onyx and emerald Lacloche Frères, Paris, 1926 Collection DIVA, DMK03/7 Read the factual story about this key piece in the tablet in the bench. 9 Pendant The hereditary universe Octave Landuyt, 1975 On loan from Octave Landuyt, represented by WM Gallery 10 Bronze falcon figurine Late-pharaonic Collection MAS, AV.1879.001.106 11 Ushabti (tomb) figurine Collection MAS, MAS.0025.105 12 Wood and stucco ushabti (tomb) figurine Collection MAS, MAS.0025.104 27

13 Horus amulet Collection MAS, AV.1879.001.214 14 Bronze Thot monkey figurine Late-pharaonic Collection MAS, AV.1879.001.012 15 Nefertem amulet Collection MAS, AV.1879.001.247 16 Scarab Late Second Intermediate Period (1650-1550 BC) Collection MAS, AV.1923.010.043.14-22 Scarab Late-pharaonic Collection MAS, AV.1923.010.043.15-22 Scarab Late Twelfth-Fifteenth Dynasty (1800-1550 BC) Collection MAS, AV.1923.010.043.16-22 17 Gold and silver snake brooch, set with diamonds, ruby and sapphire Western Europe, 1850-1890 Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/5 18 Ushabti (tomb) figurine 378-341 AD Collection MAS, MAS.0025.060 19 Ushabti (tomb) figurine Collection MAS, MAS.0025.084 20 Ushabti (tomb) figurine 378-341 AD Collection MAS, MAS.0025.093 21 Pendant After which the bird turns blue Octave Landuyt, 1983 On loan from Octave Landuyt, represented by WM Gallery

22 Sarastro’s garden from The Magic Flute (reproduction) Karl Friedrich Schinkel, 1781-1841 Collection Bibliothèque nationale de France, IFN-8437653 23 Cleopatra testing Poisons on Condemned Prisoners (reproduction on ceiling) Alexandre Cabanel, 1887 Collection KMSKA Lukas - Art in Flanders / photo: Hugo Maertens

DIVA’s Room of Wonder

1 5

Visitor’s guide DIVA

6 8

Japonism In 1854, after more than two hundred years of isolation, Japan was forced to open its borders. This led Western art in the second half of the nineteenth century to fall under the spell of the Land of the Rising Sun. Japan exported many goods to the Western market. The most prized items were silk kimonos, fans, and various functional and decorative objects. Japan’s decorative style also inspired the Western artistic scene. Isolated and off-centre animals and flowers, unusual crops and linear drawings all left their mark on Western art. Japonism dominated just about every art discipline, including Art Nouveau’s interest in nature. Japan was also a dominant influence in Belgian gold- and silversmithing and jewellery design around 1900.

Porcelain vase, decorated with leaf and flower motifs Japan, 1680-1720 Collection Smidt van Gelder, Sm.1103.02.A

2 Jardinière aux hérons Wolfers Frères, Brussels, 1900-1903 Collection DIVA, S2008/19 3 Imari porcelain coffee urn with silver frame Japan, 1700-1750 and Marie-Jeanne Husson, Oudenaarde, 1762 Collection King Baudouin Foundation, Fund Comte Thierry de LoozCorswarem, in storage at DIVA, B512/11 4 Embossed silver Pivoines jug Wolfers Frères, Brussels, ca. 1893-1897 Collection DIVA, S97/12

5 Panel with intarsia decorations Charles Spindler, Saint-Léonard, 1907 Collection DIVA, S4817 6 Gilded glass and silver seasoning shaker Daum Frères, Nancy and Delheid Frères, Brussels, 1892-1900 Collection DIVA, S2010/17 7 Yellow gold Art Nouveau pendant with plique-à-jour enamel, diamonds in old brilliant cut, labradorite and demantoid garnets Léopold Van Strydonck, Brussels, ca. 1900 Collection DIVA, S87/39 8 Art Nouveau hair comb with diamonds in brilliant cut, rubies and opal Joaillier Feys, Brussels, 1890-1910 Collection DIVA, DMK95/2 9 Silver teapot Oeillets Louis Wolfers père et fils, Brussels, 1892-1897 Collection DIVA, S2001/26 10 Gilded belt buckle Léopold Van Strydonck, Brussels, ca. 1900 Collection DIVA, S2009/17 11 Gold watch with rose cut diamonds Switzerland, ca. 1900 Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/2 12 Silver egoist-type coffeepot Wolfers Frères, Brussels, 1890-1893 Collection DIVA, S2013/41 13 Silver and takula wood box Poisson Wolfers Frères, Brussels, ca. 1916 Collection King Baudouin Foundation, in storage at DIVA, B512/12

Highlight 4: Art Nouveau pendant (no. 7) In terms of its shape, the pendant references the staghorn fern, a plant which attaches itself to other living plants without feeding off them. Dragonflies appear to be sitting on the teardrop-shaped labradorite underneath. The delicate leafwork was decorated with translucent green plique à jour enamel. Enamel is coloured glass powder glazed at a high temperature. Though diamonds tended to be part of the total effect rather than the centrepiece in the Art Nouveau movement, this pendant is an exception. Art Nouveau is one of the names given to an international decorative style which was at its most popular around 1900. It is also known by its German name Jugendstil. Both words imply innovation and Belgium was a pioneer, not least thanks to the architecture of Victor Horta. In jewellery a key figure was the Parisian jewellery designer René Lalique. In Belgium Léopold Van Strydonck, along with Philippe Wolfers, represented the Art Nouveau movement in jewellery and silversmithing. Léopold Van Strydonck, Belgium, ca. 1900, Collection DIVA, S87/39

14 The Princess from the Land of Porcelain (reproduction) James McNeill Whistler, 1864 Collection Freer and Sackler Galleries (The Smithsonians Museums of Asian Art), Washington

Visitor’s guide DIVA

DIVA’s Room of Wonder

Divine exposition In the seventeenth and eighteenth centuries, Antwerp was an important manufacturing centre for church silver. The Council of Trent (1545-1563) was also important in this regard because it set out detailed rules for the liturgy and practices. The guidelines issued later by the Milanese archbishop Carolus Borromeus (15381584) gave precise instructions about the features and furnishings of church interiors, religious objects and liturgical clothing. For example, those guidelines dictated that vessels used at Holy Communion to contain the body and blood of Christ should be made of a precious material. It was a way of giving added lustre to the liturgy.

DIVA’s Room of Wonder

Gilded goblet Master T, Valenciennes, ca. 1530 Collection DIVA, S63/55

2 Gilded goblet Master with orb, Antwerp, ca. 1617-1618 Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/14/1 3 Gilded chalice decorated with lacquering Devroye Frères, Brussels, ca. 1942 Collection DIVA, S2000/5A 4 Design sketch for chalice No. 14 (reproduction) Jan Pieter Antoon Verschuylen, Antwerp, 1825-1865 Collection DIVA, P2013/3/46

17 18

Visitor’s guide DIVA

5 Design sketch for a chalice (reproduction) Dom Daniel Duesberg, Maredsous, 1920-1944 Collection DIVA, P2002/2 6 Design sketch for sunburst monstrance No. 22 Faith and hope (reproduction) Jan Pieter Antoon Verschuylen, Antwerp, 1825-1865 Collection DIVA, P2013/3/1 7 Ciborium Hadrien Victor Kockerols, Antwerp, 1952-1953 Collection DIVA, S2001/35 8 Silver goblet, partly decorated with niello Werner Oehlschlaeger, Lübeck, 1994 Collection DIVA, S2002/73 33

9 Gilded sun monstrance Michiel Verberckt, Antwerp, 1760-1769 Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/8 A monstrance is a liturgical vessel used in the Roman Catholic church to display the consecrated Eucharistic host. A crescent-shaped stand called a luna holds the Host securely in place. Monstrances were first used in the thirteenth century. From the baroque period the Host was emphasized by rays of sun which symbolize divine triumph. In Antwerp some of these sun monstrances were richly embellished with diamonds in the eighteenth and nineteenth centuries. 10 Gilded sun monstrance Master with styled plant, Bruges, 1715-1716 Collection DIVA, S2011/1 11 Gilded ciborium Jan Baptist Cassé, Antwerp, ca. 1768 Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/5 The consecrated Hosts are stored in a ciborium. The inside of the chalice or bowl is usually gilded. The ciborium came into use in the thirteenth century because of a change in the liturgy. Before that the consecrated bread was kept in a costly box. In the sixteenth century the ciborium acquired its chalice shape. Examples from the seventeenth and eighteenth centuries are often decorated with chased representations.

12 Gilded sun monstrance Jan Baptist II Verberckt, Antwerp, 1815-1832 Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/6

13 Partly gilded sun monstrance Jan Pieter Antoon Verschuylen, Antwerp, 1861 Collection DIVA, S2013/9 14 Gilded goblet Jan Pieter Antoon Verschuylen, Antwerp, 1862 Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/10 15 Gilded cylinder monstrance Lambert Van Ryswyck, Antwerp, 1871 Collection DIVA, S2013/10 16 Gilded sun monstrance Antwerp, 1693 Collection DIVA, S70/18 17 Pair of silver angel candlesticks Ca. 1590-1600 Collection DIVA, Bequest Pierre Lunden, S75/91 18 Silver holy water font Josephus I Hennekin, Antwerp, 1690-1691 Collection DIVA, S93/8 19 Ex-voto with horse 2nd half 19th century Collection DIVA, S1347 20 Prayer book with silver fittings Collection DIVA, S2007/66 21 Prayer book with silver fittings 1775-1780 Collection DIVA, S2007/67 22 E.H. Norbert Orthen paten Hadrien Victor Kockerols, OverijseMaleizen, 1961 Collection DIVA, S2012/3

DIVA’s Room of Wonder

Visitor’s guide DIVA

Pendant of the Holy Ghost with enamel, five rubies and a pearl Flanders, ca. 1640 Collection DIVA, S2014/4

2 Figure of Our Lady with the infant Jesus and sheep Lodewijk Willemssens, Antwerp, 1675-1700 Collection DIVA, S64/1

10 11

3 1

25 27-28

29-30

16 23

17 18

22 21

Over the centuries worshippers have gifted jewellery to churches and above all to Our Lady. Gifted jewellery sewn to cushions or into frames was often carried through the streets in processions with the statue of the Virgin Mary. In other instances the jewellery was incorporated into statues of Mary. 1

