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An Art Deco Silver And Enamel Cartier Travelling Clock
An Art Deco Silver And Enamel Cartier Travelling Clock - Horology Style An Art Deco Silver And Enamel Cartier Travelling Clock -
Ref : 121316
25 000 €
Period :
20th century
Provenance :
France
Dimensions :
H. 2.87 inch
Horology  - An Art Deco Silver And Enamel Cartier Travelling Clock 20th century - An Art Deco Silver And Enamel Cartier Travelling Clock
Richard Redding Antiques

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An Art Deco Silver And Enamel Cartier Travelling Clock

A very fine Art Deco silver and green guilloche enamel Cartier travelling clock with movement by Nocturne, signed on the white enamel dial Cartier and also signed and numbered on the gilt backplate Nocturne 30325 and 2338, also bearing the case number 3351 on the base plate and inscribed with dates and initials when the clock was restored during the twentieth century as follows: 12-6-24 D / 28-7-34 P H [?] / 13-6-38 / H 1-10-52. The dial with Roman numerals and minute indications with a very beautiful pair of diamond-studded hands for the hours and minutes, surrounded by a bezel ornamented with white enamel beads. The movement sounding on a polished steel gong, striking the quarters ting tang and minute repeats on request activated by a cylindrical amethyst button on the top of the case, with a cylinder lever escapement, cut bimetallic compensation balance and blued steel Breguet balance spring, the backplate of the movement inscribed Brevet + 30325 and marked S & F (for slow and fast) and R & A (retard and advance). The jewel-like rectangular case decorated overall with green guilloche enamel panels enclosed within white enamel borders, with diamond-set florets to the sides, resting upon a stepped rectangular agate base with four feet and a gilt beaded border
France, most probably Paris, date circa 1910-20
Height to include the base 73 mm.
Literature: Hans Nadelhoffer, “Cartier, Jewellers Extraordinary”, 1984, pl. 4, illustrating a similar Cartier clock with pink enamel case from 1909 that was sold to Mrs. Marshall Field, Chicago, either the wife or daughter in law of the founder of the famous department store. J. Barracca, G. Negretti and F. Nencini, “Le Temps de Cartier”, 1989, p.40, illustrating a very similar Cartier carriage clock of circa 1910 and p. 41, illustrating another comparable Cartier clock of the same date in its original leather-bound travelling case. Derek Roberts, “Carriage and other Travelling Clocks”, 1993, p. 162, pl. 9.41, illustrating a group of miniature travelling clocks including a very similar example by Cartier No. 4094.
The legendary firm of Cartier, famed for their innovative and intricate jewellery, clocks and watches often combined unusual and precious materials. From the start Cartier clocks were designed to delight the viewer and whether a travelling or table clock, a mystery or fantasy piece, they were all made of the finest and most expensive materials. Intended as luxury gifts of the rich, King Edward VII and other royalty wwere among avid admirers of such pieces. Although Cartier began selling watches in 1853, clocks were not added to their stock until the early 1900’s. At first Cartier merely retailed other maker’s clocks but then Louis Cartier met Maurice Couët (1885-1963), who according to Cartier’s biographer, Hans Nadelhoffer raised “Cartier’s table clocks to the highest levels of inspired craftsmanship”. From 1911 Coüet worked exclusively for Cartier and in 1919 was installed in their first specific clock workshop. With thirty assorted specialists including enamellers, engravers, engine turners and stone cutters Couët produced a glittering variety of clocks and vanity objects. His team of designers included Alexandre Diringer (b. circa 1893) who had joined the firm in 1910. Couët’s designers were responsible for clocks such as this particular piece while Louis Cartier along with Couët, Georges Rémy and Charles Jacqueau designed the more complex pieces including the renowned Cartier mystery clocks.
A number of Cartier clocks of similar shape and style, featuring elaborate enamel cases with diamond-set florets to the sides, an agate base and diamond studded hour and minute hands are known, counting among them an example sold by Christie’s New York, 14th December 2010, lot 337 and another sold by Antiquorum New York 10th March 2011, lot 159. They, like our example and others, measure 73 mm high and were signed on the backplate by the maker Nocturne. Unfortunately, the records remain mute as to who Nocturne was though it was not an uncommon Parisian surname.
