VITRINE 12
Islamic art influenced the pieces designed under Louis Cartier’s guidance, a collector of Islamic artworks himself, and has inspired French jewelers since the beginning of the 20th century. The architecture, jewelry, and techniques of countries including India and Iran, among other Middle Eastern nations, as well as materials from these territories, such as turquoise or lapis lazuli, greatly influenced the Maison’s stylistic language. Islamic motifs provided inspiration, becoming adapted and recombined to create jewels and precious objects in which naturalist and geometric forms stand out.
Brooch-pendant
Cartier Paris, 1913
Platinum, diamonds, sapphire, natural pearl, turquoise, jade
Persian cigarette case
Cartier Paris, 1924
Pink gold, enamel, onyx
The “Kodak system” catch operates by pressing two of the onyx cabochons.
The term système kodak in the Cartier Archives refers to a “shutter” mechanism in which the cover opens automatically when the push-pieces are pressed (located on both sides of the case).
Tiara with detachable bracelet
Cartier Paris, special order, 1923
Platinum, diamonds
Part of this entirely articulated openwork bandeau can be detached and worn as two strap bracelets. One bracelet is still missing.
Persian cigarette case
Cartier New York, circa 1927
Gold, platinum, enamel, rubies, diamonds
Central appliqué, a Persian plaque depicting a doe and a stag.
Vanity case
Cartier Paris, 1913
Pink gold, yellow gold, platinum, diamonds, onyx, pearls, enamel
Central appliqué, an oriental-style plaque of polychrome enamel (flowers and peacock). The interior fitted with a mirror, a covered powder compartment and a lipstick holder.
On the underside, engraved inscription: Daisy Xmas 1913
Provenance:
Daisy Fellowes
Daughter of the Duc Decazes and Isabelle Singer (heiress to the Singer sewing machine fortune), Daisy Fellowes (1890–1962) was often named “the world’s most elegant woman” by magazines of the 1920s and 30s. It is also true to say that this Parisian socialite boasted two qualities without which elegance tends to be overlooked: taste and audacity. These qualities earned her a firm reputation as a leader of fashion, especially when she became Paris correspondent, from 1933 to 1935, for the influential Harper’s Bazaar.
Seal watch-brooch
Cartier Paris, 1926
Gold, black enamel with multicolor
“Persian” decoration, rubies, rock crystal, onyx, diamonds
Desk clock with strut
Cartier Paris, 1920
Platinum, gold, gilded metal, diamonds, rubies, ebonite, enamel
Provenance:
the Duchess of Marlborough
VITRINE 13
Although the influence of ancient Egypt in Europe during the 20th century tends to be attributed to the sensation sparked by the 1922 discovery of the pharaoh Tutankhamun’s tomb, Cartier had already presented Egyptian-inspired pieces from the 1870’s. Louis Cartier was genuinely interested in grand civilizations, a passion visible in the Maison’s creations, either in their design or in their actual composition. Indeed, the Maison would use “apprêts” in its new creations: a stock of fragments from disassembled jewelry and other objects including ancient items from Egyptian, but also Persian, Indian, and Chinese art, purchased from Parisian-based art dealers and specialists.
Scarab belt buckle
Cartier Paris, 1926
Gold, platinum, blue Egyptian faience (scarab and wings), diamonds, sapphires, enamel
The scarab and its wings originate from Cartier’s stock of apprêts and, according to the Maison’s archives, apparently date back to the 19th dynasty of Ancient Egypt. The term apprêts at Cartier referred to a stock of fragments from disassembled jewelry and other objects including ancient items from Persian, Indian, Chinese, and Egyptian art.
Provenance:
Mrs. Cole Porter
Linda Lee Thomas (1883-1954) was born in Louisville, Kentucky, and married the famous American composer Cole Porter in 1919.
Bracelet
Cartier Paris, special order, 1928
Platinum, gold, diamonds, blue faience (modern), turquoise, lapis lazuli, onyx, enamel
Originally, the central motif was an Ancient Egyptian blue faience amulet from Cartier’s apprêts. When the bracelet reappeared in 2009 this part had disappeared, most likely broken. Today the faience is a copy designed according to photographs in the Cartier archives.
Provenance:
Mrs. Cole Porter
Linda Lee Thomas (1883-1954) was born in Louisville, Kentucky, and married the famous American composer Cole Porter in 1919.
Clock
Cartier Paris, 1941
Gold, platinum, fossilized wood (Egyptian bas-relief), mother-of-pearl, diamonds, topazes
Upper part adorned with an ancient Egyptian bas-relief of fossilized wood showing a canopic jar.
Necklace
Cartier London, special order, 1931
Platinum, blue Egyptian faience, diamonds, natural pearls, onyx
The pieces of blue-glazed faience, supplied by the client, are ancient Egyptian.