Silver figure of Our Lady with child Belgium, 2nd half 17th century Collection DIVA, Bequest Pierre Lunden, S75/92

2 Corsage jewel with rose cut diamonds Western Europe, ca. 1780-1830 Collection Saint-Gummarus Church Lier, in storage at DIVA, B519/1

3 Cross pendant with rose cut diamonds Portugal, ca. 1700 Collection DIVA, S75/179 4 Cross pendant with five rose cut diamonds Paris, ca. 1800 Collection DIVA, S75/183 5 Pair of earrings with rose cut diamonds Western Europe, ca. 1850 Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/4 6 Shield-shaped pendant with rose cut diamonds Western Europe, 1870-1885 Collection Saint Anne Selbdritt Church Antwerp, in storage at DIVA, B517/3

8 Flemish heart surmounted by trophy with rose cut diamond Dionisius Suerickx, Mechelen, 1832-1869 Collection DIVA, S75/182 9 Gold cross pendant with filigree Charles Denys, Mechelen, 1770 Collection DIVA, S2013/42 10 Cross pendant with rose cut diamonds and old brilliant cut Great Britain, ca. 1820 Collection DIVA, DMK94/2 11 Diamond-shaped brooch with rose cut diamonds Western Europe, 1st half 19th century Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/3 12 Flemish heart with crown and rose cut diamond Jozef Rombaut Louis De Backer, Dionisius Suerickx, Mechelen, 1832-1869 Collection DIVA, S75/181 13 Silver and diamond Flemish heart surmounted by trophy Southern Netherlands, 1701-1850 Collection DIVA, S70/2 14 Heart-shaped pendant with rose cut diamonds Western Europe, 1850-1890 Collection Saint Anne Selbdritt Church Antwerp, in storage at DIVA, B517/2

The Flemish Heart is a typical piece of jewellery that was often gifted to the Church. The exact meaning of the Flemish Heart is unknown. Their foundation appears to have been the people’s devotion to Our Lady, which extended particularly from Antwerp in the eighteenth and nineteenth centuries. The City-on-the-Scheldt first expressed its bond with the Virgin Mary as its patroness in the twelfth century.

DIVA’s Room of Wonder

Highlight 5: Flemish Hearts

Visitor’s guide DIVA

7 Pendant/brooch set with rose cut diamonds Petrus Victor Van Herendael, Antwerp, 1867-1875 Collection Saint-Guibert’s Church Schilde, in storage at DIVA, B518/1

The Flemish Heart consists of a heartshape with a diamond in its centre, surmounted by either a crown or a trophy consisting of a torch, quiver and bow. The trophy refers to the attributes of Cupid, the god of love, and symbolises the victory of love. According to some jewellery historians, the central diamond represents the heart of Mary herself. DIVA has several Flemish Hearts in its collection. The differences in quality and use of materials show that this piece of jewellery was loved by different social classes. 15 Silver Flemish heart with rose cut diamond Western Europe, ca. 1800 Collection DIVA, S87/121 16 Flemish heart surmounted by trophy Western Europe, 19th century Collection Boelens-Hellemans 17 Flemish heart with crown and three facet rose Western Europe, 19th century Collection Boelens-Hellemans 37

18 Flemish heart with bow-shaped crown and rose cut diamonds Western Europe, ca. 1800 Collection DIVA, S88/151 19 Flemish heart surmounted by trophy Western Europe, 19th century Collection Boelens-Hellemans 20 Flemish heart surmounted by trophy Western Europe, 19th century Collection Boelens-Hellemans 21 Flemish heart with crown Western Europe, 19th century Collection Boelens-Hellemans 22 Flemish heart with crown Western Europe, 19th century Collection Boelens-Hellemans 23 Flemish heart with crown Western Europe, 19th century Collection Boelens-Hellemans 24 Flemish heart surmounted by trophy Western Europe, 19th century Collection Boelens-Hellemans

25 Cross pendant with table cut diamonds Presumably Pierre L. Dandelooy, Antwerp, ca. 1800 Collection DIVA, S74/3 26 Cross pendant with foliage set with rose cut diamonds, three facet and six facet rose, and diamond chips Western Europe, 1st half 19th century Collection DIVA, S71/105 27 Ex-voto with left leg 2nd half 19th century Collection DIVA, S1348 28 Ex-voto with Our Lady 2nd half 19th century Collection DIVA, S1358 29 Ex-voto with eye 2nd half 19th century Collection DIVA, S1361 30 Ex-voto with pig 2nd half 19th century Collection DIVA, S1346

In the middle of the Room of Wonder

Das kUchenBOOT Jean Lemmens, Antwerp, 1998-1999 Collection DIVA, S99/6A-E

Visitor’s guide DIVA

Atelier

ATELIER: CREATION AND CRAFTSMANSHIP

Left: diamond cutting

Silversmithing and diamond processing merge in a timeless workshop. A look behind the scenes links past and present.

Atelier

≥ S it down on a stool and find out how rough diamonds are turned into dazzling jewels. The touchscreens shed light on the various techniques. ≥ G o to the section personal stories to listen to the accounts of diamondcutters. Point the device at the headset symbol and click to activate the sound.

Visitor’s guide DIVA

The tools on the wall testifies to a long history of craftsmanship.

≥ O pen the drawers and marvel at diamond jewellery and different cuts.

Film These days advanced technology is used in Antwerp to cut diamonds. The film shows a ring being made in Antwerp’s diamond district. (00:06:55)

1 2

6 3

7 8

5 10

21 15

4 5

On the wall: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Cleaver sticks Bruting sticks Cleaving hammers Cleaver knives Cleaver’s box Bruting hammers Setting pin with bruting dops Setting pins Bruting sticks for a bruting machine Bruting wrenches Pestles Powder rollers Files Boart pot Rasps

16 Sanding sticks 17 Iron boxes 18 Pliers 19 Sawer’s loupe 20 Gauges 21 Weight Gauges 22 Caliper rules 23 Cutter’s loupe 24 Polishing dops 25 Lock nut spanners 26 Spoon tongs 27 Setting tongs 28 Polishing tangs 29 Wooden holders for solder dops 30 Mortar

≥ Find out more about the function of these tools in the touchscreens under Techniques > tools for diamond processing

Atelier

2 Pair of earrings with diamonds in Antwerp rose cut Collection DIVA, DMKXX/5

3 Four rings The four seasons with diamonds in brilliant cut Ira Van De Vondel, Antwerp, 1996 Collection DIVA, DMK01/4

In the drawers: 1

Art deco brooch with diamonds in eight cut, ruby, emerald and sapphire Ca. 1920-1930 Loan Adelin

Brooch A Lightened Skyline with diamonds in brilliant cut, princess cut, triangle cut and emerald cut Marjan Verachtert, Antwerp, 2005 Collection Intralcor bvba, in storage at DIVA, B535/1

Visitor’s guide DIVA

Pair of earrings with diamonds Belgium, 1850-1870 Collection Saint Willibrord Church Antwerp, in storage at DIVA, B503/5

4 Ring with diamonds in brilliant cut 1960 Collection DIVA, DMK02/22A Ring with diamonds in Antwerp rose cut presumably Belgium, 1950 Collection DIVA, DMK02/21 Entourage ring after 18th century model with diamonds in Amsterdam rose cut Netherlands, 1953-2000 Collection DIVA, DMK00/8 Ring with diamond in Flanders cut Collection Lewy-Friedrich, in storage at DIVA, B537/1 Ring with diamond in Flanders cut Collection Lewy-Friedrich, in storage at DIVA, B537/3

Ring with diamond in Flanders cut Collection Lewy-Friedrich, in storage at DIVA, B537/2 Ring with diamond in marquise cut Collection DIVA, DMK94/4 5 Ring with diamond in princess cut Gerhild Kirchner, Antwerp, 2017 Loan Gerhild Kirchner - Jewelry Pin with diamond in J.C. Millenium cut Daisy Verheyden, Antwerp, 2000 Collection DIVA, DMK01/6 Ring with diamonds in brilliant cut Wim Meeussen, Antwerp, 2014 Loan Wim Meeussen 6 Flower brooch, part of a jewel, with diamonds in table cut, facetted stones (threefacetted stone, six-facetted stone) and Antwerp rose cut Western Europe, ca. 1850 Collection DIVA, S75/185 Brooch with ribbon motif with diamonds in rose cut, baguette cut and facetted stones Massaux en Charles Habib, Antwerp, 1940-1950 Collection DIVA, S89/3 7 Parcel papers Diamonds are tucked away in parcel papers. The paper is stone folded in a specific way to prevent the diamonds from falling out.

8 Flanders cut Collection Kuwayama Europe nv, in storage at DIVA, B536/2 Flanders cut Collection Lewy-Friedrich, in storage at DIVA, B537/4 Flanders cut Collection Lewy-Friedrich, in storage at DIVA, B537/5 Blue Flame Tesiro Jewellery, 2009 Collection DIVA, DMK09/1 Diamond shaped after a portrait of King Baudouin 1980 Collection DIVA, DMK02/1 Diamond in the shape of a duc Collection Andiamond, in storage at DIVA, B523/1 Diamonds in I love You shape Collection Andiamond, in storage at DIVA, B523/2 Diamond in gothic point cut Collection H. Schamisso, in storage at DIVA, B188/3 Diamond in table thick cut Collection H. Schamisso, in storage at DIVA, B188/1 Diamond in table thin cut Collection H. Schamisso, in storage at DIVA, B188/2 Diamond in Amsterdam rose cut Collection Boelens-Hellemans

9 Snuff box with representation of a diamond polisher Schoonhoven, 1924 Collection DIVA, DMK98/5

Side wall

1 2

Cultured Manners #73: Citrine Crystal Fork Octave Vandeweghe, Antwerp, 2017 Collection DIVA, S2017/11/2

2 Cultured Manners #68: Smokey Rutile Crystal Knife Octave Vandeweghe, Antwerp, 2017 Collection DIVA, S2017/11/1 3 Cultured Manners #32: Cultured Citrine Set Octave Vandeweghe, Antwerp, 2015 Collection DIVA, S2017/11/3-4

Atelier

Yellow diamond in oval cut Collection DIVA, S68/19

4 Replica Lesotho Promise Collection DIVA, S2017/12 Special thanks to DIAMCAD Though the number of diamond-cutting shops in Antwerp is small these days, Antwerp is still known throughout the world for the quality of its cuts. Several high-tech cutting shops in Antwerp’s diamond district specialize in processing large and extremely valuable diamonds. In 2006 a rough 603-carat diamond was found in the Letseng mine in Lesotho. At the time the stone was the fifteenth largest diamond ever found and it was named the Lesotho Promise. Diamond company Graff and its partner company Safdico, paid 12.36 million dollars for the rough diamond and decided to have the stone examined and cut in Antwerp. During a process that lasted 18 months, it was transformed into 26 diamonds of different cuts. The colour is D rated (exceptionally white +) and the total value of the cut diamonds was estimated at 50 million dollars. Here you see reproductions of both the rough stone and the cut diamonds which together make up the Lesotho Promise necklace.

