Cartier: The Ex­hi­bi­tion

世上最華貴的珠寶展

Vision Magazine - - Contents - ENGLISH TEXT BY JEN­NIFER HSI CHI­NESE TEXT BY CA­ROLE LU

One of the largest and most suc­cess­ful Cartier ex­hi­bi­tions in his­tory is cur­rently show­ing at the Na­tional Gallery of Aus­tralia (NGA) in Can­berra. Show­cas­ing orig­i­nal jew­ellery from the royal fam­i­lies of Bri­tain, Monaco and Qatar, Dame El­iz­a­beth Tay­lor and from In­dian no­bil­ity, this pre­mier ex­hi­bi­tion brings to­gether more than 300 of Cartier’s most mem­o­rable pieces. "The ex­hi­bi­tion is not just about jew­ellery, the ex­quis­ite crafts­man­ship and story be­hind ev­ery piece are also in­cred­i­ble high­lights," Ger­ard Vaughan, NGA Di­rec­tor told us.

世界最頂級的珠寶展 Cartierthe Ex­hi­bi­tion在堪培拉國立美術館展出,可謂款款皆珍品,件件均無價。陳列的珠寶包括來自英國皇室、摩洛哥皇室、女星伊麗莎白‧泰勒、印度豪門貴族等300多件舉世無雙的珍藏版精品。

「展覽的內涵不止是觀賞珠寶,精美的手工藝和每一件珠寶背後的故事都是令人驚嘆的亮點」國家美術館館長 Ger­ard Vaugh­an說道。

If you don’t see this show, you’ll never have an­other op­por­tu­nity to see any­thing like it again in your life­time!

One of the high­lights of the ex­hi­bi­tion is a stun­ning sapphire pen­dant that be­longed to Queen Maria of Ro­ma­nia. “When Rus­sia in­vaded Ro­ma­nia in the early 20th cen­tury, the royal fam­ily was forced to flee. As their funds ran low, they had to sell off their trea­sures in or­der to sur­vive so their jew­ellery was ac­quired by many dif­fer­ent peo­ple,” said an NGA spokesper­son.

Louis-fran­cois Cartier be­gan a fam­ily jew­ellery busi­ness in 1847 with his broth­ers, Jac­ques and Pierre. To­gether they quickly es­tab­lished the Cartier brand as a top jew­ellery house. The first Cartier re­tail store opened in Paris in 1899. Branches were quickly es­tab­lished over­seas, with a store open­ing in Lon­don in 1902 and an­other in New York in 1909. In 1970 the brand com­menced a world­wide re-col­lec­tion mis­sion for a spe­cial her­itage col­lec­tion which was of­fi­cially launched in 1983 as the Cartier Col­lec­tion.

步入展覽大廳,首先讓人眼前為之一亮的是19世紀初羅馬尼亞瑪麗亞皇后佩戴的后冠,「這個后冠一直是瑪麗亞皇后最喜歡的,但是在俄國大舉入侵羅馬尼亞的時候,皇室在顛沛流離中,為了生存將它變賣了,以至流落到了民間。」一位藝術館發言人說道。

珠寶品牌 Cartier 是 1847 年由Louis-fran­cois Cartier 創立,屬於家族生意的一部分,創始人與他兩位兄弟 Jac­ques 和 Pierre 聯手,很快就將品牌打造成為一個頂級珠寶帝國。Cartier旗艦店於1899年在巴黎開幕, 1902 年和 1909 年又分別入駐倫敦和紐約。1970 年時,Cartier 品牌開始在全球找尋散落在民間的頂級珠寶首飾,並於 1983 年設立 Cartier 收藏系列。

