Vever: Stories of imagination since 1821

Recently we had thesecond-hand to discover the exhibition “Histoires d'Imagination” organized by the Maison Vever within its premises, which traces the history of the Maison.

History of the Maison

Two centuries ago, Pierre-Paul Vever created the Maison in Metz and made his first exceptional piece of jewelry there. In 1872, his son Ernest set up the maison in Paris, more precisely rue de la Paix. For more than a century, it remained at number 19, then moved to 14.

In 1881, Ernest bequeathed the company to his sons, Paul and Henri. Henri, a historian, artist, painter and bibliophile, was also the author of the essential work entitled "La bijouterie française au XIXe century". 

During the 1889 World's Fair, the Maison Vever won the Grand Prix, where critics praised the grace of their “bouquets of jewelry” and the quality of their execution. 

The following decade, at the Brussels International Exhibition of 1897, the Paris Universal Exhibition of 1900, and then the Franco-British Exhibition of London in 1908, the Maison Vever, a figure of a new art, is awarded the Grand Prix to three covers.

There Maison Vever's clients include public figures such as Tsar Alexander III and the Imperial Court of Russia, the Shah of Persia, Japanese Prime Minister Tokugawa Iesato, French President Sadi Carnot, etc.

Vever and his fascination with Japan

Henry Vever was passionate about Japanese art. A great collector, he organized with his artist friends, in particular Claude Monet, “Japanese” dinners where everyone presented their latest finds. In addition, Henri Vever also donated Japanese prints to the Louvre Museum in 1894. Today, Henri Vever’s immense collection has returned to its native land, at the Tokyo National Museum.

Details from Japanese culture such asan inro (a traditional Japanese case used to carry small everyday items), a tsuba (Japanese sword guard), a netsuke (small object hanging above the kimono belt) or even a print (woodcut) are all graphic elements that will inspire Henri Vever in his jewelry creations.

The flourishing jewelry industry of Vever

After Japan, Henri Vever's second passion is plant life, of which he observes every detail, every “happy imperfection of nature”to reproduce them with care and delicacy, to express authentic beauty, and to celebrate it.

It is particularly inspired by the Gingko, a sacred tree of Japan, symbol of eternity and resilience. The leaves are adorned with enamel, and the fruits become pearls in this collection called Gingko, whose pieces we were able to try and admire, where the gold is finely brushed and accompanied by diamonds in their centers.

A century later, its leaves come together to give birth to an imaginary composition, the collection Blossom. There Maison is also recognized for its collections Elixir And Whirlwind on the jewelry side, and for its enameled necklaces representative of Nymph, Naiad And Goddess for fine jewelry.

Art Nouveau and the Belle Epoque: two characteristic periods of Vever

As demonstrated by the various signs and labels, the pieces of jewelry made by Vever are true representations of two eras that have marked jewelry. : Art Nouveau and the Belle Epoque ; Who come together according to customer requests.

• Art Nouveau also named style "Guimard" Or "Modern style" In France, this period emerged during the 1890s. and has profoundly marked the history of jewelry, resulting from a collective movement which freed itself from the classicism of the time. The jewels are equipped with organic and asymmetrical shapes, while exploring textures and colors; at this time, the value of a jewel is no longer defined by its materials but by its creative audacity and craftsmanship. Unexpected materials such as horn, ivory, enamels, hard stones make their appearance. 

•  The Belle Epoque, is also called “stylegarland" Or "Edwardian” in reference to Edward VII, who reigned over the world from 1901 to 1910. The jewels of this period are adorned with movements and arabesques taken from nature or from oriental arts, where yellow gold, pearls and diamonds are masters.

The art of reinventing yourself at Vever

Circular before its time, the jewelry industry has always traditionally mounted, disassembled and reassembled its precious stones to constantly rethink new pieces. For its part, Vever bought pieces from the Crown Jewels in 1887, sold by Empress Eugénie.

2 centuries later, when Camille and Damien Vever decide to relaunch the Maison family business with a new, more sustainable approach. They thus adopt the exclusive use of laboratory diamonds, which allow a minimized ecological footprint, total traceability, and the guarantee of good working conditions for the men and women who make them grow. This is combined with the use of recycled gold (from waste from jewelry production, recycling of antique jewelry, dental gold and electronic devices such as telephones and computers.

Circularity is carried over to their cases, where Vever has chosen eco-design, using FSC-certified paper and cardboard, guaranteeing sustainable management of the forests from which they come. The satin that holds and protects the jewel is also recycled.

There Maison also highlights its French know-how since 1821, surrounded by the best artisans of the Place Vendôme who skillfully handle the most modern and ancestral methods of jewelry such as email-à-jour. It also uses the enameler to which the Maison appeals, Sandrine Tessier, is a Meilleur Ouvrier de France and her workshop is labeled "Living Heritage Company".

Customers are welcomed, by appointment, in the bright salons at 9 rue de la Paix. The models are made to order, to measure, and most of them are produced within three weeks, which also allows the Maison not to have stock and not to overproduce.

On the same topic, you might also like to read
The essentials of the Belle Epoque period
The essentials of the Art Nouveau period