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Cartier: A platinum "Love" ring
Description
Cartier: A platinum "Love" ring
Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59
Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59
Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
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Cartier: A platinum "Love" ring
Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59
Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59
Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Cartier Curated
Sale Date(s)
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22 Connaught St
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United Kingdom
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BUYER'S PREMIUM
The buyer shall pay the hammer price together with a premium, at the following rate, thereon.
26% up to £20,000
25% from £20,001 to £500,000
20% thereafter
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
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ARTIST’S RESALE ROYALTY (DROIT DE SUITE)
§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT.
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COLLECTION OF PURCHASES (SALE 855 CARTIER CURATED)
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UK - Conditions Of Sale For Buyers
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
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Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (
