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.

Visitor’s guide: six rooms, six stories

DIVA, A BRILLIANT STORY

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INTRODUCTIONDiamonds have been associated with Antwerp for centuries. Six themes and 14 key pieces 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.

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.

Diamond (fictitious audio stories)

Butler (introductory stories)

Headset (factual information)

Ground floorScan your ticket here

Entrance

Shop

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DIVA’S ROOM OF WONDER: COLLECTING AND INSPIRINGExperience DIVA’s Room of Wonder

≥ Listen to fictitious stories about seven key pieces or consult the historical facts on the tablet in the bench.

≥ The screens with a red frame contain contextual information and illustrations.

≥ Touch the large screen to meet several Antwerp collectors and discover their collections. Or zoom in on the jewellery in the portraits.

≥ You 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.

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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, 1559Collection Hamburger Kunsthalle Bpk-Bildagentur / photo: Elke Walford

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Mirror frameSouthern Netherlands, 2nd half 16th centuryCollection DIVA, S88/1

Jewellery caseAntwerp, 1576Collection DIVA, S59/2

Textile fragment from the Mayer Van den Bergh collectionBecause 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.

Golden hairpinNorthern Netherlands, late 16th - early 17th centuryCollection Smidt van Gelder, Sm.0589

Golden ring with table-cut rubySouthern Netherlands, 17th centuryCollection DIVA, S68/21

Golden ring with point-cut diamondWestern Europe, 15th century Collection DIVA, DMK01/14Until 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.

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Silver hairpinMaster with crescent, Antwerp, 1625-1626Collection DIVA, S85/2

Silver hairpinSouthern Netherlands, ca. 1610-1620Collection DIVA, S2009/6

Golden hairpinSouthern Netherlands, ca. 1610Collection DIVA, S2009/7Hairpins 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.

Silver owl cupMaster with pelican, Antwerp, 1548-1549Collection King Baudouin Foundation, in storage at DIVA, B512/1

Saint John figurine and Our Lady figurineMechelen, ca. 1530-1550Collection DIVA, S61/12b-c

Cabinet adorned with embroideryAntwerp, ca. 1650Collection DIVA, S58/66

Commemorative medal of Luis de RequesensAnteo Lotello, 1576Collection DIVA, M731

Commemorative medal of Benedictus Arias Montanus Jacques Jonghelinck, Antwerp, 1569 Collection DIVA, M1446

Solidus and Emperor ArcadiusByzantium, ca. 383-408Collection DIVA, M1809

Silver wedding cutlery 1st half 17th centuryCollection MAS, collection Applied Arts and History (Vleeshuis), in storage at DIVA, B504/32

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Highlight 1: Owl cup (no. 10)

Owl cups – so called because of their shape – were highly prized in the Netherlands and German-speaking 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, 1548-1549, Collection King Baudouin Foundation, in storage at DIVA, B512/1

Art Gallery (reproduction)Frans II Francken, Antwerp, 1619Collection KMSKA Lukas-Art in Flanders / photo: Hugo MaertensThe 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.

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

Brooch with rose-cut diamonds and enamelWestern Europe, 1640-1660Collection Saint Willibrord Church Antwerp, in storage at DIVA, B503/4Read the factual story about this key piece in the tablet in the bench.

Bow-shaped pendant with rose-cut diamondsLast quarter 17th centuryCollection de Breyne

Rosette ring with rose-cut diamonds and enamelPresumably France, 2nd half 17th centuryCollection de Breyne

Golden brooch in the shape of a rosette with rose-cut diamondsCa. 1675Collection de Breyne

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

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

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

Plate with medallion of the archduke Albrecht and archduchess Isabella embossedDaniël Dor, Antwerp, ca. 1601Collection DIVA, S59/15

Mars plateFrançois Briot, Neurenberg, ca. 1600Collection DIVA, S81/1

Plate bearing the coat of arms of Charles VNurenberg, ca. 1520-1550Collection DIVA, S75/118

Golden lion pendant with table-cut diamonds, rubies, emeralds, sapphires, pearls and enamelPresumably Germany, late 16th centuryCollection de BreyneGemstones, 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. Design sketches were largely responsible for the spread of the style to other European countries.

Golden pendant in the shape of a rosette with table-cut and rose-cut diamonds and enamelCa. 1625Collection de Breyne

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Golden necklace with 14 rosette-shaped links with table-cut diamonds and enamelGermany or Austria, late 16th centuryCollection de Breyne

Landscape with the Flight into Egypt (reproduction)Joachim Patinir, 1516-1517Collection KMSKALukas - Art in Flanders / photo: Hugo Maertens

The Rape of Europa (reproduction)Abraham Govaerts en Frans II Francken, 17th centuryCollection KMSKA Lukas - Art in Flanders / photo: Hugo Maertens

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Gilded lobed cup Heinrich Straub, Nurenberg, 1608-1635Collection MAS, collection Applied Arts and History (Vleeshuis), in storage at DIVA, B504/5Knorrenbekers 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.

Silver octagonal dishMaster CT, Antwerp, 1625-1626Collection DIVA, S82/16

Gilded tazza with scene from the life of Mucius Scaevola Anthoni Beijs or Gabriël II Dijck, Antwerp, 1561-1562Collection DIVA, S60/120Under 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.

Gilded coconut cupMaster with lion’s mouth, Antwerp, 1543-1544Collection DIVA, S63/5

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

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

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

Guild chain of the Herenthout Saint Sebastian GuildPetrus Van Eesbeeck, Brussels, ca. 1740Collection King Baudouin Foundation, donated by Baroness Monique della Faille d’Huysse, in storage at DIVA, B512/2

Silver popinjayMaster with cross, Antwerp, ca. 1761Collection DIVA, S1283

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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.

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

Gilded coconut cupMaster with lion’s mouth, Antwerp, 1543-1544Collection DIVA, S63/5

Silver cupMaster with heron, Antwerp, 1613-1614Collection DIVA, Bequest Pierre Lunden, S75/1

Silver cup Master with peacock, Antwerp, 1623-1624Collection DIVA, S55/29

Porcelain jug with silver lidThomas Lissau, Antwerp, 1661-1662Collection DIVA, S96/11

Silver cup with gilded interiorMaster with peacock, Antwerp, 1622-1623Collection DIVA, Bequest Pierre Lunden, S75/2

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

Silver spoonMaster with pear with two leaves, Antwerp, 1664-1665Collection DIVA, Bequest Pierre Lunden, S75/7

RummerPresumably Southern Netherlands or Germany, 1640-1680Collection DIVA, S89/91A rummer is a wine-cup with a knopped stem.

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

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

Silver spoonAntwerp, 1632-1633Collection DIVA, S96/12

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Golden snuffbox with enamelDaniel Marchand, Hanau, ca. 1780-1785Collection Smidt van Gelder, Sm.1220

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

Silver snuffboxJean-François de Raismes, Aat, ca. 1750Collection DIVA, S1362

Silver pipeJacques Cupper, Paris, 1809-1819Collection DIVA, S80/12

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

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

Golden snuffbox with diamond and miniature portrait of King Leopold II C.M. Weishaupt, Hanau, ca. 1875-1900Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/9

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Golden snuffbox with rocaille decorationPierre Croissant, Paris, 1739-1740Collection DIVA, Bequest Pierre Lunden, S75/139The 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. Orangist 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.

