{"id":359375,"date":"2025-12-02T22:48:02","date_gmt":"2025-12-02T22:48:02","guid":{"rendered":"https:\/\/veritas.art\/lot\/a-cartier-spinel-and-diamond-brooch-pendant-1712933916\/"},"modified":"2025-12-15T13:25:03","modified_gmt":"2025-12-15T13:25:03","slug":"a-cartier-spinel-and-diamond-brooch-pendant-1712933916","status":"publish","type":"lot","link":"https:\/\/veritas.art\/en\/lot\/a-cartier-spinel-and-diamond-brooch-pendant-1712933916\/","title":{"rendered":"[Auction 155] Lot 905 – A CARTIER spinel and diamond brooch\/pendant"},"content":{"rendered":"Platinum, set with an octagonal-cut spinel from Tajikistan weighing 8.624 ct. and 64 brilliant-cut diamonds with an approximate total weight of 1.60 ct.\r\nFrance, early 20th century\r\nMarked\r\nWith no Portuguese marks, signed CARTIER\r\n(sines of wear and mirror wear to the prongs)","protected":false},"featured_media":362513,"template":"","categories":[40,39],"class_list":["post-359375","lot","type-lot","status-publish","has-post-thumbnail","hentry","category-jewellery","category-joias"],"acf":{"auction_number":"155","number":"905","ref":"905","letter":"0","hammer_value":"37000","show_hammer_value":true,"estimation_min":"30000","estimation_max":"50000","price_on_request":false,"author":false,"auction":{"ID":357312,"post_author":"5529","post_date":"2025-11-05 12:28:06","post_date_gmt":"2025-11-05 12:28:06","post_content":"","post_title":"Auction 155 - Antiques & Works of Art, Silver & Jewellery","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"antiguidades-e-obras-de-arte-pratas-e-joias","to_ping":"","pinged":"","post_modified":"2025-12-19 18:45:18","post_modified_gmt":"2025-12-19 18:45:18","post_content_filtered":"","post_parent":0,"guid":"https:\/\/veritas.art\/?post_type=auction&p=357312","menu_order":0,"post_type":"auction","post_mime_type":"","comment_count":"0","filter":"raw"},"name":"A CARTIER spinel and diamond brooch\/pendant","dimensions":"3x3,5 cm
11,7 g","description":"Platinum, set with an octagonal-cut spinel from Tajikistan weighing 8.624 ct. and 64 brilliant-cut diamonds with an approximate total weight of 1.60 ct.
\r\nFrance, early 20th century
\r\nMarked
\r\nWith no Portuguese marks, signed CARTIER
\r\n(sines of wear and mirror wear to the prongs)","additional_info":[{"title":"Additional Information","text":"The spinel accompanied by SSEF certificate no. 149114 dated 23 September 2025.
\r\n
\r\n"},{"title":"Note","text":"
\r\nRenowned worldwide as a benchmark of luxury and masterful craftsmanship, Cartier holds a seminal position in the history of jewellery and design. The recent exhibition dedicated to the maison at London\u2019s Victoria and Albert Museum once again underscored the enduring elegance and artistry of its creations \u2014 eloquent testaments to a savoir-faire that transcends both time and fashion.
\r\n
\r\nThe origins of Maison Cartier: Historical Context and Consolidation Strategies
\r\nThe story of Maison Cartier began in 1847, when Louis-Fran\u00e7ois Cartier (1819\u20131904) took over the business of his mentor, Adolphe Picard, establishing a Parisian firm that would later achieve worldwide renown. From the outset, Louis-Fran\u00e7ois demonstrated remarkable ambition and entrepreneurial skill. Within less than a decade, the house was supplying jewellery to influential figures such as Princess Mathilde (1820\u20131904), niece of Emperor Napoleon I, and shortly thereafter, Empress Eug\u00e9nie de Montijo (1826\u20131920). This rapid growth not only reflected the exceptional quality of Cartier\u2019s creations but also the founder\u2019s ability to position his brand among the most prominent personalities of the era.
\r\nIt was, however, the second generation that truly consolidated the company\u2019s reputation and expanded its reach. When Alfred Cartier (1841\u20131925) assumed leadership, he implemented a marketing strategy that leveraged the existing client network, requesting introductions to even more influential figures. Fully recognising the importance of social connections for boosting sales, Cartier\u2019s presence among the European aristocracy and upper bourgeoisie was reinforced, laying the foundations for the brand\u2019s future development.
