Cartier is a French watch and jewelery house. For many years Cartier jewelry has been rightfully considered the privilege of very wealthy people and royalty. After all, jewelry from Cartier is a chic, noble and unique jewelry that emphasizes the status of a certain person.
By the beginning of the 20th century, the Cartier Jewelry House was quite well known in France, its family dynasty consisted of the third generation. Cartier not only prospered, but they did not live in poverty, and they were quite satisfied with their lives. Until in 1900 … for the sake of curiosity, three young men – Louis, Jacques and Pierre (Cartier in the third generation) went to the World’s Fair in Paris. And there they saw fifteen Easter eggs with the secrets of masterly, dizzying work and hitherto unprecedented fine mechanics.
Such a misfortune must have happened, it was this year that the Russian jeweler Carl Faberge decided to present his collection to the court of France, and take it and make a real sensation. All of France started talking about the Russian jeweler. About a jeweler from that very Russia, where, according to the deepest conviction, the majority of the French, except for forests of bears and drunken men, can be nothing! Moreover, at the same exhibition, the young master Eugene Faberge, as young as Louis, became a Knight of the French Academy of Fine Arts. The pride of the Cartier brothers was hurt.
The 1900 World’s Fair really pushed Cartier forward.
And although the graceful and expensive trinkets, which were produced by the Cartier company, were gladly worn in prim England, this success was not enough for ambitious young men. In addition to expensive household items and jewelry, engineering “toys” have appeared, striking not only with their beauty and grace, but also with their uniqueness. As for the quality, one could vouch for it – there was an indisputable law in the House of Cartier: jewelry that did not meet high criteria was destroyed.
In 1906 and 1907, Louis Cartier created two Easter eggs. One of them was bought by the Municipal Council of Paris in 1912 in order to present it as a gift to Emperor Nicholas II during an official visit to Russia. It should be noted that both Easter eggs were executed exclusively.
Apparently, in the manufacture of traditional Easter gifts there was not only a desire to compete with Russian jewelers in skill. Rich and greedy for overseas curiosities, Russia interested the House of Cartier as one of the greatest sales markets. The tactic of penetrating the Russian market was developed politically competently and carefully. Before opening a permanent store in St. Petersburg, it was decided to hold several exhibitions. The first took place in 1907. High quality, original ideas, excellent enamels and talented cutting – not only Cartier could boast of this. Therefore, in the Russian market it was necessary not so much to please, but to bewitch, bewitch.
The works of the House of Cartier came to the taste of the Russian aristocracy.
However, the Russian princes were in no hurry to shower the foreign jewelers with gold. Neither the reception in Tsarskoe Selo, nor the communication with the emperor and empress produced the proper excitement around the purchase of jewelry from Cartier. Russia was amazed, groaned, sighed.
And she paid money to others. And only after the Cartier exhibition was established in St. Petersburg twice a year, the Northern Pearl fell. But, barely finding new fans, the House of Cartier lost them. In 1914, the First World War broke out, followed by the revolution in Russia.
The firm sought to produce timeless work, not for the sake of fashion. Art nouveau and symbolism, popular at that time, mixed everything and everyone. But at the same time, the strict hierarchy of genres, which constrained the freedom of search, went away with them. The Cartier brothers deliberately rejected the Art Nouveau style as imperfect and repeating itself in drawings, in ornate lines. And we delved into the study of the art of past eras. Louis Cartier took up a thorough study of the 18th century, sent his assistants around Paris to draw all kinds of decors and ornaments in architecture, studied oriental patterns, bends of forged fences. This is how the “garland” style was created.
Charles Jacot and Louis Cartier
Charles Jaco, whom Louis Cartier hired to work in 1909, like Cartier the elder, was fond of the art of Egypt, India, China, Japan, and Muslim countries. Together they created a whole series of jewelry pieces. Their works surprisingly organically complemented and emphasized the beauty of the female body and costume, claiming to be an independent piece of art. Creative thought and complex technical work were unrivaled. Cutting and stone carving for Cartier was carried out by the French masters Varangoz and Frevius, and the Russians – Svechnikov, Werfel, Ovchinnikov.
Louis Cartier, who admired the work of the French watchmakers of the 18th century, decided to seriously engage in watchmaking. At first he ordered the mechanisms from the firms Bredillard, Dagonno and Pravo for watches with a rotating dial in the style of Louis XVI and for small table clocks with enamels.