Commemorative pipeJean François van Deuren, Mechelen, ca. 1817-1820Collection King Baudouin Foundation, Fund Courtin-Bouché, in storage at DIVA, B512/7

Sepiolite pipeL. Baumgartner, Trieste, 1867-1872Collection DIVA, S80/62a

Golden snuffbox with enamelCharles Magnin, Genève, 1815-1881Collection Smidt van Gelder, Sm.1235

Golden snuffbox with enamelRémond, Lamy, Mercier et Compagnie, Genève, 1709-1810Collection Smidt van Gelder, Sm.1229

Silver snuffboxLouis Joseph Piette, Liège, 1815-1832Collection DIVA, S2005/35

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Highlight 2: Snuffbox with portrait ofLeopold 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

Golden snuffbox with cameoRobert-Joseph Auguste, Paris, 1769-1771Collection Smidt van Gelder, Sm.1221

Golden snuffbox with miniature paintingsEdmond-Honoré Langlois, Paris, after 1844Collection Smidt van Gelder, Sm.1225

Golden snuffbox with enamelRémond, Lamy, Mercier et Cie, Genève, 1709-1810Collection Smidt van Gelder, Sm.1227

Golden snuffbox with enamelJean-Georges Rémond et Cie, Genève, 1800-1810Collection Smidt van Gelder, Sm.1228

Silver snuffbox with music trophyJean-Jacques Prévost, Paris, 1767-1768Collection DIVA, S58/25

Silver snuffbox with porcelainCatherine-Adelaïde Duponnois, Paris, 1822-1837Collection Smidt van Gelder, Sm.0505

Golden snuffbox with enamel miniaturesAlexandre-Jean-Marie Leferre, after 1838Collection Smidt van Gelder, Sm.1222

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

Chatelaine watch in three different colours of gold featuring music trophies France, 2nd half 19th centuryCollection Smidt van Gelder, Sm.0582

Silver and crystal scent bottleBohemia, 1814-1906Collection Smidt van Gelder, Sm.1433

Silver and crystal scent bottleBohemia, 1814-1906Collection Smidt van Gelder, Sm.1815

Silver and crystal scent bottleHuibrecht van der Aa, Schoonhoven, 1863-1892Collection Smidt van Gelder, Sm.1417

Silver and rock crystal rattleJoannes Balthasar II van Oppervelt, Antwerp, 1788Collection DIVA, S63/11

Gold, white and red enamel Chatelaine watch with pearl decorationsMaster AV, 2nd half 19th centuryCollection Smidt van Gelder, Sm.0583

Gold and crystal scent bottleBohemia, 2nd half 19th centuryCollection Smidt van Gelder, Sm.1218

Gold and crystal scent bottleMaster M, Baccarat, after 1853Collection Smidt van Gelder, Sm.0599.1-2/2

Gold and crystal scent bottleFrance, after 1853Collection Smidt van Gelder, Sm.0605.1-2/2

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Silver and mother-of-pearl rattleFrance, 1838-1900Collection DIVA, S2009/20

Case with three gold and enamel scent bottles19th centuryCollection Smidt van Gelder, Sm.1248.01-04

Gilded parasol grip with amethystAdolphe Lambert, Brussels, 1906Collection DIVA, S2018/2

Lodderein boxJosephus Franciscus van der Borcht, Antwerp, 1754Collection DIVA, S90/46Lodderein 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.

Silver and crystal scent bottleBohemia, 1856-1867Collection Smidt van Gelder, Sm.1425

Gold and crystal scent bottleBohemia, 2nd half 19th centuryCollection Smidt van Gelder, Sm.0606

Silver powder boxCa. 1890-1910Collection DIVA, S93/1

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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

Ceramic figurine of a monkey playing a fluteDelftCollection Smidt van Gelder, Sm.1052.01

Pair of Chinese porcelain candlesticksLate 17th - early 18th centuryCollection Smidt van Gelder, Sm.0568.1-2/2

Pair of wall sconces2nd half 18th centuryCollection Smidt van Gelder, Sm.0569.2-6

Five Chinese porcelain vases2nd quarter of the 18th centuryCollection Smidt van Gelder, Sm.1749.1-5

Porcelain painted duck tureen, with enamelChina, 1723-1736 Collection DIVA, Bequest Pierre Lunden, S75/108

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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.

Chinoiserie

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Vase Rose Pompadour, decorated with two parrots1775Collection Smidt van Gelder, Sm.0075

Teapot or sake potChina, 1662-1722Collection DIVA, Bequest Pierre Lunden, S75/99

Figure of a white craneChina, Qianlong, 18th centuryCollection Smidt van Gelder, Sm.0141

Pair of porcelain vasesChina, 1662-1722Collection DIVA, Bequest Pierre Lunden, S75/102

Turtle cabinetWerkhuyzen Franck, Antwerp, ca. 1920-1925Collection Smidt van Gelder, Sm.3044

Pair of enamelled Ho-Ho figurinesChina, 1662-1722Collection DIVA, Bequest Pierre Lunden, S75/103

Porcelain Kuan Yu figurineTéhua, 1662-1722Collection DIVA, Bequest Pierre Lunden, S75/97

Porcelain plateChina, 1723-1736Collection DIVA, Bequest Pierre Lunden, S75/111

Teacup with saucer with décor au plumetChina, ca. 1740Collection DIVA, Bequest Pierre Lunden, S75/113

Golden hair jewel set with diamonds and rubies, in casePresumably France, 18th centuryThe Phoebus Foundation collection, in storage at DIVA, B541/1

Two porcelain vases in the shape of an elephantChina, Qianlong, 18th centuryCollection Smidt van Gelder, Sm.0222.1-2

Porcelain teacup with saucerCornelis Pronck, China, 1740Collection DIVA, Bequest Pierre Lunden, S75/106

Inkpot, Chinese man lying down - Li-Tai-Po 17th centuryCollection Smidt van Gelder, Sm.0219

The Empress of China picks the first Mulberry Leaves (reproduction)Ch. B. Rode, ca. 1770Collection Gemäldegalerie der Staatlichen Museen zu Berlin Bpk-Bildagentur / photo: Jörg P. Anders

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

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

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

Silver pipeJacques Cupper, Paris, 1809-1819Collection DIVA, S80/12

Marabout-type coffeepot Jean Jacques Coetermans, Antwerp, 1832-1869Collection DIVA, S87/119Inspired by the Ottoman coffeepots, this type of coffeepot first appeared in the Southern Netherlands at the end of the

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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.

Turquerie and Indomania

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eighteenth century. In the nineteenth century, they regularly featured in oriental paintings.

Sepiolite pipeL. Baumgartner, Trieste, 1867-1872Collection DIVA, S80/62a

Ivory tobacco graterDieppe, 1680-1720Collection DIVA, S80/1337

Aigrette with three feathers, with rose cut diamondsPresumably Russia, late 18th centuryCollection Boelens-Hellemans

Aigrette with rose cut and table cut diamondsPresumably Great Britain, ca. 1780Collection DIVA, DMK02/2Read the factual story about this key piece in the tablet in the bench.

Peacock brooch with diamond, sapphire, emerald, ruby and pearlsAttributed to Gustave Baugrand, France, ca. 1867Collection DIVA, DMK05/1

Silver coffeepotJean-Louis Philippront, Aat, 1783Collection DIVA, Bequest Pierre Lunden, S75/31This 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.

Golden necklace and earrings with turquois, pearls and enamelIndiaCollection Boelens-Hellemans

Golden brooch with diamond, ruby, pearls and enamelIndia, ca. 1860Collection Boelens-Hellemans

Sultana (reproduction)Charles-André Van Loo, Paris, 1747Collection Musée des Arts Décoratifs, Paris Photo: Jean Tholance

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Highlight 3: Peacock Brooch (no. 10)

The peacock brooch, attributed to Parisian jeweller Gustave Baugrand, 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, while the sapphires are from Ceylon (Sri Lanka) and the emeralds from India.In 1867, Baugrand presented this brooch, or an identical one, at the Paris International Exposition. He exhibited it 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. As jeweller to Empress Eugénie, the consort of Napoleon III, Baugrand was a major trendsetter in the world of jewellery during the Second Empire (1852-1870).

