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拍品專文
Accompanied by a fitted Cartier presentation box.
Cartier clocks have for over a century been highly-prized and were often given as gifts to or purchased by members of the aristocracy and royalty. However, the vast majority were time-only and in ornate cases with fine enamel, precious metal, and other valuable natural elements. Thus, seeing the present clock was a breathtaking moment, for it is a new and outstanding discovery for Cartier clock scholarship.
Three things were immediately striking when opening the well-preserved, antique red Cartier box to see the clock for the first time: the large size of the clock, the complete calendar and moon phase complication, and its mint condition.
The present clock one of only a few known complete calendar with moon phase clocks from circa 1910, but is the first known in a large round format. To the best of our knowledge, the small number of other known complete calendar clocks from the era are all square with enamel borders.
The Cartier Private Museum has two of them (Inv. CDS 51 A12 and CDS 47 A10), exhibiting them extensively; in Los Angeles in 1982, Paris 1989, Rome 1990, Saint Petersburg 1992, Lisbon 2007. Both are illustrated in numerous exhibition catalogues and books, including Le Temps de Cartier. Both of them came from Bako’s workshop, have the same movement as this clock and are square and smaller. Among all known Cartier’s easel clocks, the present one appears to be the most spectacular.
Eugène Bako, whose name is found on the movement, worked for Cartier during the Belle Epoque and, along with Maurice Coüet, and Prevost, cooperated on some of the most spectacular Cartier clocks, as evidenced by the present lot. Cartier's cooperation with Bako began no later than 1905 when Cartier records indicate that on November 11 work was finished of a stone squirrel in the Faberge style with Bako's cooperation. Bako became well known after 1900 Paris Universal Exposition where he was awarded a gold medal.
Bako was registered in Paris as a Fabricant bijoutier orfèvre (goldsmith jeweler manufacturer) with a workshop at 148 Rue du Temple. His initial registration must have been in the 19th century, however, the one that has survived is his re-registration of March 21, 1908. It was canceled on October 19, 1923, when his widow took over the business.
This clock features a stunning translucent agate outer edge and highly-attractive blue and white enamel design surrounding the guilloché dial and fanciful central diamond-set hands. The overall look is elegant and versatile for use today. This clock is made additionally remarkable for its outstanding, original, and mint condition. It appears to have spent most of the last century sleeping in its red Cartier box.
For anyone ranging from an advanced collector of Cartier clocks to an aesthete who does not yet own a Cartier clock, it it hard to envision a better opportunity to purchase a more singularly beautiful, well-preserved, and important complicated clock from the era.
For more references to Bako's work please see Cartier by Hans Nadelhoffer and Enamels of the World, 1700-2000: The Khalili Collections by Haydn Williams.
Cartier clocks have for over a century been highly-prized and were often given as gifts to or purchased by members of the aristocracy and royalty. However, the vast majority were time-only and in ornate cases with fine enamel, precious metal, and other valuable natural elements. Thus, seeing the present clock was a breathtaking moment, for it is a new and outstanding discovery for Cartier clock scholarship.
Three things were immediately striking when opening the well-preserved, antique red Cartier box to see the clock for the first time: the large size of the clock, the complete calendar and moon phase complication, and its mint condition.
The present clock one of only a few known complete calendar with moon phase clocks from circa 1910, but is the first known in a large round format. To the best of our knowledge, the small number of other known complete calendar clocks from the era are all square with enamel borders.
The Cartier Private Museum has two of them (Inv. CDS 51 A12 and CDS 47 A10), exhibiting them extensively; in Los Angeles in 1982, Paris 1989, Rome 1990, Saint Petersburg 1992, Lisbon 2007. Both are illustrated in numerous exhibition catalogues and books, including Le Temps de Cartier. Both of them came from Bako’s workshop, have the same movement as this clock and are square and smaller. Among all known Cartier’s easel clocks, the present one appears to be the most spectacular.
Eugène Bako, whose name is found on the movement, worked for Cartier during the Belle Epoque and, along with Maurice Coüet, and Prevost, cooperated on some of the most spectacular Cartier clocks, as evidenced by the present lot. Cartier's cooperation with Bako began no later than 1905 when Cartier records indicate that on November 11 work was finished of a stone squirrel in the Faberge style with Bako's cooperation. Bako became well known after 1900 Paris Universal Exposition where he was awarded a gold medal.
Bako was registered in Paris as a Fabricant bijoutier orfèvre (goldsmith jeweler manufacturer) with a workshop at 148 Rue du Temple. His initial registration must have been in the 19th century, however, the one that has survived is his re-registration of March 21, 1908. It was canceled on October 19, 1923, when his widow took over the business.
This clock features a stunning translucent agate outer edge and highly-attractive blue and white enamel design surrounding the guilloché dial and fanciful central diamond-set hands. The overall look is elegant and versatile for use today. This clock is made additionally remarkable for its outstanding, original, and mint condition. It appears to have spent most of the last century sleeping in its red Cartier box.
For anyone ranging from an advanced collector of Cartier clocks to an aesthete who does not yet own a Cartier clock, it it hard to envision a better opportunity to purchase a more singularly beautiful, well-preserved, and important complicated clock from the era.
For more references to Bako's work please see Cartier by Hans Nadelhoffer and Enamels of the World, 1700-2000: The Khalili Collections by Haydn Williams.