Cartier Renderings

The life of any piece of jewelry begins with an idea. Before metal can be cast or stones can be set, a designer must sit down and create an image of what the final product will look like.

It’s not often we get the chance to come face to face with this phase of vintage jewelry production, which is why Gray & Davis is delighted to display, for a limited time, some Cartier hand sketches dating from 1930 to 1950. Created by house designer Edouard Blondeau, these beautiful gouache images of necklaces, rings, bracelets, broaches, and earrings are works of art in themselves.

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Then, as now, Cartier was one of the most famous and admired jewelry houses in the world, its work regularly worn by royalty and celebrities. The artisans it employed would have been at the top of their professions, as these illustrations certainly affirm. The designs are elegant and luxurious, full of ornate metalwork and precious stones. In many cases, they cleverly take inspiration from the natural world.

Even more than the content of these illustrations, however, it’s their form that makes them so rare. While plenty of designers still sketch out their ideas, a detailed rendering is just as likely to come from a computer program. And even when done by hand, contemporary sketches just don’t measure up to the intricacy and skill displayed here. The bright color, dimensionality, and impressionistic details of these drawings provide a sense of a finished piece’s substance and luster. Looking at them, it seems like the depicted jewelry leaps off the page.   

 Platinum and diamond earring, c. 1935

Platinum and diamond earring, c. 1935

 Turquoise, colored stone, and diamond necklace, c. 1945

Turquoise, colored stone, and diamond necklace, c. 1945

 Gold and colored stone cuff bracelet, c. 1950

Gold and colored stone cuff bracelet, c. 1950

This is all the more special because it’s entirely possible that these images do represent the final form of these designs—all we know is that they were never incorporated into the official Cartier line. This leaves two possibilities. Each sketch may have been presented as a potential piece for a Cartier collection, and never put into production. Or, alternately, it may have been designed as a custom piece for a client, who may or may not have had it created. Records don’t indicate one way or the other.

 Detail of watermark

Detail of watermark

We do know that these pieces were created in Cartier’s home city of Paris. These sketches, like all made at the house, bear a company watermark; the order of the cities listed therein changed according to where a sketch was made, with the origin as the first location listed.

Gray & Davis invites you to come visit these sketches in our West Village store—you may even be inspired to take one or two home yourself! And, the next time you look at a piece of jewelry, think about the process it took to get here—and, particularly if it’s an older piece, the additional beauty it might have generated on the way.

The Star in the Sapphire

Ever wondered how star sapphires get their stars? It's created by an optic feat called asterism, from the Latin astrum meaning star. For a star sapphire to appear, the stone must have spindly, needle-like inclusions of a mineral called rutile that grow and intersect each other within corundum, the mineral we know as sapphire and ruby (yes, star rubies are also possible!)

To cut a perfect star is no easy feat. After determining that a star is even possible, due to a sheen on the rough gemstone, a lapidary must find the gemstone’s optic axis, and then begin to fashion the stone into a rounded cabochon shape. High quality star sapphires are cut to center the stone’s asterism as perfectly as possible in the middle of the cabochon, and keep the points of the star of similar length. The higher the dome of the cabochon, the less the star will ‘move’ under a light source or when rotating the gemstone at different angles.

Snug in a platinum, diamond accented mounting, our Art Deco star sapphire ring was most likely designed for the stone set into it. The underside of the cabochon is rough and uneven to keep the rutile inclusions needed for a lovely, strongly visible star.

And, for a little gemstone bling, take a look at some of the most famous star sapphires, one of which is on display here in New York!:

 The Star of India, which lives in New York's American Museum of Natural History, is 563 cts.

The Star of India, which lives in New York's American Museum of Natural History, is 563 cts.

 The Black Star of Queensland, no longer on public display, is 733 cts.

The Black Star of Queensland, no longer on public display, is 733 cts.

 The Star of Asia, currently housed in the Smithsonian, is 330 cts.

The Star of Asia, currently housed in the Smithsonian, is 330 cts.

The Secrets That Antique Jewelry Keep

We’re always pleased when jewelry reveals some of it secrets through hallmarks, maker’s marks and engraved details. However, some jewelry are meant to keep secrets; artisans have built compartments to protect the wearer’s valuables and tokens of significance, and encase them in some seriously fabulous materials.

 19th Century Etruscan Revival coach covers, from the Gray & Davis archives.

19th Century Etruscan Revival coach covers, from the Gray & Davis archives.

 Coach cover with the old mine cut diamond earring it encased, from the Gray & Davis archives.

Coach cover with the old mine cut diamond earring it encased, from the Gray & Davis archives.

