✅ Займ на карту за 5 минут!
✅ Займ на карту за 5 минут!
Only after the purchase, for an undisclosed price last summer, did the jeweler trace the tiara to Marjorie Paget, the sixth Marchioness of Anglesey, after spotting a photograph by Cecil Beaton of her wearing it at King George VI’s coronation in 1937. “That’s something unique to us and something we’ve worked very hard to establish,” said Mr. Bhagat, who also is recognized for creatively combining elements of Eastern and Western traditions. When Hancocks London acquired what it later came to call the Anglesey tiara, the new owners had no idea of the piece’s history, said the managing director, Stephen Burton. The tiara includes a graduated row of more than 100 carats of diamonds. The row can be detached, via small screws, to form a rivière necklace.
From the outset, visitors find themselves immersed in these shapes and motifs with three of Cartier’s iconic creations set against masterpieces of Islamic art. Along the North Gallery, you are invited, room after room, to explore the creative process and the initial sources of inspiration in jewellery design. The books in Louis Cartier’s library and his collection of Islamic art were made available as resources for designers. Louis’ personal collection, reconstructed thanks to the archives of the House of Cartier, is represented here through several masterpieces reunited for the first time since the dispersion of his collection. Charles Jacqueau was an important as well as brilliant member of Cartier’s team of designers. A selection of his design drawings is presented here thanks to an exceptional loan from the Petit Palais, Fine Arts Museum of Paris. Although famed for its ‘garland style’ jewellery, from 1904 onwards, Cartier began developing pieces inspired by the geometric patterns of Islamic art found in books about ornamentation and architecture. Enamelled brick decorations from Central Asia and stepped merlons, amongst others, form the basis of a precursory repertoire later described as ‘Art Deco’ - in reference to the ‘Exposition internationale des arts décoratifs et industriels modernes’ in Paris in 1925, bringing Cartier into the modern world very early on. More than 500 pieces including jewellery and objects from the Cartier Collection, private and public loans, masterpieces of Islamic art, drawings, books, photographs and archival documents, trace the origins of the jeweller’s interest in Oriental motifs.
Portrait of Fath ‘Ali Shah, attributed to Mihr ‘Ali Iran, 1800-1806. Oil on canvas. Musée du Louvre, Paris, département des Arts del’Islam. On loan from the Château-Domaine national de Versailles. This exhibition shows the influence of Islamic Art on the high jewellery Maison Cartier in its design of jewellery and precious objects from the beginning of the 20th century to the present day. The tour of the exhibition ends in the Central Hall with digital devices created by Elizabeth Diller’s teams from the DS+R studio, bringing another dimension to the jewellery.
century.Ceramic mosaic Musée du Louvre, Paris département des Arts de l’Islam, on loan from the Musée des Arts Décoratifs, Paris. , un gioielliere della corte sabauda noto in tutta Europa per le sue creazioni preziose. La tiara entra nella famiglia reale italiana nel
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