AN IMPRESSIVE ART DÉCO JADE SCREEN CLOCK, BY CARTIER
Prospective purchasers are advised that several co… Read more THE PROPERTY OF A GENTLEMAN 
AN IMPRESSIVE ART DÉCO JADE SCREEN CLOCK, BY CARTIER

Details
AN IMPRESSIVE ART DÉCO JADE SCREEN CLOCK, BY CARTIER
The large rectangular jade panel carved to the front and reverse with Oriental figures among a mountainous landscape with trees, temples and trailing foliage, and central gilt openwork dagger-shaped hands, to the black lacquer and metal stepped plinth and twin strutts with red lacquer detail, mechanical movement, circa 1930, 34.5 cm, in brown leather original Cartier fitted case
Signed Cartier Paris Londres New York
Special Notice
Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country. On lots marked with an + in the catalogue, VAT will be charged at 8% on both the premium as well as the hammer price.

Lot Essay

The 'écran' or screen clock was first introduced in 1923 and utilised rock crystal or, as in this instance, carved jade panels in conjunction with an ornate frame. Traditionally used in China as desk ornaments for scholars' tables, Cartier created a complimentary design around each screen they purchased, sometimes, where possible, hollowing out the interior to conceal the movement or if not it was placed behind the panel, or between two panels mounted back-to-back.

For examples of jade screen clocks:
J. Barracca, G. Negretti and F Nencini, Le Temps de Cartier, Wrist International, 1989, Milan, p. 174
H. Nadelhoffer, Cartier: Jewelers Extraordinary, Harry N. Abrams Publishers, 1984, New York, p. 52
J. Rudoe, Cartier 1900-1939, British Museum Press, 1997, Exhibition catalogue: Metropolitan Museum of Art, New York, 2 April - 3 August 1997 and British Museum, London, 3 October 1997 - 1 February 1998, p. 106-107

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