Then bracelet watches appeared.
Among the elegant audience, bracelet watches, however, were considered practical, but not very aesthetic. Therefore, the House of Cartier also produced pocket watches. By 1900, long sleeves and long evening gloves had gone out of fashion, and a novelty from Cartier – a watch – a bracelet – came in handy.
Then a good acquaintance turned up: Louis Cartier met Maurice Couet, the grandson of one of the Breguet masters, and from 1911 he began to work exclusively for the House of Cartier. Maurice had an inventive mind and great imagination. Under his leadership, amazing watches with ingenious mechanisms and spectacular dials appeared, the so-called Cartier Mystery Clocks, around which an aura of mystery always hovered. The creation of the “mysterious” watches by Louis Cartier and Maurice Coue was prompted by the magical representations of the illusionist Jean-Eugene Robert-Gooden. The first watches of the Cartier Mystery Clocks series came to life in 1912.
One of the most unique creations of the House of Cartier is a magic watch.
In the transparent semi-eastern dials, the hands moved as if by themselves. The whole secret was that each arrow was attached to a disk made of glass or crystal, inserted into a frame of gear wheels, and these wheels were driven by a screw. The mechanism was hidden in the plinth. In search of coasters for “magic” watches, Louis Cartier bought oriental figurines of agate, rock crystal, jade, coral …
Water clock.
Cartier, 1929. Unique piece in the art deco style. Jadeite, black marble, lapis lazuli, coral, aventurine, mother of pearl and enamel. The dial is a Chinese bowl with an 18th century jadeite chimera. The ridge of the chimera is painted with enamel. Chimera’s eyes are emerald cabochons. The stand is made of black marble, decorated with aventurine cabochons, decorative elements of lapis lazuli and coral in a silver setting. “Strelka” – turtle – made of natural turtle shell.
In 1925, the Exhibition of Decorative Arts and Contemporary Industry was held. The jewelry works of 30 different masters presented at this exhibition surprisingly vividly reflected the aesthetics of that era: abstract forms, clean volumes with smooth surfaces, sharply marked edges, restrained and contrasting tones, a variety of materials in the most unexpected combinations. The form became dominant. The Art Deco era began.
jewelry in geometric shapes
Cartier showed incredible insight. The first designs of jewelry in geometric shapes appeared with Cartier back in 1907. Art Deco was a style that opposed futuristic fashion, creating works that were expressive and original, but not in harmony with the human body. Therefore, in 1925, the House of Cartier refused to show its works with other jewelers in the Grand Palais and decided to expand its exposition in the Elegance pavilion, next to famous fashion designers.
As soon as they got used to the new style, Cartier presented another find: white art deco. Gradually, the color disappeared from the jewelry, and the geometric shapes became more strict. An unusual white note sounded in the jewelry of the House of Cartier. The emergence of a new style is associated with the arrival of a new employee at the House of Cartier – Jeanne Toussaint, a temperamental woman with special taste and unimaginable commercial flair. Few people know that the famous black and white motif “panther skin” – a favorite theme of the artists of the House of Cartier – owes the appearance of Madame Toussaint, or rather, her nickname.
Jeanne Toussaint took up the development of silverware.
The jewelry and knick-knacks made under her direction were extraordinary success. True, evil tongues said that the whole success lies only in the fact that Jeanne enjoys a special favor from Monsieur Louis Cartier. Be that as it may, but the silver from Cartier has changed. Leather was added to the noble metal with exquisite enamels, some elements began to be covered with gilding. Ordinary table decorations turned into exquisite works of art, even completely useless little things were bought up by wealthy clients.
However, Louis Cartier, carried away by the grace of black and white compositions, did not reject color at all. Clients from all over the world came to Europe, or rather directly to Cartier. Oil tycoons from Arab countries bought expensive jewelry from Cartier. Indian maharajas brought antique jewelry with huge precious stones, stones of the most incredible colors and shades to Cartier for restoration. Louis’s brother, Jacques Cartier, was collecting the treasures of the Maharajah in order to one day pour this flashy-bright precious rain on the amazed women of fashion. Jewelry, household items, table knick-knacks exploded with colors, shades and half-tones. The House of Cartier called this style “Tutti Frutti” (Fruit Salad). Intense color gems have turned into intricate flowers and fruits.