Cigarette case
Cartier Paris, 1930
Gold, lapis lazuli, turquoise, sapphire, diamonds
VITRINE 14
Another key moment in Cartier’s history was 1911, when Jacques Cartier traveled to India and the Persian Gulf, in search of new paths to purchase pearls, and to reinforce relations with Maharajas. India represents one of the Maison’s most persistent influence, as during this period its workshops could work on gemstones from India—notably carved Mughal emeralds— and for important clients like Maharajas. Western clients were also fascinated by Indian tastes, such as Lady Granard and Linda Lee Thomas (Mrs. Cole Porter), who acquired pieces from the Maison in this style.
Seal pendant watch
Cartier Paris, 1923
Platinum, gold, diamonds, emeralds, onyx, natural pearls, enamel
This watch was originally worn on a black moiré cord, with the emerald bead functioning as a slider.
Necklace
Cartier London, special order, 1932
Platinum, diamonds, one emerald
Necklace made using stones belonging to the client.
Provenance:
Lady Granard
Lady Granard (“née” Beatrice Mills) was the daughter of the American financier and philanthropist Ogden Mills. She married the eighth Earl Granard in 1909. As a regular client of Cartier London, she was particularly fond of “kokoshnik” tiaras, ordering three between 1922 and 1937.
Cliquet brooch
Cartier London, 1924
Platinum, white gold, diamonds, emeralds
The smaller carved emerald is apparently an old Indian stone, but the unusual shape of the larger stone creates a certain doubt—it is hard to know whether it dates back to the late seventeenth or early eighteenth century (as the engraved edges suggest) or whether it was specially cut for this fibula-shaped brooch in the 1920s.
Sautoir
Cartier London, special order, 1930
Platinum, diamonds, rubies, natural pearls
This sautoir can be broken down into a bracelet and shorter necklace.
Provenance:
Mrs. Ronald Tree
Born in the United States, Mrs. Ronald Tree (“née” Nancy Perkins, 1897–1994) married the British Conservative MP C.G. Lancaster in 1945. After purchasing the famous decorating firm, Colefax & Fowler, she became a well-known interior decorator under the name of Nancy Lancaster.
Brooch
Cartier Paris, 1960
Gold, diamonds, rubies, sapphires, emeralds, pearls
Private collection
Powder wt with lipstick holder
Cartier Paris, 1925
Yellow gold, pink gold, turquoise, sapphires, mother-of-pearl, hardstone, enamel
The Lipstick holder handle’s interior is fitted with a mirror and a powder compartment with sifter.
VITRINE 15
The 1920s saw the creation of an Indian-inspired design that in the 1970’s would come to be known as Tutti Frutti characterized by combinations of sapphires, rubies, and emeralds. These stones were carved into leaf, flower, or bead shapes, evoking opulent fruits and “foliage”. Carving was not typical in the West: the combination and mixing of colors and stones was not limited to jewelry but was included in timepieces and accessories. Love for these designs has not faded over the decades. Vitrine 16 includes a recent design that follows the Tutti Frutti repertoire.
Vanity case with watch
Cartier Paris, 1930
Platinum, pink gold, yellow gold, emeralds, rubies, diamonds, enamel
The interior fitted with a mirror, a lipstick holder, and a powder compartment with lid.
Provenance:
Lady Henry Deterding
In 1924, Russian-born Lydia Kudoyaroff (1904-1980) married the powerful Dutch businessman Sir Henry Deterding, who played a major role in the merger of Royal Dutch
Petroleum with Shell Transports and Trading in 1907. Their marriage lasted twelve years.
Lady Deterding was a great collector of jewelry. Shortly after her death in 1980, Christie’s Geneva auctioned part of her fabulous collection. It included a historic pearl and diamond pendant that once belonged to Empress María Feodorovna as well as The Polar Star diamond weighing 41.28 carats, a historic stone that Cartier had bought from Prince Yusupov and sold to Lady Deterding in 1928.
Tutti Frutti double clip brooch
Cartier Paris, special order, 1935
Platinum, osmior, diamonds, sapphires, rubies, emeralds
The two clip brooches can be taken apart and worn separately.
Osmior is a platinum-like alloy of gold, copper, nickel, and zinc.
Provenance:
Mrs. Cole Porter
Linda Lee Thomas (1883–1954) was born in Louisville, Kentucky, and married the famous American composer Cole Porter in 1919. Considered one of the most beautiful women in
the world, Mrs. Porter was a great fan of Cartier’s Tutti Frutti jewelry.