Attributed to Gustave Baugrand, Frankrijk, ca. 1867, Collection DIVA, DMK05/1

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

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

Bronze Bastet figurineLate-pharaonic to Ptolemaic Collection MAS, AV.1879.001.088

Bronze Mahes figurineLate-pharaonic to Ptolemaic Collection MAS, AV.1879.001.122

Diadem with coralPresumably France, ca. 1870Collection Boelens-Hellemans

Bronze Thot Ibis headLate-pharaonic to Greek-RomanCollection MAS, AV.1879.001.104

Bronze Horus figurineLate-pharaonic to Greek-RomanCollection MAS, AV.1879.001.027

Platinum Brooch with Egyptian motifs set with diamond, ruby, onyx and emeraldLacloche Frères, Paris, 1926Collection DIVA, DMK03/7Read the factual story about this key piece in the tablet in the bench.

Pendant The hereditary universeOctave Landuyt, 1975On loan from Octave Landuyt, represented by WM Gallery

Bronze falcon figurineLate-pharaonic Collection MAS, AV.1879.001.106

Ushabti (tomb) figurineCollection MAS, MAS.0025.105

Wood and stucco ushabti (tomb) figurineCollection MAS, MAS.0025.104

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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.

Egyptomania

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Horus amulet Collection MAS, AV.1879.001.214

Bronze Thot monkey figurineLate-pharaonic Collection MAS, AV.1879.001.012

Nefertem amulet Collection MAS, AV.1879.001.247

ScarabLate Second Intermediate Period (1650-1550 BC)Collection MAS, AV.1923.010.043.14-22

ScarabLate-pharaonic Collection MAS, AV.1923.010.043.15-22

ScarabLate Twelfth-Fifteenth Dynasty (1800-1550 BC)Collection MAS, AV.1923.010.043.16-22

Gold and silver snake brooch, set with diamonds, ruby and sapphireWestern Europe, 1850-1890Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/5

Ushabti (tomb) figurine378-341 ADCollection MAS, MAS.0025.060

Ushabti (tomb) figurineCollection MAS, MAS.0025.084

Ushabti (tomb) figurine378-341 ADCollection MAS, MAS.0025.093

Pendant After which the bird turns blueOctave Landuyt, 1983On loan from Octave Landuyt, repre-sented by WM Gallery

Sarastro’s garden from The Magic Flute (reproduction)Karl Friedrich Schinkel, 1781-1841Collection Bibliothèque nationale de France, IFN-8437653

Cleopatra testing Poisons on Condemned Prisoners (reproduction on ceiling)Alexandre Cabanel, 1887Collection KMSKA Lukas - Art in Flanders / photo: Hugo Maertens

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

Jardinière aux héronsWolfers Frères, Brussels, 1900-1903Collection DIVA, S2008/19

Imari porcelain coffee urn with silver frameJapan, 1700-1750 and Marie-Jeanne Husson, Oudenaarde, 1762Collection King Baudouin Foundation, Fund Comte Thierry de Looz-Corswarem, in storage at DIVA, B512/11

Embossed silver Pivoines jugWolfers Frères, Brussels, ca. 1893-1897Collection DIVA, S97/12

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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.

Japonism

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Panel with intarsia decorationsCharles Spindler, Saint-Léonard, 1907Collection DIVA, S4817

Gilded glass and silver seasoning shaker Daum Frères, Nancy and Delheid Frères, Brussels, 1892-1900Collection DIVA, S2010/17

Yellow golden Art Nouveau pendant with plique-à-jour enamel, diamonds in old brilliant cut, labradorite and demantoid garnetsAttributed to Léopold Van Strydonck, Brussels, ca. 1900Collection DIVA, S87/39

Art Nouveau hair comb with diamonds in brilliant cut, rubies and opalJoaillier Feys, Brussels, 1890-1910Collection DIVA, DMK95/2

Silver teapot OeilletsLouis Wolfers père et fils, Brussels, 1892-1897Collection DIVA, S2001/26

Gilded belt buckleLéopold Van Strydonck, Brussels, ca. 1900Collection DIVA, S2009/17

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

Silver egoist-type coffeepot Wolfers Frères, Brussels, 1890-1893Collection DIVA, S2013/41

Silver and takula wood box Poisson Wolfers Frères, Brussels, ca. 1916Collection King Baudouin Foundation, in storage at DIVA, B512/12

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

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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.

Attributed to Léopold Van Strydonck, Belgium, ca. 1900, Collection DIVA, S87/39

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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 (1538-1584) 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.

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

Gilded gobletMaster with orb, Antwerp, ca. 1617-1618Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/14/1

Gilded chalice decorated with lacqueringDevroye Frères, Brussels, ca. 1942Collection DIVA, S2000/5A

Design sketch for chalice No. 14 (reproduction)Jan Pieter Antoon Verschuylen, Antwerp, 1825-1865Collection DIVA, P2013/3/46

Design sketch for a chalice (reproduction)Dom Daniel Duesberg, Maredsous, 1920-1944Collection DIVA, P2002/2

Design sketch for sunburst monstrance No. 22 Faith and hope (reproduction)Jan Pieter Antoon Verschuylen, Antwerp, 1825-1865Collection DIVA, P2013/3/1

CiboriumHadrien Victor Kockerols, Antwerp, 1952-1953Collection DIVA, S2001/35

Silver goblet, partly decorated with nielloWerner Oehlschlaeger, Lübeck, 1994Collection DIVA, S2002/73

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Gilded sun monstranceMichiel Verberckt, Antwerp, 1760-1769Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/8A monstrance or ostensory is a vessel used to display the sacred Host – symbolizing the body of Christ – for worship by the congregation. 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.

Gilded sun monstranceMaster with styled plant, Bruges, 1715-1716Collection DIVA, S2011/1

Gilded ciboriumJan Baptist Cassé, Antwerp, ca. 1768Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/5The 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.

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

Partly gilded sun monstranceJan Pieter Antoon Verschuylen, Antwerp, 1861Collection DIVA, S2013/9

Gilded gobletJan Pieter Antoon Verschuylen, Antwerp, 1862Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/10

Gilded cylinder monstranceLambert Van Ryswyck, Antwerp, 1871Collection DIVA, S2013/10

Gilded sun monstranceAntwerp, 1693Collection DIVA, S70/18

Pair of silver angel candlesticks Ca. 1590-1600Collection DIVA, Bequest Pierre Lunden, S75/91

Silver holy water fontJosephus I Hennekin, Antwerp, 1690-1691Collection DIVA, S93/8

Ex-voto with horse2nd half 19th century Collection DIVA, S1347

Prayer book with silver fittingsCollection DIVA, S2007/66

Prayer book with silver fittings 1775-1780Collection DIVA, S2007/67

E.H. Norbert Orthen patenHadrien Victor Kockerols, Overijse-Maleizen, 1961Collection DIVA, S2012/3

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

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

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

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

Cross pendant with rose cut diamondsPortugal, ca. 1700Collection DIVA, S75/179

Cross pendant with five rose cut diamondsParis, ca. 1800Collection DIVA, S75/183

Pair of earrings with rose cut diamondsWestern Europe, ca. 1850Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/4

Shield-shaped pendant with rose cut diamondsWestern Europe, 1870-1885Collection Saint Anne Selbdritt Church Antwerp, in storage at DIVA, B517/3

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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.

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

Flemish heart surmounted by trophy with rose cut diamondDionisius Suerickx, Mechelen, 1832-1869Collection DIVA, S75/182

Golden cross pendant with filigree Charles Denys, Mechelen, 1770Collection DIVA, S2013/42

Cross pendant with rose cut diamonds and old brilliant cutGreat Britain, ca. 1820 Collection DIVA, DMK94/2

Diamond-shaped brooch with rose cut diamondsWestern Europe, 1st half 19th centuryCollection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/3

Flemish heart with crown and rose cut diamondJozef Rombaut Louis De Backer, Dionisius Suerickx, Mechelen, 1832-1869Collection DIVA, S75/181

Silver and diamond Flemish heart surmounted by trophy Southern Netherlands, 1701-1850Collection DIVA, S70/2

Heart-shaped pendant with rose cut diamondsWestern Europe, 1850-1890Collection Saint Anne Selbdritt Church Antwerp, in storage at DIVA, B517/2

Silver Flemish heart with rose cut diamondWestern Europe, ca. 1800Collection DIVA, S87/121

Flemish heart surmounted by trophy Western Europe, 19th centuryCollection Boelens-Hellemans

Flemish heart with crown and three facet roseWestern Europe, 19th centuryCollection Boelens-Hellemans

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Highlight 5: 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. 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.

