Cartier’s Crowning Glories

The storied jewelry designers’ sparkling creations will soon be on display at the Victoria & Albert Museum in London.
Cartier’s Crowning Glories
A star of the Victoria & Albert Museum’s legendary jewelry collection is the "Manchester Tiara," commissioned for Consuelo, Dowager Duchess of Manchester in 1903, Harnichard for Cartier Paris. © Victoria and Albert Museum, London
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The exhibition “Cartier” at the Victoria & Albert Museum promises to be a brilliant, multifaceted viewing experience. On display from April 12 to Nov. 16, 2025, it is the first show of its kind in the UK in almost 30 years. It will present over 350 objects, including peerless examples of jewels, timepieces, and drawings.
Cartier is a luxury brand synonymous with creativity, connoisseurship, and collectors. King Edward VII characterized it famously as the “Jeweler of kings … and king of jewelers.” Important pieces from royal collections are being loaned to the exhibit. An outstanding example is the Williamson Diamond brooch. Designed as a jonquil flower, it was commissioned by Queen Elizabeth II in 1953, the year of her coronation. The composition venerates an exceedingly rare 23.6-carat pink diamond, a 1947 wedding gift to the then young princess, set as the calyx. The gem is one of the finest pink diamonds ever discovered.
Grace Kelly wearing her Cartier 10.48-emerald cut diamond engagement ring in the 1956 film "High Society." (Metro-Goldwyn-Mayer/MovieStillsDB)
Grace Kelly wearing her Cartier 10.48-emerald cut diamond engagement ring in the 1956 film "High Society." Metro-Goldwyn-Mayer/MovieStillsDB
Another piece is Grace Kelly’s 10.47-emerald cut diamond engagement ring, esteemed as perfection by jewelry and movie fans. The star wore it in her final film, “High Society” (1956), and it is lent by the Monaco Princely Palace Collection. An additional piece with royal provenance is Princess Margaret’s rose clip brooch, acquired by the Cartier Collection after the estate sale of a selection of her jewels at Christies. The brooch was made by the firm’s London branch in 1938. The princess, whose middle name was Rose, wore the three-dimensional diamond and platinum bloom to her sister’s  coronation.
(L) Rose clip brooch, 1938, by Cartier London. Diamonds and platinum. (R) Brooch, 1933, by Cartier London. Amethyst, sapphires, diamonds, and platinum. Cartier Collection. (Vincent Wulveryck, Cartier Collection/© Cartier)
(L) Rose clip brooch, 1938, by Cartier London. Diamonds and platinum. (R) Brooch, 1933, by Cartier London. Amethyst, sapphires, diamonds, and platinum. Cartier Collection. Vincent Wulveryck, Cartier Collection/© Cartier

‘Never Copy, Only Create’

“Cartier” charts the Maison’s history from the turn of the 20th century to the present day, but the firm’s origins extend to 1847, when it was founded by Louis-François Cartier. Successful with French high society, Napoleon III’s cousin Princess Mathilde was a prominent patroness, Louis-François’s son Alfred took control in 1874. However, it was his sons, Louis, Pierre, and Jacques who turned Cartier into a global empire in the early 1900s, purveyors to potentates, dollar princesses, and titans of industry.

Louis ran the Paris office, Pierre the New York one, and Jacques managed the London and all the British territories, most importantly India. Included in the exhibition is an amethyst, sapphire, diamond, and platinum brooch made by Cartier London for Jacques’ wife, Nelly.

The motto of the Cartier brothers was “Never copy, only create.” Inspiration was international, from patterned Persian rugs to 18th-century French decorative arts and architecture. The historic French designs were a basis for the Belle Epoque Garland Style, popular in early 20th-century jewelry and perfected by Cartier.

‘Stomacher Brooch," 1913, special order by Cartier Paris. Carved crystal, diamonds, and platinum. Cartier Collection. (Marian Gérard, Cartier Collection/© Cartier)
‘Stomacher Brooch," 1913, special order by Cartier Paris. Carved crystal, diamonds, and platinum. Cartier Collection. Marian Gérard, Cartier Collection/© Cartier

Highly romantic and lyrical, it frequently used motifs like florals, bows, tassels, and swags, often in an all-white palette. The novel use of platinum as a metal setting, in which Louis Cartier was an innovator, gave the impression of floating diamonds. Before this, white stones were set with silver-topped gold, which had practical and visual disadvantages to platinum.

In the exhibit, a magnificent piece from this era that required the highest craftsmanship is the “Stomacher Brooch” from 1913. Composed of carved rock crystal, diamonds, and platinum, the sculptural double bow features engraved foliate scrollwork on the crystal that gives the impression of lace.

