A blue and white ‘Dragon’ handled vase, Qing dynasty, 18th century

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18th century, Blue-and-White, Dragon-Handled Vase, Qing dynasty

A blue and white ‘Dragon’ handled vase, Qing dynasty, 18th century. Estimate 30,000 — 40,000 HKD. Photo Sotheby’s

of baluster form with angled shoulder, sweeping up to a waisted neck and flanged rim, set with two archaistic dragon-handles, decorated around the exterior with a large camellia scroll bearing six large blooms and attendant blossoms, between bands of lotus lappets, plantains around the neck, and waves around the shoulder and rim; 47.5 cm., 18 3/4  in.

PROPERTY FROM A HONG KONG FAMILY COLLECTION

Sotheby’s, Chinese Art, Hong Kong | 24 Nov 2014, 02:30 PM

A pair of blue and white ‘Pomegranate’ bowls, marks and period of Xuantong

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'Pomegranate' bowl, Blue-and-White, mark and period of Xuantong

A pair of blue and white ‘Pomegranate’ bowls, marks and period of Xuantong. Estimate 60,000 — 100,000 HKD. Photo Sotheby’s

well potted with a gently everted rim, each painted around the exterior with four pomegranate flowers with large bursting stamen and attendant buds wreathed in foliate scrolls, between single or double lines encircling the foot and rim, the base inscribed with a six-character reign mark; 11.7 cm., 4 5/8  in.

PROPERTY FROM A PRIVATE ASIAN COLLECTION

Sotheby’s, Chinese Art, Hong Kong | 24 Nov 2014, 02:30 PM

A pair of blue and white ‘Eight Immortals’ bowls, seal marks and period of Daoguang

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'Eight Immortals' bowl, Blue-and-White, Seal mark and period of Daoguang

A pair of blue and white ‘Eight Immortals’ bowls, seal marks and period of Daoguang. Estimate 80,000 — 120,000 HKD. Photo Sotheby’s

each decorated in shades of blue around the exterior with the ‘Eight Immortals’, holding their respective attributes standing on a ruyi above a wavy sea, between double lines encircling the rim and foot, the interior with three immortals within a medallion including Shou Lao holding a peach, the base inscribed in underglaze blue with a six-character seal mark;10.9 cm., 4 1/4  in.

Sotheby’s, Chinese Art, Hong Kong | 24 Nov 2014, 02:30 PM

A pair of blue and white ‘Lotus’ dishes, marks and period of Kangxi

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'lotus' dish, Blue-and-White, Mark And Period Of Kangxi

A pair of blue and white ‘Lotus’ dishes, marks and period of Kangxi. Estimate 150,000 — 200,000 HKD. Photo Sotheby’s

each with shallow rounded sides rising to a flared rim, decorated with three lotus heads and attendant buds wreathed in scrolling foliage, all below a lotus band on the interior rim, the exterior with further lotus, the base inscribed in underglaze blue with a six-character reign mark; 15.5 cm., 6 1/8  in.

PROVENANCE: One dish: Sotheby’s Hong Kong, 29th November 1978, lot 262.
The other: Christie’s Hong Kong, 26th September 1989, lot 640.

Sotheby’s, Chinese Art, Hong Kong | 24 Nov 2014, 02:30 PM

A pair of blue and white ‘Floral’ bowls, Marks and period of Jiajing

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'Floral' bowl, Blue-and-White, Mark and period of Jiajing

A pair of blue and white ‘Floral’ bowls, Marks and period of Jiajing. Estimate 150,000 — 200,000 HKD. Photo Sotheby’s

each with deep rounded sides surrounding a domed centre corresponding to a recessed base on the underside, resting on a small narrow foot, deftly painted around the exterior with four medallions enclosing leafy peonies reserved in white against a blue foliage, divided by ruyi-shaped scrolls, the interior similarly decorated with a peony medallion, the base inscribed with a six-character reign mark in underglaze blue; 14 cm., 5 1/2  in.

