Visitor's guide 'The Antwerp diamond story'

EN

DIVA,

a Brilliant Story The Antwerp Diamond Story

Kindly return this guide at the end of your visit. It can be accessed online at www.divaantwerp.be.

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Welcome Dear Visitor, On behalf of the whole team, welcome to the museum for diamonds, jewellery and silver: DIVA. You will be following a tour that takes you into the wondrous world of diamonds. A world in which Antwerp has long played a major role.

You will find answers to questions like: What is diamond?

Where do diamonds come from? How can you tell a real diamond from an imitation diamond? And how did Antwerp become the diamond capital of the world?

Along the way, you can marvel at DIVA’s diamond jewellery collection from the 15th until the 21st centuries and at the sublime craftsmanship entailed in its making.

Here’s wishing you a thoroughly enjoyable tour of our museum.

Eva Olde Monnikhof Director DIVA

Give your eyes a moment to adjust to the dark room, which shows DIVA’s jewels at their dazzling best.

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Room of Wonder: collecting and inspiring During the 16th and the beginning of the 17th centuries, Antwerp was a global centre for the production of luxury goods.

Wunderkammern – 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.

On entering the Room of Wonder, turn left.

You’ll find the first piece of jewellery, a pendant with rose-cut diamonds, on the left-hand wall, where you’ll also see the jug with tulip motif.

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The Golden Age During the 16th century, Antwerp grew into 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.

Pendant with rose-cut diamonds and enamel

Western Europe, 1640-1660 St Willibrord Church Collection, Antwerp, in storage at DIVA, B503/4 This pendant is set with Amsterdam rose-cut diamonds. This cut is older than the brilliant and has a lot less shine. An Amsterdam rose cut consists of 24 triangular facets, of which six come together in an apex at the top. The cut is flat at the bottom. Characteristic of the rose cut is that these diamonds were set on a foil. This was usually leaf silver or tinfoil, a silver-coloured foil, which enhances the white colour and dazzle of the diamond.

The jewel had a little box at the back, but the lid is missing. The back is decorated with enamel flowers and tulips. Between 1634 and 1637, speculation in tulip bulbs drove the price to extremes and during ‘tulpo mania’ tulip bulbs were even exchanged for canal houses in Amsterdam.

In the mid-17th century, the tulip motif also appeared frequently in art. This jewel is a rare survivor from that period. We know from a number of portraits and design sketches that similar pendants had a ribbon bow, which was also part of the jewel. Look carefully and at the bottom of the pendant you’ll see a little ring from which a pearl probably hung.

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Gold cluster ring with diamonds and enamel

Europe, ca. 1670-1690 King Baudouin Foundation collection, Christian Bauwens fund, in storage at DIVA, B512/25 This 17th-century ring is a very rare piece of jewellery and an important addition to DIVA’s collection. Oval cluster rings with a hinged lid containing a miniature portrait are few and far between. A cluster ring is a ring in which smaller diamonds are set closely together around a large central diamond.

The ring may have been a memento of a deceased person or an engagement ring. If a memento, the little figure refers to the risen Christ who appears to Mary Magdalene as the gardener. If an engagement ring, the focus is on the fecundity of spring. The rope on the gardener’s shoulders is proof of his dedication and the rose symbolizes love.

Discover more diamond jewellery in the small, black display cases underneath.

Bow-shaped pendant with rose-cut diamonds Last quarter 17th century de Breyne collection

Rosette ring with rose-cut diamonds and enamel Presumably France, 2nd half 17th century de Breyne collection

Gold brooch in the shape of a rosette with rose-cut diamonds Ca. 1675 de Breyne collection

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Gold ring with point-cut diamond Western Europe, 15th century DIVA collection, DMK01/14

Until diamond mines were discovered in Brazil around 1720, all diamonds were imported from India and to a lesser extent also from Borneo. The point cut of this diamond is the earliest known cut and retains the natural shape of the diamond, the octahedron (eight faces). The faces are smoothed and the points at the top and bottom retained, hence the name of the cut.

This diamond may look dark, but diamonds can only shine by reflecting light. Light is reflected through different facets or cut ‘faces’. As the point cut only has eight facets, it shines far less than a modern-day, round, brilliant cut with 57 or 58 facets. The setting encloses more than half the diamond. This too, influences the diamond’s light performance and consequently its brilliance.

This piece of jewellery is in the display case to the left of the Owl Cup.

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Gold lion pendant with table-cut diamonds, rubies, emeralds, sapphires, pearls and enamel Presumably Germany, late 16th century de Breyne collection

Pendants with large, fanciful pearls in the shape of an animal were great favourites during the renaissance. Prints were diffused spreading the style to different parts of Europe. Table-cut diamonds were used in this pendant. The table cut goes right back to the beginning of the 15th century. The natural shape of diamond, octahedron, was flattened both at the top and bottom.

Table cuts were prevalent in jewellery until the beginning of the 18th century. The demand for greater scintillation or sparkle resulted in them being recut into the then fashionable old-mine cut.

This piece of jewellery is to the left of the emergency exit.

View more diamond jewellery in the small, black display cases on this wall.

