- 1864
GROUP OF GOLD PHOTO FRAMES, CARTIER
Estimate
120,000 - 160,000 HKD
bidding is closed
Description
Comprising: a foldable photo frame of basketweave design that holds four photos; a photo frame that holds three photos; and a photo frame that holds two photos; mounted in 14 karat yellow gold, total gross weight approximately 380 grams, all signed Cartier, numbered, two cases stamped Cartier Inc.
Condition
All signed Cartier, four photo frame numbered 14741, three photo frame numbered 14744, two photo frame numbered 14745. All stamped 14K for 14k yellow gold. Minor signs of wear to metal, few surface scratches. Overall in very good condition. Total gross weight approximately 380 grams. Two cases stamped Cartier Inc, one case with a torn side.
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.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.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.
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.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.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.
Catalogue Note
_____________________________________________________________________ Parisian Chic (Lot 1864-1887)
The signature on a piece of jewellery makes it traceable, identifiable and recognizable in the history of its jewellery house. Jewellers began signing their work during the Arts & Crafts and Art Noveau periods whereby the aim of the movement was to revive an old tradition of producing jewellery designs that were manufactured by the same craftsman. An early example of such identification was of the likes of René Lalique and Fabergé who had the ongoing practice of signing all of their bejewelled creations. Soon, the process was popularized when all the top maisons and small ateliers alike began marking their pieces.
Jewels bearing signatures from the renowned houses of Cartier, Van Cleef & Arpels and Bulgari, to name but a few, could transform in value as jewellery crafted by these brands often represented unparalleled standards of craftsmanship and pioneering designs.
Smaller independent Parisian designers such as René Boivin and Suzanne Belperron also established themselves as contemporaries alongside prominent jewellery leaders. Belperron insisted that ‘my style is my signature’, where her designs were so original and distinguishable that she found no need to sign her pieces. However, her ability to play with aesthetic influences and the discovery of her personal archives which contained a vast collection of drawings sketches, models and appointment orders ensures the authenticity, traceability and provenance of her works.
This beautifully curated selection of jewels primarily from the 1950s and 1960s from a distinguished private collection reflects a connoisseur’s appreciation for collecting iconic jewels. Reflecting an understanding of the significance of the periods that these jewels represent, these stylish pieces commemorate the spirit of the 60s and the versatility of ingenious designs that transform themselves into chic, wearable, timeless treasures.
The signature on a piece of jewellery makes it traceable, identifiable and recognizable in the history of its jewellery house. Jewellers began signing their work during the Arts & Crafts and Art Noveau periods whereby the aim of the movement was to revive an old tradition of producing jewellery designs that were manufactured by the same craftsman. An early example of such identification was of the likes of René Lalique and Fabergé who had the ongoing practice of signing all of their bejewelled creations. Soon, the process was popularized when all the top maisons and small ateliers alike began marking their pieces.
Jewels bearing signatures from the renowned houses of Cartier, Van Cleef & Arpels and Bulgari, to name but a few, could transform in value as jewellery crafted by these brands often represented unparalleled standards of craftsmanship and pioneering designs.
Smaller independent Parisian designers such as René Boivin and Suzanne Belperron also established themselves as contemporaries alongside prominent jewellery leaders. Belperron insisted that ‘my style is my signature’, where her designs were so original and distinguishable that she found no need to sign her pieces. However, her ability to play with aesthetic influences and the discovery of her personal archives which contained a vast collection of drawings sketches, models and appointment orders ensures the authenticity, traceability and provenance of her works.
This beautifully curated selection of jewels primarily from the 1950s and 1960s from a distinguished private collection reflects a connoisseur’s appreciation for collecting iconic jewels. Reflecting an understanding of the significance of the periods that these jewels represent, these stylish pieces commemorate the spirit of the 60s and the versatility of ingenious designs that transform themselves into chic, wearable, timeless treasures.