Tutti Frutti strap bracelet
Cartier Paris, 1925
Platinum, diamonds, sapphires, rubies, emeralds, onyx
Provenance:
Mrs. Cole Porter
Tutti Frutti baguette wristwatch
Cartier Paris, 1928
Platinum, yellow gold, pink gold, diamonds, emeralds, sapphires, rubies, enamel, double cord strap
VITRINE 16
Ring
Cartier, 2019
Platinum, diamonds, one ruby, emeralds, sapphires
Private collection
Necklace
Cartier, 2021
Platinum, white gold, diamonds, emeralds, sapphires, rubies, onyx
The necklace can be worn in several different ways.
Private collection
Earrings
Cartier, 2019
Platinum, diamonds, rubies, emeralds, sapphires
Private collection
VITRINE 17
In the 1920s there was a craze for artifacts and images drawn from non-Western cultures. China and the Far-East was no exception, and Cartier experimented with the shapes of various fantastic creatures of Sino myths and legends. The colorful depiction of these creatures on jewels and precious objects contributed to their popularization.
Dragons and Chimeras, for example, appeared in the designs of jewels, vanity cases, timepieces, and other objects. One of the distinctive characteristics of Cartier design was to use original Chinese materials and techniques. Jade, considered the most precious of gems in China, was adopted by Cartier who worked it with great mastery to create designs associated with oriental culture. The same was achieved with laque burgauté, a 19th-century Japanese craft, consisting in lacquer inlaid with dyed mother-of-pearl.
Seal watch-brooch
Cartier Paris, 1926
Gold, black enamel with multicolor “Persian” decoration, rubies, rock crystal, onyx, diamonds
Powder compact
with lipstick holder
Cartier Paris, 1927
Gold, platinum, laque burgauté plaques, diamonds, emeralds, lapis lazuli, enamel
Each side opening onto a powder compartment with mirror.
Cartier often used small plaques imported from the Far East made of black lacquer inlaid with mother-ofpearl, a technique known as laque burgauté. They were made in the nineteenth century either on the Ryuku islands between China and Japan, or in Nagasaki, the main center of production in Japan itself. The mother-of-pearl was partly tinted in purple and green. After the lacquer had been brought level with the mother-of-pearl inlay, a final layer of lacquer was applied to the whole object, thus concealing the motherof-pearl. The surface was then rubbed with pumice stone until the inlay was once more exposed. In this way a perfectly smooth surface was obtained.
Sold to Mrs. Louis Cartier
Desk clock with minute repeater
Cartier Paris, 1930
Gold, platinum, plaques of laque burgauté depicting Chinese scenes, jade, mother-of pearl (numerals), diamonds, onyx, enamel
Belt
Cartier London, 1930
Gold, jade, rubies
The jade medallions come from China. They were carved in the late nineteenth century to imitate coins from the reign of Emperor Guangxu (Qing dynasty). Typically Chinese, this type of jade belt was worn over the long silk robes of high-ranking dignitaries during the Ming dynasty. The rubies were set by Cartier London, where the belt was sold in 1930 to the extremely wealthy Polish-born opera singer, Ganna Walska.
Provenance:
Ganna Walska (1887-1984)
Ganna Walska was married to Alexander Smith Cochran (dubbed “the richest bachelor in the world”) and later Harold Fowler McCormick, heir to the McCormick farm machinery
fortune. Like Daisy Fellowes and Mona Bismarck, Walska was one of the select group of fashion icons of her day. With unerring taste, she assembled a remarkable collection of
jewelry, showing a marked preference for Cartier.
Clock with rotating hours
Cartier Paris, 1920
Gold, gilded metal, plaque of laque burgauté depicting Chinese scenes, enamel, ebonite
Hours indicated by 12 bulb-shaped cartouches of white enamel with gold Roman numerals in reserve, which successively rotate across the dial and point to the minutes. Cartier often used small plaques imported from the Far East made of black lacquer inlaid with mother-of-pearl, a technique known as laque burgauté. They were made in the nineteenth century either on the Ryuku islands between China and Japan, or in Nagasaki.
Engraved on back of case: To Kate Smith on her fifth anniversary in radio broadcasting in appreciation from William S. Paley. William S. Paley was head of the Columbia Broadcasting System (CBS), one of the 3 major US networks. His wife Babe Paley (Barbara Cushing Paley) was a member of New York’s high society.
Perfume-extract bottle
Cartier Paris, 1925
Yellow gold, red gold, nephrite, rubies, enamel
The nephrite bottle came from Cartier’s stock of apprêts.
The term apprêts at Cartier referred to a stock of fragments from disassembled jewelry, watches, and other objects, including ancient items from Persian, Indian, Chinese, and Egyptian art.