Gold pendant in the shape of a rosette with table-cut and rose-cut diamonds and enamel Ca. 1625 de Breyne collection

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

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Make your way to the next space via the passageway next to the painting of the goddess Flora. You’ll come to a wall covered with snuffboxes.

The walk-in cupboard with luxury utility objects Gold snuffbox with diamonds

C.M. Weishaupt, Hanau, ca. 1875-1883 King Baudouin Foundation collection, Christian Bauwens fund, in storage at DIVA, B512/9 Small ornate boxes for holding snuff were particularly fashionable in the 18th century, but they were still in vogue in the 19th 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, as indeed was this snuffbox commemorating the birth of Archduchess Maria Elisabeth of Austria, daughter of Crown Prince Rudolf of Austria and Princess Stéphanie.

In the 19th century, unfinished gold snuffboxes were often purchased from the firm C.M. Weishaupt in Hanau and customized by crown jewellers such as Auguste Dufour in accordance with their client’s wishes. King Leopold II had his portrait integrated into this one and encircled with diamonds. It dates from ca. 1883.

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Continue to the space with the sofa.

The exotic salon Down the centuries, European elites were astonished and fascinated by rare and exotic objects and materials from Asia and Africa.

Veritable crazes sprang up: Chinoiserie, Turquerie, Indomania, Egyptomania and Japonisme. Visual art, design, fashion and jewellery were all inspired and influenced by Asia and Africa.

Turquerie and Indomania Peacock brooch with diamond, sapphire, emerald, ruby and pearls

After a design by Gustave Baugrand, 1867 or later DIVA collection, DMK05/1

France,

The peacock brooch is an example of superb craftsmanship. The gemstone decorated feathers are set en tremblant, creating a trembling eff ect. 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.

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Aigrette with rose-cut and table-cut diamonds Presumably Great Britain, ca. 1780 DIVA collection, DMK02/2

The European aigrette was inspired by a sarpech, an Indian turban ornament. Feathers and a pearl were often attached to the turban ornament, which was set with precious stones. From the 17th century, bird plumes were gradually replaced by feather-shaped jewels in which diamonds were set in silver. In the 18th century, fashion dictated that aigrettes could also be pinned on, so European men wore the jewel on their hat and women attached it to their hair or their clothing. A pin was added to this one adjacent to the second feather, so that the jewel could be worn as a brooch.

Aigrette with three feathers, with rose-cut diamonds

Presumably Russia, late 18th century Boelens-Hellemans collection

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

Gold brooch with diamond, ruby, pearls and enamel India, ca. 1860 Boelens-Hellemans collection

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

Inside this hair jewel is a monkey sitting on a karos, an enclosed carriage, and blowing a horn. The jewel is a singerie – French for ‘aping’ – an art genre which shows fashionably dressed monkeys behaving like people. These type of comic and satirical paintings appeared in the Southern Netherlands in the 16th century. David Teniers and Jan Brueghel were among those who experimented with the genre. After a long history that reached its height during the rococo period in the 18th century, the popularity of singeries subsided.

This piece of jewellery is to the left of the tortoiseshell cabinet.

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Divine exposition

Flemish Hearts 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. The cornerstone of their popularity appears to have been people’s devotion to Our Lady, which spread mainly from Antwerp in the 18th and 19th centuries. The city-on-the-Scheldt first expressed its bond with the Virgin Mary as its patroness in the 12th century.

The Flemish Heart consists of a heart shape with a diamond at 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.

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2. Corsage jewel with rose-cut diamonds

Western Europe, ca. 1780-1830 St Gummarus Church Collection, Lier, in storage at DIVA, B519/1

3. Cross pendant with rose-cut diamonds Portugal, ca. 1700 DIVA collection, S75/179

4. Cross pendant with five rose-cut diamonds Paris, ca. 1800 DIVA collection, S75/183

5. Pair of earrings with rose-cut diamonds

Western Europe, ca. 1850 St Andrew’s Church Collection, Antwerp, in storage at DIVA, B516/4

6. Shield-shaped pendant with rose-cut diamonds

Western Europe, 1870-1885 St Anna ten Drieën Church Collection, Antwerp, in storage at DIVA, B517/3

7. Pendant/brooch set with rose-cut diamonds

Petrus Victor Van Herendael, Antwerp, 1867-1875 St Guibert Church Collection, Schilde, in storage at DIVA, B518/1

8. Flemish heart surmounted by trophy with rose-cut diamond

Dionisius Suerickx, Mechelen, 1832-1869 DIVA collection, S75/182

9. Gold cross pendant with filigree

Charles Denys, Mechelen, 1770 DIVA collection, S2013/42

10. Cross pendant with rose-cut diamonds and old brilliant cut Great Britain, ca. 1820 DIVA collection, DMK94/2

11. Diamond-shaped brooch with rose-cut diamonds

Western Europe, 1st half 19th century St Andrew’s Church Collection, Antwerp, in storage at DIVA, B516/3

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12. Flemish heart with crown and rose-cut diamond