Visitor’s guide DIVA

Diamond in Peruzzi cut Ca. 1860 Loan Adin nv - Fine Antique Jewellery

11 1

2 3

12 12

10 21

8 5

6 7 6

7 8

Right: Silversmithing Processing precious metals is an intensive operation. The objects against the righthand wall illustrate a variety of techniques. ≥ S it down on a stool and touch the screen for more in-depth information. ≥ Or go to the personal stories section to listen to modern-day accounts. Point your device at the headset symbol and click to activate the sound. ≥ T he drawers contain work by gold and silversmiths and their tools.

9 10

18 18

12 13

8 Bust of the Antwerp silversmith Jan Pieter Antoon Verschuylen Joseph Willems, Antwerp, 1866 Collection DIVA, S54/244

On the wall: 1

Plaque of Saint Eligius Jan Baptist Willaeys, Ghent, ca. 1725-1750 Collection DIVA, S2006/8

2 Ornamental cup Bruxelles Kermesse 1897 Wolfers Frères, Brussels, 1897 Collection DIVA, S97/2 3 Cup Werner Oehlschlaeger, Lübeck, 1991 Collection DIVA, S2002/86 4 Fruit bowl Annette Zey, Neurenberg, 1993 Collection DIVA, S2002/37 5 Ace of Spades Joris Kuyl, Kessel-Lo, 1998 Collection DIVA, S98/9

Atelier

7 Part of a candlestick J.H.F. Raas, Antwerp, about 1832-1869 Collection DIVA, S5083d

9 Holy water stoup Christ and the Samaritan woman at the well Jan Pieter Antoon Verschuylen, Antwerp, 1833 Collection DIVA, S69/51

Visitor’s guide DIVA

6 Parts of a candlestick J.H.F. Raas, Antwerp, about 1832-1869 Collection DIVA, S5083b 1-2

10 Sunburst monstrance Jan Pieter Antoon Verschuylen, Antwerp, 1839 Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/7 11 Inkstand Jan Pieter Antoon Verschuylen, Antwerp, 1837 Collection DIVA, S2001/1 12 Pair of granulation bowls David Huycke, Sint-Niklaas, 1996-1998 Collection DIVA, S98/15 13 Teapot Louis Wolfers père et fils, Brussels, 1885 Collection DIVA, S2000/6 14 Chalice Victor Kockerols, Antwerp, 1952-1953 Collection DIVA, S57/1 15 Cigar box Wolfers Frères, Brussels, after 1942 Collection King Baudouin Foundation, in storage at DIVA, B512/14 47

16 Caster and mustardpot Balthasar Lepies, Antwerp, 1708-1709 Collection DIVA, Bequest Pierre Lunden, S75/11

19 Common Bowl Hammerclub 2011 Hammerclub participants, Deurne, 2011 Collection DIVA, S2011/6

17 Holy water stoup Anthoni Lepies, Antwerp, 1721-1722 Collection DIVA, S57/2

20 Prelude to a kiss Georges Cuyvers, Antwerp, 2011 Collection DIVA, S2011/7

18 Pair of candlesticks Brussels, 1687-1690 Collection DIVA, Bequest Pierre Lunden, S75/44

21 Silver caster Leonard Joseph Ferrier, Antwerp, 1765 DIVA collection, S2019/1

In the drawers: 1

Sugar sifter André Joseph Petit, Antwerp, 1786 Collection DIVA, Bequest Pierre Lunden, S75/29 Rings Cycloïdes Peter Vermandere, Antwerp, 2018 Loan jewel artist Peter Vermandere

2 Casting mould Draw plate for sharp triangular wire Draw tong 3 Hollow punches Rounded punches Chasing punches Chasing hammer 4 Pair of earrings Attributed to Cornelis Franciscus Betrams, Mechelen, 1832-1869 Collection DIVA, S91/21 Demi parure wit pearls Ca. 1880 Collection Boelens-Hellemans

5 Model of brush 8509 Jasmin Wolfers Frères, 1897 Collection DIVA, S2004/16/667 Model of claw foot with mascaron Wolfers Frères, ca. 1885 Collection DIVA, S2004/16/1041 Model of handle Wolfers Frères, ca. 1885 Collection DIVA, S2004/16/4428 Model of embracing putti Wolfers Frères, ca. 1890 Collection DIVA, S2004/16/5701 6 Jeweler’s saw Barette needle file Needle file threesquare Graver knife Graver flat Graver round 7 Relief medaillon with the forge of Vulcan Hans Jamnitzer, Neurenberg, about 1570-1580 Collection DIVA, S59/13 8 Box Werner Oehlschlaeger, Lübeck, 1995 Collection DIVA, S2002/72

10 Bracelet Statement Cuff Wouters & Hendrix, Antwerp, 2017 Loan Wouters & Hendrix Bracelet Nico Taeymans, Antwerp, 2017 Loan Nico Taeymans Bracelet Salima Thakker, Antwerp, 2017 Loan Salima Thakker 11 Caster Meester D, Liege, 1721-1722 Collection DIVA, S75/72 Pendant with photo holder Ca. 1900 Collection DIVA, T80/1 Ring Le paradis c’est ici Anne Zellien, Antwerp, 2018 Loan Anne Zellien 12 Roman ring 1st century AD Collection Province of Antwerp, in storage at DIVA, B514/1

Atelier

14 Ring for the little finger with sunflower cut Georges Cuyvers, Antwerp, 1993 Collection DIVA, DMK94/1 Pendant My tamed king Georges Cuyvers, Antwerp, 1995 Collection DIVA, DMK99/10 15 Embossing hammer rounded Goldsmith’s hammer 16 Planishing hammers 17 Bracelet with two diamonds in brilliant cut Simonne Muylaert-Hofman, Aalst, ca. 1995 Collection DIVA, S2017/3

Visitor’s guide DIVA

9 Chalice Wim ibens, Wuustwezel, 1959 Collection DIVA, S60/63

Ring with diamonds in brilliant cut Simonne Muylaert-Hofman, Westkapelle, ca. 2010 Collection DIVA, S2017/4 18 Lead punch Some punches and stamped shapes

Ring David Huycke, Sint-Niklaas, 2017 Loan David Huycke Pendant Gentle Reminder Carolien Cuyvers, Antwerp, 2017 Loan Carolien Cuyvers Two buttons Germany, 19th century Collection DIVA, S1789 13 Box 9596 Ernest en Robert Altenloh, Brussels, ca. 1929-1930 Collection DIVA, S95/7 49

Side wall

8 Plaster model of a candlestick and drip catcher neo-Louis XV Delheid Frères, Brussels, 1850-1890 Collection DIVA, S2004/14/354

1 2 3 4 5

8 6

11 9 10 1

Plaster model of a spoon No. 40 Delheid Frères, Brussels, 1925-1930 Collection DIVA, S2004/14/33

10 Plaster model of the foot of a coffeepot No. 3428 Delheid Frères, Brussels, 1936-1937 Collection DIVA, S2004/14/112 11 Plaster model of the cover of a coffeepot No. 3428 Delheid Frères, Brussels, 1936-1937 Collection DIVA, S2004/14/113

2 Plaster model of a spoon No. 40 Delheid Frères, Brussels, 1925-1930 Collection DIVA, S2004/14/34

12 Model for flagon Philippe Wolfers, Brussels, about 1892-1895 Collection King Baudouin Foundation, in storage at DIVA, B512/13

3 Plaster model of a fork No. 40 Delheid Frères, Brussels, 1925-1930 Collection DIVA, S2004/14/13

13 Plaster model of a milk jug No. 3428 Delheid Frères, Brussels, 1936-1937 Collection DIVA, S2004/14/119

4 Plaster model of a fork No. 40 Delheid Frères, Brussels, 1925-1930 Collection DIVA, S2004/14/12

14 Plaster model of a sugar-bowl No. 3428 Delheid Frères, Brussels, 1936-1937 Collection DIVA, S2004/14/117

5 Plaster model of a coffee spoon No. 40 Delheid Frères, Brussels,1925-1930 Collection DIVA, S2004/14/4 6 Plaster model of a jardinière neo-Louis XVI Delheid Frères, Brussels, 1919 Collection DIVA, S2004/14/66 7 Plaster model of a candlestick Delheid Frères, Brussels, 1850-1890 Collection DIVA, S2004/14/362

9 Plaster model of a coffeepot No. 3428 Delheid Frères, Brussels, 1936-1937 Collection DIVA, S2004/14/111

Visitor’s guide DIVA

Atelier

TRADE ROOM: NETWORK AND TRUST Experience the trading area ≥ U se the touchscreens to find out where rough diamonds come from and how they are mined. ≥ T he globe illustrates how diamonds have travelled to Antwerp since the sixteenth century. The various maps of the world are linked to seven short films, which look at six historical characters who made an important contribution to Antwerp’s diamond trade. The last short film takes us behind the scenes of the diamond trade today.. ≥ Short film 1: Affaïtati family (16th century) 00:03:30 ≥ Short film 2: Duarte family (17th century) 00:03:30 ≥ Short film 3: James Dormer (18th century) 00:03:30 ≥ Short film 4: Louis Coetermans (19th century) 00:03:30 ≥ Short film 5: Anthony the jeweller’s (19th century) 00:03:30 ≥ Short film 6: Romi Goldmuntz (20th century) 00:03:30 ≥ Short film 7: The diamond trade today 00:03:30

The diamond trade has been operating through international networks for centuries. Trust is very important in a business where deals worth millions are sealed with a simple handshake. The diamond trade has existed in Antwerp for more than 550 years. This long shared history has had its high points, but also its low points. Nowadays, 84% of the rough diamonds and 50% of the cut diamonds that are traded worldwide pass through Antwerp.

