Cartier. A fine and rare 18K gold tonneau-shaped curved wristwatch
Formerly the property of Baron de Meyer
Cartier. A fine and rare 18K gold tonneau-shaped curved wristwatch

SIGNED CARTIER, TONNEAU CINTRÉE Á PATTES MODEL, CASE NO. 7118 & 12660, MOVEMENT NO. 12660, MANUFACTURED CIRCA 1915

Details
Cartier. A fine and rare 18K gold tonneau-shaped curved wristwatch
Signed Cartier, Tonneau Cintrée á pattes model, case no. 7118 & 12660, movement no. 12660, manufactured circa 1915
Cal. 10''' mechanical movement, 18 jewels, silvered engine-turned dial, Roman numerals, tonneau-shaped case, back secured by four screws in the band, gold deployant clasp, case, dial and movement signed
26.2 mm. wide, 39 mm. length & 45.8 mm. overall length

Brought to you by

Sabine Kegel
Sabine Kegel

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Lot Essay

With a set of prints by Baron de Meyer including a dozen of negatives and over 50 shots printed using different techniques on papers of various sizes (the largest measuring 28 cm x 35.3 cm). Three of the prints are dedicated by Baron De Meyer to his son Ernest. One print is signed by Ernest and addressed to "Johnie".
Furthermore accompanied by a hand written letter dated 30 September 1949 signed by Baron Ernest de Meyer attesting that the present Cartier watch was purchased from Baron de Meyer.

Baron Adolph de Meyer

Baron Adolph de Meyer (1868-1946) was a figure whose career and artistic merit was closely linked to two arenas. Early on, his photographs were grasped by Stieglitz and the Photo-Secessionists, likely for their link to Symbolist art and the basic tenets of Pictorialism: atmosphere, high key lighting effects and sentiment. Stieglitz published de Meyer for the first time in Camera Work in October, 1908 (Number 24) and then again in October, 1912 (Number 40).
The second and final circle which occupied his oeuvre was that of fashion and editorial photography. De Meyer became the first staff photographer for both Vogue and Vanity Fair and later, Harper's Bazar. This led to the reinvention of fashion photography, taking it out of the Edwardian Era and gracing it with glamour and style that would predominate until a fully-fledged Modernist aesthetic became de rigueur in the 1930s.
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