Jozef Rombaut Louis De Backer, Dionisius Suerickx, Mechelen, 1832-1869 DIVA collection, S75/181

13. Silver and diamond Flemish heart surmounted by trophy

Southern Netherlands, 17011850 DIVA collection, S70/2

14. Heart-shaped pendant with rose-cut diamonds

Western Europe, 1850-1890 St Anna ten Drieën Church Collection, Antwerp, in storage at DIVA, B517/2

15. Silver Flemish heart with rose-cut diamond Western Europe, ca. 1800 DIVA collection, S87/121

16. Flemish heart surmounted by trophy

Western Europe, 19th century Boelens-Hellemans collection 14

17. Flemish heart with crown and three facet rose

Western Europe, 19th century Boelens-Hellemans collection

18. Flemish heart with bow-shaped crown and rose-cut diamonds Western Europe, ca. 1800 DIVA collection, S88/151

19. Flemish heart surmounted by trophy

Western Europe, 19th century Boelens-Hellemans collection

20. Flemish heart surmounted by trophy

Western Europe, 19th century Boelens-Hellemans collection

21. Flemish heart with crown

Western Europe, 19th century Boelens-Hellemans collection

22. Flemish heart with crown

Western Europe, 19th century Boelens-Hellemans collection

23. Flemish heart with crown

Western Europe, 19th century Boelens-Hellemans collection

24. Flemish heart surmounted by trophy

Western Europe, 19th century Boelens-Hellemans collection

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 DIVA collection, S71/105

25. Cross pendant with table-cut diamonds Presumably Pierre L. Dandelooy, Antwerp, ca. 1800 DIVA collection, S74/3

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EgyptomaniA Platinum brooch with Egyptian motifs set with diamond, ruby, onyx and emerald Lacloche Frères, Paris, 1926 DIVA collection, DMK03/7

In the centre of this brooch, surrounded by diamonds, lies an Egyptian figure holding a papyrus leaf. Papyrus symbolises the green, fertile northern half of Egypt and refers to growth, youth and strength. The ancient Egyptians used it to manufacture a writing surface. Much knowledge and insight about Egyptian civilisation has been gleaned from hieroglyphics, examples of which are depicted above the figure and to its sides.

Napoleon’s 1798 expedition raised Europe’s interest in Egypt, but it was the discovery and excavation of Tutankhamun’s tomb by Howard Carter in 1922 that sent the continent into an Egyptomania frenzy.

Both the film and luxury industries were gripped by ‘Tutmania’, which left its mark on clothing, furniture, interiors and all manner of accessories.

This piece of jewellery is on the wall to the right of the lift.

Gold and silver snake brooch, set with diamonds, ruby and sapphire

Western Europe, 1850-1890 St Andrew’s Church Collection, Antwerp, in storage at DIVA, B516/5 16

Japonisme Yellow gold, art-nouveau pendant with plique à jour enamel, diamonds in old brilliant cut, labradorite and demantoid garnets Léopold Van Strydonck, Belgium, ca. 1900 DIVA collection, S87/39

This piece of jewellery is on the wall to the left of the lift.

Art-nouveau hair comb with diamonds in brilliant cut, rubies and opal Joaillier Feys, Brussels, 1890-1910 DIVA collection, DMK95/2

Gold watch with rose-cut diamonds Switzerland, ca. 1900 St Andrew’s Church Collection, Antwerp, in storage at DIVA, B516/2

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Atelier: creation and craftmanship Silversmithing and diamond processing merge in a timeless workshop. A look behind the scenes links past and present. The tools you see on the wall looks more or less the same as those used in workshops for hundreds of years. Many techniques have also stood the test of time, though today they are sometimes used in a slightly different way.

The main innovation is in the use of computers, lasers and 3D-printers. These advances make for greater accuracy.

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

Diamond cutting The tools on the wall testify to a long history of craftsmanship. Sit yourself down on a stool at the touchscreens and discover since when and how rough diamonds have been transformed into dazzling pieces of jewellery. The various techniques are discussed on the touchscreens. You’ll also hear all about the history and development of diamond processing, embellished with diamond-cutters’ own stories.

Did you know that … diamond is the hardest material in the world? It has a hardness of 10 on the Mohs scale. This means that diamonds can only be scratched or altered by other diamonds.

Diamond owes its name to its property of hardness. The Greek word for the gem was adamas, meaning invincible, indestructible, indomitable, unbreakable.

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What is diamond?

Diamond is a crystallized mineral composed of carbon atoms. Naturally occurring diamonds are formed by the compression of carbon under high pressure (approx. 50,000 to 70,000 kg / cm²) and high temperatures (1,200 to 1,400°C). These extraordinary conditions exist at a depth of 140 to 250 km in the earth’s mantle. Diamonds travel from the upper mantle to the Earth’s surface by volcanic activity. Because they are tightly wrapped in volcanic rock, usually kimberlite, they survive this journey unscathed.

The weight of diamond is expressed in carat (kt). Carat is derived from keration, the Greek name for the kernel of the carob tree’s fruit. Because these seeds weigh about 0.2 grams each, they were used in the Byzantine period as a unit of weight for pearls and gems. In 1911, the metric carat of exactly 0.2 g. was introduced, which is subdivided into 100 points, making one point equal to 0.002 g.

