18 Karat Gold, Mother-of-Pearl, Abalone Shell, Coral, Hardstone, Diamond and Enamel Case, Cartier, Paris, 'Incrustations' de Linzeler Marchak

The rectangular gold case decorated on the obverse with a marquetry scene depicting father and son astride a camel in pursuit of a gazelle, the reverse set with a marquetry panel portraying  scenes of falconry; both marquetry panels delicately inlaid with gold, tinted mother-of-pearl, abalone shell, coral, jasper, malachite and lapis lazuli, signed in the lower right corners with an “M” for Vladamir Makowsky, decorated on both obverse and reverse with champlevé enamel quartered by tiny cabochons of lapis lazuli, the gently curved corners set with semi-cylindrical segments of lapis lazuli, featuring a centered thumbpiece of lapis lazuli and rose-cut diamonds, signed Cartier, Paris, Londres, New York, and Incrustations de Linzeler Marchak, with French assay marks; circa 1930.  

In good condition, particularly in light of the piece's age. The gold with gentle wear and light patination, presenting a pleasing warm tone when worn. The various hardstones remain intact with minimal cracking. The marquetry is masterfully executed in varying shades and textures. The thumbpiece may in fact be enamel imitating lapis, not lapis as noted in the catalogue, a commonly employed technique of the Art Deco period. The diamonds are near colorless and decorative in quality. The sides enhanced with chased floral and geometric motifs. The colors in-person are more subtle than indicated by the printed catalogue illustration. Additional images available upon request.
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.
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This finely detailed case may be the only known case of Persian theme with exotic pietra dura panels on both the obverse and reverse.  It is also extremely rare that both scenes bear the mark in the lower right hand corner of a rounded “M” which is the signature initial monogram of the important Russian born European craftsman Vladimir Makowsky (1884-1966).  Makowsky worked in Paris and fabricated some of the most famous panels of inlay work for Cartier.

Simply opening the case reveals more details about Cartier’s relationship with various workshops.  Inside along the left edge is the engraved mark “Incrustations de Linzeler/ Marchak”.  The relationship of Cartier and the various workshops they employed is discussed by Judy Rudoe in Cartier 1900-1930 p. 41. “From the mid 1930’s, Cartier seems to have taken over as well the Linzeler /Marchak workshop at 9 Rue d’Argenson and these two workshops (Cartier and Linzeler/Marchak ) co-existed until the 1940’s when they were integrated at Rue d’Argenson”.

The patterning of champlevé enamel is derived from Islamic art and Safavid inlaid metalwork of the 16th and 17th centuries. These motifs and can also be seen in 16th century Persian manuscripts, a collection of which Louis Cartier owned, so it is reasonable to assume he turned to them for inspiration. The pietra dura panels represent fully developed scenes based on illustrations from miniatures or books, the most famous of these being Shahnama-yi  Shah Tahmasbi containing 250 miniatures by the leading court artists of the 16th century. The Baz-Nama-yi Nasiri, A Persian treatise on Falconry compiled by Tamur Mirza in the 13th century and translated into English in 1908, may have sparked inspiration for the scene of Falconry. In both scenes, the people, animals, landscapes and various plant and tree forms are delicately rendered in mother-of-pearl, abalone shell, malachite, coral, lapis and gold, emphasizing the nuances of the landscape, atmosphere and rich textures of the figures’ costumes.

Exquisite objets d’ art such as this case exemplify the directive of Louis Cartier: “We must make it our business to build up an inventory that responds to the moral mood of the public by producing articles which have a useful function but which are also decorated in the Cartier style”.  (Cartier, Jewelers Extraordinaire, Nadelhoffer, 1984, p.197).   The detail of repeating lapis lazuli cylinders at the corners of the case signal the onset of Cartier’s machine-age designs throughout the 1930’s.  Those gently curved corners are intentional, providing that the case can be comfortably stowed in a gentleman’s pocket.  But beyond form and function, the painterly renditions of the pietra dura scenes reflect “The Cartier Style” while at the same time, the object itself is a magnificent tribute to the culture that inspired it.