The rectangular case applied with a black and white enamel border, decorated to the centre with an enamelled miniature, depicting a peacock surrounded by floral elements, Jaipur, 19th century,  to the rose-cut diamond bezel, opening to reveal a fitted mirror, a lipstick holder, and a covered powder compartment, the back inscribed Daisy, Xmas 1913, suspended from a yellow gold and black enamel chain highlighted with seed pearls and onyx beads,

Yellow gold vanity case signed Cartier Paris, Londres, New York. Interior of case and minor with tarnish, one element deficient. Miniature in good condition. Delicate case with signs of extensive wear. Scratches and damage to enamel consistent with use. In good condition considering its age and use.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. 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. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cartier's Indian experience began in 1901 when Pierre Cartier was asked to create from various pieces of jewellery, an Indian necklac🌄e for Queen Alexandra, Empress of India and wife of Edward VII.  The necklace was to be worn with three Indian gowns sent to her by Mary Curzon, wife of Lord Curzon, the Viceroy of India.  The result, an elegant Indian style necklace of pearls, cabochon rubies and cabochon emeralds, pleased the Queen who wore the jewel frequently.  For Cartier, the commission meant not only the start of a profitable period of royal patronage, but also his first contact with the exotic world of the Orient. 

Jacques Cartier made his first trip to India in 1911, the same year of the Delhi durbar in celebration of the coronation of King George V.  This important trip revealed something that was going to remain true for the next three decades: that the Indian rulers were exclusively interested in Parisian jewels set in platinum and had no hesitation in handing over to Cartier their family treasures for remounting in the fashionable Western style.&nbsꦕp; Conversely, Indian traditional jewels set with multicoloured carved gemstones in yellow gold and decorated with polychrome enamels became a craze in Europe and inspired the Oriental feel that would characterise much of Cartier's Art deco designs. 

The principal designers at Cartier, Charles Jacqueau in Paris and Georges Genaille in New York managed to crystallize in their creations the light airiness of delicate platinum workmanship with the colourful quality of Indian enamel work and the theme of Hindu and Mughal art.  The firm quickly associated its name with the creation of stunning multicoloured carved gem jewellery, perhaps best known by the name of  'tutti frutti' jewellery.  Rubies, emeralds and sapphires were carved into leaves probably in India at Cartier's request and then set as fruiting leafy branches or flower bowls embellished with diamonds, onyx or black enamel.  Of all the Indian stones incorporated by Cartier in their jewellery, perhaps most striking are the beautiful and precious carved Mughal emeralds decorated with floral s🌸prays. Cartier also used Indian emerald beads with simple decorative carving: the most popul꧋ar were the oval or spherical emerald beads carved in the shape of miniature melons. Multiple strand ruby and emerald beads traditional in Indian fashion were imported into Europe: embellished with the addition of diamond plaques pierced in geometrical patterns, they became favoured neck ornaments of the 1920s.  The exotic and somehow ethnic character of these jewels made them very attractive to a sophisticated European and American clientele. 

Judy Rudoe (Cartier 1ꦦ900-1939, London 1997, p. 164¬) mentions that by 1928, a report in American Vogue suggested that Cartier's Indian inspired jewels was part of '...an increasing vogue for barbaric Indian jewellery with stones ꦰof irregular shapes, strung like valueless beads... Mrs Reginald Fellowes wears a twisted rope of large and small pearls, tied with a silver metal ribbon. Each end passes through three rubies and ends in a silver metal tassel......'

Cartier's exotic jewellery in Indian taste appealed to a sophisticated European and American elite and found its pre-eminent market among a fashionable and artistic society.  Judging from references in𒁃 contemporary fashion publications and information from Cartier archive, one of the keenest collectors of  jewels in the Indian style was indeed Daisy Fellowes.  The sale at auction of her fabulous Cartier's Collier Hindou  (Sotheby's Geneva, May 1991), her Cartier Indian necklace (Sotheby's Milano, June 2003) and of her exquisite Van Cleef and Arpels pair of emerald and diamond bangles (Sotheby's Geneva, November 2005) confirm her passion for jewels in this taste.