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.

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Flemish heart with bow-shaped crown and rose cut diamondsWestern Europe, ca. 1800 Collection DIVA, S88/151

Flemish heart surmounted by trophy Western Europe, 19th centuryCollection Boelens-Hellemans

Flemish heart surmounted by trophy Western Europe, 19th centuryCollection Boelens-Hellemans

Flemish heart with crown Western Europe, 19th centuryCollection Boelens-Hellemans

Flemish heart with crown Western Europe, 19th centuryCollection Boelens-Hellemans

Flemish heart with crown Western Europe, 19th centuryCollection Boelens-Hellemans

Flemish heart surmounted by trophy Western Europe, 19th centuryCollection Boelens-Hellemans

Cross pendant with table cut diamondsPresumably Pierre L. Dandelooy, Antwerp, ca. 1800Collection DIVA, S74/3

Cross pendant with foliage set with rose cut diamonds, three facet and six facet rose, and diamond chips Western Europe, 1st half 19th centuryCollection DIVA, S71/105

Ex-voto with left leg2nd half 19th century Collection DIVA, S1348

Ex-voto with Our Lady2nd half 19th century Collection DIVA, S1358

Ex-voto with eye2nd half 19th century Collection DIVA, S1361

Ex-voto with pig2nd half 19th century Collection DIVA, S1346

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

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ATELIER: CREATION AND CRAFTSMANSHIP Left:

diamond cutting

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

≥ Sit down on a stool and find out how rough diamonds are turned into dazzling jewels. The touchscreens shed light on the various techniques.

≥ Go to the section personal stories to listen to the accounts of diamond-cutters. Point the device at the headset symbol and click to activate the sound.

≥ Open the drawers and marvel at diamond jewellery and different cuts.

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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)

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

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Cleaver sticksBruting sticksCleaving hammersCleaver knivesCleaver’s boxBruting hammersSetting pin with bruting dopsSetting pinsBruting sticks for a bruting machineBruting wrenchesPestlesPowder rollersFilesBoart potRasps

Sanding sticksIron boxesPliersSawer’s loupeGaugesWeight GaugesCaliper rulesCutter’s loupePolishing dopsLock nut spannersSpoon tongsSetting tongsPolishing tangsWooden holders for solder dopsMortar

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

Ring with diamonds in cushion cut and brilliant cut Rudiam, Antwerp, 2017Loan Rudiam Handmade Jewels, in association with IGC Group

Pair of earrings with diamondsin Antwerp rose cutCollection DIVA, DMKXX/5

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

Four rings The four seasonswith diamonds in brilliant cutIra Van De Vondel, Antwerp, 1996 Collection DIVA, DMK01/4

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

Ring with diamondsin brilliant cut1960Collection DIVA, DMK02/22A

Ring with diamondsin Antwerp rose cutpresumably Belgium, 1950Collection DIVA, DMK02/21

Entourage ring after 18th century modelwith diamonds in Amsterdam rose cutNetherlands, 1953-2000Collection DIVA, DMK00/8

Ring with diamondin Flanders cutCollection Lewy-Friedrich, in storage at DIVA, B537/1

Ring with diamondin Flanders cutCollection Lewy-Friedrich, in storage at DIVA, B537/3

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Ring with diamondin Flanders cutCollection Lewy-Friedrich, in storage at DIVA, B537/2

Ring with diamondin marquise cutCollection DIVA, DMK94/4

Ring with diamondin princess cutGerhild Kirchner, Antwerp, 2017Loan Gerhild Kirchner - Jewelry

Pin with diamondin J.C. Millenium cutDaisy Verheyden, Antwerp, 2000Collection DIVA, DMK01/6

Ring with diamondsin brilliant cutWim Meeussen, Antwerp, 2014Loan Wim Meeussen

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

Brooch with ribbon motif with diamondsin rose cut, baguette cut and facetted stonesMassaux en Charles Habib, Antwerp, 1940-1950Collection DIVA, S89/3

Parcel papersDiamonds are tucked away in parcel papers. The paper is stone folded in a specific way to prevent the diamonds from falling out.

Flanders cutCollection Kuwayama Europe nv, in storage at DIVA, B536/2

Flanders cutCollection Lewy-Friedrich, in storage at DIVA, B537/4

Flanders cutCollection Lewy-Friedrich, in storage at DIVA, B537/5

Royal 201 - 1.03 ct D/VS2Loan Diamondland

Blue FlameTesiro Jewellery, 2009Collection DIVA, DMK09/1

Diamond shaped after a portrait of King Baudouin1980Collection DIVA, DMK02/1

Diamond in the shape of a ducCollection Andiamond, in storage at DIVA, B523/1

Diamonds in I love You shapeCollection Andiamond, in storage at DIVA, B523/2

Diamond in gothic point cutCollection H. Schamisso, in storage at DIVA, B188/3

Diamond in table thick cutCollection H. Schamisso, in storage at DIVA, B188/1

Diamond in table thin cutCollection H. Schamisso, in storage at DIVA, B188/2

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

Yellow diamond in oval cutCollection DIVA, S68/19

Snuff box with representation of a diamond polisherSchoonhoven, 1924Collection DIVA, DMK 98/5

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

Cultured Manners #68: Smokey Rutile Crystal KnifeOctave Vandeweghe, Antwerp, 2017Collection DIVA, S2017/11/1

Cultured Manners #32: Cultured Citrine SetOctave Vandeweghe, Antwerp, 2015Collection DIVA, S2017/11/3-4

Replica Lesotho PromiseCollection DIVA, S2017/12Special thanks to DIAMCADThough 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.

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Right: Silversmithing

Processing precious metals is an intensive operation. The objects against the right-hand wall illustrate a variety of techniques.

≥ Sit 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.

≥ The drawers contain work by gold and silversmiths and their tools.

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

Ornamental cup Bruxelles Kermesse 1897Wolfers Frères, Brussels, 1897Collection DIVA, S97/2

CupWerner Oehlschlaeger, Lübeck, 1991Collection DIVA, S2002/86

Fruit bowlAnnette Zey, Neurenberg, 1993Collection DIVA, S2002/37

Ace of SpadesJoris Kuyl, Kessel-Lo, 1998Collection DIVA, S98/9

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

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

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

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

Sunburst monstranceJan Pieter Antoon Verschuylen, Antwerp, 1839Collection OCMW Antwerp, Maagdenhuismuseum, in storage at DIVA, B502/7

InkstandJan Pieter Antoon Verschuylen, Antwerp, 1837Collection DIVA, S2001/1

Pair of granulation bowlsDavid Huycke, Sint-Niklaas, 1996-1998Collection DIVA, S98/15

TeapotLouis Wolfers père et fils, Brussels, 1885Collection DIVA, S2000/6

ChaliceVictor Kockerols, Antwerp, 1952-1953Collection DIVA, S57/1

Cigar boxWolfers Frères, Brussels, after 1942Collection King Baudouin Foundation, in storage at DIVA, B512/14

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

Holy water stoupAnthoni Lepies, Antwerp, 1721-1722Collection DIVA, S57/2

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

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

Prelude to a kissGeorges Cuyvers, Antwerp, 2011Collection DIVA, S2011/7

Sugar sifterAndré Joseph Petit, Antwerp, 1786Collection DIVA, Bequest Pierre Lund-en, S75/29