Bejeweled Tiaras

One of the exhibition’s most glamorous attractions will be the section devoted to tiaras. These head ornaments are an ultimate symbol of social status, elegance, and power. Cartier’s tiaras are beauty and imagination personified. Several Belle Epoque examples were made for American heiresses who married into British aristocracy.
Scroll tiara, commissioned for the Countess of Essex in 1902, by Cartier Paris. Diamonds, silver and gold. Cartier Collection. (Nils Herrmann, Cartier Collection/© Cartier)
Scroll tiara, commissioned for the Countess of Essex in 1902, by Cartier Paris. Diamonds, silver and gold. Cartier Collection. Nils Herrmann, Cartier Collection/© Cartier

The 1902 tiara commissioned for the New York-born Adele, Countess of Essex presents remarkable open scrollwork and over 1,040 diamonds that her husband allegedly supplied to Cartier. She wore it to Edward VII’s Coronation. Just over 50 years later, Clementine Churchill, wife of Prime Minister Winston Churchill, wore it to Elizabeth II’s coronation.

“Manchester Tiara” commission for Consuelo, Dowager Duchess of Manchester, 1903, Harnichard for Cartier Paris. Diamonds, gold, and silver; the C-scroll at each end set with glass paste. (© Victoria and Albert Museum, London)
“Manchester Tiara” commission for Consuelo, Dowager Duchess of Manchester, 1903, Harnichard for Cartier Paris. Diamonds, gold, and silver; the C-scroll at each end set with glass paste. © Victoria and Albert Museum, London

Art deco tiaras showcase new cuts of stones and often highly geometric forms. A bold, colorful exhibit example from late in the period is the aquamarine, diamond, and platinum tiara. Semi-precious stones like aquamarines were less expensive than diamonds, emeralds, sapphires, and rubies; they became popular during the Great Depression when purse strings tightened, even among the wealthy.

Tiara, 1937, by Cartier London. Aquamarine, diamonds and platinum. Cartier Collection. (Vincent Wulveryck, Cartier Collection/© Cartier)
Tiara, 1937, by Cartier London. Aquamarine, diamonds and platinum. Cartier Collection. Vincent Wulveryck, Cartier Collection/© Cartier

In 1937, 27 aquamarine tiaras, including this one, were ordered from Cartier. King George VI’s coronation was that year, and this model was made to be worn for the event. Intriguingly, like many Cartier creations, this tiara is transformable: The central component can be detached and worn as a brooch.

A rare tiara on display is in a bandeau form, of low profile usually worn on the forehead that suited women’s fashionably bobbed hair of the 1920s. This 1928 bandeau, which converts to two bracelets, is made of carved emeralds, rubies, sapphires, diamonds, and platinum. It was owned by Lady Edwina Mountbatten, the last Vicereine of India, and is in the Tutti Frutti style.

“Mountbatten Bandeau” in Tutti Frutti style, 1928, by English Art Works for Cartier London. Emeralds, rubies, sapphires, diamonds, and platinum. (© Victoria and Albert Museum, London)
“Mountbatten Bandeau” in Tutti Frutti style, 1928, by English Art Works for Cartier London. Emeralds, rubies, sapphires, diamonds, and platinum. © Victoria and Albert Museum, London
Tutti Frutti has become an exemplary Cartier style, and it continues to feature in their high jewelry collections with a recently created necklace included in the exhibit. The style was dubbed tutti frutti in the 1970s, but before then it was called “pierres de couleur” or “colored stones.” The use of carved, instead of faceted, colored stones comes from historic Indian jewelry.

The Decorated Maharajah

The Cartiers were fascinated by the East and merged their motifs frequently with Western designs. Jacques Cartier purchased a large number of carved stones on a 1911 trip to India for the Delhi Dunbar, a celebration of the coronation of King George V, Emperor of India. The trip was significant as Jacques made connections with Indian Maharajahs, many of whom became important clients.
“Patiala Necklace,” special order commissioned by Bhupinder Singh, Maharajah of Patiala, in 1928 (restored 1999–2002), by Cartier Paris. Diamonds, yellow and white zirconia, topaz, synthetic rubies, smoky quartz, citrine set in platinum. Cartier Collection. (Vincent Wulveryck, Cartier Collection/© Cartier)
“Patiala Necklace,” special order commissioned by Bhupinder Singh, Maharajah of Patiala, in 1928 (restored 1999–2002), by Cartier Paris. Diamonds, yellow and white zirconia, topaz, synthetic rubies, smoky quartz, citrine set in platinum. Cartier Collection. Vincent Wulveryck, Cartier Collection/© Cartier

Traditionally, Maharajahs set their fabulous gemstones in gold, but they were soon eager to commission new jewelry and have stones reset by Cartier in platinum. One of the most magnificent objects Cartier ever created is known as the Patiala Necklace.

Bhupinder Singh, Maharajah of Patiala, was renowned for his incredible jewels, in both quality and quantity. The De Beers yellow diamond of approximately 234.5 carats, one of the largest polished diamonds in the world, was part of his collection. It was the centerpiece of the “Patiala Necklace,” composed in a traditional Indian style, but set in platinum. The necklace disappeared from the maharajah’s treasury in 1947. It was next seen in 1998, when a Cartier associate happened to discover what was left of the original piece (the major stones were missing) in a London second-hand jewelry store. After Cartier purchased it,  the brand restored it with a mix of synthetic gems and light yellow diamonds.