百年罕見,能親眼見證英國皇室、頂級女星佩戴的獨特珍藏。

More than 30 spon­sors have com­bined forces to bring this spe­cial ex­hi­bi­tion to the na­tion’s cap­i­tal. Some of the items on dis­play come from the Cartier Her­itage Col­lec­tion, while the Bri­tish and Monaco royal fam­i­lies have loaned pieces, as have many pri­vate col­lec­tors. “Her Majesty the Queen has been in­cred­i­bly gen­er­ous and for the first time ever, we are able to fea­ture a group of im­por­tant Cartier jew­els from the Queen’s col­lec­tion. These have never been lent for a pub­lic ex­hi­bi­tion be­fore. The Queen’s favourite Wil­liamson brooch is here - this un­cut pink di­a­mond, when she ac­quired it in 1947, it was the big­gest pink di­a­mond in the world. She has worn it to many wed­dings, in­clud­ing that of Prince Charles and Princess Diana, and more re­cently to Wil­liam and Kate’s wed­ding.” Ger­ard Vaughan ex­plains that bor­row­ing from roy­alty is a com­pli­cated process. “There is a lengthy con­sul­ta­tion process with the fam­ily - if a piece is on loan, what are the al­ter­na­tives if there is an oc­ca­sion for the fam­ily to at­tend? We did know that Meghan wouldn’t be wear­ing the halo tiara that Kate wore for her wed­ding as that is here in Can­berra.”

這次展出中的部分展品來自Cartier 的收藏系列,同時來自英國女王和皇室成員,摩洛哥公主及多項私人收藏等,超過30位支持者提供了贊助。 「女王陛下非常慷慨,盡量滿足我們的借寶需求,展出中的粉鑽石胸針,是當時查理斯王儲和威廉王子大婚時女王佩戴的。還有一個非常耀眼的頭飾,女王的父親贈與她母親的,在女王18 歲時,其母轉送給了她,那就是威廉王子大婚時凱特王妃所佩戴在皇冠上的那個。」 Ger­ard Vaughan 表示,在這次舉世無雙的展出中,與皇室借寶是一個複雜的過程,「為期約 4個月 Cartier 展覽,英國皇室需要仔細審查女王和皇家女眷的行程,例如,前幾週亨利王子的婚禮,因為這個展出,女王就無法再佩戴這個粉鑽石胸針。」

“There is no com­mer­cial re­la­tion­ship between us and Cartier. We have cu­rated it our­selves and all the de­ci­sions re­gard­ing the ex­hi­bi­tions are ours.” Dr Vaughan said that there was an ex­ten­sive prepa­ra­tion process - the ex­hi­bi­tion was three years in the mak­ing. The ini­tial idea was an ex­hi­bi­tion that show­cased the best of early 20th cen­tury de­sign, and Cartier was the lead­ing con­tender as the height of crafts­man­ship and lux­ury. “All other Parisian and Lon­don jew­ellery houses were very or­di­nary com­pared to the in­no­va­tion of Cartier, from both the de­sign and the prac­ti­cal per­spec­tive.”

“We’ve cho­sen the timescale very care­fully, from 1900 to 1975. This is the mo­ment where the Mai­son Cartier rose to be­come the dom­i­nant house of the world. We are telling a story of de­sign, a story of crafts­man­ship, and a story of so­cial his­tory,” said Ger­ard. “You can walk through the ex­hi­bi­tion and ev­ery piece in the col­lec­tion has a story be­hind it.”

Cartier is very pop­u­lar in China due to their many stores through­out the coun­try - China is in fact the largest con­sumer of Cartier jew­ellery. Al­though there are plans for a Cartier ex­hi­bi­tion in China in the fu­ture, Ger­ard says that the Can­berra ex­hi­bi­tion is big­ger and bet­ter than they ever thought it could be. “In global terms, this is one of the great­est jew­ellery ex­hi­bi­tions that has ever been held fea­tur­ing the work of Cartier. This kind of ex­hi­bi­tion can­not be repli­cated, and it is com­pletely unique to Can­berra.”