The atelier experience Find out how colour and impurities affect the value of a diamond.

Unleash the diamond worker in you and play the game on the touchscreens.

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Open the drawers on the left-hand wall to view a number of diamond jewels and cuts.

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Drawer 1

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

Drawer 2

Pair of earrings with Antwerp rose-cut diamonds DIVA collection, DMKXX/5

Pair of earrings with diamonds

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Belgium, 1850-1870 St Willibrord Church Collection, Antwerp, in storage at DIVA, B503/5

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Drawer 3

The four seasons, four rings with brilliant-cut diamonds Ira Van De Vondel, Antwerp, 1996 DIVA collection, DMK01/4

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

Drawer 4

Ring with brilliant-cut diamonds

1960 DIVA collection, DMK02/22A

Ring with Antwerp rose-cut diamonds

Presumably Belgium, 1950 DIVA collection, DMK02/21

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Entourage ring after 18th century model with Amsterdam rose-cut diamonds Netherlands, 1953-2000 DIVA collection, DMK00/8

Ring with Flanders-cut diamond

Lewy-Friedrich collection, in storage at DIVA, B537/1

Ring with Flanders-cut diamond

Lewy-Friedrich collection, in storage at DIVA, B537/3

Ring with Flanders-cut diamond

Lewy-Friedrich collection, in storage at DIVA, B537/2

Ring with marquise-cut diamond

Wim Pieters, 1994 DIVA collection, DMK94/4

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Drawer 5

Ring with princess-cut diamond Gerhild Kirchner, Antwerp, 2017 Loan Gerhild Kirchner – Jewellery

Pin with J.C. Millenium-cut diamond Daisy Verheyden, Antwerp, 2000 DIVA collection, DMK01/6

Ring with brilliant-cut diamonds

Wim Meeussen, Antwerp, 2014 Loan Wim Meeussen

Drawer 6

Flower brooch, part of a jewel, with table-cut, Antwerp rose-cut and facetted (three-facetted stone, six-facetted stone) diamonds Western Europe, ca. 1850 DIVA collection, S75/185

Brooch with ribbon motif with rose-cut, baguette-cut diamonds and facetted stones Massaux and Charles Habib, Antwerp, 1940-1950 DIVA collection, S89/3

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Drawer 7

Wrapping papers

Loose diamonds are stored and secured in parcel paper. The papers are folded in such a way that the diamonds cannot fall out.

Drawer 8

Diamond cuts: towards greater scintillation

A diamond’s sparkle stems from its ability to refract and reflect light. Facets work like mirrors and reflect the light in a diamond.

The size, place and proportion of the facets are crucial here. The clarity of the diamond also plays an important role. Inclusions in the diamond or on the surface prevent the light being reflected, thereby detracting from its brilliance.

One shape that beats them all for sensational sparkle is the round brilliant cut with 57 or 58 facets. However, a diamond can be cut into any shape. These cuts are called fantasy cuts. Take a look at both old and modern (fantasy) cuts in drawer No. 8.

Drawer 9

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

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Replica of the Lesotho Promise DIVA collection, S2017/12 Special thanks to DIAMCAD

Though the number of diamond-cutting shops in Antwerp is smaller 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.

You will find this replica to the left of the television screen and to the right of the snuffbox.

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Trading room: Network and trust 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.

A leitmotiv in the story is the international dimension of the diamond trade and the various nationalities and religious communities that participate in it.

This multiculturalism also plays a role in Antwerp’s diamond district today, where 84% of the world’s rough diamonds and 50% of its cut diamonds are traded.

Antwerp is known as “diamond city” with good reason.

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Diamond mining Using the touchscreens around the globe, find out where rough diamonds come from and how the stone is mined. They highlight the main diamond deposits past and present. They also show the different types of diamond mining, the quantities mined and which diamonds are characteristic of a particular country.

Did you know that … the first diamonds were found in India, probably as long ago as 4 BC?

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The diamond trade in Antwerp then and now The globe illustrates how diamonds have travelled to Antwerp since the 16th 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.

Short film 1: 16th century

During the 16th century, Lisbon and Antwerp-based Portuguese, Flemings and Italians dominated the diamond trade with India.

The Italian Affaïtati family played an important role in the trade of diamonds, spices and other luxury products.

Ring with pointed diamond

Found in Nieuwlande (Zeeland), ca. 1500-1530 DIVA collection, S91/6 Short film 2: 17th century In the 17th century, the Dutch gradually assumed control. After 1668 the English and Indians dominated. At the end of the 16th century, the Duarte family of Jewish descent moved from Portugal to Antwerp where there was a large Portuguese trading community. Diego Duarte was superintendent of the Portuguese ‘Natie’ – corporations involved in receiving, dispatching and carrying goods to and from the warehouses – and led the protest against the establishment of the ‘Natie’ for Diamond and Ruby Cutters. Gaspar Duarte took over the business of dealing in precious stones from his father when the latter died in 1628. He became jeweller to the royal court of Charles I of England and was a close friend of Constantijn Huygens. At the time the Duarte family played an important role in Antwerp’s diamond trade.