Rings CycloïdesPeter Vermandere, Antwerp, 2018Loan jewel artist Peter Vermandere

Casting mouldDraw plate for sharp triangular wireDraw tong

Hollow punchesRounded punchesChasing punchesChasing hammer

Pair of earringsAttributed to Cornelis Franciscus Betrams, Mechelen, 1832-1869Collection DIVA, S91/21

Demi parure wit pearlsCa. 1880Collection Boelens-Hellemans

Model of brush 8509 JasminWolfers Frères, 1897Collection DIVA, S2004/16/667

Model of claw foot with mascaronWolfers Frères, ca. 1885Collection DIVA, S2004/16/1041

Model of handleWolfers Frères, ca. 1885Collection DIVA, S2004/16/4428

Model of embracing puttiWolfers Frères, ca. 1890Collection DIVA, S2004/16/5701

Jeweler’s sawBarette needle fileNeedle file threesquareGraver knifeGraver flatGraver round

Relief medaillon with the forge of VulcanHans Jamnitzer, Neurenberg, about 1570-1580Collection DIVA, S59/13

Box Werner Oehlschlaeger, Lübeck, 1995Collection DIVA, S2002/72

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In the drawers:

ChaliceWim ibens, Wuustwezel, 1959Collection DIVA, S60/63

Bracelet Statement CuffWouters & Hendrix, Antwerp, 2017Loan Wouters & Hendrix

Bracelet Nico Taeymans, Antwerp, 2017Loan Nico Taeymans

Bracelet Salima Thakker, Antwerp, 2017Loan Salima Thakker

CasterMeester D, Liege, 1721-1722Collection DIVA, S75/72

Pendant with photo holderCa. 1900Collection DIVA, T80/1

Ring Le paradis c’est iciAnne Zellien, Antwerp, 2018Loan Anne Zellien

Roman ring1st century ADCollection Province of Antwerp, in storage at DIVA, B514/1

RingDavid Huycke, Sint-Niklaas, 2017Loan David Huycke

Pendant Gentle ReminderCarolien Cuyvers, Antwerp, 2017Loan Carolien Cuyvers

Two buttonsGermany, 19th centuryCollection DIVA, S1789

Box 9596Ernest en Robert Altenloh, Brussels, ca. 1929-1930Collection DIVA, S95/7

Ring for the little finger with sun- flower cutGeorges Cuyvers, Antwerp, 1993Collection DIVA, DMK94/1

Pendant My tamed kingGeorges Cuyvers, Antwerp, 1995Collection DIVA, DMK99/10

Embossing hammer roundedGoldsmith’s hammer

Planishing hammers

Bracelet with two diamondsin brilliant cutSimonne Muylaert-Hofman, Aalst, ca. 1995Collection DIVA, S2017/3

Ring with diamondsin brilliant cutSimonne Muylaert-Hofman, Westka-pelle, ca. 2010Collection DIVA, S2017/4

Lead punch Some punches and stamped shapes

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

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

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

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

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

Plaster model of a jardinière neo-Louis XVI Delheid Frères, Brussels, 1919Collection DIVA, S2004/14/66

Plaster model of a candlestick Delheid Frères, Brussels, 1850-1890Collection DIVA, S2004/14/362

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

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

Plaster model of the foot of a coffee-pot No. 3428Delheid Frères, Brussels, 1936-1937Collection DIVA, S2004/14/112

Plaster model of the cover of a coffee-pot No. 3428Delheid Frères, Brussels, 1936-1937Collection DIVA, S2004/14/113

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

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

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

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TRADE ROOM: NETWORK AND TRUSTExperience the trading area

≥ Use the touchscreens to find out where rough diamonds come from and how they are mined.

≥ The 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.

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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.

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, DMK 96/1

Ring with pointed diamondFound in Nieuwlande, ca. 1500-1530Collection DIVA, S96/1

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 centuryCollection de Breyne

Corsage jewel with table-cut diamonds Presumably Iberian peninsula, 2nd half 17th centuryCollection DIVA, DMK96/1

Ring with table-cut diamonds Presumably Iberian peninsula, 1690-1730Collection DIVA, S75/180

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

Spray brooch with diamonds in old brilliant cut Great Britain, ca. 1820-1830Collection DIVA, DMK98/6

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

Laça pendant and pair of earrings with Brazilian emeralds Iberian peninsula, second half 18th centuryCollection Boelens-Hellemans

Bow brooch with detachable pendant with diamonds in rose cutMid-18th century Collection de Breyne

Brooch/pendant in the shape of a stylized spray of flowers with diamonds in Antwerp rose cutFrance or Great Britain, ca. 1750Collection DIVA, S85/1

Brabo centrepieceArmand Lens, Antwerp, ca. 1910Collection 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 cutHenricus Franciscus Coetermans, Antwerp, 1832-1869Collection DIVA, S90/48Read the factual story about this key piece in the tablet in the bench in the Room of Wonder.

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Clip with diamonds in brilliant cut and marquise cut Wolfers Frères, Antwerp, post-1942Collection DIVA, S89/14

Clip with diamonds in brilliant cut and eight cutMassaux, Antwerp, ca. 1935Collection DIVA, S89/15

Sprig broochE. Anthony & Wolfers Frères, Antwerp, ca. 1880Collection DIVA, S86/1

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

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

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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

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DINING ROOM: LUXURY CONSUMPTION & DISTINCTIONExperience 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.

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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,

became the region’s leading fashion centre.

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

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.

Pair of pouring jugsDelheid Frères, Brussels, ca. 1869-1942Collection DIVA, S2009/9

Ornamental corkMaster B, Belgium, 1815-1832Collection DIVA, S98/6

Cork-screwJosephus Franciscus van der Borcht, Antwerp, 1774Collection DIVA, S2003/35

Wine basketWolfers Frères, Brussels, ca. 1940-1967Collection DIVA, S93/24

Demi-parure with rubies and rose-cut diamondsFrance, ca. 1780-1810Collection DIVA, S2016/4

Demi-parure with sapphires, natural pearls and rose-cut diamondsArthur Dufour, Brussels, 1869-1877Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/8

Parure with amethist and brilliant-cut diamonds from Countess Vilain XIII donated by NapoleonFrance, ca. 1810Collection Church of Bazel

Whisky barDelheid Frères, Brussels, 1925-1942Collection DIVA, S2012/6

Liqueur setJean-Baptiste Barbieur, Mons, 1815-1832Collection DIVA, S2007/27

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Table centre-piece OndineWolfers Frères & Marcel Wolfers, Brussels, 1958Collection King Baudouin Foundation, in storage at DIVA, B512/4The 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 eighteenth-century castle which housed the Commissariat Général of the World Fair. In 1958 only VIPs got a glimpse of this majestic showpiece.

Pair of candelabras MiradorWolfers Frères, Brussels, 1958Collection King Baudouin Foundation, in storage at DIVA, B512/5

Tureen De Meester familyJoannes Cornelius Hendrickx, Mechelen, 1782Collection King Baudouin Foundation, Fund Léon Courtin-Marcelle Bouché, in storage at DIVA, B512/6

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Following the example of the French court, a profusion of dishes was served simultaneously during eighteenth century dinners. Several courses in an assortment of flavours, textures and shapes created a truly sensational display, not just for the taste buds, but also for the eyes. This way of presenting food later became known as service à la française.

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.