Sotheby’s, Chinese Art, Hong Kong | 24 Nov 2014, 02:30 PM

« Lumières : carte blanche à Christian Lacroix » au musée Cognacq-Jay

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Antoine Borel, Autoportrait au jabot de dentelle, Canaletto, celadon, Christian Lacroix, dit Nicolas Lavreince, François Boucher, Grégoire Alexandre, Hubert Robert, Jean-Baptiste Greuze, Jean-Louis Bloch-Lainé, Jean-Siméon Chardin, Johann-Joachim Kaendler, Kris Knight, La Belle cuisinière, Louise Bossut, Marie-Louise-Elisabeth Vigée-Lebrun, Maurice Quentin de La Tour, Meissen, musée Cognacq-Jay, Nature morte au chaudron de cuivre, Niclas Lafrensen, Paysage Bruxellois sous la neige, Petit garçon au gilet rouge, Pierre Gonnord, Tim Walker, Vase monté, Viktor&Rolf, Vincent J.Stoker, Wolfgang Tillmans

Lumières : carte blanche à Christian Lacroix. Affiche

PARIS – Pour sa réouverture, le musée Cognacq-Jay se dévoile à travers une carte blanche proposée à Christian Lacroix. Créé en 1928 à l’initiative du fondateur de la Samaritaine, Ernest Cognacq, le musée a emménagé en 1990 dans le quartier du Marais dans l’hôtel Donon. Il présente des œuvres emblématiques du 18e siècle sélectionnées par le fondateur pour être exposées dans des boiseries évocatrices du « décor artistique de la vie française ».

Connu pour son travail régulier auprès des institutions muséales, Christian Lacroix a accepté le double défi de renouveler les ambiances de visite tout en travaillant sur un concept cher à son approche artistique, le goût pour le 18e siècle.

Plus de 40 artistes contemporains ont été invités par l’artiste commissaire, en réponse à dix thèmes phares identifiés parmi les acquisitions d’Ernest Cognacq pour faire ainsi mieux comprendre l’esprit des Lumières et son importance actuelle.

« Lumières: carte blanche à Christian Lacroix », exposition jusqu’au 19 avril 2015. Musée Cognacq-Jay, 8 rue Elzévir, 75003 Paris. 

Dessins Christian Lacroix © Monsieur Christian Lacroix

Dessins Christian Lacroix © Monsieur Christian Lacroix

Dessins Christian Lacroix © Monsieur Christian Lacroix

Dessins Christian Lacroix © Monsieur Christian Lacroix

Dessins Christian Lacroix © Monsieur Christian Lacroix

Dessins Christian Lacroix © Monsieur Christian Lacroix

Dessins Christian Lacroix © Monsieur Christian Lacroix

PARIS – In celebration of its reopening, the Musée Cognacq-Jay, home to a collection of emblematic 18th century artworks, has offered designer Christian Lacroix a creative carte blanche.

Renowned for his collaborations with museums, Christian Lacroix has accepted the dual challenge of reimagining the “guiding narrative” of the museum’s exhibition spaces while exploring a concept that has shaped his own approach to art – the fascination exerted by 18th century.

The exhibition includes contributions from over 40 contemporary artists whom Lacroix has invited to reflect upon ten key themes present throughout Ernest Cognacq’s collections, all with a view to enhancing our understanding of the Age of Enlightenment and its continued relevance to our own era.

« Enlightenment: Carte Blanche for Christian Lacroix », EXHIBITION 19TH NOVEMBER 2014 – 19TH APRIL 2015. 

 Anonyme. Vase monté. Céladon, bronze doré, 1775-1785. Paris, Musée Cognac-Jay © Eric Emo / Musée Cognacq-Jay / Roger-Viollet

Johann-Joachim Kaendler (1706-1775), La ménagère écrivant dans son livre de comptes ou l’Economie (vue de face), entre 1756 et 1758. Porcelaine allemande de Meissen. Paris, musée Cognacq-Jay © Patrick Pierrain / Musée Cognacq-Jay / Roger-Viollet

Jean-Siméon Chardin (1699-1779, Nature morte au chaudron de cuivre. Huile sur bois, entre 1734 et 1735. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Jean-Louis Bloch-Lainé, Pudding © Jean-Louis Bloch-Lainé

Marie-Louise-Elisabeth Vigée-Lebrun (1755-1842), Portrait de Marie-Louise de Robien. Huile sur toile, 1774. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Tim Walker, Xiao Wen in Sherbertyellow Marilyn Wig. © Tim Walker

Niclas Lafrensen, dit Nicolas Lavreince (1737-1807), La consolation de l’absence, vers 1785-1790. Gouache sur vélin / H. 26 cm L. 20,50 cm. Paris, Musée Cognacq-Jay © Roger-Viollet