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Laça pendant with rose-cut diamonds, three facet and six facet roses Presumably Iberian peninsula, Ca. 1800 Boelens-Hellemans collection

Demi-parure with rose and table-cut diamond Presumably Portugal, end 17th century de Breyne collection

Ring with table-cut diamonds

Presumably Iberian peninsula, 1690-1730 DIVA collection, S75/180

Ring with rose-cut diamonds Presumably Iberian peninsula, 1650-1675 DIVA collection, S75/184

Corsage jewel with table-cut diamonds

Presumably Iberian peninsula, 2nd half 17th century DIVA collection, DMK96/1 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.

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Short film 3: 18th century

After the discovery of diamonds in Brazil around 1720, the Portuguese government adopted mining and trading monopolies in a bid to control Brazilian diamond imports. The Portuguese gave English and Dutch traders the exclusive rights to the European trade in Brazilian diamonds.

James Dormer, an Antwerp-based Englishman, was an important trader in Brazilian diamonds in the 18th century.

Spray brooch with old brilliant-cut diamonds

Great Britain, ca. 1820-1830 DIVA collection, DMK98/6

Ring with portrait miniature with old brilliant-cut diamonds France, ca. 1780-1820 DIVA collection, S71/104

Bow brooch with detachable pendant with rose-cut diamonds Mid-18th century de Breyne collection

Brooch/pendant in the shape of a stylized spray of flowers with Antwerp rose-cut diamonds

France or Great Britain, ca. 1750 DIVA collection, S85/1

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Short film 4 and 5: 19th century

Trade underwent another radical shake-up in 1867 with the discovery of diamonds in South Africa. By the end of the 19th century, the monopoly on rough diamonds from South Africa was in the hands of De Beers and the London Syndicate, but Antwerp and Amsterdam were the processing centres. De Beers’ system of sightholders – authorized bulk purchasers of rough diamonds – worked in Antwerp’s favour because the wealth here was more substantial.

In the early days, diamond traders would meet to do business in cafés around Antwerp’s Central Station. A growing need for privacy and safety led to the establishment of the ‘Diamond Club’ in 1892. This organization raised the international standing of Antwerp’s diamond sector, which was increasingly concentrated around Pelikaanstraat.

Short film 4: Louis Coetermans

Louis Coetermans was a striking diamond dealer who exemplified the rise of the Antwerp diamond trade.

Flemish heart surmounted by trophy and in the centre a rose-cut diamond

Henricus Franciscus Coetermans, Antwerp, 1832-1869 DIVA collection, S90/48

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Short film 5: Jewellery house Anthony Clip with brilliant-cut and marquise-cut diamonds

Wolfers Frères, Brussels, post-1942 DIVA collection, S89/14

Clip with brilliant-cut and eight-cut diamonds Massaux, Antwerp, ca. 1935 DIVA collection, S89/15

Sprig brooch

E. Anthony & Wolfers Frères, Antwerp, ca. 1880 DIVA collection, S86/1

Short film 6: 20th century

From the 1920s, rough diamond was imported direct from the Belgian Congo. In the space of several decades, Antwerp became the centre for cut diamonds. During the Second World War, many Jewish families, who played an important role in Antwerp’s diamond trade, fled to New York and Palestine. The short film tells the story of Romi Goldmuntz, a Jewish diamond cutter who became a major diamond trader.

Coat of arms with brilliant-cut, eight-cut, baguette-cut, rose-cut, trapezium-cut diamonds and three-facetted stones Romi Goldmuntz, Antwerp, ca. 1936-1937 City of Antwerp collection, in storage at DIVA, B177/1

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During the 1960s, Indians increased their share in the diamond trade. They obtained sightholdership and the discovery of diamonds in Australia also played to their advantage.

Short film 7: The diamond trade today

Centuries of global trade and multicultural exchange have turned Antwerp’s diamond district – or ‘Diamond Square Mile’ – into the fascinating multicultural hub it is today.

ECC Tennis Racket

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

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Dining room: Luxury consumption and distinction For a long time a table full of silverware was a status symbol. As eating culture in the 18th 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. Marvel at the silver tableware from the 18th through the 20th centuries on display in DIVA’s dining room.

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On the wall on the other side, you’ll find the following pieces of jewellery.

Dining in style in a demi-parure 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.

Demi-parure with sapphires, natural pearls and rose-cut diamonds Arthur Dufour, Brussels, 1869-1877 King Baudouin Foundation collection, Christian Bauwens fund, in storage at DIVA, B512/8

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. 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.

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Discover more parures Demi-parure with rubies and rose-cut diamonds France, ca. 1780-1810 DIVA collection, S2016/4

Countess Vilain XIIII’s parure with amethyst and brilliant-cut diamonds, given to her by Napoleon

France, ca. 1810 St Peter’s Church Collection, Bazel This parure belonged to Sophie Louise Zoé de Feltz (1780-1853). In 1802 she married Philippe Vilain XIIII (1778-1856), a member of one of Flanders’ oldest noble dynasties.