\r\nA particularly striking example of this strategy occurred in 1898, when Alfred appointed his eldest son, Louis-Fran\u00e7ois Cartier (1875\u20131942), as partner. Louis\u2019s marriage into the influential Worth family, renowned in French haute couture, gave the house privileged access to a diverse international clientele. Under his guidance, Maison Cartier relocated in 1899 from the Boulevard des Italiens to the exclusive Rue de la Paix, an emblematic address of Belle \u00c9poque Paris. Situated next to the prestigious couture houses and the newly opened Ritz Hotel, this strategic location positioned Cartier as a benchmark of luxury, sophistication, and innovation.
\r\nDuring this period, the company displayed remarkable adaptability to the economic and social transformations of the late 19th and early 20th centuries. The expansion of electric lighting, the growth of travel by steamship and train, and accelerated economic development all favoured the rise of a new class of consumers: the nouveaux riches, eager to assert their social status through the acquisition of high-prestige goods. Cartier expertly capitalised on this opportunity, leveraging its prime location, social capital, and growing reputation.
\r\nWith Pierre (1878\u20131964) and Jacques Cartier (1884\u20131941) poised to assume greater responsibilities, the company was ready to embark on a new phase of international expansion. The early history of Maison Cartier exemplifies a perfect combination of artisanal tradition, strategic awareness of historical context, and skillful use of emerging social and economic networks to rise as one of the world\u2019s most prominent jewellery houses.
\r\n
\r\nThe Edwardians and CARTIER \u2013 \u201cThe jeweller of kings and the king of jewellers\u201d
\r\nIts rise, closely intertwined with the cultural and social context of the Edwardian era, was shaped by the influence of the Prince of Wales, the future King Edward VII (1841\u20131910), and his wife, Princess Alexandra of Denmark (1844\u20131925). From the 1880s, when they were still merely Prince and Princess of Wales, the royal couple set new standards of taste and etiquette, inescapable for the European and American aristocracy, as was evident in the exhibition \u201cThe Edwardians: Age of Elegance\u201d presented by the Royal Collection at The King\u2019s Gallery in Buckingham Palace.
\r\nLife at court, between Marlborough House and Sandringham, was a whirlwind of events and celebrations \u2014 masked balls, state dinners, hunts, and official receptions. This environment of splendour and luxury drove an insatiable demand for jewellery that reflected the opulence and sophistication of high society. It was in this context that Cartier found fertile ground to assert its artistic and technical mastery, creating pieces that would become iconic of an era.
\r\nWith Edward VII\u2019s accession to the throne on 22 January 1901, the relationship between the British monarchy and the maison was further cemented, and the monarch famously referred to the Parisian jeweller as \u201cthe jeweller of kings and the king of jewellers\u201d. Under the direction of Louis-Fran\u00e7ois Cartier (1875\u20131942), the brand expanded internationally, opening branches in London and New York, and adapting its style to the tastes of a cosmopolitan and discerning clientele.
\r\nBetween the 1880s and 1915, jewellery evolved to keep pace with a society that celebrated wealth and refinement. The pieces were distinguished by their combination of precious materials \u2014 platinum, diamonds, pearls, and coloured gemstones \u2014 and designs that reflected both aristocratic taste and the emerging modernity of the Belle \u00c9poque.
\r\nMany terms have been used to describe the jewellery style of this period. One of the most common is fin de si\u00e8cle, a French expression meaning \u201cend of the century,\u201d which defines the artistic and decorative trends conceived during this transitional period. The term encompasses not merely a chronological moment but also a state of mind \u2014 a blend of decadence, luxury, and aesthetic renewal \u2014 reflected in the arts, fashion, and naturally, jewellery. Thus, the fin de si\u00e8cle style embraces a multiplicity of expressions, from late Romanticism to the organic sensuality of Art Nouveau, paving the way for the geometric forms and modern refinement of Art Deco, of which the brooch\/pendent we are presenting at auction is a prime example.
\r\nSimultaneously, the term Belle \u00c9poque \u2014 literally \u201cthe beautiful era\u201d \u2014 refers to the period of prosperity and luxury that characterised the decades immediately before and after 1900. It was a time of optimism and social splendour, particularly among the upper and rising middle classes, who found in jewellery a means of aesthetic and symbolic affirmation.
\r\nWithin this context, the so-called garland style stands out, so named for its recurrent use of floral motifs, crowns, and intertwined garlands \u2014 elements evoking delicacy and femininity. Jewellery of this period, many pieces crafted by Cartier, was executed with exceptional precision in platinum and diamonds, displaying technical refinement unprecedented for the time. These creations were intended not only for the aristocracy but also for affluent bourgeois clients, who, emulating courtly habits, sought to assert their social status through taste and elegance.