Grégoire Alexandre, Viktor&Rolf, Surface, 2010 © Grégoire Alexandre

Canaletto (Antonio Canal, dit 1697-1768), Le Grand Canal, vu du pont du Rialto, vers 1725- 1730, Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Vincent J.Stoker, Hétérotopia#TEEDI © Vincent J.Stoker

Hubert Robert (1733-1808), L’Accident, entre 1790 et 1804. Huile sur toile. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Louise Bossut, Paysage Bruxellois sous la neige © Louise Bossut

Jean-Baptiste Greuze (1725-1805), Petit garçon au gilet rouge, vers 1775-1780. Huile sur toile. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Pierre Gonnord, Charlotte © Pierre Gonnord

Maurice Quentin de La Tour (1704-1788), Autoportrait au jabot de dentelle, vers 1750.Pastel sur papier / H. 45 cm L. 37 cm. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Kris Knight, Slightly Off, 2014. Huile sur toile, 61 x 46 cm. Collection LG. Courtesy Galerie Alain Gutharc

Wolfgang Tillmans, Studio, 1991. C-print, Courtesy of Galerie Buchholz, Berlin/Cologne © Wolfgang Tillmans

 François Boucher (1703-1770), La Belle cuisinière, Huile sur bois, avant 1735. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

Antoine Borel (né en 1743), Le vieillard fardé, Gouache sur papier. Paris, musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet

A blue and white ‘peach’ moonflask, Qing dynasty, 18th- 19th century

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'Peach' moonflask, 18th-19th Century, Blue-and-White, Qing dynasty

A blue and white ‘Peach’ moonflask, Qing dynasty, 18th-19th century. Estimate 150,000 — 200,000 HKD. Photo Sotheby’s

the flattened circular body rising from a short spreading foot to a tall trumpet neck flanked by a pair of ruyi handles, moulded in low relief to the front and back face with a peach-shaped panel painted in rich cobalt-blue tones with bats amongst fruiting peach sprays, reserved on a leafy floral scroll ground and similarly decorated to the sides and neck, the foot with a ‘classic’ scroll, the base inscribed with a six-character Qianlong seal mark – 25 cm., 9 7/8  in.

PROVENANCE: Acquired in Hong Kong, 20th June 1984.

Note: Although closely related to mark and period examples, the glaze drops visible on the interior of the vase and the writing of the mark prevent the vase from being safely ascribed to the Qianlong reign. For mark and period examples, see a moonflask sold in our Paris rooms, 18th December 2009, lot 263, and another sold in our London rooms, 9th November 2011, lot 201.

PROPERTY FROM A PRIVATE HONG KONG COLLECTION

Sotheby’s, Chinese Art, Hong Kong | 24 Nov 2014, 02:30 PM

Frances Lehman Loeb Art Center makes major acquisition with 18-century Japanese scroll painting

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c. 1763-1764, Pasturing Horses, Soga Shokaku

Soga Shokaku (Japanese 1730-1781), Pasturing Horses, c. 1763-1764. Ink and light colors on paper, mounted on silk. Purchase, Pratt Fund, 2014.28

POUGHKEEPSIE, NY.- The Frances Lehman Loeb Art Center, Vassar College’s art museum, recently made a major acquisition: Pasturing Horses, an eighteenth-century scroll painting by Japanese artist Soga Shohaku.

The painting is a key addition to the Art Center’s impressive collection. James Mundy, the Anne Hendricks Bass Director of the Art Center, said, “The size, quality and expression found in this work make it among the very best available.” Shohaku is one of the three key mid-Edo period painters in Kyoto known as “The Eccentrics.” The other two artists of this group, Ito Jakuchu and Nagasawa Rosetsu, are already represented in the Center’s collection. The acquisition of this painting is “a capstone for the Center’s Japanese collection,” Mundy added.

Felice Fischer, the Philadelphia Museum of Art’s curator of Asian art, concurred. “Pasturing Horses is a showcase for Shohaku’s skills: his finely controlled brushwork, his wonderful sense of humor, and his ability to capture a whole world even on a relatively small-scale surface. His marvelous depiction of the horses’ movement and the individual expressions of the grooms speak volumes about Shohaku’s creativity.”