As lady-in-waiting to the French Empress, Marie-Louise Zoé de Feltz maintained a bond of friendship with Emperor Napoleon Bonaparte. On the christening of his son in 1811, Countess Vilain XIIII was given the honour of holding the silver water jug and salt cellar. As a memento of this ceremonious event, Napoleon gave her this diamond and amethyst parure. The case features his coat of arms.

In 1852 the countess gifted the parure to the Church of Bazel. Until the 1970s the jewels were carried with the statue of the Virgin Mary in this church’s annual procession.

The next room, the Vault, is on the first floor. Follow the signs to the staircase and visit the rest of the exhibition.

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Vault: authenticity and transparency Is it genuine or fake? Because of their intrinsic value, precious stones and metals attract falsifiers and swindlers.

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What determines the value of a diamond?

The value of a diamond is determined by the 4 C’s: carat, colour, clarity and cut.

Find out more about the first C in drawer 3022.

Recently we have also identified a fifth C: compliance.

Screen 2121 looks at this in greater depth.

Authenticity and transparency 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. 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.

What is synthetic diamond?

Synthetic diamonds (also known as ‘lab grown’ or ‘man made’) is a term used to describe diamond crystals produced by means of a technological process. Synthetic diamonds have exactly the same chemical and physical properties as natural diamonds, but they are made in a laboratory rather than in nature.

We currently distinguish between two different types of synthetic diamond of gemstone quality: HPHT (High Pressure High Temperature) and CVD (Chemical Vapour Deposition). The film in drawer 2052 tells you exactly how these techniques work.

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Need-to-know facts about diamonds Listed below are several important facts about diamonds. The text also refers you to further information hidden in the vault.

• An expert will know if the stone in your ring is a real diamond. A diamond simulant – or diamond imitation – can be distinguished by its weight, hardness, light reflection and thermal conductivity.

Cubic zirconia shows external damage sooner because it is not as hard as diamond. The difference between diamond and synthetic moissanite is the simplest to see from the double refraction of the facets of synthetic moissanite, but once one of these stones has been set in a piece of jewellery, it is difficult to test. A loose diamond is easier to recognize. Open drawer 2110 and try it out for yourself!

• Watch the video on screen 2121 to find out what you would be well advised to look out for when buying a diamond.

• Natural diamonds are not always colourless. Watch the video on screen 2078 and find out more about coloured diamonds.

• It is very difficult to fake diamond and yet it is not a recent, hightech phenomenon. Even back in 1447, Antwerp’s burgomaster and aldermen banned the sale of fake stones. Open drawers 2025 and 2026 for more information.

• Fake stones are not always without value! Watch the video on screen 2035 and find out about attitudes to imitation in the 16th century.

• In the 18th century, rich ladies did not turn their noses up at sparkling fake jewels. Open drawer 2138 to find out more. Take a look at a real fake jewel in drawer 2140.

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Pair of silver and paste earrings Portugal, ca. 1790 Boelens-Hellemans collection

Silver and paste pendant with rose foil Ca. 1800 Boelens-Hellemans collection

• Not all natural diamonds are expensive. Natural diamonds of lesser quality are used in different ways. Find out how in the video on screen 3019.

• Jewellers used to go after thieves themselves. Watch the video on screen 1060.

• The diamond sector is trying to stamp out conflict and blood diamonds. Watch the video on screen 1004 and find out what measures have been taken in the diamond sector.

• Whatever films and stories may lead you to believe, the diamond trade is not ideal for laundering money. Watch the video on screen 103 and discover what anti-laundering measures the diamond sector has taken.

• The diamond industry has obligations to people and the environment. Open drawer 1076 and learn a few of the rules and regulations.

In drawer 1079 you will find an example of a sustainable diamond jewel: the Couronne ring by the sustainable jewellery collection My Fair Diamond.

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Boudoir: Diamond Divas Diamonds fire the imagination, as do the newsworthy divas who flaunt them. Prepare to be dazzled in DIVA’s boudoir where a number of 19th and 20th-century jewellery fashion trends are on display. The emphasis is on diamond jewellery and the awesome women who brought these sparkling gems to life.

In some places you’ll find integrated screens providing more information about the jewellery on display, and about those who wore it and how.

The first illuminated piece of jewellery, the snake jewel, is in the first display case on the right-hand side when you leave the vault.

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In the 19th 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.

Highlight Snake jewel with old brilliant-cut and rose-cut diamonds and rubies

Anonymous, France, ca. 1860 DIVA collection, DMK99/4 This piece of jewellery is made of gold and coated with transparent enamel on a scale-like engraved base, creating the illusion of snakeskin. The body is made up of cone-shaped links which hook together. This flexibility means that the snake 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 18th 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 that bracelet she showed she had, or aspired to have, the wisdom of a snake.

