Cartier

The early 20^th century was marked with radical cultural shifts that came with incredible originals seen from Cartier’s designs. By 1901, Vincent Van Gogh’s paintings were being shown at the Galerie Bernheim-Jeune and Fauvism gained its name at the Salon d’Automne Exhibition in 1905. Strong colours that were rarely paired together in the past were juxtaposed, which was further encouraged by inspirations from the palettes of the Ballets Russes in 1909. More than a decade later in 1925, a culmination of creativities in the arts gave way to what would come to be known as Art Deco at the Exposition internationale des arts décoratifs et industriels modernes .

二十世紀初，全球各地的社會文化發生了翻天覆地的轉變，隨之而來的是許多獨樹一幟的原創設計，從卡地亞的作品可以窺見一二。1901 年，文森・梵谷的畫作在伯恩海姆・冉內畫廊展出，野獸派在 1905 年的秋季沙龍正式得名。過去鮮見的強烈色彩配搭開始出現，1909 年俄羅斯芭蕾舞團採用的色調激發了更多新穎的靈感。十多年後，巴黎國際裝飾藝術與現代工業博覽會於1925年舉行，展示多件後來被稱為裝飾藝術的作品。

From as early as 1910s, Cartier started sourcing gemstones from India. Jacques Cartier would take trips to Bombay and Delhi, receiving orders from the royals who wanted to have their gemstones set in a new design while procuring fine gemstones for the company. Cartier’s clientele developed during the crucial period of 1911 to 1939, and included some of the wealthiest people in the era such as the Sultan of Mysore, the Nizam of Hyderabad, and Aga Khan III among others. Traditional Indian gemstones were mainly carved into Mughal aesthetics to be fashioned into naturalistic motifs such as flowers and leaves, usually in rubies and emeralds. Cartier purchased these as well as smaller beads and larger emeralds carved in relief.

早在 1910 年代，卡地亞已開始在印度採購寶石。雅克·卡地亞收到皇室成員的委約後曾多次遠赴孟買和德里，為公司採購優質寶石的同時，更將這些異國寶石用於嶄新的新設計當中。卡地亞在1911至 1939年期間贏得多個重要客戶，包括邁索爾蘇丹、海得拉巴尼扎姆和阿迦汗三世等時代鉅富。傳統印度寶石多數根據莫臥兒美學風格切割及雕刻，以花朵和樹葉等自然主題為主，所用的寶石通常是紅寶和祖母綠。除了這些寶石之外，卡地亞也有購入較小的寶石珠和較大的雕刻祖母綠。

After the return from their trips to India, Cartier began setting these carved gemstones into platinum, with diamonds. This was very different from the traditional ways they would be mounted in kundan setting using yellow gold and Maharajas after would have them reset with this new material and technique. The jewellery were the highlights of Cartier’s exhibition in 1925 at the Pavillon de l'Élégance and a special issue of the Gazette du Bon Ton commented on how these 17^th century carved gemstones were harmonized into a modern aesthetic by Cartier.

從印度回國後，卡地亞開始將這些雕刻寶石鑲嵌到鉑金中，並配鑲鑽石。這些設計利用新材料及技術製作，與傳統使用黃金的昆丹風格首飾截然不同，後來也開始得到印度大君的青睞。這些珠寶首飾是卡地亞 1925 年在 國際裝飾藝術與現代工業博覽會「優雅時尚館」展台的亮點，《邦頓公報》的一期特刊評論卡地亞如何將這些來自十七世紀的寶石化成現代作品。

One of the earliest jewels in this fashion was sold to Mrs. Cole Porter in 1925—a bracelet with carved ruby, sapphire and emeralds embellished with small diamonds and onyx beads. Mrs. Porter fell in love with the style and would go on to purchase another bracelet and a double-clip brooch in a similar design, which would later be named the “Tutti Frutti”. Originally called the “leaf-work” jewel by the company, the Tutti Frutti design was collected by various patrons such as Queen Mary and Mrs. William K. Vanderbilt among others.

最先佩戴這種嶄新風格首飾的名人是科爾·波特夫人，她在1925 年購入一條鑲雕刻紅寶石、藍寶石和祖母綠的手鏈，上面點綴著小顆的鑽石和縞瑪瑙珠。波特夫人很快便愛上這款設計，並再購入了另一款設計相近的手鏈和一枚別針。這款特別的設計便是後來成為卡地亞經典的「水果錦囊」（Tutti Frutti）。最初，卡地亞稱這款設計稱為「葉子作品」，瑪麗皇后和威廉·K·范德比爾特夫人等都有收藏。

One of the most significant pieces made in this time of inspiration was commissioned by Daisy Fellows in 1936, which was a grand necklace with thirteen briolette sapphires weighing more than 145 carats in total. Inspired by a necklace made in 1925 for the Maharaja of Patna, Cartier embellished the entire jewel with carved emeralds, rubies and sapphires, with the back of the neck designed as a drawstring. Having the clasp as a cord was true to its Mughal influence. Fellows was photographed by Cecil Beaton wearing this fantastic jewel on multiple occasions, including when she paired it with a Christian Dior gown at the Beistegui Ball in 1951.

