Lot Essay
This spectacular corsage ornament was specially commissioned from Cartier in 1912, at the height of unrivalled brilliance in the making of diamond jewellery. It is a rare and exquisite jewel that not only illustrates the grandeur and supreme luxury of pre-War life and fashions, but also tells the tale of Cartier's great gemstone transactions, making one of the most fascinating stages in their history. Such a rare blend of elegant period style and dazzling gemstones makes the bodice ornament an exceptional example of early 20th century jewellery.
The quality of the stones has been perfectly balanced by the main design feature: the charming lily-of-the-valley motif, a popular theme in Cariter's design repertoire around 1910. This feminine motif has been simply but ingeniously achieved by the use of cup-shaped mounts, set in corners with small diamonds to give the impression of romantic, bell-like flowers. The lily-of-the-valley was a subtle and recherché diversion for the more usual motifs of the prevailing Garland style, and one apparently reserved for lavish jewels composed of important stones (see Hans Nadelhoffer, Cartier, Jewelers Extraordinary, plate 154). The Garland style, as it has become known, was a revival of French 18th Century design, the last in a series of 19th Century historical revivals, which had emerged in the 1890's and lasted until World War I. Cartier excelled in this stately style inspired by the splendour of Versailles and created in an aristocratic spirit that perfectly suited the aspirations of their rich and illustrious clientele.
The corsage ornament was one of the most distinctive and evocative item of Belle Epoque jewellery, closely linked to the fashions of the time, and embodying the leisured luxury of pre-War existence. The Edwardian or early 20th Century lady of fashion was contorted into an exaggerated curvaceous "S" shape. Large corsage ornaments, again borrowed from 18th Century fashions, or a profusion of diamond brooches, usually ornamented the bust and bodice, the focal point of feminine fashions at the time. The freedom that this form of jewellery offered in terms of size and shape also led to a wide variety of elaborate designs.
From 1907 Cartier began to produce a new type of corsage ornament composed of two motifs, pinned to the bodice, from which were suspended articulated strands of diamonds joining a decorative pendant. These ornaments were sometimes slightly more stylized in design than earlier examples, and later developed into the abstract oblong pendant of the 1920's.
Under the dramatic influence of Paul Poiret, soon after 1912 the female shape began to change into a tubular outline, and consequently the corsage ornament became redundant. Many were broken up and it is remarkable that this supreme example has survived intact.
From this period, around 1910, Cartier's history is studded with tales of legendary and scintillating stones, including the Hope diamond and the Star of the East. It was largely through the expert eye and brilliant negotiating of Louis, Jacques and Pierre Cartier that such gems came into the company's possession. Cartier's speciality was to search out and acquire these precious gems and then mount them into fabulously stylish jewels for special clients. Some customers also presented Cartier with the challenge of setting extraordinary gems. The diamonds used in this corsage ornament are of the finest quality and the beauty of their setting bear witness to Cartier's skill and artistry at a fascinating point in jewellery history.
The quality of the stones has been perfectly balanced by the main design feature: the charming lily-of-the-valley motif, a popular theme in Cariter's design repertoire around 1910. This feminine motif has been simply but ingeniously achieved by the use of cup-shaped mounts, set in corners with small diamonds to give the impression of romantic, bell-like flowers. The lily-of-the-valley was a subtle and recherché diversion for the more usual motifs of the prevailing Garland style, and one apparently reserved for lavish jewels composed of important stones (see Hans Nadelhoffer, Cartier, Jewelers Extraordinary, plate 154). The Garland style, as it has become known, was a revival of French 18th Century design, the last in a series of 19th Century historical revivals, which had emerged in the 1890's and lasted until World War I. Cartier excelled in this stately style inspired by the splendour of Versailles and created in an aristocratic spirit that perfectly suited the aspirations of their rich and illustrious clientele.
The corsage ornament was one of the most distinctive and evocative item of Belle Epoque jewellery, closely linked to the fashions of the time, and embodying the leisured luxury of pre-War existence. The Edwardian or early 20th Century lady of fashion was contorted into an exaggerated curvaceous "S" shape. Large corsage ornaments, again borrowed from 18th Century fashions, or a profusion of diamond brooches, usually ornamented the bust and bodice, the focal point of feminine fashions at the time. The freedom that this form of jewellery offered in terms of size and shape also led to a wide variety of elaborate designs.
From 1907 Cartier began to produce a new type of corsage ornament composed of two motifs, pinned to the bodice, from which were suspended articulated strands of diamonds joining a decorative pendant. These ornaments were sometimes slightly more stylized in design than earlier examples, and later developed into the abstract oblong pendant of the 1920's.
Under the dramatic influence of Paul Poiret, soon after 1912 the female shape began to change into a tubular outline, and consequently the corsage ornament became redundant. Many were broken up and it is remarkable that this supreme example has survived intact.
From this period, around 1910, Cartier's history is studded with tales of legendary and scintillating stones, including the Hope diamond and the Star of the East. It was largely through the expert eye and brilliant negotiating of Louis, Jacques and Pierre Cartier that such gems came into the company's possession. Cartier's speciality was to search out and acquire these precious gems and then mount them into fabulously stylish jewels for special clients. Some customers also presented Cartier with the challenge of setting extraordinary gems. The diamonds used in this corsage ornament are of the finest quality and the beauty of their setting bear witness to Cartier's skill and artistry at a fascinating point in jewellery history.