Comprising a necklace, bracelet and ring; the necklace composed of 26 cabochon citrines, gathered at the sides by diamond-set clasps, length 17½ inches, signed Cartier, numbered 361629; the double-strand bracelet composed of 16 cabochon citrines, the clasps accented by diamond-set plaques of geometric design, length 7½ inches, signed Cartier, numbered 3616268; the diamond plaques detach and may be worn as separate clips or attached to an included fitting to form a jabot pin; the ring, of later design fashioned from one of the links, set with a cabochon citrine, flanked by old European-cut diamonds, completed by a ropetwist shank, size 3½; circa 1935.

Formerly From the Collection of Princess Lydia di San Faustino.

Formerly from the Collection of Prince and Princess Montino Bourbon Del Monte Di San Faustino.

In very good condition with gentle surface wear to the mountings. The sugarloaf cabochon citrines, measuring approximately 13.7 x 13.8 x 9.8 mm, are a slightly less saturated medium yellowish orange than indicated by the printed catalogue illustration. Minor color zoning, but eye-clean with a high polish. The pavilions are enhanced with star and bezel faceting, though this is not apparent when worn. The diamonds are approximately F-G-H color, VS clarity with the exception of the ring with diamonds of approximately J-K color, SI clarity. Mounted in gold and platinum. Bracelet fitted with a safety clasp The necklace is composed of two sections measuring 10 1/4 and 7 1/4 inches; the smaller section may be worn as a bracelet. The diamond-set elements in the necklace may be removed by squeezing on the plunger-style clasp at the sides.
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.

During the 1930s, following the success of the vibrant jewels created during the Art Deco era, design firms such as Cartier continued to experiment with a wide spectrum of gemstones. Stones previously thought of as ‘semi-precious’ such as citrine, aquamarine and amethyst were now used prominently; moreover, these stones were often combined to create a vivacious new look, unseen in decades prior.

The present suite reflects Cartier’s strength in using citrine in particular. Composed in rows and accented by diamonds, the bright, auburn color of the citrines is made even richer due to the delicate faceting on the reverse of each stone. With elements of the bracelet converting into dress clips or a jabot pin, the transformative nature of this suite further illustrates the designs of the post-Depression era, when clients sought out jewels that could be worn in a variety of ways with little effort required. Created for the Modern Woman of the 1930s but still effortlessly chic today, this suite reflects Cartier’s eternal attention to detail and impeccable style.