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More diamond jewellery Demi-parure with old mine-cut and rose-cut diamonds France, 1860-1870 Boelens-Hellemans collection

Parure consisting of a tiara/bracelet and three brooches, which can be linked into a pendant, set with rose-cut diamonds Belgium, 1832-1869 Boelens-Hellemans collection

Demi-parure with pampilles set with black enamel and rose-cut diamonds Ca. 1850 Boelens-Hellemans collection

Two star brooches with diamonds

Ca. 1880 Cathérine Rochtus collection

Gold ring with enamel Leopold I monogram with diamonds, in accompanying case Jean Baptiste Dees, Brussels, 1835 King Baudouin Foundation collection, Christian Bauwens fund, in storage at DIVA, B512/10/1-2

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Gold bracelet with enamel monogram and rose-cut diamonds and pearls

Charles Jacques Buls, Brussels, 1834-1869 King Baudouin Foundation collection, Christian Bauwens fund, in storage at DIVA, B512/23

Tiara with seven fan-shaped motifs set with old brilliant-cut and rose-cut diamonds

Presumably Great Britain, 1830-1860 DIVA collection, S88/38

Branch brooch in the shape of an ivy tendril with brilliant-cut diamonds Presumably Great Britain, ca. 1865 DIVA collection, DMK97/1

En tremblant branch brooch in the shape of a violet, set with rose-cut diamonds

Ca. 1870 Smidt van Gelder collection, Sm.1944

Branch brooch with flowers and blossom branches, set with old brilliant-cut, cushion-cut and rose-cut diamonds, and a modern-cut diamond

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Presumably Belgian, ca. 1850 Smidt van Gelder collection, Sm.1943

En tremblant branch brooch with flower in the centre, set with rose-cut diamonds

Ca. 1850 Smidt van Gelder collection, Sm.1946

Sickle-shaped brooch with old brilliant-cut and rose-cut diamonds

Edouard Bourdon, Ghent, 1880-1890 St Pancratius Church Collection, Lier, in storage at DIVA, B521/1

Star brooch with rose-cut diamonds The Netherlands, 1853-1906 DIVA collection, DMK02/21a

Golden brooch with pampilles, set with black enamel, pearls and rose-cut diamonds Ca. 1870 Boelens-Hellemans collection

Disassembled and en tremblant flower brooch, set with old mine-cut and rose-cut diamonds Belgium, ca. 1850 Boelens-Hellemans collection

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En tremblant flower brooch with cornflower and set with rose-cut diamond Ca. 1850 Boelens-Hellemans collection

Flower brooch with rose-cut

diamonds

2nd half 19th century Boelens-Hellemans collection

En tremblant flower brooch set with old mine-cut and rose-cut diamonds The Netherlands, ca. 1850 Boelens-Hellemans collection

Les belles courtisanes Around the last-but-one turn of the century Europe and the United States of America experienced a period of prosperity, known as 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 haute joaillerie houses. Stage actresses and courtesans also significantly influenced jewellery fashion. These women, who had a reputation for impropriety, embodied the image of the femme fatale.

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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.

Highlight Garland necklace with European-cut, rose-cut, old brilliant-cut, and octagonal-cut diamonds

Presumably Lacloche Frères, Paris, 1900-1910 DIVA collection, DMK05/2 Sensual, luxurious fabrics, excessive quantities of lace and elaborate details became the fashion trends. The S-shaped silhouette, created by a new type of corset, drew attention to the bust and neck. In the evenings, high-necked tulles and lace collars were replaced by low-plunging necklines which lent themselves to lacelike necklaces.

The refinement and delicate structure of belle-époque jewellery had never been seen before. Very fine garlands, flowers and bows were produced using platinum. This precious metal was stronger and lighter than silver and gold and therefore ideal for producing lace-like jewellery. This diamond necklace is a good example of the garland style.

More diamond jewellery Necklace with fringing and rose-cut diamonds

Emile Anthony & Wolfers Frères, Antwerp, 1880-1890 St Anna ten Drieën Church Collection, Antwerp, in storage at DIVA, B517/1

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Rivière with rose-cut diamonds Presumably Belgium, ca. 1850 Boelens-Hellemans collection

Pendant with bow motifs, set with diamond and cabochon-cut emeralds Western Europe, 2nd half 19th century DIVA collection, S87/120

Tiara with geometrical motif set with pearls and old brilliant-cut and rose-cut diamonds Austria, ca. 1910 DIVA collection, DMK93/2

Rivière with marquise-shaped rose-cut diamonds Great Britain, ca. 1880 DIVA collection, DMK00/11

Bracelet/collier de chien with old brilliant-cut diamond

Presumably Belgium, ca. 1880 St Andrew’s Church Collection, Antwerp, in storage at DIVA, B516/1

Pendant/brooch with rose-cut diamonds

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Ruys-Ramboux, Antwerp, 1895-1910 DIVA collection, DMK09/2

Pendant/brooch with brilliant-cut and rose-cut diamonds

Maison Simonet-Deanscutter, Brussels, ca. 1910 DIVA collection, DMK08/1

Round platinum pendant/ brooch with old brilliant-cut and rose-cut diamonds and a pearl necklace (necklace clasp from the 1960s) Western Europe, 1901-1910 DIVA collection, DMK01/3

Bracelet with flower motif, set with rose-cut diamonds Late 19th century Boelens-Hellemans collection

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Fashion muses During the 1920s, fashion photographers captured diamond jewellery as never before. Photographic models and film stars showed in black and white the geometric lines of the art-deco style. The straight silhouette lent itself to a wide range of jewellery. Brilliant-cut diamonds existed alongside a whole variety of new cuts in almost invisible platinum settings. Antwerp was the diamond-cutting centre at the time and had no difficulty supplying the international jewellery houses.