4 3

6 2

7 1

Visitor’s guide DIVA

Trade Room

A leitmotiv in the story is the international dimension of the diamond trade and the various nationalities and religious communities that participate in it. In this context, networks and trust between dealers have been crucial for centuries. In the sixteenth century, Italians, Portuguese, Flemish and Indians dominated the diamond trade from Lisbon and Antwerp. In the seventeenth century, the Dutch gradually took control. After 1668, the British and Indians dominated the trade. Following the discovery of diamonds in Brazil around 1720, the Portuguese government issued an exploitation and trade monopoly: they gave British and Dutch traders exclusive rights to European trade in Brazilian diamonds. The discovery of diamonds in South Africa in 1867 shook up the relationships once more. By the end of the nineteenth century, the monopoly of rough diamonds from South Africa was in the hands of De Beers and the London Syndicate, but the stones were cut in Antwerp and Amsterdam. Their system of sightholders, fixed buyers of rough diamonds, played a beneficial role for Antwerp since it had greater capital resources. From the 1920s, rough diamonds were imported directly from the Belgian Congo. In just a few decades, Antwerp developed into the finishing centre for diamonds. During the Second World War, many of the Jewish families that had played an important role in the Antwerp diamond trade since the end of the nineteenth century emigrated to New York and Palestine. In the 1960s, India’s share in the diamond trade grew again. Indian merchants became sightholders and the discovery of diamonds in Australia was beneficial to them. To this day, the international and multi-cultural character of the diamond trade colours the Antwerp diamond district, also known as Diamond Square Mile, where traders from around the globe still come together to trade diamonds. 54

Highlight 6: Corsage jewel (gate 2) This jewel consists of a wide arched motif, a crown and five little pendants. The more than 100 table-cut diamonds are set in an openwork floral motif. The style points to the Iberian peninsula where silverwork was as highly rated as the precious stones themselves. These sort of jewels often have two hooks on the back for hanging them from the corsage, i.e. the bodice of the lady’s dress. A pin was added to this one at a later date. Probably Iberian peninsula, second half 17th century, Collection DIVA, DMK96/1

Ring with pointed diamond Found in Nieuwlande (Zeeland) ca. 1500-1530, Collection DIVA, S91/6

2 Laça pendant with rose cut diamonds, three facet and six facet roses Presumably Iberian peninsula, ca. 1800 Collection Boelens-Hellemans Demi-parure with rose and table-cut diamonds Presumably Portugal, end 17th century Collection de Breyne Corsage jewel with table-cut diamonds Presumably Iberian peninsula, 2nd half 17th century Collection DIVA, DMK96/1 Ring with table-cut diamonds Presumably Iberian peninsula, 1690-1730 Collection DIVA, S75/180 Ring with rose-cut diamonds Presumably Iberian peninsula, 1650-1675 Collection DIVA, S75/184

Trade Room

3 Spray brooch with diamonds in old brilliant cut Great Britain, ca. 1820-1830 Collection DIVA, DMK98/6 Ring with portrait miniature with diamonds in old brilliant cut France, ca. 1780-1820 Collection DIVA, S71/104 Laça pendant and pair of earrings with Brazilian emeralds Iberian peninsula, second half 18th century Collection Boelens-Hellemans

Visitor’s guide DIVA

Bow brooch with detachable pendant with diamonds in rose cut Mid-18th century Collection de Breyne Brooch/pendant in the shape of a stylized spray of flowers with diamonds in Antwerp rose cut France or Great Britain, ca. 1750 Collection DIVA, S85/1

4 Brabo centrepiece Armand Lens, Antwerp, ca. 1910 Collection MAS, collection Applied Arts and History (Vleeshuis), in storage at DIVA, AV.1920.030 Flemish heart surmounted by trophy and central a diamond in rose cut Henricus Franciscus Coetermans, Antwerp, 1832-1869 Collection DIVA, S90/48 Read the factual story about this key piece in the tablet in the bench in the Room of Wonder. 55

5 Clip with diamonds in brilliant cut and marquise cut Wolfers Frères, Brussels, post-1942 Collection DIVA, S89/14 Clip with diamonds in brilliant cut and eight cut Massaux, Antwerp, ca. 1935 Collection DIVA, S89/15 Sprig brooch E. Anthony & Wolfers Frères, Antwerp, ca. 1880 Collection DIVA, S86/1

6 Coat of arms with diamonds in brilliant cut, eight cut, baguette cut, rose cut, three-facetted stones and trapezium Romi Goldmuntz, Antwerp, ca. 1936-37 City of Antwerp collection, in storage at DIVA, B177/1

7 ECC Tennis racket, Varozza, 1986 Peter Varozza, Arent & Van Leeuw, Antwerp, ca. 1986 AWDC collection, in storage at DIVA, B534/1

Highlight 7: ECC Tennisracket (gate 7) This gold tennis racket set with 1,617 diamonds illustrates both Antwerp’s craftsmanship and the availability of diamonds of the highest quality. All the diamonds are of high rating, E to F, which means they are rare to exceptionally white in colour. The racket was designed by Varozza in 1986 and made by Arent & Van Leeuw. The letters ECC stand for the European Community Championships with reference to the tennis tournament held in Antwerp until 1998. In 1985, Ivan Lendl took home the original version of the racquet for winning the tournament three times in four years. No other male tennis player managed to repeat his achievement, which is why this one is here for you to admire today. Peter Varozza, Arent & Van Leeuw, Antwerp, ca. 1986, AWDC collection, in storage at DIVA, B534/1

Visitor’s guide DIVA

Trade Room

DINING ROOM: LUXURY CONSUMPTION & DISTINCTION Experience the dining room ≥ The touchscreens in the table provide an introduction to five historical characters and their food consumption. The information is based on scientific research. ≥ Open the drawers in the tables for more information about the type of object on the table. Or crawl under the table with the salt cellars for an unusual photograph! ≥ Via the two key pieces in this space (see plan), you hear excerpts of recordings by Frank Van Laecke. Point your device at the diamond symbol and click to activate the sound. ≥ To listen to the whole of the audio recording (00:19:58), make yourself comfortable on the sofa, point your device at the diamond symbol on the wall and click. A. Rubens’ House B. Museum Plantin-Moretus C. D’Ursel Castle (Hingene, Province of Antwerp) D. Huis Coetermans (nowadays Atelier Giorgetti)

For a long time a table full of silverware was a status symbol. Tableware sets were arranged in different ways ranging from abundant, through strictly rhythmical, to highly distinguished.

2-4

8 C

9 8

4 Visitor’s guide DIVA

2 D

Dining Room

From trendsetter to trend follower

became the region’s leading fashion centre.

Until the early seventeenth century, Antwerp was a leading production and distribution centre for luxury items. From the second half of the seventeenth century, however, the city’s economy experienced a swift decline. Around 1700, shifting tastes and changing fashion trends strongly influenced the economic crisis Antwerp was experiencing. Consumers gradually turned their attention to upcoming French fashion. French art and culture were very prominent in the eighteenth century, strongly influencing style developments in the Southern Netherlands. Brussels, the de facto capital city and home to the court,

Tableware as a status symbol As eating culture in the eighteenth century grew more refined, various items of tableware found their way to dining tables: oil and vinegar stands, mustard pots, salt & pepper shakers, sugar shakers, sauce boats and terrines. A sumptuous table, elegantly set with a large assortment of functional silver objects, was the ideal way to distinguish oneself, and a complete silver tableware set was a coveted status symbol. However, such sets were so expensive that few people were able to buy them in one go.

Highlight 8: Demi-parure (no. 6) The term parure refers to a set of matching jewellery, intended to be worn together. These matching ensembles can consist of a comb, a tiara, earrings, a necklace, a brooch, a buckle and bracelets. A demi-parure usually consists of a necklace or brooch with matching earrings or bracelet. In this case, it consists of a brooch that can be transformed into a pendant and a pair of earrings. The jewellery set has been kept in its original case with the gold stamp of Arthur Dufour. He was a jeweller of the Count of Flanders, Prince Philippe, and also supplier of the prince and princess de Ligne. It is tempting to interpret the monogram on the case as representing the initials of Maria, Princess of Hohenzollern-Sigmaringen (1845-1912), and her husband Prince Philippe. In 1893, her jewellery collection was stolen from the palace in Brussels. The jewel is very much in keeping with French fashion in the Second Empire (1852-1870). Rich ladies wore silk crinoline dresses and on official occasions they flaunted eye-catching diamond jewels, cut to sparkle brilliantly in the candlelight. Diamonds were easier to obtain after the discovery of diamond mines in South Africa in 1866, giving large jewellery houses a great boost. The demi-parure, with its symmetrical design, the use of bows and floral elements and the combination of sapphires and natural pearls, recalls the Louis XVI-style jewellery that Gustave Baugrand presented at the Paris International Exposition in 1867. Arthur Dufour, Brussels, 1869-1877, Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/8 60

Silver tankard Jean Dufour & Frères, Brussels, c. 1862 DIVA collection, S2020/30

Dining Room

On the wall

2 Ornamental cork Master B, Belgium, 1815-1832 Collection DIVA, S98/6 3 Cork-screw Josephus Franciscus van der Borcht, Antwerp, 1774 Collection DIVA, S2003/35

Visitor’s guide DIVA

After the French revolution, the court was no longer the centre of power. In Belgium, too, the power of the nobility waned, and a new elite emerged, composed mainly of industrialists and bankers. Belgium was at the forefront of industrialisation, which increased the gap between the rich and the poor. While the working class lived mainly on potatoes and rye bread, the elite ate increasingly varied food, as culinary innovation spread from France. From 1840 onwards, Brussels’ social scene was fertile ground for the new eating culture thanks to the presence of politicians, diplomats, officials and merchants.

