Earlier this week, auction house Christie’s concluded a bedazzling sale titled ‘Magnificent Jewels’. The auction of 138 exquisite pieces featured historic and heirloom jewels from notable jewellery houses and aristocratic family collections. With immaculate quality of stones and craftsmanship, each jewellery piece featured is a collector’s item. Works of art to behold and cherish, in an era if dreadful costume jewellery. When provenance of a piece is traced painstakingly, these jewels can share volumes on history, culture and the evolution of art, fashion and design.
Some of the pieces that caught my attention included an eye-popping, yet dainty pink diamond ring, which was once worn by Marie Antoinette, the last Queen of France before the French Revolution. Dating back to the 18th century, possibly mined in India’s ancient Golconda mines, the 10.38 carat ring has an exquisite powder pink shade to it. Perhaps part of Antoinette’s original inventory collection, it was estimated at auction for $5,000,000 to 7,000,000. After a fierce bidding war, it eventually sold for almost double its expected price at an impressive $13,980,000. But, it comes as no surprise as jewels such as these, seeped in history are not seen every day let alone available in auction.
Such is the case of three other pieces that were also part of the Christie’s auction, from the property of a royal collection. These are rare pieces, which one would perhaps study or admire in a miniature painting of a Mughal ruler or at a museum collection. Tracing their origin to the Mughal Empire, featuring inscribed spinels, pearls and gemstones such as emeralds. Mughal rulers have been known for their deep appreciation of craftsmanship be it commissioning ornate architectural marvels, setting up artist ateliers or searching for precious and magnificent stones. Jewellery was and continues to be seen as an undeniable measure of status, wealth and power.
However, patronage has changed and evolved over the years with several craftsmen shutting shop and the quest for rare gems and jewels not always being encouraged. But there are a few jewellery houses that have stood the test of time. Possessing the ability, vision and foresight to keep up with the changing times and remain relevant globally. When brothers Louis, Pierre and Jacques Cartier joined their father Alfred in the family business, they set out to create Cartier, a legacy of art, design and craftsmanship. An exhibition at the Victoria & Albert Museum in London traces the journey of the jewellery house, featuring stunning creations which continue to be characterised by the union of inspired design, quality craftsmanship and ingenious techniques. I was overwhelmed with the sheer number of gorgeous historic jewels one had the privilege of viewing.
It is evident that the Cartier brothers possessed a universal curiosity, be it to study books on decorative arts and antiques, to admire architecture and design or travel across the globe. This research would then be exquisitely crafted into their designs.
Abstract geometric shapes inspired by Islamic architecture, the colourful Tutti Frutti composed of carved emerald, ruby and sapphire, the decorative arts of 18th century France and Europe. Maison Carter would combine global art traditions with lively imagination as part of a broader design approach while forging close ties with wealthy, influential clientele across borders. Be it royalty or aristocracy.
The exhibition showcases original, detailed sketches, jewellery pieces from some of the most prestigious collections across the globe as well as from the archives of Cartier. Stories and anecdotes alongside these pieces shed light on the way patronage and design has changed over the years. How jewellery has been a soft power in sociopolitical scenarios but also been harnessed as a tool to make a bold statement.
The iconic Patiala necklace, commissioned by Maharaja Bhupinder Singh of Patiala lures visitors to gather around the beautifully lit, twinkling display. Glistening jewels, many of which have been lost and stolen over the years and been replaced. The Star of the South diamond bracelet, which was reportedly found in Brazil in 1853 by an enslaved woman. The diamond was part of the Baroda Royal family collection for nearly 80 years. A captivating ruby and diamond necklace, with Burmese rubies collected by the Maharaja of Nawanagar. The replica of the diamond necklace, which was commissioned by Cartier for Maharaja Ranjitsinhji of Nawanagar.
The list goes on with each piece being even more exquisite than the other. While there are the quintessential European brooches and tiaras with diamonds and gemstones, watches and clocks, the exhibition is testament that the era of Indian royalty was a grand, and special opulent period where patronage flourished. Painstaking effort and time were taken to observe, to study, to innovate and to create.
In a time where lab-grown diamonds are trendy and copied, replicated jewellery pieces are often favoured, the exhibition inspires the viewer to value and push the boundaries of creativity, to encourage new designs and craftsmanship and to learn from Maison Cartier's beautiful journey.
Cartier has managed to successfully understand the changing times and the global demand, prioritising imaginative design and technical engineering. What has however remained consistent is the immaculate quality and superior craftsmanship. Even today Cartier's inimitable style remains relevant and modern.
But as I left the exhibition, spellbound, I did wonder, is the era of exemplary craftsmanship and rare jewels fleeting? Will one only be privy to seeing such works in auctions and exhibitions now?