Fashionable and functional in the 19th century, “Coach covers” are attachable orbs that cloaked valuable earrings to protect the wearer in transit (we assume from villainous highwaymen). Once the wearer arrived at her destination, she could remove the covers and let her diamonds out.

 A 15K gold brooch pendant with its original pin and catch made c. 1860.

A 15K gold brooch pendant with its original pin and catch made c. 1860.

 The brooch pendant's secret locket compartment, now fitted with a piece of brocade. 

The brooch pendant's secret locket compartment, now fitted with a piece of brocade. 

Jewelry that incorporated a loved one’s hair became popular in the seventeenth century and remained in fashion until the end of the nineteenth century. Pieces could be given as both a sentimental gesture (Queen Victoria gave hair jewelry throughout her life) or included as part of mourning jewelry to further personalize the token of remembrance. Jewelry with a glass plate built in, as well as some daintier antique lockets, most likely held beautifully woven hair; period jewelers were skilled at braiding and working it into compartments of brooches, pendants and rings.

 A 15K rosy gold locket ring with a buckle design and hand engraving, made c.1830.

A 15K rosy gold locket ring with a buckle design and hand engraving, made c.1830.

 Buckle ring hides woven hair around the band's center.

Buckle ring hides woven hair around the band's center.

Small ring compartments may have held other secrets besides hair. Rings crafted with a small lidded compartment for herbs, or something more sinister, are mentioned in ancient texts. Famous locket ring wearers included Elizabeth I and members of the powerful Borgia family. The ring’s use in fictional and real life drama buoyed their popularity in the 16th through 19th centuries.

 Victorian 15K gold and banded agate men's intaglio ring with locket compartment.

Victorian 15K gold and banded agate men's intaglio ring with locket compartment.

Larger locket pendants became fashionable c. 1860-1880, coinciding with increasing availability of portrait photography – for the first time, images could be created and mounted into jewelry that didn’t require the skill of a miniature portrait painter. Today, with the help of image resizing, we can put pictures into those small jewelry compartments so they may once again hold treasured mementos.

 French 18K gold Georgian locket with carved Garnet and scalloped edge of rose cut diamonds, c.1800. Rock crystal locket backing.

French 18K gold Georgian locket with carved Garnet and scalloped edge of rose cut diamonds, c.1800. Rock crystal locket backing.

 Early 20th Century 14K gold locket watch fob with black enamel and a spider design set with an old mine cut diamond.

Early 20th Century 14K gold locket watch fob with black enamel and a spider design set with an old mine cut diamond.

 Victorian 18K rose gold watch chain is hung with a shield-shaped locket containing a hinged disk of rock crystal. French Import mark c. 1838 - 1864. 

Victorian 18K rose gold watch chain is hung with a shield-shaped locket containing a hinged disk of rock crystal. French Import mark c. 1838 - 1864. 

Say Yes to Wednesday: Unique Art Deco Diamond Ring

This ring is a stunning example of Art Deco craftsmanship, and features a 0.25 carat old European cut diamond of F color and VS2 clarity set within a bombe of diamond-studded platinum piercework. The shoulders of the platinum mounting are further embellished with engraved detail, and taper gracefully to a rounded band. Total diamond carat weight of the ring is 0.72 carats.

Currently available in the Gray & Davis online shop!

Would you say yes?

Orange Blossoms Explained

In the Victorian era, orange blossoms were worn by fashionable brides as symbols of innocence and fertility. 

 Artificial orange blossoms worn by Henrietta Woodcock at her wedding in 1848. Victoria & Albert Museum. 

Artificial orange blossoms worn by Henrietta Woodcock at her wedding in 1848. Victoria & Albert Museum. 

Perhaps the most famous bride to opt for orange blossoms was Queen Victoria herself, who wore a wreath of them in her hair at her 1840 wedding. 

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The Queen's husband noticed Victoria's affinity for orange blossoms, and gifted her jewels of porcelain, enamel and gold that were beautiful representations of the real thing. 

 Suite of porcelain, enamel and gold orange blossom jewelry. Gifted to Queen Victoria by Prince Albert between 1839 and 1846. 

Suite of porcelain, enamel and gold orange blossom jewelry. Gifted to Queen Victoria by Prince Albert between 1839 and 1846. 

The fashion for faux orange blossoms faded by the twentieth century, but the sentiment behind the buds had become wedding tradition. If you look closely at Art Deco bridal jewels, you are likely to come across tiny orange blossoms incorporated into the design:

All of these pieces date to the 1920s and 1930s, and though the orange blossom motif is very subtle, the sentiment remains the same.