The renowned firm of Cartier was founded by Louis-François Cartier (1819-1904), who was from humble origins. He was the son of Elisabeth née Gérardin, a washerwoman and her husband Pierre Cartier (1787-1859), a former infantry soldier and later a manufacturer of powder-horns. In 1847, at the age of twenty-eight, Louis-François took over the Paris jewellery workshop of his employer and former master, Adolphe Picard in the Rue Montorgueil before setting up business in 1853 at 9 Rue Neuve-des-Petits-Champs, between the Bourse and the Palais Royal. Cartier was not only a creative genius but had a strong business acumen. This first became evident when in 1859, he opened new showrooms on the Boulevard des Italiens and began his association with the great couturier Charles Frederic Worth. Through this, Cartier began making jewellery as the ultimate accompaniment for high-quality fashionable outfits. As a result, he attracted a swathe of new clients. Among them was the Countess of Nieuwerkerke who, for instance between 1855-58, purchased about fifty-five items from him. Her husband Alfred was the Superintendent of Fine Art to Napoleon III and was also an intimate friend of Princess Mathilde Bonaparte (niece of Napoleon Bonaparte), who also gave Cartier commissions, as did the Empress Eugénie, wife of Napoleon III.
Now in great demand, courts from around the world subsequently despatched ambassadors to investigate the jeweller everyone was praising, and in due course, Cartier’s became jeweller by special appointment to a number of royal households. Fifteen such warrants were granted between 1904 and 1939, appointing Cartier’s an official purveyor to the crowned heads of Europe. Among them were royal warrants issued by King Edward VII of England (who for his marriage commissioned Cartier to supply twenty-seven tiaras), by Alfonso XIII of Spain in 1904, and in the following year by Carlos I of Portugal, by Tsar Nicholas II in 1907 and King Paramindr Maha Chulalongkorn of Siam (Thailand) in 1908, by King George I of Greece in 1909, and eventually by King Zog of Albania in 1939. So numerous were the firm’s illustrious clients that Edward VII, while still Prince of Wales, described Louis-François Cartier as being the ‘jeweller of kings as well as the king of jewellers’.
Having already made him an associate, in 1874 Louis-François then transferred the management of the business to his son Alfred Cartier (1841-1925), who then took over the running of the shop in the Boulevard des Italiens. In turn, in 1898 Alfred entered into partnership with his own son Louis-Joseph (1875-1942). It was the latter who inherited his grandfather Louis-François Cartier’s business acumen, and who would usher the firm into a new era. First he moved to premises in the Rue de La Paix - an area that epitomised the height of luxury in Paris. In this, the most elegant street in the world, he rubbed shoulders with the perfume manufacturer Guerlain and the couturiers Frederic Worth and Jacques Doucet.
With success came prosperity, and thus the firm decided to go out and meet its clientele on their own ground. Family loyalty served the interests of the firm well with Louis-Joseph at the helm, assisted by his younger brothers Pierre-Camille (1878-1965) and Jacques-Theodule (1884-1942). In 1902 a London branch was opened in New Burlington Street, which from 1906 was run by Jacques-Theodule. Then in 1907 Pierre-Camille exhibited Cartier for the first time at St. Petersburg and then moved to New York, opening a Cartier branch on Fifth Avenue in 1909. The family also wanted to establish an outlet in St Petersburg in the wake of the enormous success there of enamelled objets d’art made by Carl Fabergé. Celebrated for his intricate jewelled easter eggs, Fabergé also created a fashion for objects both expensive and practical - small clocks, cigarette cases and elaborate accessories - that were sought after by the wealthy Russian bourgeoisie and Imperial family. Louis Cartier in his turn began producing clocks and gem-studded sculptures that rapidly established his reputation; he even made two eggs in the Fabergé style. While members of the Russian Imperial court were eager to acquire his work, Louis Cartier was hesitant about opening a permanent branch in the Russia and eventually decided merely to appoint a representative based in St. Petersburg.
The Cartier brothers travelled the world, for instance Jacques, who was based in London, undertook trips to the Persian Gulf in search of the finest pearls and also went to India and established contact with the Maharajahs, who had their jewels reset in the London workshops according to designs by Cartier. Meanwhile Louis-Joseph, based in Paris, surrounded himself with gifted designers including Charles Jacqueau, as well as the finest craftsmen such as Maurice Couët and Edmond Jaeger and also found loyal collaborators such as Jean Tousssaint. In this he succeeded in achieving a harmony in his creations, whether classical or Art Deco, which when viewed together had their own individual Cartier style.

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