Cartier, Paris

The humpback strut clocks, designed in the form of roadside milestones (known in French as les bornes), first appeared around 1909¹ and became one of Cartier’s most celebrated designs during the Edwardian and Art Deco periods. In 1911, Maurice Coüet (1885–1963) began an exclusive partnership with Cartier, and through his workshop, he often revisited the Borne design, developing an extraordinary range of timepieces for the Maison.

As Cartier’s design sensibilities transitioned from the ornate language of the Belle Époque to the structured geometric forms of Art Deco, bold shapes and striking material contrasts emerged. In this evolution, the use of stark black onyx—a favoured material of the period—creates a dramatic contrast against the shimmering mother-of-pearl dial. The dial itself is composed of two sections, with a central panel set apart from the chapter ring by a black surround, producing a two-tone effect that provides further contrast. Adding to this interplay of light and dark, the ethereal quality of moonstone cabochons set at the corners of the onyx case enhances the sense of balance and refinement.

The gold bezel is highly distinctive with its stepped form and triple banded tied ornamentation. A similar application of this bezel design can be seen on other Cartier timepieces of the period. For another onyx desk clock with this style of bezel, but in a square case, see: R. Ehrhardt & J. Demesy’s Cartier Wrist & Pocket Watches Clocks (1992, p. 93).

¹ Hans Nadelhoffer, Cartier - Jewelers Extraordinary, London: Thames & Hudson, 1984, p. 246.