Highlight Multi-coloured brooch with coral, malachite and lapis lazuli flower motifs, set with old brilliant-cut diamonds

Attributed to Boucheron, Paris, ca. 1925 DIVA collection, DMK03/1 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 matt stones. Coral, jade and lapis lazuli stood out well against diamonds, emeralds, sapphires and rubies. This brooch with flower motifs beautifully illustrates the polychrome style of the 1920s. Fruit baskets, flowers and exotic birds cut from coloured gemstones appeared frequently.

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More diamond jewellery Gold bracelet/brooch, set with pearls and rose-cut diamonds

France, ca. 1850 Boelens-Hellemans collection

Gold brooch in knot motif with synthetic rubies and brilliant-cut diamonds Ca. 1940-1950 DIVA collection, S89/2

Gold brooch in knot motif with synthetic rubies and rose-cut diamonds Ca. 1940-1950 DIVA collection, S89/1

Bean-shaped platinum pendant with brilliant-cut diamonds Cartier, Paris, 1920 DIVA collection, DMK95/1

Tie pin depicting a fly on a drum, with lapis lazuli, translucid enamel and diamonds

Master R, Belgium, 1832-1869 DIVA collection, S2017/9 59

Tie pin depicting a snake, set with sapphire and diamond Master P, Belgium, 1832-1869 DIVA collection, S2017/8

Le Brilliant handbag with brilliant-cut diamond Delvaux, Brussels, 1998 DIVA collection, B531/1

Platinum art-deco brooch with synthetic sapphires, old brilliant-cut, brilliant-cut and octagonal-cut diamonds

Presumably Belgium, ca. 1930 DIVA collection, Gilberte Ghesquière bequest, S2018/11

Double platinum clips with rubies and brilliant-cut and octagonal-cut diamonds Ca. 1942-1950 DIVA collection, S92/10

Demi-parure consisting of a bracelet and brooch with white-gold appliqués, twisted thread yellow-gold fringing, diamonds and brilliant-cut diamonds and emeralds Wolfers Frères, Brussels, ca. 1960 DIVA collection, DMK98/1 60

Platinum art-deco brooch with brilliant-cut diamonds

Liboire Sauvage, Ghent, ca. 1925 DIVA collection, S2020/7

Earrings with old mine-cut and rose-cut diamond rosettes

Ca. 1830 Boelens-Hellemans collection

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Divas in the spotlight

Diamonds sparkle even more brightly when the spotlight is on them. Both historical and contemporary jewels linked to the theatre or film world are on display here.

HIGHLIGHT Tiara with wings set with brilliant-cut and rose-cut diamonds

Anonymous, France, Ca. 1899 DIVA collection, DMK00/7 It’s not every day that you wear a diamond tiara. This ingenious tiara transforms into two brooches. The wings have been placed on rails, which means they can be moved and also removed.

This winged tiara reflects the fashion trend of haute joaillerie around 1900. Famous jewellery houses, such as Chaumet and Chanel, introduced similar designs. These winged tiaras may originally have been inspired by the Ancient Egyptian winged sun disk. Another influence were the international performances of Wagner’s opera Die Walküre; his Valkyries from Norse mythology, called 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 exuberance of life at the beginning of the 20th century.

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More diamond jewellery Parure La Dame aux Camelias consisting of a ring and pendant with brilliant-cut diamonds

Asako Ohtsuki, 2007 Intralcor collection, in storage at DIVA, B535/4

Bracelet with swan motif, set with sapphires, rubies and old brilliant-cut diamonds

Presumably Germany, ca. 1850-1870 Cathérine Rochtus collection

Birds of a Feather with diamonds, rubies, emeralds and semi-precious stones Reema Shah, ca. 2007 Loan Kapriss World

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The boudoir experience Sit down in front of the mirror, do the test and find out what type of DIVA you are! Share your photo #DIVAantwerp.

Thank you for your visit. Please hand in the visitors’ GUIDe at the designated points when you leave the room.

Colophon This magazine was produced by DIVA, museum for diamonds, jewellery and silver.

Editors: Els Crollet, Leonie Maerevoet and Catherine Regout Translation: Alison Mouthaan Graphic design: Gunter Segers Images © DIVA, photo: Frederik Beyens, Dominique Provost, Reinier RVDA, Donald Woodrow © Graff Diamonds © 2021 DIVA for this publication, all rights reserved.

Publisher: Eva Olde Monnikhof, director DIVA, Gildekamersstraat 9, 2000 Antwerp D/2021/14.608/11 Disclaimer: While DIVA has made every effort to acknowledge all copyrights in accordance with copyright law, anyone who believes that an omission has occurred should contact the publisher.

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