As curiosity of Indian culture became prevalent in Europe in the early 20th century, Jacques Cartier and his offices began to import gemstones and jewelry directly from India in order to execute commissions received from international clients and Indian maharajas alike.

Jacques Cartier first visited India in 1911 at the time of the celebration of the Coronation of George V and Queen Mary of Teck at the Delhi Durbar. Jacques utilized his visit to cultivate contacts with the Maharajas, from Kapurthala to Mysore, and all were fascinated by the Parisian styles which he showed them. Many entrusted their jewels, both Crown Jewels and personal treasures to Cartier to re-design.

The close bond developed between Cartier and India can be seen most clearly in the Art Deco period and resulted in two categories of jewels: Indian gems re-designed in the Cartier western style and the ‘India-inspired’ jewels presented to the Western clientele.

The Indian turah, a turban ornament with several strings of pearls fitted to an single bar, became an inspiration for important shoulder tassel brooches, such as Lot 16. Circa 1914 and thereafter further elongated, this brooch perfectly captures the marriage between East and West. Inspired by the scale and articulation of a traditional turah, the brooch embodies the early shift from the Belle Époque to the Art Deco period with a predominant black and white design. The onyx plaques juxtapose white diamonds and are further accentuated in either direction by a carved ruby and pink tourmaline faceted drop that offset the colorless palette and draw the eye simultaneously in opposing directions.

This impressive brooch is referenced in numerous Cartier books and is featured on the cover of Hans Nadelhoffer’s Cartier: Jewelers Extraordinary. The timelessness and sophistication of the design is surely one that attracted Mica’s eye and it is unsurprising that she would have obtained it for her own collection.