The tapering articulated band designed as embroidered fabric, decorated with a pattern of foliate scrolls set with old European-cut diamonds against a transparent web of 'threads', length 11 inches, numbered 6218, center portion may be worn as a bracelet, the two end segments detach to be worn together as a brooch, brooch fitting deficient. 



Accompanied by a certificate of authenticity from Cartier  #GE2007-148, dated August 20, 2007. 



The diamond bandeau is defined by Hans Nadelhoffer in Cartier: Jewelers Extraordinary as "a ribbon-shaped tiara whose centre is not accentuated ... the most timeless form of head ornament ... a clear idea of what the tiara must have looked like in early civilizations, when it was still worn as a headband."  Like all well-made jewelry of the period, the present bandeau is "multi-purpose." The two shield-shaped ends can detach allowing the central portion to be worn as a bracelet. Joined together, the ends form an elegant brooch though the brooch pin is currently deficient. 

Nancy Leeds, later Princess Anastasia of Greece.

Nancy Leeds, was born Nonnie May Stewart in Cleveland, Ohio. After a brief first marriage, she married William Bateman Leeds, a tin millionaire, who died in 1908. A beautiful widow with a sizeable fortune, Nancy purchased the bandeau from Cartier in 1912. In the book Cartier, the author Hans🌄 Nadelhoffer mentions Mrs. Leeds as one of Cartier's most loyal customers prior to the onset of the first World War.   

Boldini'𝐆s portrait of Mrs. Leeds was painted in London in 1917 during the time of her engagement to Prince Christopher of Greece. The legal complications resulting from her previous marriages 𓆉caused a six year delay of the wedding;  the marriage finally took place in Vevey, Switzerland in January of 1920. 

Hans Nadelhoffer,Cartier: Jewelers Extraordinary, p. 73, no. 67.

The bandeau is set with an old European-cut diamond weighing approximately 2.10 carats and approximately 1166 old European-cut and single-cut (old-mine) diamonds weighing approximately 46.00 carats. Overall condition is very good. Obscured French assay marks on edge of central plaques, numbered 6218 on one hinge, numbered 2 on another hinge.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Fashion and jewelry were forever intertwined in late 19th century Paris.  The turn of the century following the industrial revolution and preceding World War I was a period of heretofore unprecedented economic growth.  An important result of this for those suppliers of luxury goods in Paris was the appearance of a fabulously wealthy class of business tycoons ready to compete for the best that money could buy with the long-established aristocracy.  To capitalize on the booming economic climate, Alfred Cartier made the move to the rue de la Paix in 1899, a street occupied by the top purveyors of fashion in Paris, led by the fashion house of Worth.  They profited by their close proximity to each other, all catering to an international clientele "prepared to pay the same prices for clothes as for works of art and who wished to complement their wardrobes with matching jewelry."  This positioning provided Cartier with the "creative incentive" to make the acquisition of the appropriate jewel a necessary fashion accessory.  To that end, using his "intimate knowledge of Worth's fashions and textiles, fabrics and embroidery in general," Cartier created in 1912, the lot offered here,  a jewel where platinum threads formed a grid of "fabric" onto which diamond tendrils were "embroidered."  This technique of "platinum embroidery" originated by Cartier was used in 1914 by Faberge in his "Mosaic Egg" and utilized by another Parisian jeweler, LaCloche, in 1925. See Nadelhoffer, pp. 37-38, 40 and 74.