Pasturing Horses started its existence as a pair of kobusuma, on sliding cupboard doors. After being removed from the door frames, they were combined and mounted in the scroll format. “When one looks carefully, one sees the repairs where the two round screen pulls once were,” said Mundy. Even though the paintings were relatively small ones, the artist signed his name prominently. “The subject of the painting is Tartars training or pasturing horses,” Mundy explained. “It stems from a long tradition of depiction in East Asian painting. Tartars were exotic and somewhat of a danger to the Chinese and even Japanese and their portrayal usually emphasized their ‘barbarism.’ In Shohaku’s depiction they take on an exaggerated dynamism as they struggle to tame their very wild steeds. This is a typical example of Shohaku’s sense of humor and, even, the absurd.”

Karen Hwang-Gold, assistant professor of art at Vassar, noted, “Using this single painting, one can teach a volume about Chinese Song, Yuan, and Ming landscape and narrative painting, as well as Japanese narrative and landscape traditions from tenth- and fifteenth- centuries, respectively. It is a tremendous gift to our students and the community.”

Soga Shokaku (Japanese 1730-1781), Pasturing Horses, c. 1763-1764 (detail). Ink and light colors on paper, mounted on silk. Purchase, Pratt Fund, 2014.28

‘Brilliant: Cartier in the 20th Century’ at the Denver Art Museum

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Cartier London, Cartier New York, Cartier Paris, Cigarette case, Coin watch, Countess of Granard, Crocodile necklace, Desk set with clock, Duchess of Windsor, Elizabeth Taylor, Flamingo brooch, Grace Of Monaco’s Engagement Ring, HRH Grace Of Monaco’s necklace, Laurel leaf tiara, Maharaja of Patiala, María Félix, Marie Bonaparte, Mrs. Cole Porter, Mrs. Townsend, Santos wristwatch, Stomacher brooch, Tutti Frutti double clip brooch, Tutti Frutti strap bracelet, Willis McCormick

Necklace worn by Countess of Granard. Cartier London, special order, 1932. Platinum, diamonds, emerald; Height at center 8.8 cm. Cartier Collection © Cartier

DENVER, CO.- The Denver Art Museum opened the much-anticipated exhibition, Brilliant: Cartier in the 20th Century, on view Nov. 16, 2014 through March 15, 2015. Denver is the sole worldwide venue for this exhibition, featuring a stunning assortment of jewelry, timepieces and precious objects created between 1900 and 1975. The exhibition highlights Cartier’s rise to preeminence in the midst of historical events as it transformed itself into one of the world’s most prestigious names in jewelry. In addition to items loaned by the Cartier Collection, the exhibition includes loans from museums and private collections from around the world. Organized in seven thematic sections, the exhibition features a special section dedicated to providing a rare look at Cartier-crafted men’s items.

“The exhibition is anticipated to be a major tourism draw for the city of Denver and the state of Colorado,” said Richard Scharf, president and CEO of VISIT DENVER, the private, non-profit trade association responsible for marketing Denver. “To host this worldwide-exclusive exhibition further establishes Denver as a culturally rich destination for business or pleasure. Brilliant will undoubtedly serve as both a significant regional and national pull to The Mile High City and VISIT DENVER looks forward to working together with the Denver Art Museum to create a unique and exciting experience through this incredible exhibition.”

In addition to the magnificent and glittering jewelry that is being featured in Brilliant: Cartier in the 20th Century, the exhibition also features a selection of original preparatory drawings, historic photographs, advertising materials, film clips and movie stills to provide insight into the evolving cultural setting of the time period to tell the story of Cartier. Paris-based exhibition designer Nathalie Crinière transformed multiple galleries at the Denver Art Museum, showcasing a dramatic installation that highlights the objects’ glittering diamonds, deeply hued gems, and brightly colored materials such as gold, lapis, coral, jade and lapis.

Exhibition themes include:

• Aristocracy and Aspiration: Focusing on objects from 1900–1918, this section features diamond, sapphire, rock crystal and pearl jewelry and enameled decorative items that showcase a refined and elegant aesthetic embraced by European royalty and aristocrats—and the wealthy Americans who aspired to join their social class. Cartier was a pioneer in the use of platinum, which complements the whiteness of diamonds, and permits the creation of light, delicate settings.