The Great Depression
The greatest economic crisis, which began in 1929, more or less safely passed the House of Cartier. In terms of sales, it was ahead of competitors in both Europe and America. The Cartier name has become synonymous with impeccable quality and noble luxury. It was during the period between the two world wars that most of the legendary Cartier jewelry was created.
In addition, the House was a success in the American market, which is largely due to Pierre Cartier. Of the three Cartier brothers, Pierre turned out to be the most talented and far-sighted businessman, who inherited from his father and grandfather special courtesy, diplomacy, healthy cunning and business acumen. One example. Pierre has long hunted one of the richest women in America – Evelyn Walsh Maclean. First, Ms. McDean bought a magnificent 94.8-carat Star of the East diamond from Pierre Cartier. The French jeweler kindly allowed Evelyn to take the diamond for one day without payment. The trick worked, and the very next day Evelyn Walsh McLean acquired the jewel.
blue diamond
Five years later, Mrs. McLean, from the same Pierre Cartier, bought another unique stone – a blue diamond “Hope” weighing 45.52 carats for a fabulous price at that time – 154 thousand dollars. To sell the stone for that kind of money, Pierre Cartier composed a poetic legend about it. And as if by chance he added that, according to legend, such a stone can have a positive effect only on the present, that is, honestly who bought it, the owner. The enterprising jeweler promised that if, within six months, Mrs. McLean has the slightest personal troubles, she will be able to return the stone immediately. It was Pierre Cartier who was involved in the sale of the jewels of the Romanovs’ house and of Prince Yusupov.
In 1933 Jeanne Toussaint took over as head of the company. The House of Cartier has entered its golden age. The most unthinkable projects were brought to life, what seemed like baseless dreams became reality. Under the direction of Madame la Panther, art deco geometricism dyed a flawless white. But for London, Cartier has always offered a collection of colored jewelry in tribute to England’s long ties with India.
The shapes of Cartier jewelry have become voluminous
Sometimes jewelry gravitated towards massiveness, which did not exclude a variety of applications. Georges Bezot, who was responsible for the technical side of the case at Cartier, proved this. He invented many of the most useful little things – hinges, fasteners for a necklace … Bezo’s most famous invention is clips. Such decorations transformed from clothespins and themselves freely changed their shape. The clips could be worn separately: joined together, they became a brooch; attached to the bracelet, adorned it; in the center, the necklaces turned into a pendant, a pendant. The lines are also more flexible. The house created a whole series of funny brooches – a ladybug (1936), a hand with a rose (1937), an Indian head (1938).
The already great grief of the Second World War for the House of Cartier turned into a triple grief. Louis and Jacques Cartier died in 1942. The loss was enormous, but the House could not, and was not going to cease to exist overnight. Despite the war and mourning, Cartier jewelry and artwork erupted in a variety of colors, living and original forms. Decorations prompted by nature itself and made in a realistic manner gradually became stylized, becoming more airy, softer, more transparent. With the end of the war, everything changed. Woman became Woman again. Largely thanks to Mr. Dior, with whom the House of Cartier willingly collaborated in the post-war years. Platinum and diamonds have returned to the jewelry world – they were so in harmony with furs! Animal decorations and floral motifs appeared. Jeanne Toussaint insisted on resuming the Panther theme.
Swords
Not only delicate ladies’ jewelry was made in Cartier workshops. Here important gentlemen academicians ordered swords. The Duke de Gramont was the first to have this idea in 1931. In 1934, François Mauriac ordered a sword from Cartier, in 36th – Georges Duhamel, in 38th – Jacques de Lacretelle, secretary of James Hyde, in 39th Cartier craftsmen made a sword for André Maurois.
The epee is a specific subject. Making it requires a lot of skill, design and shape do not tolerate sudden changes. Tradition requires that the academician’s sword be decorated with symbols related to the life and work of its owner, his work, environment, family. It is practically unthinkable to combine such a number of symbols on a sword. Jean Cocteau’s sword can be considered a remarkable success of the Cartier masters. Jean Cocteau had a personal friendship with Louis Cartier, and after the death of the great jeweler, Cocteau turned to the Cartier workshops to order a sword for himself. The drawing of the future work of art was done by Cocteau himself.
