Designed as a bow composed of open work motifs millegrain-set with circular-, single-cut, marquise-, pear-shaped and rose diamonds, signed Cartier, French assay marks.

Cf.: Hans Nadelhoffer, Cartier, London, 2007, pgs. 40-42 for illustrations of jewels with a bow motif. 

Cf.: Judy Rudoe, Cartier, 1900-1939, Lond⛦on, 1997, pgs. 75-79 for similar examples of bow jewels. 

Signed Cartier Paris Londres New York. French assay marks for 18 carat gold. Diamonds estimated to weigh a total of approximately 15.00 - 20.00 carats, on average G-H colour, SI-I clarity, as gauged and graded in the mount. Signs of normal wear to the metal. In very good condition. Gross weight approximately 50 grams.
"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."

Gifted with excellent taste, great charm and business acumen, Louis Cartier, in 1899, opened the doors of the firm's new premises at 13 rue de la Paix, Paris; this was right in the heart of the smartest and most prestigious shopping area of the time. Wealthy Americans joined the heterogeneous and sophisticated clientele of Cartier; soon they started to flock into the new shop to buy jewels which were becoming increasingly recognizable, for their ribbon bow, volute and garland motifs. The move to rue de la Paix and the widening of Cartier's clientele coincided with the introduction and immediate success of lace-like jewels realized in what became known as "the Garland Style". 

A reaction to the excess of Art Nouveau and to the repetitive and photographic monotony of late 19th century naturalism, the Garland Style encountered the t🍰aste of the turn of the century elites. With its profusion of leaves, flowers, garlands and entwined ribbons, tassels and paired hearts, this style offered the perfect complement to the sinuous and frothy creations of the contemporary couturiers. Cartier, however, remained its true master with its creations characterised by fluid rhythmic lines, proportionate curves, symmetrical and harmonious compositions. Main sources of inspiration were the decora🍰tive arts of the 18th century, in particular the Louis XVI style. The lightness and delicacy of the Garland Style would not have been possible without the introduction in jewellery of platinum which replaced the traditional 19th century laminate of silver and gold. The strength and rigidity of platinum, a white and nontarnishable metal, allowed jewellers to reduce the amount of metal needed to create a mount to the minimum. The results were white, ethereal creations of devastating beauty.