ART MODERNE BLACKENED SILVER AND GOLD BRACELET BY CARTIER, PARIS, CIRCA 1930

SOLD: Acquired by the Newark Museum

A wide blackened silver bracelet with a crenulated top surmounted by a rounded silver band, the top set withthree rows of gold spheres

  • Signed Cartier Paris
  • Diameter: 2 3/8 inches

Additional cataloguing

Certification

  • Cartier Certificate of Authenticity, no. GE2000-212, dated November 21, 2000, stating the bracelet is Cartier Paris,circa 1930.

 

Literature

  • cf. Colero, Nadine. Amazing Cartier: Jewelry Design since 1937. Paris: Flammarion, 2009, p. 126.
  • cf. Culme, John, and Nicholas Rayner. The Jewels of the Duchess of Windsor. New York: The Vendome Press, 1987, pp. 174, 176.
  • Mouillefarine, Laurence, and Évelyne Possémé. Art Deco Jewelry: Modernist Masterworks and their Makers. London:Thames & Hudson, 2009, p. 229.

 

Exhibitions

  • Bijoux Art déco et Avant-Garde: Jean Despréset les bijoutiers modernes, Musée des Arts Décoratifs, Paris, March 19–July 12, 2009.

 

Biography

Cartier was founded in Paris in 1847 by Louis-François Cartier. His three grandsons, Louis, Pierre, and Jacques, built the house into a famous international jewelry empire serving royalty, Hollywood stars, and socialites. Cartier has created some of the most important jewelry and objects of art of the twentieth century with many iconic designs such as mystery clocks, Tutti Frutti jewelry and the Panthère line. In 1983, The Cartier Collection was established with the objective of acquiring important pieces that trace the firm’s artistic evolution. Today, Cartier has 200 stores in 125 countries.

 

Significance

The name Cartier is synonymous with superb jewels; jewels that often defy the parameters of a particular style or period.Although the company’s jewelry is traditionally associated with important gemstones, Cartier also created artistic pieces, suchas this bracelet, that were more about design than materials. This machine-style piece was created at a time when art anddesign were influenced by the perception of the machine as a combination of gears, cams, and axles as exemplified by thepaintings of Charles Sheeler, who created true-to-life depictions of motors, stacks, and parts. The new style, called Moderne,was a response to the acknowledgement of the machine as an inspiration for decorative arts. All trace of romanticism orwhimsy had disappeared, replaced with a sense of geometry.

This cuff bracelet epitomized this new direction with a composition more like a part of a machine than a conventional pieceof jewelry. It is designed with crenulated borders on both sides and a stepped band elevating the center section setwith three rows of gold spheres.

The bold design of this bracelet appealed to self-assured women and the men who gifted them such a treasure. Thisbracelet was designed for customers who understood jewelry was about design and wore it for its aesthetic fascination. Twoof the most noted jewelry collectors and style icons of the first half of the twentieth century owned bracelets in this style. Edward,Duke of Windsor, presented a pair to Wallis, Duchess of Windsor, at the end of 1940, just after they moved to Nassau. Itwas a token of his love for her and the hope of a better life away from the travails of war as embodied by the inscription,“For a happier New Year NASSAU 1-1-41 WE.” Another celebrated trendsetter, actress Marlene Dietrich, was given one bythe French actor and military hero Jean Gabin. Both women wore their cuff bracelets while being photographed by thecelebrated photographer Horst B. Horst. Dietrich’s picture appeared in Vogue, July 1, 1942.Cartier created a cuff bracelet that is not only a work of art but is also a striking arm ornament that is sure to be the centerof attention when worn.

Wallis, Duchess of Windsor photographed by Horst P. Horst in the 1940s wearing a Mainbocher silk shantung dress with a Cartier necklace and cuffs in the style of the bracelet on offer. Prince Edward, Duke of Windsor, purchased the pair for the Duchess during the War, when they moved to Nassau. He added the hopeful inscription, “For a happier new year NASSAU 1-14-41 WE.”

Marlene Dietrich wearing a Cartier cuff in the style of the bracelet on offer in a photograph by Horst P. Horst for Vogue, July 1, 1942.

Marlene Dietrich wearing her Cartier cuff in the style of the bracelet on offer, circa 1943.