Cartier, Paris

Christie’s, Geneva, 15 May 1996, lot 160

For a similar desk clock, see: Jader Barracca, Giampiero Negretti, Franco Nencini, Le Temps de Cartier, Milan: Publiprom, Second Edition, 1993, p. 169

A supremely elegant desk clock in wonderful original condition, this timepiece is illustrative of the outstanding workmanship of Cartier’s Coüet workshop. Maurice Coüet (1885–1963) was an exceptional French clockmaker renowned for his collaboration with the prestigious luxury house of Cartier. Coming from a family of horologists – Coüet’s grandfather had regulated table clocks for Breguet – he inherited a passion for clockmaking at a young age. Coüet’s partnership with Cartier began in 1911, from which date he supplied table clocks exclusively to Cartier. It was a partnership that would result in some of the most iconic and luxurious clocks of the Art Deco period. From 1919, Coüet’s Parisian workshop was based at 53 rue Lafayette and employed 30 specialist workers as well as additional freelancers [see Nadelhoffer, p. 249].

The clocks produced by the Coüet workshop became symbols of elegance and technical innovation, incorporating exquisite materials like rock crystal, gold, platinum, and precious stones. These clocks were not only engineering marvels but also works of art, reflecting the aesthetic ideals of the time—sleek, geometric, and glamorous. Coüet’s clocks, which included highly inventive so-called planet/comet timepieces and mystery clocks, were celebrated for their technical brilliance and aesthetic refinement, blending traditional horological craftsmanship with innovative design concepts. Coüet’s designs appealed to royalty, wealthy collectors, and connoisseurs of fine craftsmanship and helped to align Cartier’s name with both technical ingenuity and artistic luxury.

In creating this clock, multiple contrasting yet complimentary design techniques have been expertly combined. The eye is drawn inwards from the high sheen of the nephrite framework to the mosaic of kingfisher feathers beneath the 18ct gold skeletonised chapter ring, finally leading to the iridescent Lacque burgauté decorated dial centre. Lacque burgauté is a decorative technique originating in East Asia, where small, iridescent pieces of abalone or mother-of-pearl are inlaid into a lacquered surface, typically black. This intricate method often includes additional gilding with gold or silver to enhance the design, creating a striking contrast between the dark lacquer and shimmering inlays. Also used on luxury objects such as boxes and furniture, it was prized for its detailed craftsmanship and the beautiful interplay of glossy lacquer and iridescent shell patterns. The use of kingfisher feathers to create a shimmering mosaic framework was a speciality of Jacques Andrey (b.1896), one of the workmen in the Coüet workshop.

This clock carries Cartier London’s ‘spot’ stock number ·1017· which indicates that it was exported to London for sale. By this date, the export of Paris models to Cartier in London and New York was arranged via Cartier’s subsidiary, the European Watch and Clock Company, and the E.W.C. signatures can be found to the movement and inside case back of this timepiece.