「作為國家公眾機構,整個展覽與商業無關,是國立美術館的獨立運作」。Ger­ard Vaughan 表示,整個 Cartier 展覽的準備期長達三年,「當國立美術館決定籌備頂級的珠寶展時,自然就想到了 Cartier,因為非 Cartier 品牌莫屬。」

「我們根據 Cartier 的名單,仔細推敲每一件珠寶,所選擇的首飾大多集中在 1900-1950 年間,它能反映出當時人們的社交禮儀、世界形式、歷史背景以及首飾擁有者的生活。」 Ger­ard Vaughan 說。

「看到的是珠寶,卻代表著一段歷史的記錄,與現在的品牌宣傳是完全不一樣的概念。」

Ger­ard 稱,目前 Cartier 受到華人的熱捧,中國是潛在的最大銷售市場,所以 Cartier 公司也有意在未來的某個時期去中國舉辦展覽,「遺憾的是,不管未來是在中國,或是在或在世界上任何地方舉辦 Cartier展,都不可能擁有像今天這樣的展覽規模了」。Ger­ard Vaughan 表示,許多展品僅此一站。

「英國王室和一些私人收藏家對澳洲特別照顧,將該類無價之寶出借給展覽中心,那是從來沒有過的事,連該品牌的收藏總監都認為,堪培拉的這次展覽令 Cartier 公司感到非常榮幸。」 Cartier - The Ex­hi­bi­tion堪培拉國立美術館展覽至7 月 22 日Na­tional Gallery of Aus­tralia

PHOTO: VIN­CENT WULVERYCK, CARTIER COL­LEC­TION, © CARTIER

Cartier Paris Tiara 1914, plat­inum, di­a­monds, pearls, onyx, enamel, 4.3 cm (height at cen­tre).

PHOTO: VIN­CENT WULVERYCK, CARTIER COL­LEC­TION, © CARTIER QATAR MU­SE­UMS

(Above) Cartier Lon­donTiara 1937, plat­inum, di­a­monds, aqua­marines, 5 cm (height at cen­tre), (Right) Cartier ParisPen­dant 1913, plat­inum, sapphire, di­a­monds

© CAM­ERA PRESS/BARON

Sa Ma­jesté la Reine El­iz­a­beth II, 1953

ROYAL COL­LEC­TION TRUST/ALL RIGHTS RE­SERVED

Cartier Lon­don Nizam of Hy­der­abadneck­lace 1935 plat­inum, di­a­monds, 38.5 cm (length) lent by Her Majesty Queen El­iz­a­beth II

ROYAL COL­LEC­TION TRUST/ALL RIGHTS RE­SERVED

Cartier Lon­donWil­liamson brooch 1953 spe­cial or­der, plat­inum, di­a­monds, pink di­a­mond 10 x 5.5 cm, lent by Her Majesty Queen El­iz­a­beth II

(PHOTO CREDIT: VI­SION MAG­A­ZINE) (PHOTO CREDIT: VI­SION MAG­A­ZINE) © PHOTOFEST

19 世紀初,Cartier 珠寶設計師曾越洋過海到中國,受到啟發,設計一系列東方的飾品 19世紀的時鐘,被認為是當時的鐘錶產品的天才作品,透明的鐘盤看不到一個零件,在擰緊發條後準確的運轉,一直到現在都被視為「未知的時鐘」,一款偉大的藝術品。(Far left) El­iz­a­beth Tay­lor wear­ing her Cartier ruby and di­a­mond neck­lace and ear­rings in Las Ve­gas, 1958,

PHOTO: VIC­TO­RIA AND AL­BERT MU­SEUM, LON­DON, © CARTIER

(Op­po­site page) Cartier Paris Tiara 1905, spe­cial or­der, plat­inum, di­a­monds, 6.58 cm (height at cen­tre) Cartier Paris Lily stom­acher brooch 1906, spe­cial or­der, plat­inum, di­a­monds, 27 cm (length each branch) Lady Ed­wina Mount­bat­ten wears the Cartier ParisTutti Frutti ban­deau 1928 split into two bracelets, plat­inum, emer­alds, ru­bies, sap­phires, di­a­monds, lent through the gen­eros­ity of Wil­liam and Ju­dith, and Dou­glas and James Bollinger, on long-term loan to Vic­to­ria and Al­bert Mu­seum, Lon­don PHOTO: VIN­CENT WULVERYCK, CARTIER COL­LEC­TION, © CARTIER PHOTO: NILS HER­RMANN, CARTIER COL­LEC­TION, © CARTIER

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.