1936 年，黛西·法羅斯委託卡地亞製作了一條鑲有 13 顆（總重超過 145 克拉）水滴形藍寶石的項鏈，成就了這個滿載靈感的時代的經典作品。於1925 年面世、為巴特那大君製作的一條項鏈啟發卡地亞用雕刻祖母綠、紅寶石和藍寶石點綴整件首飾，頸後的鏈身則作束帶設計；繩索狀釦環則源自莫臥兒王朝風格。塞西爾·比頓多次拍到法羅斯佩戴這件珠寶，包括 1951 年她穿著克里斯汀・迪奧（Christian Dior）禮服出席貝斯特吉舞會，當時搭配的就是這條項鏈。

In 2014, Sotheby’s New York offered a Cartier Tutti Frutti bracelet from the collections of Estée Lauder and Evelyn H. Lauder, which sold for more than USD$2.1 million; marking a new world record for any Tutti Frutti bracelet by Cartier. In 2016, Cartier revived the Tutti Frutti collection by diving deep into their heritage jewels, including a number of fantastic examples from the 1920 and 30s. Drawing from rich, early 20^th century decorative motifs, the renewed Tutti Frutti jewels were adorned with ripe fruits and foliage with most pieces made uniquely of carved sapphires, rubies and emeralds.

2014 年，紐約蘇富比拍賣雅詩蘭黛和伊芙琳·H·蘭黛收藏的卡地亞水果錦囊手鏈，成交價超過 210 萬美元，刷新了卡地亞 水果錦囊手鏈的世界拍賣紀錄。2016 年，卡地亞回顧品牌的珠寶設計發展，包括 1920 至30 年代的許多精彩設計，從而復興水果錦囊系列。重新面世的水果錦囊珠寶從二十世紀初豐富的裝飾藝術風格中汲取靈感，加入水果和樹葉造型，大部分由雕刻藍寶石、紅寶石和祖母綠製成，色彩斑斕活潑，令人賞心悅目。

Lots 85 and 86 are therefore an unmistakable Cartier emblem, and inextricably linked to its history. The wristwatch was made in 2016 and the demi-parure in 2018 during the revival of the Tutti Frutti designs. The Agrafe Tutti Frutti is also a unique piece as a mechanical movement with manual winding watch embellished with a central 41-carat emerald engraved with Mughal motifs. Cartier also made a wristwatch in Tutti Frutti style in 1929, featuring a table-cut emerald over the watch dial, and now belonging to the Cartier Collection.

85 和 86號拍品是卡地亞的經典設計，與品牌歷史緊緊相連。此腕錶在 2016 年生產，首飾套裝則於 2018 年水果錦囊設計復興期間面世。「Agrafe」水果錦囊腕錶採用手動上鏈機械機芯，設計獨特，中央鑲嵌一顆 41 克拉祖母綠，刻莫臥兒風格圖案。卡地亞在 1929 年曾經製作過一款水果錦囊風格的腕錶，錶盤上鑲嵌了一顆祖母綠，現屬卡地亞收藏（Cartier Collection）。

The Tutti Frutti demi-parure is beautifully crafted, highlighting a 50-carat hexagonal emerald enhanced with dashes of onyx alongside carvings of rubies, emeralds and sapphires as leaves branching out from the centre.  According to Eric Nussbaum, the first director of the Cartier Collection, the early Tutti Frutti pieces displaying these ‘tree-of-life’ motifs through their spines were among the rarest and most elegant pieces of the oeuvre. Two asymmetrical emerald pendants from the necklace can also be detached and worn on another diamond chain, offering a variety of ways to style the jewel.

這套水果錦囊首飾造工精緻，主角是一顆鮮濃奪目的 50 克拉六角形祖母綠寶石，並綴以多顆瑪瑙，雕刻紅寶石、祖母綠和藍寶石如葉子般從枝幹伸展開來。卡地亞收藏（Cartier Collection）的首任總監埃里克·努斯鮑姆認爲，以這種「生命之樹」為主題的作品在早期卡地亞水果錦囊設計中特別罕見，典雅無比。項鏈上的兩個不對稱祖母綠吊墜也可以拆下，改扣在另一條鑽石鏈上，方便不同搭配。

Created after a hundred years from some of the very first Tutti Frutti jewels, Lots 85 and 86 are a homage to one of the most iconic collections from Cartier’s history. Quintessentially a Cartier creation, the bold hues and textures of the gemstones are enhanced by the innovative craftsmanship and extraordinary 21^st century design. As a timeless symbol of elegance, these jewels will carry on the legacy of Cartier’s rich heritage for decades to come.

85 號和 86 號拍品都是在卡地亞最早期的水果錦囊珠寶誕生的一百年後面世，向這個經典系列致敬。兩件拍品都展現卡地亞經典風格，利用創新的工藝技術和二十一世紀嶄新設計概念，讓本已大膽的色彩配搭和寶石紋理加倍奪目動人。這幾件珠寶都是永恆優雅的象徵，將於未來幾十年繼續傳承卡地亞的不朽傳奇。