4 Wine basket Wolfers Frères, Brussels, ca. 1940-1967 Collection DIVA, S93/24 5 Demi-parure with rubies and rose-cut diamonds France, ca. 1780-1810 Collection DIVA, S2016/4 6 Demi-parure with sapphires, natural pearls and rose-cut diamonds Arthur Dufour, Brussels, 1869-1877 Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/8 7 Parure with amethist and brilliant-cut diamonds from Countess Vilain XIII donated by Napoleon France, ca. 1810 Collection Church of Bazel 8 Whisky bar Delheid Frères, Brussels, 1925-1942 Collection DIVA, S2012/6 9 Liqueur set Jean-Baptiste Barbieur, Mons, 1815-1832 Collection DIVA, S2007/27

On the table 1

Table centre-piece Ondine Wolfers Frères & Marcel Wolfers, Brussels, 1958 Collection King Baudouin Foundation, in storage at DIVA, B512/4 The Atomium is a major Brussels landmark. Like the Atomium, the table centerpiece – a remarkable work of art – was made for the 1958 World Fair, known as Expo ’58. Though this solid silver object with sculpture by Marcel Wolfers is anachronistic in terms of function and style, it is nevertheless representative of its time. Ondine can be seen as one of the last material testimonies to an age in which pre-war aspirations to prestige, grandeur and etiquette were taking their dying breath. The centrepiece was made by Wolfers Frères. The firm was active in Brussels for more than 100 years and from the end of the nineteenth century it was Belgium’s leading manufacturer of silverware. Ondine graced the table of honour at Belvédère, the eighteenthcentury castle which housed the Commissariat Général of the World Fair. In 1958 only VIPs got a glimpse of this majestic showpiece.

2 Pair of candelabras Mirador Wolfers Frères, Brussels, 1958 Collection King Baudouin Foundation, in storage at DIVA, B512/5 3 Tureen De Meester family Joannes Cornelius Hendrickx, Mechelen, 1782 Collection King Baudouin Foundation, Fund Léon Courtin-Marcelle Bouché, in storage at DIVA, B512/6

Dining Room

Highlight 9: Tureen (no. 3)

Tureens were a permanent feature in the service à la française and contained soup or stew. In 1782, Joannes Cornelius Hendrickx (1740-1811) created an exceptional sample in Louis XVI-style, commissioned by Pierre de Meester (1724-1784). Eighteenth century silver tureens from the Southern Netherlands were quite rare and were only manufactured in production centres with a wealthy clientele. In this respect, the De Meester family was typical; over three generations, this brewer’s family from Mechlin rose to nobility. Several years after he was raised to the peerage, Pierre de Meester commissioned this partly gilded tureen.

Visitor’s guide DIVA

In the 18th century, the practice was to lay out on the dining table a magnificent profusion of foods all at the same time, after the example of the French court. A variety of tastes, textures and forms were pleasing and tantalizing both to the eye and to the tastebuds. This way of presenting dishes came to be known as service à la française in the 19th century, when service à la russe caught on and the courses were served one after the other

Certainly, this richly decorated showpiece stirred the conversation at the dinner table and highlighted the envious position of its owner. After all, the showpiece included such elements as the coat of arms of the De Meester family and musical instruments to inspire the dinner guests. In addition to several wind instruments, a music sheet is depicted with engraved music notes. However, a melody cannot be derived from it. Joannes Cornelius Hendrickx, Mechelen, 1782, Collection King Baudouin Foundation, Fund Léon Courtin-Marcelle Bouché, in storage at DIVA, B512/6

4 7

9 1

5 2

2 10

4 3

Sauce boats 1

Pair of sauce boats Peter Joseph Dominicus Longhehay, Ghent, 1751 Collection DIVA, Bequest Pierre Lunden, S75/62

2 Pair of sauce boats Philippus Josephus de Coene, Ypres, 1773 Collection DIVA, Bequest Pierre Lunden, S75/65 3 Sauce boat Koch & Bergfeld for Theodor Müller after a design by Henry van de Velde, Weimar, 1902-1903 Collection DIVA, S97/17 4 Sauce boat André Joseph Petit, Antwerp, 1787 Collection DIVA, S56/1 5 Pair of sauce boats Abel Etienne Giroux, Paris, 1798-1809 Josephus Jacobus Schits, Ghent, 1815-1832 Collection DIVA, S95/18 64

6 Sauce boat Charles Louis Joseph Dupret, Brussels, 1798-1809 Collection DIVA, S2005/59 7 Sauce boat Jean-Baptiste Lombaerts, Brussels, 1832-1869 Collection DIVA, S95/19 8 Sauce boat Pierre Hendrickx, Brussels, 1815-1832 Collection DIVA, S2001/27 9 Sauce boat Manhattan Wiskemann nv, Brussels, 1958 Collection DIVA, S2008/16C 10 Sauce boat André Joseph Petit, Antwerp, 1789 Collection DIVA, S56/2

Dining Room

2 2

3 3

Visitor’s guide DIVA

Candlesticks 1

Dauphine Neo-Empire candlesticks Wolfers Frères, Brussels, after 1942 Collection DIVA, S2008/17

2 Pair of Segnico candlesticks De Vecchi, Verona, 1991 Collection DIVA, S96/5 3 Pair of candlesticks Moderne Royal Simonet-Deanscutter, Brussels, 1934 Collection DIVA, S2006/1 4 Pair of candlesticks Josephus van Branteghem, Ghent, 1815-1832 Collection DIVA, S2006/13

7 Pair of candlesticks Maria Theresia Smidts, Ghent, 1762 Collection DIVA, Bequest Pierre Lunden, S75/61 8 Pair of candlesticks Master with beehive, Antwerp, 1737-1738 Collection DIVA, Bequest Pierre Lunden, S75/16 9 Pair of candlesticks Pieter van Sychem, Bruges, 1711-1712 Collection DIVA, Bequest Pierre Lunden, S75/39

5 Pair of candlesticks Jan Baptist I Verberckt, Antwerp, 1783 Collection DIVA, S2009/11 6 Pair of candlesticks Jacobus Huybrechts, Antwerp, 1775 Collection DIVA, Bequest Pierre Lunden, S75/22

6 7

6 5

16 4

15 14

21 10

11 2

Mustard pots 1

Mustard pot Peeter jr Alio, Brussels, 1730-1733 Collection DIVA, Bequest Pierre Lunden, S75/50B

2 Mustard pot Michiel de Grave, Ghent, 1754 Collection DIVA, Bequest Pierre Lunden, S75/60B 3 Mustard pot Antoon Spillemaeckers, Antwerp, 1774 Collection DIVA, Bequest Pierre Lunden, S75/17B 4 Mustard pot Franciscus Josephus I Willaert, Antwerp, 1779 Collection DIVA, Bequest Pierre Lunden, S75/24B 5 Mustard pot Pierre-Louis Deshorgnies, Mons, 1815-1832 Collection DIVA, S2005/19 6 Mustard pot Sebastiaan Gijsbert de Maré, Utrecht, 1793 Collection DIVA, S2005/27 66

7 Mustard pot Jan Baptist II Verberckt, Antwerp, 1832-1838 Collection DIVA, S94/8A 8 Mustard pot Belgium, 1798-1809 Collection DIVA, S2005/21 9 Mustard pot Philippus Mys, Bruges, 1815-1832 Collection DIVA, S2005/18 10 Mustard pot Jacobus De Smit, Bruges, 1794 Collection DIVA, S2005/14 11 Mustard pot Guillaume Pierre Joseph Marie, Liège, 1809-1814 Collection DIVA, S2005/20 12 Mustard pot Peter & Ann Bateman, London, 1798 Collection DIVA, S2005/30 13 Mustard pot Belgium, 1832-1869 Collection DIVA, S2005/29A

15 Mustard pot Nicolaas Vleeshouwer, Antwerp, 1794-1795 Collection DIVA, Bequest Pierre Lunden, S75/30A

18 Mustard pot Henricus Millé, Brussels, 1793 Collection DIVA, S2005/10C 19 Mustard pot Henri Joseph Faloise, Liège, 1815-1832 Collection DIVA, S2005/12A 20 Mustard pot Antwerp, 1798-1809 Collection DIVA, S2005/22 21 Mustard pot Joannes Franciscus Genie, Leuven, 1798-1809 Collection DIVA, S2005/17 22 Mustard pot Coosemans, Brussels, 1928-1935 Collection DIVA, S2007/94A

1 5 4

3 Visitor’s guide DIVA

16 Mustard pot André Joseph Petit, Antwerp, 1795 Collection DIVA, S2005/15 17 Mustard pot Rogerius Antonius Joannes Ceulemans, Antwerp, 1832-1869 Collection DIVA, S2005/23A

Dining Room

14 Mustard pot Master with fire pot, Brussels, 1791 Collection DIVA, S2005/16

Tureens and vegetable dishes 1

Vegetable dish Manhattan Wiskemann PLC, Brussels, 1958 Collection DIVA, S2008/16A

2 Tureen with under-plate Antoon de Raedt, Mechelen, 1765-1766 Collection DIVA, Bequest Pierre Lunden, S75/77A 3 Vegetable dish with bain-marie Creswick & C°, Sheffield, 1855-1877 Collection DIVA, S2005/63 4 Vegetable dish Germain Joseph Dutalis, Brussels, 1815-1832 Collection DIVA, S2005/64 5 Vegetable dish Karol Friedlein, Kraków, 1847 Collection DIVA, S2005/62

2 3

1 7

4 5

Oil and vinegar stands 1

Oil and vinegar stand Lambertus Joannes Hannocet, Antwerp, 1737-1738 Collection DIVA, S71/1

2 Oil and vinegar stand Felix-Philippe Offermans, Antwerp, 1832-1869 Collection DIVA, S94/26

6 Oil and vinegar stand Anna M. Schoof, Antwerp, 1741-1742 Collection DIVA, Bequest Pierre Lunden, S75/15

3 Oil and vinegar stand Master A above dot, Antwerp, 1798-1809 Collection DIVA, S92/14

7 Oil and vinegar stand Delheid Frères, Brussels, 1930-1939 Collection DIVA, S95/28

4 Oil and vinegar stand Josephus Franciscus van der Borcht, Antwerp, 1760 Collection DIVA, S94/24

5 Oil and vinegar stand Master JWC, Liège, 1760-1761 Collection DIVA, Bequest Pierre Lunden, S75/75

Dining Room

9 10 10

1 1

2 3

Under the table!