Tiara worn by Mrs. Townsend. Cartier Paris, special order, 1905. Platinum, diamonds; Height at center 9.8 cm. Provenance: Mary Scott Townsend and Mrs. Donald McElroy. Cartier Collection. Photo: Vincent Wulveryck, Cartier Collection © Cartier

Stomacher brooch. Cartier Paris, special order, 1907. Platinum, sapphires, diamonds; 21 x 12.9 cm. Cartier Collection. © Cartier

Laurel leaf tiara-owned by Marie Bonaparte, Cartier Paris, 1907. © Cartier

• Art Deco: New Outlook: Cartier was a leader in the innovative Art Deco movement of the 1910s to 1920s that highlighted a bold look with a new emphasis on color and geometry. The Maison utilized new materials in this era including jade, coral and black onyx.

• Art Deco: Foreign Fascination: Cartier capitalized on the excitement generated by international events after World War I, such as the discovery of Tutankhamen’s tomb, to create original designs that incorporated exotic styles and materials including imported carved jade, lacquer and faience. Cartier’s exotic flair culminated in the colorful tutti-frutti style jewelry and sculptural mystery clocks.

Egyptian striking clock owned by Mrs. George Blumenthal. Cartier Paris, 1927. Gold, silver gilt, mother-of-pearl, lapis lazuli, coral, emerald, cornelian, enamel; 24 x 15.7 x 12.7 cm. Cartier Collection. © Cartier

Tutti Frutti strap bracelet worn by Mrs. Cole Porter. Cartier Paris, 1929. Platinum, diamonds, sapphires, emeralds, rubies; 18 x 4.07 x 0.75 cm. Cartier Collection. © Cartier

Tutti Frutti double clip brooch worn by Mrs. Cole Porter. Cartier Paris, special order, 1935. Platinum, diamonds, sapphires, emeralds, rubies. 9.79 x 4.53 x 1.65 cm. Cartier Collection. © Cartier

• Masculine View: While Cartier is most famous for women’s jewelry, they have always produced sleek, handsome items that appeal to men. Louis Cartier is credited with inventing the modern men’s wristwatch. The exhibition will include numerous models and styles, in addition to elegant and complex pocket watches. Cartier also designed beautiful cuff links, pocket items, cocktail and desk accessories, and inscribed cigarette cases, to name a few. Historic events such as Charles Lindbergh’s flight across the Atlantic, Franklin Roosevelt’s role in the Allies’ World War II victory and the American lunar landing were commemorated by inscribed gift items made by Cartier and featured in the exhibition.

Santos wristwatch. Cartier Paris, 1915. Gold, sapphire, leather strap; 3.49 x 2.47 cm. Cartier Collection. © Cartier

Coin watch. Cartier Paris, 1937. Gold; diam. 3.42 cm. Cartier Collection. © Cartier

• Art of Smoking: At the turn of the century, smoking in polite society was largely limited to men and Russian women. As social norms loosened, cigarette smoking was adopted by all classes, and elegant smoking accessories became a necessity for fashionable women. This section features textured, enameled and jeweled cigar cutters, cigarette cases and lighters from 1907 through the 1940s.

Cigarette case sold to Willis McCormick, president of Queen Aviation and inscribed with the signatures of approximately thirty figures related to the birth of aviation. Cartier Paris, 1912. Silver, gold, sapphire; 8.86 x 8.48 cm. Cartier Collection. © Cartier

• Age of Glamour: The global depression affected Cartier’s business, but a wealthy, cosmopolitan clientele continued to purchase showy jewelry, clocks and accessories in platinum and massive yellow gold settings. This section highlights designs from the 1930s to 1960s preferred by celebrities and Café Society (as international jet-setters were sometimes known).

Desk set with clock. Cartier Paris for Cartier New York, 1931. Silver, gold, lacquer, nephrite, enamel; 24 x 12.5 cm. Cartier Collection. © Cartier

Necklace worn by Countess of Granard. Cartier London, special order, 1932. Platinum, diamonds, emerald; Height at center 8.8 cm. Cartier Collection © Cartier

Halo Tiara, 1936, Cartier. © Cartier

• Icons of Style: The exhibition’s concluding section is devoted to Cartier’s most famous clients, including style icons Daisy Fellowes, the Duchess of Windsor, Princess Grace of Monaco, Dame Elizabeth Taylor and Mexican film star María Félix. Cartier’s original designs were essential to the self-expression of the individuals who shaped 20th century culture and fashion.

