Natural pearl, emerald and diamond jabot pin, Cartier, 1920s

Of Indian inspiration, set with natural pearls of various colours, a circular-cut emerald, cushion-shaped, circular-cut and rose diamonds, suspending a line of diamonds and natural pearls; the keeper set with circular-cut diamonds, calibré-cut emeralds and a natural pearl, signed Cartier, numbered, French assay and maker’s marks, case signed Cartier.

Cf.: Hans Nadelhoffer, Cartier, London, 2007, pg. 130 for a sketch of a fibula brooch of similar design, and pgs. 130-175 for the ‘Indian style’.

Accompanied by SSEF report no. 82739 stating that two of the tested pearls measuring approximately 6.35 x 6.45 x 5.15mm and 5.80 x 5.95 x 4.45mm, were found to be natural, saltwater, and one measuring approximately 10.05 x 10.20 x 9.05mm, was found to be natural, freshwater. Top part numbered C7237, partial French maker's mark. Pin with French assay mark for platinum. Keeper signed Cartier, numbered C7237, inscribed Bté SGDG. Brooch separates into three elements: top, pin and keeper. Top part can be worn as a pendant, pendant fitting detachable on the back. Pearls of various body colours, with good skin and lustre, a few with rosé and green overtones, some blemishes and growth marks; for further details on the pearls, please refer to the SSEF report. Emeralds well matched in colour, green of medium strong saturation, with typical inclusions, some surface reaching. Diamonds estimated to weigh a total of approximately 7.00 - 9.00 carats, on average I-K colour (a few of yellowish tint), SI-I clarity, as gauged and graded in the mount. Signs of normal wear to the metal. In very good condition. Gross weight approximately 26 grams. Fitted case signed Cartier Paris 13 Rue de la Paix, London 175 New Bond St, New York, 653 5th Avenue. Case shows signs of extended wear.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
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This jabot pin is inspired by the traditional Indian sarpech, a turban ornament. Europe first came into contact with Indian jewellery at the time of the first Great Exhibition in London in 1851. In 1876, Queen Victoria was proclaimed Empress of India, and from 1880 Indian jewellery enjoyed a vogue in both England and France. But it was only in 1900, after the Exposition Universelle in Paris, that Cartier created an ‘Indian’ ring with two cabochon emeralds set in platinum using the standards of French jewellery. Then in the summer of 1901, Pierre Cartier was summoned to Buckingham Palace and was commissioned to create an Indian necklace from various pieces of royal jewellery for the new Queen, Alexandra, to wear with three Indian gowns sent by Mary Curzon, wife of the Viceroy of India. For this first commission from the palace, the Paris designer created a light and elegant Indian-style necklace.

Around 1910, under Poiret’s influence, Persian-Indian aigrettes and pendant motifs were found in jewellery creations. In 1910, the Herald Tribune praised the ‘Persian and Indian designs of Cartier’.

Important contacts with maharajas were consolidated during the celebrations of George V’s coronation at the Delhi Durbar in 1911, and in the same year Jacques Cartier embarked for his first journey to India.

The towering sarpech (jiqka) and the drooping turah, both Indian turban ornaments, influenced jewellery designers in Paris, London and New York. The principal component of the sarpech is the Kashmir palm or mango leaf, a cone shape bent over at the point, found in Persian Mir and Serabend carpets. From 1912 the mango leaf inspired the basic shape of the Cartier version of the fashionable aigrette. In the 1920s, it was adapted with a drop stone dangling from its tip to be worn as lapel and hat brooches.