5 6

6 5

Visitor’s guide DIVA

Salt cellars 1

Four salt cellars Jan Baptist II Verberckt, Antwerp, 1832-1838 Collection DIVA, S2007/24

7 Pair of salt cellars Nicolas Van den Acker, Brussels, 1798-1809 Collection DIVA, S2005/11

2 Pair of salt cellars Jan Baptist II Verberckt, Antwerp, 1832-1838 Collection DIVA, S94/8B-C

8 Pair of salt cellars André Joseph Petit, Antwerp, 1786 Collection DIVA, Bequest Pierre Lunden, S75/26

3 Salt cellar Belgium, 1815-1832 Collection DIVA, S2005/29B

9 Pair of salt and pepper cellars Suzanne Hammer, Vienna, 1992 Collection DIVA, S93/13

4 Salt cellar Henri Joseph Faloise, Liège, 1815-1832 Collection DIVA, S2005/12B

10 Pair of salt cellars with salt spoons Delheid Frères, Brussels, 1930-1942 Collection DIVA, S95/5

5 Pair of salt cellars Henricus Millé, Brussels, 1793 Collection DIVA, S2005/10A-B

11 Salt cellar with salt spoon Stefan Epp, Reichenau Island, 1998 Collection DIVA, S2002/33

6 Pair of salt cellars Nicolaas Vleeshouwer, Antwerp, 1794-1795 Collection DIVA, Bequest Pierre Lunden, S75/30C-D

12 Double salt cellar Edouard Bourdon, Ghent, 1854-1888 Collection DIVA, S2001/2

13 Pair of salt cellars Master D, Liège, 1712-1713 Collection DIVA, Bequest Pierre Lunden, S75/71 14 Pair of salt cellars Hermanus Joannes Smidts, Ghent, 1761 Collection DIVA, Bequest Pierre Lunden, S75/63 15 Pair of salt cellars Master with bird on a candlestick, Antwerp, 1778 Collection DIVA, S94/22

Dining Room

8 22

11 12 13 29 36 30 25 31 33 27

35 18 19

2324 26

32 34

38 39

Visitor’s guide DIVA

4 5 6 7

14 15 16 17

Servers and table accessories 1

Ragout spoon Jan Baptist I Verberckt, Antwerp, 1790 Collection DIVA, S94/16

2 Ladle Antwerp, 1798-1809 Collection DIVA, S2006/4 3 Ragout spoon Michiel Verberckt, Antwerp, 1767 Collection DIVA, S90/44 4 Knife rest 207 Moderne Wolfers Frères, Brussels, 1896-1934 Collection DIVA, S2003/21 5 Knife rest Delheid Frères, Brussels, 1869-1942 Collection DIVA, S2003/25J 6 Knife rest Bourdon, Ghent, 1869-1942 Collection DIVA, S2003/16A 7 Knife rest Wolfers Frères, Brussels, ca. 1890-1934 Collection DIVA, S2003/10A

8 Serving cutlery Joseph Karl Klinkosch, Vienna, 1867-1872 Collection DIVA, S2007/22 9 Salad spoon and fork Delheid Frères, Brussels, 1930-1942 Collection DIVA, S95/6 10 Salad spoon and fork Lemaire & de Vernisy, Brussels, 1923-1942 Collection DIVA, S2007/5C-D 11 Ice scoop Lemaire & de Vernisy, Brussels, 1923-1942 Collection DIVA, S2007/5A 12 Ice scoop Lemaire & de Vernisy, Brussels, 1923-1942 Collection DIVA, S2007/5B 13 Ice serving cutlery Wolfers Frères, Brussels, 1875-1900 Collection DIVA, S96/26 14 Knife rest Orfèvrerie Wiskemann, Vorst, 1900-1979 Collection DIVA, S2003/26A

15 Knife rest Delheid Frères, Brussels, 1869-1942 Collection DIVA, S2001/20A 16 Knife rest Bruno Wiskemann, Vorst, 1945-1969 Collection DIVA, S2003/19A 17 Knife rest 39 Delheid Frères, Brussels, ca. 1925-1942 Collection DIVA, S2003/22A 18 Asparagus tongs Brussels, 1798-1809 Collection DIVA, S2005/69 19 Baby food pusher 40 Delheid Frères, Brussels, 1930-1942 Collection DIVA, S2009/22 20 Fish spatula Jacob Hendrik Stellingwerff, Amsterdam, 1812-1813 Collection DIVA, S2007/3 21 Fish serving fork and spatula Emile Adolphe Bonnevie, Brussels, 1864-1878 Collection DIVA, S2005/70 22 Salad fork Presumably Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/6b 23 Fish spatula Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/4b 24 Compote spoon Presumably Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/5a 25 Strawberry scoop Presumably Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/3 72

26 Compote spoon Presumably Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/5b 27 Fish serving fork Presumably Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/4a 28 Salad spoon Presumably Edouard Ernie, Paris, ca. 1880 Collection DIVA, S93/6a 29 Knife rest Lemaire & de Vernisy, Brussels, ca. 1920-1942 Collection DIVA, S2003/11E 30 Knife rest Delheid Frères, Brussels, 1869-1942 Collection DIVA, S2003/13A 31 Sauce ladle Edward Middlecott, Great Britain, ca. 1817 Collection DIVA, S2005/76 32 Butter fork Jean-Baptiste Lombaerts, Brussels, 1815-1832 Collection DIVA, S2005/77 33 Butter scoop Pierre-Louis Deshorgnies, Mons, 1815-1832 Collection DIVA, S2005/75 34 Cream spoon Joseph Germain Dutalis, Brussels, 1815-1832 Collection DIVA, S2006/44 35 Nut pick Franz Mosgau, Berlijn, 1896-1921 Collection DIVA, S2003/2A

Dining Room

36 Gateau slice Pierre-Louis Deshorgnies, Mons, 1815-1832 Collection DIVA, S2007/4

38 Cheese slicer Tapio Tapio Wirkkala, Hämeenlinna, 1992 Collection DIVA, S96/2k 39 Sugar sifting spoon Jean Jacques Coetermans, Antwerp, 1815-1832 Collection DIVA, S89/10

Visitor’s guide DIVA

37 Gateau slicer Tapio Tapio Wirkkala, Hämeenlinna, 1992 Collection DIVA, S96/2l

Continue your visit to the exhibition by following the arrows on the floor and taking the stairs to the first floor. If you prefer, you can take the lift which you’ll find in the Room of Wonder. The last two rooms are located on the first floor. 73

SAFE: AUTHENTICITY AND TRANSPARENCY Experience the strongroom How do you recognize a natural diamond? And what do the marks on silver objects tell us? ≥ A nswer the statements on the cards in the middle of the room. The answer relates to the information hidden in the drawers and boxes in the safe. ≥ O r have a look below and see which grey drawers you can open.

Is it genuine or fake? Because of their intrinsic value, precious stones and metals draw many falsifiers and swindlers. For centuries, the value and exceptional characteristics of diamonds have led people to look for less expensive materials with the same properties. Nowadays, cubic zirconia and synthetic moissanite are the most important diamond simulants. In recent years, a large number of new developments took place in the area of synthetic diamonds and processes. Therefore, it is best to only buy diamonds that come with a certificate or a grading report. This objective document can be considered the diamond’s passport. Precious metals such as silver and gold are soft and pliable, which is why they are rarely forged into an object in their pure state. In order to increase their strength, they are mixed with another metal. This mixture of metals is called an alloy. The authorities require silver and goldsmiths to apply an official mark on the items they produce. In this way, purchasers are guaranteed that the fineness of the gold, silver and platinum complies with the required standards.

3 Visitor’s guide DIVA

Safe

1079

Safe drawer 1079 Couronne ring by the sustainable jewellery brand My Fair Diamond Design: Nedda El-Asmar Diamond cut: Pieter Bombeke 3D print: Rayjo Production: Tesouro Setter: Luc Ceulemans Antwerp, 2017 Collection DIVA, S2017/10

Visitor’s guide DIVA

Safe

Safe drawer 2140 Pair of drop earrings in silver and strass Ca. 1790, Portugal Collection Boelens-Hellemans Pendant in silver and strass with pink foil Ca. 1800 Collection Boelens-Hellemans

Safe Visitor’s guide DIVA

2140

Highlight 10: Mermaid pendant (safe 3081) At first glance, this would seem to be a Renaissance jewellery item from the sixteenth century, a period when colourful, sculptural jewellery with large, tablecut gemstones and enamel was very popular. The welltrained eye can detect from the goldsmithing, finishing and shape of the figures that this piece is not from the sixteenth, but from the late nineteenth century. Renaissance jewellery was popular during the Romantic period and at fancy dress balls in the second half of the nineteenth century. The strong interest in and limited supply of sixteenth-century jewellery quickly led to forgeries and imitations that were able to deceive even seasoned antique dealers and collectors. Presumably Reinhold Vasters, ca. 1870-1880, Collection DIVA, DMK10/1

3073

3081

3051

Safe drawer 3051 Spoon Delheid Frères, Brussels, 1832-1869 Collection DIVA, S2005/78a Maker’s mark: D under snake in square Alloy mark: Janus’head with figure 2 Assay Office mark: Minerva’s head Spoon Louis XV 47 S Delheid, Brussels, 1942-1970 Collection DIVA, S95/22A Maker’s mark: S with trident in horizontal barrel (Brussels, 1942-1990) Silver plating: 100 in rectangle Metal mark: Sivar in rectangle

3086

Spoon Belge No. 5 Orfèvrerie Wiskemann, Brussels, 1872-1930 Collection DIVA, S98/5a Maker’s mark: WISKEMANN Maker’s mark: Cross in shield Silver plating: 100 in contour Monogram: M.D.L. / 87.