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

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

Pair of sauce boatsPhilippus Josephus de Coene, Ypres, 1773Collection DIVA, Bequest Pierre Lunden, S75/65

Sauce boatKoch & Bergfeld for Theodor Müller after a design by Henry van de Velde, Weimar, 1902-1903Collection DIVA, S97/17

Sauce boatAndré Joseph Petit, Antwerp, 1787Collection DIVA, S56/1

Pair of sauce boatsAbel Etienne Giroux, Paris, 1798-1809Josephus Jacobus Schits, Ghent, 1815-1832Collection DIVA, S95/18

Sauce boatCharles Louis Joseph Dupret, Brussels, 1798-1809Collection DIVA, S2005/59

Sauce boatJean-Baptiste Lombaerts, Brussels, 1832-1869Collection DIVA, S95/19

Sauce boatPierre Hendrickx, Brussels, 1815-1832Collection DIVA, S2001/27

Sauce boat ManhattanWiskemann nv, Brussels, 1958Collection DIVA, S2008/16C

Sauce boatAndré Joseph Petit, Antwerp, 1789Collection DIVA, S56/2

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

Pair of Segnico candlesticks De Vecchi, Verona, 1991Collection DIVA, S96/5

Pair of candlesticks Moderne RoyalSimonet-Deanscutter, Brussels, 1934Collection DIVA, S2006/1

Pair of candlesticksJosephus van Branteghem, Ghent 1815-1832Collection DIVA, S2006/13

Pair of candlesticksJan Baptist I Verberckt, Antwerp, 1783Collection DIVA, S2009/11

Pair of candlesticksJacobus Huybrechts, Antwerp, 1775Collection DIVA, Bequest Pierre Lunden, S75/22

Pair of candlesticksMaria Theresia Smidts, Ghent, 1762Collection DIVA, Bequest Pierre Lunden, S75/61

Pair of candlesticksMaster with beehive, Antwerp, 1737-1738Collection DIVA, Bequest Pierre Lunden, S75/16

Pair of candlesticksPieter van Sychem, Bruges, 1711-1712Collection DIVA, Bequest Pierre Lunden, S75/39

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

Mustard potMichiel de Grave, Ghent, 1754Collection DIVA, Bequest Pierre Lunden, S75/60B

Mustard potAntoon Spillemaeckers, Antwerp, 1774Collection DIVA, Bequest Pierre Lunden, S75/17B

Mustard potFranciscus Josephus I Willaert, Antwerp, 1779Collection DIVA, Bequest Pierre Lunden, S75/24B

Mustard potPierre-Louis Deshorgnies, Mons, 1815-1832Collection DIVA, S2005/19

Mustard potSebastiaan Gijsbert de Maré, Utrecht, 1793Collection DIVA, S2005/27

Mustard potJan Baptist II Verberckt, Antwerp, 1832-1838Collection DIVA, S94/8A

Mustard potBelgium, 1798-1809Collection DIVA, S2005/21

Mustard potPhilippus Mys, Bruges, 1815-1832Collection DIVA, S2005/18

Mustard potJacobus De Smit, Bruges, 1794Collection DIVA, S2005/14

Mustard potGuillaume Pierre Joseph Marie, Liège, 1809-1814Collection DIVA, S2005/20

Mustard potPeter & Ann Bateman, London, 1798Collection DIVA, S2005/30

Mustard potBelgium, 1832-1869Collection DIVA, S2005/29A

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

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

Mustard potAndré Joseph Petit, Antwerp, 1795Collection DIVA, S2005/15

Mustard potRogerius Antonius Joannes Ceulemans, Antwerp, 1832-1869Collection DIVA, S2005/23A

Mustard potHenricus Millé, Brussels, 1793Collection DIVA, S2005/10C

Mustard potHenri Joseph Faloise, Liège, 1815-1832Collection DIVA, S2005/12A

Mustard potAntwerp, 1798-1809Collection DIVA, S2005/22

Mustard potJoannes Franciscus Genie, Leuven, 1798-1809Collection DIVA, S2005/17

Mustard potCoosemans, Brussels, 1928-1935Collection DIVA, S2007/94A

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

Tureen with under-plateAntoon de Raedt, Mechelen, 1765-1766Collection DIVA, Bequest Pierre Lunden, S75/77

Vegetable dish with bain-marieCreswick & C°, Sheffield, 1855-1877Collection DIVA, S2005/63

Vegetable dishGermain Joseph Dutalis, Brussels, 1815-1832Collection DIVA, S2005/64

Vegetable dishKarol Friedlein, Kraków, 1847Collection DIVA, S2005/62

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

Oil and vinegar standFelix-Philippe Offermans, Antwerp, 1832-1869Collection DIVA, S94/26

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

Oil and vinegar standJosephus Franciscus van der Borcht, Antwerp, 1760Collection DIVA, S94/24

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

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

Oil and vinegar standDelheid Frères, Brussels, 1930-1939 Collection DIVA, S95/28

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

Salt cellarJan Baptist II Verberckt, Antwerp, 1832-1838Collection DIVA, S94/8B

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

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

Pair of salt cellarsHenricus Millé, Brussels, 1793Collection DIVA, S2005/10A-B

Pair of salt cellarsNicolaas Vleeshouwer, Antwerp, 1794-1795Collection DIVA, Bequest Pierre Lunden, S75/30

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

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

Pair of salt and pepper cellarsSuzanne Hammer, Vienna, 1992Collection DIVA, S93/13

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

Salt cellar with salt spoonStefan Epp, Reichenau Island, 1998Collection DIVA, S2002/33

Double salt cellarEdouard Bourdon, Ghent, 1854-1888Collection DIVA, S2001/2

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Pair of salt cellarsHermanus Joannes Smidts, Ghent, 1761Collection DIVA, Bequest Pierre Lunden, S75/63

Pair of salt cellarsMaster with bird on a candlestick, Antwerp, 1778Collection DIVA, S94/22

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

Ladle Antwerp, 1798-1809Collection DIVA, S2006/4

Ragout spoonMichiel Verberckt, Antwerp, 1767Collection DIVA, S90/44

Knife rest 207 ModerneWolfers Frères, Brussels, 1896-1934Collection DIVA, S2003/21

Knife rest Delheid Frères, Brussels, 1869-1942Collection DIVA, S2003/25J

Knife restBourdon, Ghent, 1869-1942Collection DIVA, S2003/16A

Knife restWolfers Frères, Brussels, ca. 1890-1934Collection DIVA, S2003/10A

Serving cutlery Joseph Karl Klinkosch, Vienna, 1867-1872Collection DIVA, S2007/22

Salad spoon and forkDelheid Frères, Brussels, 1930-1942Collection DIVA, S95/6

Salad spoon and forkLemaire & de Vernisy, Brussels, 1923-1942Collection DIVA, S2007/5C-D

Ice scoop Lemaire & de Vernisy, Brussels, 1923-1942Collection DIVA, S2007/5A

Ice scoop Lemaire & de Vernisy, Brussels, 1923-1942Collection DIVA, S2007/5B

Ice serving cutleryWolfers Frères, Brussels, 1875-1900Collection DIVA, S96/26

Knife restOrfèvrerie Wiskemann, Vorst, 1900-1979Collection DIVA, S2003/26A

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Servers and table accessories

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mKnife restDelheid Frères, Brussels, 1869-1942 Collection DIVA, S2001/20A

Knife restBruno Wiskemann, Vorst, 1945-1969Collection DIVA, S2003/19A

Knife rest 39Delheid Frères, Brussels, ca. 1925-1942Collection DIVA, S2003/22A Asparagus tongs Brussels, 1798-1809Collection DIVA, S2005/69

Baby food pusher 40 Delheid Frères, Brussels, 1930-1942Collection DIVA, S2009/22

Fish spatulaJacob Hendrik Stellingwerff, Amsterdam, 1812-1813Collection DIVA, S2007/3

Fish serving fork and spatulaEmile Adolphe Bonnevie, Brussels, 1864-1878Collection DIVA, S2005/70

Salad forkPresumably Edouard Ernie, Paris, ca. 1880Collection DIVA, S93/6b

Fish spatulaEdouard Ernie, Paris, ca. 1880Collection DIVA, S93/4b

Compote spoonPresumably Edouard Ernie, Paris, ca. 1880Collection DIVA, S93/5a

Strawberry scoopPresumably Edouard Ernie, Paris, ca. 1880Collection DIVA, S93/3

Compote spoonPresumably Edouard Ernie, Paris, ca. 1880Collection DIVA, S93/5b

Fish serving forkPresumably Edouard Ernie, Paris, ca. 1880Collection DIVA, S93/4a