Bonbonnière
Cartier Paris, 1926
Gold, platinum, nephrite, diamonds, rubies, enamel
Borne desk clock with strut
Cartier Paris, 1928
Platinum, gold, gilded metal, nephrite, kingfisher feathers (dial), rubies, diamonds, enamel
Ring
Cartier Paris, special order, 1934
Gold, diamonds, rubies, jadeite
Provenance:
Barbara Hutton
Barbara Hutton (1912–1979) was the granddaughter of the founder of the Woolworth’s retail chain, and one of the richest women in the world. On June 23, 1933, she married the Russian prince Alexis Mdivani, the first of her seven husbands. For her wedding, she wore an extraordinary pearl necklace and a diamond-studded tortoiseshell tiara, both made by Cartier. After her divorce, she married Count Heinrich Reventlow (1935–1938), Cary Grant (1942–1945), Prince Igor Troubetskoy (1947–1951), Porfirio Rubirosa (1953–1954), Baron von Cramm (1955–1959), and Prince Doan (1964–1966). An enthusiast for magnificent jewelry, she became one of the Maison most loyal clients.
Pagoda brooch
Cartier Paris, 1927
Platinum, diamonds
Pair of ear pendants
Cartier New York, 1926
Platinum, gold, diamonds, rubies, jade, enamel
TABLE B
Design for a brooch
Cartier Paris, 1923
Executed in rock crystal, mother-of-pearl, emeralds, diamonds and enamel
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a scarab belt buckle
Cartier Paris, 1926
Executed in gold, platinum, enamel, sapphires, and diamonds; two pieces of antique Egyptian faience. Sold to Mrs. Cole Porter
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a mystery clock
Model A
Cartier Paris, 1929
Executed in rock crystal, gold, platinum, mother-of-pearl, onyx and diamonds
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a mystery clock
Model A
Cartier Paris, 1929
Executed in rock crystal, nephrite, diamonds, and kingfisher feathers
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a clock
Cartier Paris, circa 1930
Executed in jade, lacquer, coral, and onyx
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a milestone Chinese shaped clock
Cartier Paris, circa 1929
Executed in rock crystal, kingfisher feathers, turquoises, onyx, enamel, and diamonds
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a clasp
Cartier Paris, 1934
Executed for Princess Mdivani (Barbara Hutton) in rubies, diamonds and platinum
for a jade necklace
Graphite and gouache on tracing paper pasted on ruled paper
Cartier Paris Archives
Design for earrings
Cartier Paris, 1934
Executed for Barbara Hutton in gold, platinum, jade, rubies, and diamonds
Graphite and gouache on card
Cartier Paris Archives
Design for a bracelet
Cartier Paris, 1933
Executed for Princess Mdivani (Barbara Hutton) in platinum, jade, square rubies, moon
diamonds and diamonds
Graphite and gouache on tracing paper pasted on white paper
Cartier Paris Archives
Design for a ring
Cartier Paris, 1933
Executed for Princess Mdivani (Barbara Hutton) in platinum, gold, jade, rubies, and diamonds
Graphite and gouache on tracing paper pasted on ruled paper
Cartier Paris Archives
Design for a ring
Cartier Paris, 1934
Executed for Barbara Hutton in gold, platinum, jade, rubies and diamonds
Graphite and gouache on card
Cartier Paris Archives
Design for a table box
Cartier Paris, 1920
Proposal for an execution in carved nephrite or jade, blue enamel, and cabochon sapphires
Graphite and gouache on tracing paper
Cartier Paris Archives
Design for a Tutti Frutti bracelet
Cartier Paris, 1928
Executed in platinum, emeralds, rubies, sapphires, and diamonds
Gouache on tracing paper
Cartier Paris Archives
Design for a Tutti Frutti bracelet
Cartier Paris, 1927
Executed in platinum, emeralds, rubies, sapphires, onyx, and diamonds
Graphite, Indian ink and gouache on tracing paper
Cartier Paris Archives
Design for a Tutti Frutti bracelet
Cartier Paris, 1927
Executed in platinum, emeralds, rubies, sapphires, onyx, and diamonds
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Design for a necklace
Cartier Paris, 1929
Executed in platinum, rubies, carved emeralds, and diamonds
Graphite and gouache on tracing paper
Cartier Paris Archives
Design for a necklace
Cartier Paris, 1935
Executed for the Maharaja of Patiala in platinum, pearls, rubies, and diamonds
Graphite and gouache on card
Cartier Paris Archives
Design for a powder compact with lipstick holder
Cartier Paris, 1925
Executed in gold, enamel, mother of pearl and turquoises
Graphite, Indian ink, and gouache on tracing paper
Cartier Paris Archives
Designs for two brooches
Cartier Paris, 1925
Executed in platinum, sapphire, emeralds, enamel and diamonds
Executed in platinum, emeralds, onyx and diamonds
Graphite, Indian ink and gouache on tracing paper
Cartier Paris Archives