Safe 3073 Silver insignia 19th century Private collection, in storage at DIVA, B500/1 Imitation mark: Crowned R Imitation mark: Jug in shield

Safe Visitor’s guide DIVA

3089 3128 3101

3129

3102

3130

Safe 3081

Safe 3089

Mermaid pendant Presumably Reinhold Vasters, ca. 1870-1880 Collection DIVA, DMK10/1

Decorative goblet Neurenberg, 19th century Collection Smidt van Gelder, Sm.1468.A-B Letter N in circle 13 in oval (Germany) Re-inspection from Holland

Safe 3086 Silver sauce bowl 1990-1994 Collection DIVA, S95/11 Imitation mark: Eagle Imitation mark: Glasses with an A in Imitation mark: Crowned A Imitation mark: Crowned 69 Assay mark: 900 without frame

Safe drawer 3101 Coffee spoon Maurice-Joseph Evrard, Mons, 1798-1809 Collection DIVA, S2006/25 Assay office mark: Man’s head with 34 (Mons, 1798-1809) Maker’s mark: E under three points and above one point in a lozenge (Mons) Alloy mark: Cockerel with figure 2 in horizontal octagonv (French departments) Owner’s initials: I.I.P

Brooch Mies de Wilde, Dilbeek, 1959 Collection DIVA, S60/62 Maker’s mark: Monogram DW in barrel Alloy mark: A925 in horizontal oval (Belgium, 1942-present)

Safe drawer 3129 Spoon Baguette uni No. 12 Delheid Frères, Brussels, 1875-1900 Collection DIVA, S94/12A Maker’s mark: D under snake in rectangle Alloy mark: Gothic A with 2 top right in octagon (Belgium, 1869-1942)

Safe drawer 3102 Coffee spoon J.F Hendrickx, Antwerp, 1832-1869 Collection DIVA, S81/7a1 Maker’s mark: H under crossed cutlery in rectangle Guarantee mark: Sword in contour (Belgium, 1832-1869) Initials: MF. Book clasp Jean Michel Anthony, Antwerp, 1832-1869 Collection DIVA, S1748a Maker’s mark: A between two points in hexagon (Antwerp, 1821-1860) Guarantee mark: Sword in contour (Belgium, 1832-1869)

Safe drawer 3128 Spoon Maker with six-pointed star II, Antwerp, 1737-1738 Collection DIVA, S93/20A Maker’s mark: six-pointed star II in contour Date mark: Crowned L (Antwerp, 1737-1738) Town mark: Crowned hand (Antwerp) Owner’s initials: B.W

Safe drawer 3130 Necklace Maker MG, Antwerp, 1751 Collection Saint Willibrord Church Antwerp, in storage at DIVA, B503/1 Maker’s mark: Monogram MG in rectangle City mark: Crowned hand (Antwerp, 1751) Date letter: Crowned 51 (Antwerp, 1751) Coat hook H. Dratz, Brussels, 1815-1832 Collection DIVA, S1340b Maker’s mark: D under compass in square Guarantee mark: Laurel branch in contour (Belgium, 1815-1832) Mustard spoon John Round & Son Ltd, Sheffield, 1898-1899 Collection DIVA, S2005/100 Date letter: F in octagon (Sheffield, 18981899) Lion in octagon (Sheffield, 1898-1899) Crown in octagon (Sheffield, 1898-1899) Maker’s mark: JR in an oval (Sheffield) Mustard spoon Paul Wouters, Brussels, 1832-1869 Collection DIVA, S2005/86 Guarantee mark: Sword in contour (Belgium, 1832-1869) Maker’s mark: W in circle or snake in square

Visitor’s guide DIVA

Safe

BOUDOIR: DIAMOND DIVA’S Experience the boudoir ≥ Sit down in front of the mirror, do the test and find out what type of DIVA you are! ≥ Listen to the fictitious audio recordings ≥ Or read more about jewellery fashions on the screens.

Diamonds appeal to the imagination, as do the controversial divas that parade them. Let yourself be dazzled in DIVA’s boudoir. DIVA displays some jewellery fashion trends from the nineteenth and twentieth centuries, devoting special attention to diamond jewellery and the inspiring women who brought these sparkling valuables to life.

3 2

4 1

Visitor’s guide DIVA

Boudoir

1 6 20

8 10

5 9

In the nineteenth century, jewellery fashions were largely dictated by princesses and noble ladies. They owned sparkling diamond parures which they wore on specific occasions according to the rules of etiquette. Throughout the century, floral motifs were fashionable and diamonds set in silver (on gold) were very much in vogue.

Gold earrings Joseph Germain Dutalis, Brussels, 1815-1832 Collection DIVA, S2013/14

2 Demi-parure with old mine-cut and rose-cut diamonds France, 1860-1870 Collection Boelens-Hellemans 3 Parure consisting of a tiara/bracelet and three brooches that can be linked into a pendant, set with rose-cut diamonds Belgium, 1832-1869 Collection Boelens-Hellemans 4 Demi-parure with pampilles set with black enamel and rose-cut diamonds Ca. 1850 Collection Boelens-Hellemans

6 Gold ring with enamel Leopold I monogram with diamonds, in accompanying case Jean Baptiste Dees, Brussels, 1835, Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/10/1-2 7 Tiara with seven fan-shaped motifs set with old brilliant-cut and rose-cut diamonds Presumably Great Britain, 1830-1860 Collection DIVA, S88/38

Boudoir

9 Branch brooch in the shape of an ivy vine with brilliant-cut diamonds Presumably Great Britain, ca. 1865 Collection DIVA, DMK97/1 10 En tremblant branch brooch in the shape of a violet, set with rose-cut diamonds Ca. 1870 Collection Smidt van Gelder, Sm.1944 11 Branch brooch with flowers and blossom branches, set with old brilliant-cut, cushion-cut and rose-cut diamonds, and a modern-cut diamond Presumably Belgian, ca. 1850 Collection Smidt van Gelder, Sm.1943

Visitor’s guide DIVA

5 Two star brooches with diamonds Ca. 1880 Collection Cathérine Rochtus

8 Snake jewel with old brilliant-cut and rose-cut diamonds and rubies France, ca. 1860 Collection DIVA, DMK99/4

Highlight 11: Snake jewel (no. 8) The jewellery item is made from gold and coated with transparent enamel on a scalelike engraved base, which creates the illusion of a snakeskin. The body is made from coneshaped links that hook into each other. Thanks to this ﬂexibility, the snake, which is probably a viper, can be worn around the wrist or the neck. The jewel dates from 1860, a period when snake jewellery was very popular. It had not always been this way: for centuries, the Christian faith associated snakes with the Devil. In the eighteenth century, this gradually changed thanks to the discovery of artefacts from ancient times. Snakes became popular as a jewellery motif after Queen Victoria wore a snake bracelet for her First Council as the new queen of England in 1837. By wearing this bracelet she showed to have, or aspired to have, the wisdom of a snake. Nameless, France, ca. 1860, Collection DIVA, DMK99/4

12 En tremblant branch brooch with flower in the centre, set with rose-cut diamonds Ca. 1850 Collection Smidt van Gelder, Sm.1946 13 Sickle-shaped brooch with old brilliant-cut and rose-cut diamonds Edouard Bourdon, Ghent, 1880-1890 Collection Saint Pancratius Church Lier, in storage at DIVA, B521/1 14 Star brooch with rose-cut diamonds The Netherlands, 1853-1906 Collection DIVA, DMK02/21a 15 Gold brooch with pampilles, set with black enamel, pearls and rose-cut diamonds Ca. 1870 Collection Boelens-Hellemans 16 Disassembled and tremblant flower brooch, set with old mine-cut and rose-cut diamonds Belgium, ca. 1850 Collection Boelens-Hellemans 17 En tremblant flower brooch with cornflower and set with rose-cut diamond Ca. 1850 Collection Boelens-Hellemans 18 Flower brooch with rose-cut diamonds 2nd half 19th century Collection Boelens-Hellemans 19 En tremblant flower brooch set with old mine-cut and rose-cut diamonds The Netherlands, ca. 1850 Collection Boelens-Hellemans

20 Gold bracelet with enamel monogram and rose-cut diamonds and pearls Charles Jacques Buls, Brussels, 1834-1869 Collection King Baudouin Foundation, Christian Bauwens Fund, in storage at DIVA, B512/23 21 En tremblant brooch with gold dog rose sprigs and silver dog rose flowers, a daffodil and a bow Oscar Massin, Paris, c. 1878 Collection King Baudouin Foundation, Christian Bauwens Fund, in storage at DIVA, B512/24

Boudoir

3 8

Visitor’s guide DIVA

During the Belle Époque, diamond jewellery was no longer the exclusive privilege of queens, empresses and noblewomen. The newly rich, often industrialists or investors from the United States, became important clients of the Parisian high jewellery houses and their daughters gained positions within European nobility by marrying impoverished aristocrats. Stage actresses and courtesans also significantly influenced jewellery fashion. These women, who had a reputation for impropriety, embodied the image of the femme fatale. Diamonds were the gemstones of choice, and with the discovery of diamonds in South Africa in the 1860s, they were relatively affordable. Fashionable women in Antwerp were able to acquire their gems from reliable jewellery houses such as Anthony and Ruys-Ramboux.

Necklace with fringing and rose-cut diamonds Emile Anthony & Wolfers Frères, Antwerp, 1880-1890 Collection Saint Anne Selbdritt Church Antwerp, in storage at DIVA, B517/1

2 Rivière with rose-cut diamonds Presumably Belgium, ca. 1850 Collection Boelens-Hellemans 3 Hanger with bow motifs, set with diamond and cabochon-cut emeralds Western Europe, 2nd half 19th century Collection DIVA, S87/120 4 Tiara with geometrical motif set with pearls and old brilliant-cut and rosecut diamonds Austria, ca. 1910 Collection DIVA, DMK93/2 89

5 Rivière with marquise-shaped rosecut diamonds Great Britain, ca. 1880 Collection DIVA, DMK00/11 6 Bracelet/collier de chien with old brilliant-cut diamond Presumably Belgium, ca. 1880 Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/1 7 Pendant/brooch with rose-cut diamonds Ruys-Ramboux, Antwerp, 1895-1910 Collection DIVA, DMK09/2 8 Pendant/brooch with brilliant-cut and rose-cut diamonds Maison Simonet-Deanscutter, Brussels, ca. 1910 Collection DIVA, DMK08/1 9 Round platinum pendant/brooch with old brilliant-cut and rose-cut diamonds and a pearl necklace (closure from the 1960s) Western Europe, 1901-1910 Collection DIVA, DMK01/3 10 Bracelet with flower motif, set with rose-cut diamonds Late 19th century Collection Boelens-Hellemans 11 Neck jewel in Garland Style with European-cut, rose-cut, old brilliantcut, and octagonal-cut diamonds Presumably Lacloche Frères Paris, 1900-1910 Collection DIVA, DMK05/2 12 Silver and ivory hand mirror Jean Lemmens, Antwerp, 1971 Collection the Flemish Community, in storage at DIVA, B501/1

Highlight 12: Garland necklace (no. 11) Around the turn of the nineteenth century, Europe and the United States experienced a period of prosperity, known as the Belle Époque. Sensual and luxurious fabrics, excessive quantities of lace and elaborate details determined the fashion. The S-shaped silhouette was the new type of corset and it ensured that the bust and the neck attracted attention. In the evenings, high-necked tulles and lace collars were replaced by low-plunging necklines that were perfectly suited for lacy necklaces. The refinement and delicate structure of the Belle Époque jewellery had not been seen before. Garlands, flowers and bows were produced very finely by using platinum. This precious metal was stronger and lighter than silver and gold and therefore was very suitable for producing lacy jewellery. DIVA has conserved a diamond necklace that wonderfully illustrates that swinging like Garland Style. Presumably Lacloche Frères Paris, 1900-1910 Collection DIVA, DMK05/2

Boudoir

9 5-8 12

Visitor’s guide DIVA

During the 1920s, fashion photographers captured diamond jewellery with unprecedented sharp, crisp focus. Their pictures show fashion models and film actresses displaying the geometrical lines of Art Deco style in black and white. The rectilinear silhouette was well-suited to a wide range of jewellery. Brilliant diamonds alternated with various other cuts in almost invisible platinum settings. Antwerp was the diamond-cutting centre of the time and effortlessly met the demands of international jewellery houses.

