Important Art Deco Jadeite, Enamel, Gem-Set and Diamond Brooch, Cartier, Circa 1927

Of modified quatrefoil shape, centring on a finely carved jadeite plaque of translucent apple green colour, carved with a garden scene on both sides measuring approximately 32.05 x 25.51 x 3.57mm, quartered by clusters of step-cut sapphires, a cabochon sapphire and a step-cut emerald, within a frame of palmette design set with baguette, old European- and single-cut diamonds and outlined by red enamel, completed by terminals set with two shield-shaped carved rock crystal, embellished by jadeite beads, the sapphires and diamonds together weighing approximately 6.90 and 3.05 carats respectively, mounted in platinum, signed Cartier and numbered 2716472.

Colour and Clarity: According to the Jadeite Jade Testing Certificate, the carved jadeite plaque is natural, Type A Jadeite Jade. Please refer to the certificate for details. In our opinion, the jadeite plaque is translucent, of strong apple green colour, with minor cloud inclusions and black spots under transmitted lighting. Faceted sapphires are of medium to medium intense blue colour, eye clean and lively; cabochon sapphire is of strong blue hue, eye clean. Emerald is of medium intense saturation, eye clean. Jadeite beads are translucent, of slightly deep green with touch of brownish clouds. Diamonds are about F to H colours, VS to SI clarity that a few stones have surface chips under loupe check, not seen to naked eyes. Signed and numbered to the reverse. Condition: Vintage brooch circa 1927, enamel is intact with signs of normal wear to the metal, overall in very good condition. IMPORTANT NOTICE: Please note that jadeite and rubies of Burmese origin and articles of jewellery containing jadeite or rubies of Burmese origin all less than 100 years old may not be imported into the US. The purchaser's inability to import any item into the U.S. or any other country as a result of these or other restrictions shall not justify cancellation or rescission of the sale or any delay in payment. Please check with the specialist department if you are uncertain as to whether a lot is subject to these import restrictions, or any other restrictions on importation or exportation.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. 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. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Accompanied by a Cartier Certificate of Authenticity and a signed box.

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EXOTICISM AT ITS BEST

Many would be surprised to learn that during the reign of Louis XIV of France, it was considered highly fashionable to attend masquerades where Chinese instruments were played and guests were dressed in delicate silk costumes. This China-frenzy in the 17th century, which also impacted artistic styles in decoration, architecture and fashion, was just an overture to this ballad of East and West. Centuries have passed before the highest note was hit in the 1920s, the period better known as Art Deco.

In the beginning of 20^th century, far-off destinations such as Egypt, India, Persia and the Far East were becoming increasingly accessible, so was their wealth of arts, exotic materials and captivating palette. Among the jewellers who were inspired by these new elements was the Cartier family, who had already earned its reputation as the ‘jeweler to the kings’ by that time. The Cartier brothers were extremely well-read in history and were avid collectors of art. Aside from frequenting antique shops in France, they often travelled around the world with a focus on ancient civilizations. This acumen in foreign cultures and aesthetics was transformed into extensive archives and libraries, which they shared with their colleagues early on, and from which designers for generations took inspiration and strived to put out innovative creations.

Many of Cartier’s Art Deco designs were delicate combinations of oriental motifs and fragments of artifact, juxtaposed with precious stones within geometrical lines and expressed by a flamboyant mix of colours. A good example was the collection of Egyptian revival jewelleries that were sold in Sotheby’s New York in 2013. One of the brooches used a faience as its centrepiece, with a lapis lazuli background bordered by monochromatic diamonds and onyx.

This attempt at mixing materials and bold colours was even more significant in the maison’s Tutti Frutti pieces, which marked Cartier’s first foray into carved gemstones. These bright and colourful creations always encompass carved rubies, emeralds and sapphires, which are very likely to have been brought back by Jacques Cartier from his voyage in India. Though the colours red, blue and green might seem to clash violently at first glance, they were ingeniously organized such that the result was always an opulent explosion of colours . This has since then became a Cartier signature and was patented in 1989. The penannular brooch (Lot 1850) offered here is exemplary of this style, also employing high polish black onyx which was distinctive of Cartier’s designs during that period. This form of jewel was worn on belts, sashes, one’s shoulder, or pinned onto cloche hats for both decorative and functional purposes.

Aside from Egypt and India, the curiosity and fascination extended itself to the Far East, where sources of inspiration were drawn from Chinese and Japanese culture and various forms of art. While retaining the original flavour of Chinese artworks such as jadeite carvings and belt buckles, Cartier incorporated such elements into creations adjusted to meet European aesthetic tastes. This one-of-a-kind brooch (Lot 1851) perfectly illustrates the maison’s elevated skills in blending colours, textures and periods. By outlining the green jadeite by red enamel which evokes the 19^th century cinnabar lacquer from Imperial China, and completing the ‘tutti frutti’ colour with careful arrangement of sapphires, emerald and jadeite beads, the maison stayed true to its audacity and subtle elegance. In addition, judging from the very fine pictorial carving on both sides of the jadeite plaque, it is likely to date from Qing dynasty. The Indo-Persian palmette motifs on the brooch are also stylised interpretation of an oriental decorative element seen in Persian rugs and classical mouldings. These naturalistic lines were then neatly contoured by the shield-shaped rock crystal frame.

These two Art Deco brooches are not only representative of Cartier’s imaginative faculty, it also attests to the fruitful encounter of East and West almost a century ago, culminating in originality, integration and lasting elegance.