Salad spoonPresumably Edouard Ernie, Paris, ca. 1880Collection DIVA, S93/6a

Knife restLemaire & de Vernisy, Brussels, ca. 1920-1942Collection DIVA, S2003/11E

Knife restDelheid Frères, Brussels, 1869-1942Collection DIVA, S2003/13A

Sauce ladle Edward Middlecott, Great Britain, ca. 1817Collection DIVA, S2005/76

Butter forkJean-Baptiste Lombaerts, Brussels, 1815-1832 Collection DIVA, S2005/77 Butter scoopPierre-Louis Deshorgnies, Mons, 1815-1832Collection DIVA, S2005/75

Cream spoonJoseph Germain Dutalis, Brussels, 1815-1832Collection DIVA, S2006/44

Nut pickFranz Mosgau, Berlijn, 1896-1921Collection DIVA, S2003/2A

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Gateau slicePierre-Louis Deshorgnies, Mons, 1815-1832Collection DIVA, S2007/4

Cheese slicer TapioTapio Wirkkala, Hämeenlinna, 1992Collection DIVA, S96/2l

Cheese slicer TapioTapio Wirkkala, Hämeenlinna, 1992Collection DIVA, S96/2k

Sugar sifting spoonJean Jacques Coetermans, Antwerp, 1815-1832Collection DIVA, S89/10

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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.

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SAFE: 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. 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.

Experience the strongroom

How do you recognize a natural diamond? And what do the marks on silver objects tell us?

≥ Answer 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.

≥ Or 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.

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Couronne ring by the sustainable jewellery brand My Fair DiamondDesign: Nedda El-AsmarDiamond cut: Pieter Bombeke3D print: RayjoProduction: TesouroSetter: Luc CeulemansAntwerp, 2017Collection DIVA, S2017/10

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Pair of drop earrings in silver and strassCa. 1790, PortugalCollection Boelens-Hellemans

Pendant in silver and strass with pink foilCa. 1800Collection Boelens-Hellemans

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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

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SpoonDelheid Frères, Brussels, 1832-1869Collection DIVA, S2005/78aMaker’s mark: D under snake in squareAlloy mark: Janus’head with figure 2Assay Office mark: Minerva’s head

Spoon Louis XV 47 SDelheid, Brussels, 1942-1970Collection DIVA, S95/22AMaker’s mark: S with trident in horizontal barrel (Brussels, 1942-1990)Silver plating: 100 in rectangleMetal mark: Sivar in rectangle

Spoon Belge No. 5Orfèvrerie Wiskemann, Brussels, 1872-1930Collection DIVA, S98/5aMaker’s mark: WISKEMANNMaker’s mark: Cross in shieldSilver plating: 100 in contourMonogram: M.D.L. / 87.

Safe 3073

Silver insignia19th centuryPrivate collection, in storage at DIVA, B500/1Imitation mark: Crowned RImitation mark: Jug in shield

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

Safe 3086

Silver sauce bowl1990-1994Collection DIVA, S95/11Imitation mark: EagleImitation mark: Glasses with an A inImitation mark: Crowned AImitation mark: Crowned 69Assay mark: 900 without frame

Safe 3089

Decorative gobletNeurenberg, 19th centuryCollection Smidt van Gelder, Sm.1468.A-BLetter N in circle13 in oval (Germany) Re-inspection from Holland

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Coffee spoonMaurice-Joseph Evrard, Mons, 1798-1809Collection DIVA, S2006/25Assay 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

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

Safe drawer 3102

Coffee spoonJ.F Hendrickx, Antwerp, 1832-1869Collection DIVA, S81/7a1Maker’s mark: H under crossed cutlery in rectangleGuarantee mark: Sword in contour (Belgium, 1832-1869)Initials: MF.

Book claspJean Michel Anthony, Antwerp, 1832-1869Collection DIVA, S1748aMaker’s mark: A between two points in hexagon (Antwerp, 1821-1860)Guarantee mark: Sword in contour (Belgium, 1832-1869)

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SpoonMaker with six-pointed star II, Antwerp, 1737-1738Collection DIVA, S93/20AMaker’s mark: six-pointed star II in contourDate mark: Crowned L (Antwerp, 1737-1738)Town mark: Crowned hand (Antwerp)Owner’s initials: B.W

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 3130

NecklaceMaker MG, Antwerp, 1751Collection Saint Willibrord Church Antwerp, in storage at DIVA, B503/1Maker’s mark: Monogram MG in rectangleCity mark: Crowned hand (Antwerp, 1751)Date letter: Crowned 51 (Antwerp, 1751)

Coat hookH. Dratz, Brussels, 1815-1832Collection DIVA, S1340bMaker’s mark: D under compass in squareGuarantee mark: Laurel branch in contour (Belgium, 1815-1832)

Mustard spoonJohn Round & Son Ltd, Sheffield, 1898-1899Collection DIVA, S2005/100Date letter: F in octagon (Sheffield, 1898-1899)Lion in octagon (Sheffield, 1898-1899)Crown in octagon (Sheffield, 1898-1899)Maker’s mark: JR in an oval (Sheffield)

Mustard spoonPaul Wouters, Brussels, 1832-1869Collection DIVA, S2005/86Guarantee mark: Sword in contour (Belgium, 1832-1869)Maker’s mark: W in circle or snake in square

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BOUDOIR: DIAMOND DIVA’SExperience 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.

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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.

Golden earringsJoseph Germain Dutalis, Brussels, 1815-1832Collection DIVA, S2013/14

Demi-parure with old mine-cut and rose-cut diamondsFrance, 1860-1870Collection Boelens-Hellemans

Parure consisting of a tiara/bracelet and three brooches that can be linked into a pendant,set with rose-cut diamondsBelgium, 1832-1869Collection Boelens-Hellemans

Demi-parure with pampilles set with black enamel and rose-cut diamondsCa. 1850Collection Boelens-Hellemans

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Two star brooches with diamonds Ca. 1880Collection Cathérine Rochtus

Golden ring with enamel Leopold I monogram with diamondsJean Baptist Dees, Brussels, 1835, Collection King Baudouin Foundation, Fund Christian Bauwens, in storage at DIVA, B512/10/1

Tiara with seven fan-shaped motifs set with old brilliant-cut and rose-cut diamondsPresumably Great Britain, 1830-1860Collection DIVA, S88/38

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

Branch brooch in the shape of an ivy vine with brilliant-cut diamondsPresumably Great Britain, ca. 1865Collection DIVA, DMK97/1

En tremblant branch brooch in the shape of a violet, set with rose-cut diamondsCa. 1870Collection Smidt van Gelder, Sm.1944

Branch brooch with flowers and blossom branches, set with old brilliant-cut, cushion-cut and rose-cut diamonds, and a modern-cut diamondPresumably Belgian, ca. 1850Collection Smidt van Gelder, Sm.1943

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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

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En tremblant branch brooch with flower in the centre, set with rose-cut diamondsCa. 1850Collection Smidt van Gelder, Sm.1946

Sickle-shaped brooch with old brilliant-cut and rose-cut diamonds Edouard Bourdon, Ghent, 1880-1890Collection Saint Pancratius Church Lier, in storage at DIVA, B521/1

Star brooch with rose-cut diamondsThe Netherlands, 1853-1906Collection DIVA, DMK02/21a

Golden brooch with pampilles, set with black enamel, pearls and rose-cut diamondsCa. 1870Collection Boelens-Hellemans

Disassembled and tremblant flower brooch, set with old mine-cut and rose-cut diamondsBelgium, ca. 1850Collection Boelens-Hellemans

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

Flower brooch with rose-cut diamonds 2nd half 19th centuryCollection Boelens-Hellemans

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

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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, 1880-1890Collection Saint Anne Selbdritt Church Antwerp, in storage at DIVA, B517/1

Rivière with rose-cut diamondsPresumably Belgium, ca. 1850Collection Boelens-Hellemans