\r\nEdwardian jewellery, distinct both from the more conservative Victorian styles that preceded it and the sinuous forms of Art Nouveau or the strict geometries of the subsequent Art Deco, possesses a character all its own. It is jewellery of lightness and luminosity, where platinum replaces heavy gold, allowing the creation of delicate, almost ethereal lace-like structures. The cool brilliance of diamonds, the use of pearls, and designs inspired by nature confer upon it a subtle and exquisite beauty, reflecting the ideal of elegance and harmony that dominated the spirit of the era.
\r\nThis period of splendour was, however, abruptly interrupted in 1914 with the outbreak of the First World War. A profound transformation of social and aesthetic values ensued: ostentatious luxury gave way to sobriety and functionality. Yet the legacy of Cartier and the brilliance of its creations remained, standing as enduring testaments to an era in which jewellery was not merely ornament but an expression of art, power, and the identity of a global elite.
\r\n
\r\nAesthetic innovation and technical mastery
\r\nCartier\u2019s impact on jewellery history extends far beyond luxury and social prestige. Under the direction of Louis-Fran\u00e7ois Cartier (1875-1942), the founder\u2019s eponymous grandson the brand pioneered numerous technical and aesthetic innovations. Most notably, Cartier introduced and perfected the use of platinum \u2014 a rare, durable, and malleable metal that allowed for the creation of extremely fine and lightweight structures capable of supporting large diamond arrangements without compromising elegance. This technical breakthrough revolutionised jewellery-making and defined the aesthetic of the Edwardian Era.
\r\nCartier also consolidated the garland style, synonymous with refinement and femininity. Its designs drew on naturalistic motifs \u2014 bows, flowers, leaves, and garlands \u2014 translated into a visual language of purity and symmetry, where jewellery almost became an extension of the body. The meticulous attention to harmony, light, and movement endowed Cartier\u2019s creations with unparalleled sophistication, elevating jewellery to the status of applied art.
\r\nThroughout the early 20th century, Cartier successfully adapted to cultural and social changes, preserving artisanal traditions while embracing modernity. Its ability to combine artistry, technical skill, and symbolism established the brand as a reference point not only in the history of luxury but also in the broader history of art. The legacy of these creations endures today as the ultimate expression of beauty and perfection in jewellery.
\r\n
\r\nThe importance of materials
\r\nAs previously noted, early 20th-century jewellery is characterised by refinement, lightness, and delicacy \u2014 attributes that reflect both the technological advancements of the period and the aesthetic tastes of European high society. Cartier distinguished itself through the judicious use of precious materials, combined with technical innovation and visual sophistication. Among the most significant materials, platinum played a central role, alongside diamonds, pearls, and coloured gemstones such as rubies, spinels, amethysts, garnets, and pink topaz.
\r\nPlatinum, a precious metal discovered in the 16th century in the region that is now Colombia, began to be used in jewellery only from the mid-19th century, when technological progress allowed artisans to work with its high melting point. Prior to this, diamonds were often set in polished silver to enhance their brilliance, although silver oxidised over time, diminishing the aesthetic impact of the pieces.
\r\nFrom the 1880s onwards, following the discovery of major platinum deposits in the Ural Mountains, the metal gradually replaced silver, offering greater durability and a more refined appearance. Records from Cartier indicate that by the 1880s, platinum was already used in the production of tie pins and earrings, and from the 1890s, it was also employed in the crafting of necklaces (Bury, 1991).
\r\nInitially, platinum settings were often reinforced with gold \u2014 as had been the practice with silver \u2014 to protect the wearer\u2019s skin and clothing from wear and to lend credibility to a metal that was still little valued (Nadelhoffer, 1984). By around 1900, platinum had become widely accepted, allowing Cartier to create jewellery entirely in this metal without gold reinforcement, showcasing the purity, lightness, and elegance of its creations. Curiously, the metal arguably reached its zenith when, in 1937, Garrard & Co. crafted the crown for Queen Elizabeth, the future Queen Mother (1900\u20132002).
\r\nAlthough diamonds and pearls predominated, jewellery of this period also incorporated a variety of coloured gemstones. Colour was a fundamental element in aesthetic composition: soft shades of purple \u2014 such as mauve, lilac, lavender, and heliotrope \u2014 were particularly favoured by Queen Alexandra, making amethyst her favourite stone (Hinz, 1983).
\r\nIn many pieces, diamonds were used as accent stones and pearls as complementary elements, creating delicate contrasts that highlighted the colour and brilliance of the coloured gems.
\r\nIn summary, the combination of platinum with diamonds, pearls, and coloured gemstones not only demonstrated Cartier\u2019s technical innovation but also reflected the aesthetic preferences and sophistication of Edwardian society. The careful use of these materials contributed to the creation of jewellery of exceptional durability, beauty, and prestige, consolidating the maison\u2019s status as the absolute benchmark in luxury jewellery.
\r\n
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