More than a week has transpired since I was in Paris but it feels like only yesterday that I was making my way through the lavish booths of the 27th Biennale des Antiquaires. Under the soaring domed glass roof of the Grand Palais, a coordinated maze of art, antique and high jewelry exhibitors, 89 in total this year, displayed their finest works for admiring visitors.
The entrance to the Grand Palais and the 27th Biennale des Antiquaires
Created in 1962, the Biennale des Antiquaires takes place every two years in Paris and is housed in the spacious Grand Palais, whose interior measures to more than 48,000 square feet. Over 100,000 visitors were expected to attend this year, and I have no doubt that estimate was surpassed. On opening night, the VIP Vernissage, a throng of sharply dressed guests queued at the entrance, the line would eventually extend all the way across the front of the building and begin to curl around its side. The following morning, the first day the Biennale was open to the public, a number of lengthy lines formed at the entrance, much to everyone’s initial confusion. Without a doubt, a great number of people traveled far and wide, and for some not too far at all, to come see this spectacular fair.
The 27th Biennale des Antiquaires looked to the grand gardens of Versailles for its interior decor and design. Photo courtesy of Maison Francis Kurkdjian
At a steady pace, we were slowly allowed into the venue, the design of which paid homage to the meticulously manicured gardens of Versailles. The jewelers were spread out in clusters among the other exhibitors, with Cartier occupying perhaps the most distinguished booth of them all. Thirteen high jewelry brands debuted their newest collections at the Biennale alongside a select few antique jewelry dealers specializing in only the rarest, most covetable jewels from the past.
A very crowded corridor on the Biennale’s opening night
Located dead center at the end of the main walkway, Cartier wowed with its Royal Collection. Over 100 creations comprise the collection and the most prized pieces are those featuring an exceptional array of precious gemstones.
The five most notable stones include a flawless 30.21-carat pear-shaped diamond, a cushion-shaped 26.6-carat Colombian emerald, a rare “pigeon’s blood” purple red ruby of 10.16 carats from the prized Mogok Valley, a 29.06-carat “cornflower blue” Kashmir sapphire, and a royal natural pearl drop that originally belonged to Tsarina Maria Feodorovna, the mother of Nicolas II, the last Tsar of Russia.
By Day Two, over half of the major pieces had gold dots on their descriptions indicating they had been sold.
The Reine Makéda Necklace – in platinum set with a 15.29-carat oval-shaped ruby from Mozambique, a 3.51-carat D IF rose-cut diamond, a 5.10-carat pear-shaped rose-cut diamond, cabochon-cut and faceted ruby beads, pear-shaped rose-cut diamonds, calibré-cut diamonds, and brilliant-cut diamonds
Just before Cartier were the booths of Van Cleef & Arpels, Boucheron, Giampero Bodino, Chaumet and Wallace Chan.
Boucheron and Chaumet introduced collections of different inspirations but whose jewels utilized similar color schemes of icy whites, watery blues and verdant greens. Chaumet explored the different effects of water and light in nature with “Lumières d’Eau”, while Boucheron took visitors on a journey to the exotic lands of the Far East in “Rêves d’Ailleurs“.
Boucheron’s Rivage necklace is a splash of sapphires and diamonds in a design reminiscent of Boucheron’s Vague tiara, circa 1920
Italian jeweler Giampiero Bodino, the newest member of the Richemont Group, displayed his versatility in jewelry design with a handful of highly distinct suites, ranging from a striking layered scalloped turquoise and amethyst ‘Mosaic’ necklace to an ornate choker comprised of six strands of pearl and pink tourmaline beads and various sized cameos.
Giampiero Bodino Mosaic necklace with turquoise and amethyst cabochons on mother-of-pearl and diamonds. Photo courtesy of Giampiero Bodino
At Van Cleef & Arpels, I was transported to the fairytale world of “Peau d’Âne“, an old French children’s story from which the new collection is inspired.
In the middle of the booth was a tall gilded tree which showcased in its trunk the collection’s pièce-de-resistance: the Émeraude en majesté necklace, a double strand necklace with 29 Colombian emeralds set in a sparkling flurry of diamonds. The magical piece, which can be worn five different ways, looked even better when worn – and I was lucky enough to try it on myself! Not too surprisingly, the necklace sold on opening night.
Van Cleef & Arpels Émeraude en majesté necklace, the 29 Colombian green emeralds symbolizing the princess Peau d’âne’s new life in the forest. Photo courtesy of Van Cleef & Arpels
Other highlights from the collection included Peau d’Âne herself, and her three magical dresses, the Prince Rouge clip, and all the grand necklaces created for the collection. I also was particularly fond of the Heritage Collection pieces as well.
To see a collection of jewelry by Wallace Chan is like stepping into mythical dream world where glittering giant ants roam and jewel-encrusted butterflies flutter about a garden of shimmering flowers in a riot of color.
Wallace Chan’s The Mighty brooch at the Biennale
Reality ceased to exist while meandering in Chan’s booth, whose organic displays increasingly wowed from beginning to end. Like a hyperbolic garland of flowers, a grand floral necklace appeared to be Chan’s most extravagant piece at the Biennale. Unimaginably ornate, the necklace displayed the infinite imagination of Wallace Chan and his rare ability to manifest it into fine jewelry.
The other jewelers were, oddly enough, scattered about at the opposite ends of the exhibition space. I will explore my visits to those booths in a second post later this week.
For additional highlights from the Biennale, please check out my Instagram!