Hanger with bow motifs, set with diamond and cabochon-cut emeraldsWestern Europe, 2nd half 19th centuryCollection DIVA, S87/120

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

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Rivière with marquise-shaped rose-cut diamondsGreat Britain, ca. 1880 Collection DIVA, DMK00/11

Bracelet/collier de chien with old brilliant-cut diamondPresumably Belgium, ca. 1880Collection Saint- Andrew’s Church Antwerp, in storage at DIVA, B516/1

Necklace/brooch with rose-cut diamondsRuys-Ramboux, Antwerp, 1895-1910 Collection DIVA, DMK09/2

Pendant/brooch with brilliant-cut and rose-cut diamonds Maison Simonet-Deanscutter, Brussels, ca. 1910Collection DIVA, DMK08/1

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

Bracelet with flower motif, set with rose-cut diamondsLate 19th centuryCollection Boelens-Hellemans

Neck jewel in garland style with European-cut, rose-cut, old brilliant-cut, and octagonal-cut diamondsPresumably the Lacloche Frères, Paris, 1900-1910Collection DIVA, DMK05/2

Silver and ivory hand mirror Jean Lemmens, Antwerp, 1971Collection the Flemish Community, in storage at DIVA, B501/1

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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 the Lacloche Frères, Paris, 1900-1910, Collection DIVA, DMK05/2

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.

Golden bracelet/brooch, set with pearls and rose-cut diamondsFrance, ca. 1850Collection Boelens-Hellemans

Golden brooch in knot motif with synthetic rubies and brilliant-cut diamondsCa. 1940-1950Collection DIVA, S89/2

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

Bean-shaped platinum pendant with brilliant-cut diamondsCartier, Paris, 1920Collection DIVA, DMK95/1

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Tie pin with jockey cap, with green jasper and rubyMaster P, Belgium, 1832-1869Collection DIVA, S2017/7

Tie pin with fly on a drum, with lapis lazuli, translucid enamel and diamondsMaster R, Belgium, 1832-1869Collection DIVA, S2017/9

Tie pin with snake, set with sapphire and diamondMaster P, Belgium, 1832-1869Collection DIVA, S2017/8

Silver tie pin with cabochon sapphire After design by Henry van de Velde, Brussels, 1899 Collection DIVA, S2017/5

Handbag Le Brilliant with brilliant-cut diamondDelvaux, Brussels, 1998Collection DIVA, B531/1

Multi-coloured brooch with coral, malachite and lapis lazuli flower motifs, set with old brilliant-cut diamonds Attributed to Boucheron, Paris, ca. 1925Collection DIVA, DMK03/1

Double platinum clips with rubies and brilliant-cut and octagonal-cut diamondsCa. 1942-1950Collection DIVA, S92/10

Demi-parure consisting of a bracelet and armband and brooch with white-golden appliques, yellow-golden fringing of twisted threads, diamonds and brilliant-cut emeralds Wolfers Frères, Brussels, ca. 1960Collection DIVA, DMK98/1

Earrings with old mine-cut and rose-cut diamond rosettes Ca. 1830 Collection Boelens-Hellemans

PendantRobert Debaus, Brussels, 1930-1939Collection DIVA, S2018/1

Silver hand mirror and brushes Delheid Frères, Brussels, 1930-1942Collection DIVA, S96/4

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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.

Attributed to Boucheron, Paris, ca. 1925, Collection DIVA, DMK03/1 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.

Open the drawers for more information about these jewels.

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

Tiara with wings, set with brilliant-cut and rose-cut diamonds France, ca. 1899Collection DIVA, DMK00/7

Bracelet with swan motif, set with sapphires, rubies and old brilliant-cut diamonds Presumably Germany, ca. 1850-1870Collection Cathérine Rochtus

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

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 and Chanel, 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

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COLOPHONPresentation of the DIVA collection

DIVA, a Brilliant Story

04.05.2018 - 04.05.2023

Exhibition produced by De Museumstichting SON.

Chairman: Luk LemmensVice chairwomen: Caroline Bastiaens & Bie De GraeveBoard of Directors: Yolande Avontroodt, Bert Corluy, Monica De Coninck, Lebuïn D’Haese, Erik Dralans, Joris Giebens, Bob Hulstaert, Mieke Renders, Christian Salez, Sepideh Sedaghatnia, Manfred Sellink, Ingrid Stevens, Manuela Van WerdeGeneral Director: Walter Rycquart

With the support of:the city of Antwerp, the province of Antwerp, and Toerisme Vlaanderen.

Curator: Romy CockxAudioplays & butler concept: Frank Van LaeckeStage design: Studio Gert Voorjans (Room of Wonder) & Carla Janssen-Höfelt

Exhibition installer: BRUNS B.VShowcase lighting boudoir: Chris PypeJewellery mounting: Version BronzeAudio-visual components and multimedia: Centre Screen, Create, Mario de MunckSoundscapes & music audioplays: Steven PrengelsGraphic design: Studio Louise MertensTranslations: Alison Mouthaan & Verhalen Vertalen

DIVA team involved in the new collection presentation

Exhibitions team: Romy Cockx & Leonie MaerevoetCollection team: Carl De Smit, Arendine Martens, Wim Nys, Kristina Valiulis & Ann VerbecqueCommunication and public relations: Els Crollet, Zoë Dejager, Suzanne De Lange, Tom Iriks, Lieselot Jonckheere, Veronica Podkolzina, Rebecca Roskam & Leen Thielemans Library: An Labis & Giacomo VisiniAdministration: Daniëlle Serré, Wim Verhulst & Koen WaterschootFront desk: Katelijne Decraene, Maaike Delsaerdt, Raphaël Lauwers, Soun LiekensMichelle Suykerbuyk & Lieve Van LooverenLogistiek: Stéphane Keersmaekers & Henk Van GenderenSecurity Team: Marc Brosens, Kaatje Claes, Patrick Dhondt, Walter Geldolf, Gert Govaerts, May Hillen, Maria Janssens, Raf Lippens, Ronny Mewis, Marianne Scholten, Ilse Van De Weyer, Sven WendrickxMuseumshop: Dennis en Stefan Leemans

With special thanks to:

Lenders:City of Antwerp: Mayer Van den Berg collection, Smidt van Gelder collection, Stadhuis collection, MAS collections

Private lenders:Adelin, Adin nv - Fine Antique Jewellery, Boelens-Hellemans family, Cominco, Carolien Cuyvers, de Breyne family, Diamondland, Diarough, David Huycke, Gerhild Kirchner - Sieraden, Octave Landuyt represented by WM Gallery, Wim Meeussen, Cathérine Rochtus, Rudiam Handmade Jewels in collaboration with IGC Group, Nico Taeymans, Salima Thakker, Peter Vermandere, d’Arschot Brussel collection, Wouters & Hendrix, Anne Zellien

Church administrations:Saint Anne Selbdritt Church Antwerp, Saint Andrew’s Church Antwerp, Saint Guibert’s Church Schilde, Saint Gummarus Church Lier, Saint Pancratius Church Ranst, Saint Peter’s Church Bazel, Saint Willibrord Church Antwerp

Permanent lenders: ANDiamond - AFP Group, Service of Cultural Heritage of the Province of Antwerp, H. Schamisso, Kuwayama Europe nv, Intralcor nv, King Baudouin Foundation, Lewy-Friedrich, OCMW Antwerp -Maagdenhuismuseum collection, The Phoebus Foundation, Flemish Community

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, Robby Timmermans, Gabi Tolkowsky, Tijl Vanneste, UMICORE Precious Metals, Verbruggen-Orogem, Verhalen Vertalen, Daisy Verheyden, Kim Verkens, Noud Wijnants, Hans Wins, Donald Woodrow, Axelle Rose Zwartjes

© 2018 for this publicationAll rights reserved

Publisher:Walter Rycquart, DIVA,Gildekamersstraat 9, 2000 Antwerp

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