Gold bracelet/brooch, set with pearls and rose-cut diamonds France, ca. 1850 Collection Boelens-Hellemans

2 Gold brooch in knot motif with synthetic rubies and brilliant-cut diamonds Ca. 1940-1950 Collection DIVA, S89/2 3 Gold brooch in knot motif with synthetic rubies and rose-cut diamonds Ca. 1940-1950 Collection DIVA, S89/1 4 Bean-shaped platinum pendant with brilliant-cut diamonds Cartier, Paris, 1920 Collection DIVA, DMK95/1 91

5 Tie pin with jockey cap, with green jasper and ruby Master P, Belgium, 1832-1869 Collection DIVA, S2017/7 6 Tie pin with fly on a drum, with lapis lazuli, translucid enamel and diamonds Master R, Belgium, 1832-1869 Collection DIVA, S2017/9 7 Tie pin with snake, set with sapphire and diamond Master P, Belgium, 1832-1869 Collection DIVA, S2017/8 8 Silver tie pin with cabochon sapphire After design by Henry van de Velde, Brussels, 1899 Collection DIVA, S2017/5 9 Handbag Le Brilliant with brilliant-cut diamond Delvaux, Brussels, 1998 Collection DIVA, B531/1 10 Multi-coloured brooch with coral, malachite and lapis lazuli flower motifs, set with old brilliant-cut diamonds Design Boucheron, Paris, 1923-1925 Collection DIVA, DMK03/1 11 Double platinum clips with rubies and brilliant-cut and octagonal-cut diamonds Ca. 1942-1950 Collection DIVA, S92/10 12 Demi-parure consisting of a bracelet and brooch with white-gold appliques, yellow-gold fringing of twisted threads, emeralds and brilliant-cut diamonds Wolfers Frères, Brussels, ca. 1960 Collection DIVA, DMK98/1

Highlight 13: Brooch (no. 10) During the 1920s, jewellery designers were influenced by the intense use of colour and geometric shapes of art movements, such as Fauvism, Cubism, Suprematism and Futurism. They created colourful jewellery by using precious stones, such as topaz, aquamarine, tourmaline and turquoise. Furthermore, they looked for contrast by combining transparent faceted precious stones with matte stones. Coral, jade and lapis lazuli stood out against diamonds, emeralds, sapphires and rubies. This brooch with flower motifs wonderfully illustrates the polychrome style of the 1920s. Fruit baskets and flowers with exotic birds were also commonly cut from coloured precious stones. Design Boucheron, Paris, 1923-1925 Collection DIVA, DMK03/1 13 Earrings with old mine-cut and rosecut diamond rosettes Ca. 1830 Collection Boelens-Hellemans 14 Pendant Robert Debaus, Brussels, 1930-1939 Collection DIVA, S2018/1 15 Silver hand mirror and brushes Delheid Frères, Brussels, 1930-1942 Collection DIVA, S96/4

Boudoir

1 4 Visitor’s guide DIVA

2 3

16 Platinum art deco brooch with brilliantcut diamonds Liboire Sauvage, Ghent, ca. 1925 DIVA collection, S2020/7 17 Platinum art deco brooch with synthetic sapphires old brilliant-cut, brilliant-cut and octagonal-cut diamonds Presumably Belgium, c. 1930 DIVA collection, Gilberte Ghesquière bequest, S2018/11

Diamonds sparkle even more brightly under the spotlight. As well as several historical pieces of jewellery associated with the world of the theatre or cinema, here DIVA makes room for exceptional, timeless loans.

Parure La Dame aux Camelias consisting of a ring and pendant with brilliant-cut diamonds Asako Ohtsuki, 2007 Collection Intralcor, in storage at DIVA, B535/4

2 Tiara with wings, set with brilliant-cut and rose-cut diamonds France, ca. 1899 Collection DIVA, DMK00/7 3 Bracelet with swan motif, set with sapphires, rubies and old brilliant-cut diamonds Presumably Germany, ca. 1850-1870 Collection Cathérine Rochtus 4 Earrings Birds of a Feather diamonds, rubies, emeralds and semiprecious stones Reema Shah, ca. 2007 Loan Kapriss World

Highlight 14: Tiara with wings (no. 2) It’s not every day that you wear a diamond tiara. This beautiful sample can ingeniously be turned into two brooches. The wings have been placed on rails, which not only allows for them to be moved, but also to be completely demounted. This tiara from around 1900 perfectly ﬁts the fashion trend of the haute joaillerie. Famous jewellery brands, such as Chaumet, introduced similar designs. Possibly, these winged tiaras were originally inspired by the Ancient Egyptian winged sun disc. The international performances of Wagner’s opera Die Walküre also had an inﬂuence; his Valkyries from Norse mythology, named Walküren, wore winged helmets. The female public supposedly adopted the style in honour of the composer. For the rich elite, a diamond tiara was the jewellery item to express the exuberant and thriving lifestyle of the beginning of the twentieth century. Nameless, France, ca. 1899, Collection DIVA, DMK00/7

Thank you for your visit. Please hand in your audio guide and visitors’ brochure at the special return points when you leave the room. 94

Visitor’s guide DIVA

Boudoir

COLOPHON Presentation of the DIVA collection

DIVA team during realisation

DIVA, a Brilliant Story

Exhibitions team Romy Cockx & Leonie Maerevoet

04.05.2018 - 04.05.2023

Team collection Carl de Smit, Arendine Martens, Wim Nys, Kristina Valiulis & Ann Verbecque

Exhibition produced by De Museumstichting SON in 2018. With the support of: the city of Antwerp, the Province of Antwerp, Toerisme Vlaanderen, AWDC, Umicore, Shanghai Diamond Exchange.

Communication and public activities Els Crollet, Zoë Dejager, Suzanne de Lange, Tom Iriks, Lieselot Jonckheere, Veronica Podkolzina, Rebecca Roskam & Leen Thielemans

Curator Romy Cockx

Library An Labis & Giacomo Visini

Audioplays & butler concept Frank Van Laecke

Administration Daniëlle Serré, Wim Verhulst & Koen Waterschoot

Stage design Studio Gert Voorjans (Wonderkamer) & Carla Janssen-Höfelt Exhibition installer BRUNS B.V. Showcase lighting boudoir Chris Pype Jewellery mounting Version Bronze Audio-visual components and multimedia Centre Screen, Create, Mario de Munck Soundscapes & music audioplays Steven Prengels Graphic design Studio Louise Mertens

Front desk Katelijne Decraene, Maaike Delsaerdt, Raphaël Lauwers, Soun Liekens, Michelle Suykerbuyk & Lieve Van Looveren Logistiek Stéphane Keersmaekers & Henk van Genderen Security Team Marc Brosens, Kaatje Claes, Patrick Dhondt, Walter Geldolf, Gert Govaerts, Vanessa Gruda, May Hillen, Maria Janssens, Raf Lippens, Ronny Mewis, Marianne Scholten, Ilse Van De Weyer, Sven Wendrickx Museumshop Dennis en Stefan Leemans

Colophon

Lenders Stad Antwerpen: Collectie Mayer van den Bergh, Collectie Smidt van Gelder, Collectie Stadhuis, MAS collecties Private lenders Adelin, Adin nv - Fine Antique Jewellery, Arslanian Group, Familie BoelensHellemans, Carolien Cuyvers, Familie de Breyne, David Huycke, Kapriss, Gerhild Kirchner - Sieraden, Octave Landuyt vertegenwoordigd door WM Gallery, Wim Meeussen, Cathérine Rochtus, Rudiam Handmade Jewels in samenwerking met IGC Group, Nico Taeymans, Salima Thakker, Peter Vermandere, verzameling d’Arschot Brussel, Wouters & Hendrix, Anne Zellien Church administrations Sint-Anna-ten-Drieënkerk Antwerpen, Sint-Andrieskerk Antwerpen, Sint-Guibertuskerk Schilde, SintGummaruskerk Lier, Sint-Pancratiuskerk Ranst, Sint-Pieterskerk Bazel, SintWillibrorduskerk Antwerpen

Evgeny Agureev (ALROSA), Anja Baelus, Inneke Baatsen, Herman Bauer (Juwelenhuis Anthony), Bruno Blondé, Pieter Bombeke, Michael Bycroft, Tatiana Crombeen, Georges Cuyvers, Nicole de Bisscop, Bart de Hantsetters (DIAMCAD), Timothy de Paepe, Christina Di Resta, Axelle Dox, Sven Dupré, Marc Ennekens, Johan Erikson (First Element), Fluentes, Philip Hoymans (BONAS), Kattyphil, Piet Lombaerde, Daniel Meylemans (MSD), Alison Mouthaan, Jenny Muddyman (Exelco), Monique Nagielkopf, Cornelia Perquin, Marlise Rijks, Willy Rotti, Ingrid Schepers, Simon Shrimpton-Smith, Team AWDC, Team HRD Antwerp, TG Services, Maartje Stubbe, Robby Timmermans, Gabi Tolkowsky, Tijl Vanneste, Umicore, Verbruggen-Orogem, Verhalen Vertalen, Daisy Verheyden, Kim Verkens, Noud Wijnants, Hans Wins, Donald Woodrow, Axelle Rose Zwartjes

Visitor’s guide DIVA

With special thanks to

Permanent lenders ANDiamond - AFP Group, Erfgoed provincie Antwerpen, H. Schamisso, Kuwayama Europe NV, Intralcor NV, Koning Boudewijnstichting, LewyFriedrich, collectie OCMW - Maagdenhuis, The Phoebus Foundation, Vlaamse Gemeenschap