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Lot Essay
As curiosity with 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. This included resetting the stones entirely as well as incorporating elements, like a child's bazuband, into new designs, as seen with Lot 166.
Pierre Cartier’s first impression of the jewels of India must have been formed when he was commissioned, in 1901, to alter the Indian jewelry owned by Queen Alexandra. She required him to reconstruct the pieces, primarily male jewelry, so that she could wear the jewels paired with gowns sent to her by Lady Curzon, wife of the then Viceroy of India.
Pierre’s brother, 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 used 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 Maharaja of Patiala commissioned Cartier to re-set his Crown Jewels between 1925 and 1928, one of the largest single commissions in the firm’s history.
The close bond between Cartier and India can be seen most clearly in the Art Deco period and resulted in two types of jewels: the Indian gems re-designed in the Cartier western style for the Maharajas, and the ‘India-inspired’ jewels presented to the Western clientele. During the 1920s and 1930s, Europe was crazed over the Far East and the Orient; The Indian Turrah was the inspiration for some shoulder tassel brooches, the sarpech with paisley motif was the base for many a jeweled delight, echoes of Indian miniature borders and Persian friezes could be found in some diamond bracelets, enameled plaques were imported from Jaipur to cover cigarette cases, and carved gemstones were all the rage, doing much to popularize the ‘Indian style’.
Pierre Cartier’s first impression of the jewels of India must have been formed when he was commissioned, in 1901, to alter the Indian jewelry owned by Queen Alexandra. She required him to reconstruct the pieces, primarily male jewelry, so that she could wear the jewels paired with gowns sent to her by Lady Curzon, wife of the then Viceroy of India.
Pierre’s brother, 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 used 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 Maharaja of Patiala commissioned Cartier to re-set his Crown Jewels between 1925 and 1928, one of the largest single commissions in the firm’s history.
The close bond between Cartier and India can be seen most clearly in the Art Deco period and resulted in two types of jewels: the Indian gems re-designed in the Cartier western style for the Maharajas, and the ‘India-inspired’ jewels presented to the Western clientele. During the 1920s and 1930s, Europe was crazed over the Far East and the Orient; The Indian Turrah was the inspiration for some shoulder tassel brooches, the sarpech with paisley motif was the base for many a jeweled delight, echoes of Indian miniature borders and Persian friezes could be found in some diamond bracelets, enameled plaques were imported from Jaipur to cover cigarette cases, and carved gemstones were all the rage, doing much to popularize the ‘Indian style’.