Flamingo brooch worn by the Duchess of Windsor. Cartier Paris, special order, 1940. Platinum, diamonds, emeralds, rubies, sapphires, citrine; 9.65 x 9.59 cm. Cartier Collection. © Cartier

Tiger lorgnette owned by the Duchess of Windsor. Cartier Paris, special order, 1954. Gold, enamel, emeralds, glass; 8.5 x 2 cm. Cartier Collection. © Cartier

HRH Grace Of Monaco’s Engagement Ring. Cartier. © Cartier

HRH Grace Of Monaco’s necklace, 1953. Cartier. © Cartier

Necklace worn by Elizabeth Taylor. Cartier Paris, 1951, altered in 1953. Platinum, diamonds, rubies; Length 37.5 cm. Cartier Collection. © Cartier

Crocodile necklace horizontal and vertical: Crocodile necklace made as a special order for María Félix. Cartier Paris, special order, 1975. Gold, diamonds, emeralds, rubies; Length 30 cm. and 27.3 cm. Cartier Collection. Photo: Vincent Wulveryck, Cartier Collection © Cartier.

Necklace created for Sir Bhupindra Singh, Maharaja of Patiala. Cartier Paris, special order, 1928. Platinum, diamonds, zirconias, topazes, synthetic rubies, smoky quartz, citrine; Height at center: 27 cm. Cartier Collection. © Cartier

Pierre Rainero , the image, style, and heritage director for Cartier International talked about the Denver Art Museum’s newest exhibition « Brilliant: Cartier in the 20th Century » on Thursday, November 13, 2014. It features stunning jewelry, timepieces, and precious objects created between 1900 and 1975. (Photo by Cyrus McCrimmon/The Denver Post)

A Denver Art Museum installer placed Elizabeth Taylor’s ruby and diamond Cartier necklace on display as they prepare on Thursday, November 6, 2014 for the upcoming show, « Brilliant: Cartier in the 20th Century. » For security precautions the museum installer could not be identified. The necklace was a gift to Taylor by her husband Mike Todd in 1957. (Photo by Cyrus McCrimmon/The Denver Post)

Cartier’s « Pendant » from 1913 features a 478 carat sapphire and is on view as part of the Denver Art Museum’s newest exhibition « Brilliant: Cartier in the 20th Century » on Thursday, November 13, 2014. The show opens November 16th and features stunning jewelry, timepieces, and precious objects created between 1900 and 1975. (Photo by Cyrus McCrimmon/The Denver Post)

A Denver Art Museum installer placed Elizabeth Taylor’s ruby and diamond Cartier necklace on display as they prepare on Thursday, November 6, 2014 for the upcoming show, « Brilliant: Cartier in the 20th Century. » For security precautions the museum installer could not be identified. The necklace was a gift to Taylor by her husband Mike Todd in 1957. (Photo by Cyrus McCrimmon/The Denver Post)

Cartier’s « Bow Brooch » from 1913 is platinum, diamonds and rock crystals and is on view as part of the Denver Art Museum’s newest exhibition « Brilliant: Cartier in the 20th Century » on Thursday, November 13, 2014. The show opens November 16th and features stunning jewelry, timepieces, and precious objects created between 1900 and 1975. (Photo by Cyrus McCrimmon/The Denver Post)

(credit: CBS)

Cartier items from Princess Grace of Monaco appear on display at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

A Cartier necklace once owned by actress Elizabeth Taylor is displayed in the Denver Art Museum’s new exhibit « Brilliant: Cartier in the 20th Century. » Over 250 jewels, timepieces and other luxury accessories crafted by the Paris-based jeweler, some of them rarely seen by the public, were assembled for the exclusive show. Photo: P. Solomon Banda, AP

A special order bandeau made in 1923 sits in a case at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

Darkness surrounds a case containing a silver, gold and diamond tiara made on special order by Cartier at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

Cartier items once owned by actress Maria Felix appear on display at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

Cartier items owned by actress Maria Felix appear on display at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

 

Necklaces, including a special order one made in 1932 of platinum, diamonds and an emerald, right, appear on display in a case at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

 

From left, a lace ribbon brooch and a Stomacher brooch, both dating from 1907, share a case with a hair ornament fashioned in 1908 at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP

A snake necklace made of platinum and round, old-cut diamonds, in 1919, appears on display at the media preview for the new Denver Art Museum exhibit entitled « Brilliant: Cartier in the 20th Century, » in Denver. The exhibit highlights Cartier’s rise to be one of the world’s most prestigious names in jewelry, precious objects and accessories. Photo: David Zalubowski, AP