‘Scarab Brooch’

Egyptomania, a 19th-century fascination for all things Egypt, became popular in response to events such as Napoleon’s Egyptian campaign, archaeological expeditions, and the building of the Suez Canal. It was revived in the 1920s with the discovery of the tomb of Tutankhamun.

Cartier incorporated Egyptian themes into different jewelry forms, including a 1925 “Scarab Brooch,” featured in the exhibit. This piece is resplendent with turquoise blue Egyptian faience (a ceramic material prized by the ancient Egyptians) and calibré-cut gems for the wings. Scarab beetles were symbolic of life, death, rebirth, and immortality. This brooch could also be worn as a belt buckle.

“Scarab Brooch,” 1925, by Cartier London. Blue-glazed Egyptian faience with rubies, emeralds, citrine, diamonds, onyx, platinum, and gold. Cartier Collection (Nils Herrmann, Cartier Collection/© Cartier)
“Scarab Brooch,” 1925, by Cartier London. Blue-glazed Egyptian faience with rubies, emeralds, citrine, diamonds, onyx, platinum, and gold. Cartier Collection Nils Herrmann, Cartier Collection/© Cartier

Cartier Lore

Cartier’s emblematic symbol is the panther. For over a century, the big cat has metamorphosed in an array of necklaces, bracelets, earrings, rings, brooches, watches, cigarette and vanity cases, and handbags. The origin of this panther motif is associated with Cartier’s legendary creative director Jeanne Toussaint.

Once a paramour of Louis Cartier, Toussaint was nicknamed “La Panthère.” While she may have been the inspiration for Cartier’s panther, she did not create the design. Some of the designers she oversaw were known to sketch live animals at zoos. Cartier’s illustrious panther commissions were made for famous women like the Duchess of Windsor, who owned a Cartier menagerie that included a famous flamingo brooch.

Panther skin wristwatch, 1914, by Cartier Paris. Onyx, diamonds, pink gold, platinum, and black moiré strap. Cartier Collection. (Nils Herrmann, Cartier Collection/© Cartier))
Panther skin wristwatch, 1914, by Cartier Paris. Onyx, diamonds, pink gold, platinum, and black moiré strap. Cartier Collection. (Nils Herrmann, Cartier Collection/© Cartier))
The very first Cartier incorporation of a panther pattern dates to 1914 in the form of a ladies’ wristwatch, which is included in the exhibition. Cartier panther jewels are still some of the Maison’s most coveted wares.

Timeless Timepieces

Cartier is also famous for their watches and clocks. The most celebrated of the latter are dubbed “pendules mystérieuses” or “Mystery Clocks.” Louis Cartier was especially interested in timepieces and hired a talented young clockmaker, Maurice Couët, to innovate for the company. Couët invented a sensational desk clock that leaves viewers baffled as to how the hands are driven. They appear to float in the middle of a rock crystal case without being connected to a mechanism or movement.
“Model A’ Mystery Clock,” 1914, made by Maurice Coüet for Cartier Paris. Rock crystal, agate, diamond, sapphire, enamel, gold, platinum with eight-day movement. Cartier Collection. (Nils Herrmann, Cartier Collection/© Cartier)
“Model A’ Mystery Clock,” 1914, made by Maurice Coüet for Cartier Paris. Rock crystal, agate, diamond, sapphire, enamel, gold, platinum with eight-day movement. Cartier Collection. Nils Herrmann, Cartier Collection/© Cartier

The first type of this clock, introduced in 1912, was known as ‘Model A.” A 1914 example is included in the show. The company closely guarded the secret to this mysterious illusion, but it is now publicly known: The hands are set into transparent discs whose edges are connected to gears hidden in the clock’s supports. These gears, in turn, connect the hand and clock movement, which is located usually in the clock’s base.

Burmese jade necklace that belonged to American heiress Barbara Hutton, 1934, by Cartier Paris. Jade, rubies, diamonds, platinum, and gold. (Courtesy of Cartier)
Burmese jade necklace that belonged to American heiress Barbara Hutton, 1934, by Cartier Paris. Jade, rubies, diamonds, platinum, and gold. Courtesy of Cartier

It is no mystery as to why the public goes crazy for all things Cartier. The wondrous pieces profiled here are just a sample of the treasures going on display at the V&A. Further masterpieces include Barbara Hutton’s Burmese jade necklace, the finest example of its kind, Mexican film star Maria Felix’s astonishing articulated snake necklace, and the Allnatt brooch with its 101-carat vivid yellow diamond. The exhibit is sure to make the case, in as brilliant form as Cartier’s iconic red box, that some of the 20th and 21st centuries’ greatest artworks are signed “Cartier.”

The “Cartier” exhibition at the Victoria & Albert Museum in London, runs from April 12 through May 11, 2025. To find out more, visit VAM.ac.uk
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Michelle Plastrik
Michelle Plastrik
Author
Michelle Plastrik is an art adviser living in New York City. She writes on a range of topics, including art history, the art market, museums, art fairs, and special exhibitions.