Cartier is a master in the making of instruments that tell the time, and his creations have been handed down to posterity. Whether it be the famous wristwatch named the 'Santos', made in 1904 for the aviator Alberto Santos-Dumont, the 'Tank' launched in 1919, the 'Tonneau' and the 'Tortue' models or the mystery clocks; all have become watchmaking legends.

But if the first timepiece appears in the archives of the House as early as 1853, it is with the move to rue de la Paix that Cartier gradually established an innovative style in watchmaking, particularly in what represented the largest part of production at the time: table clocks. Clocks, placed on a desk, a bedside table, a fireplace, taken on journeys, by train, by boat and sometimes, for some special models, by car, were to contribute to establish the Parisian jeweller's reputation and contribute to satisfy the rich and powerful of this world. All of them were happy owners of Cartier clocks: Edward VII of England, Nicholas II Tsar of all the Russias, Franklin Delano Roosevelt President of the United States, Alfred Vanderbilt, John Pierpon Morgan, or one of the richest women in the world, Jessie Woolworth Donahue, whose small travel clock bearing her initials is presented here (lot 34).

Christie's exceptional collection of 101 of these clocks not only has the advantage of covering over half of the 20th century, the period in which Cartier's fertile creativity was best expressed, but also shows the diversity of the House's creation. In this respect, this unique collection appears as a synthesis of the watchmaking production of the king of jewellers.

A rare and spectacular 'urn' clock in silver-gilt and opaline glass bears witness to the influence of the Louis XVI style at Cartier during the Belle Epoque (lot 93). This period is also characterized by the use of polychrome guilloché enamel. Simple shaped clocks have their cases covered with beautiful bright colors, mainly blue, pink, purple and green. Some have a watchmaking complication: the minute or quarter repeater, which allows the time to be given on demand by pressing a delicate moonstone cylinder (lots 12, 49). It was also during this period that Cartier produced exquisite semi-mystery strut clocks called 'planets' or 'comets' whose enamel dial contrasts with the purity of rock crystal (lot 11).

With Art Deco, Cartier's creative genius bursted forth. Never before had a particular period in the history of art known such a wide variety of influences. The first quarter of the 20th century produced some of the most spectacular clocks ever seen, with jewellery houses taking over from traditional watchmakers. Once again Cartier showed that it was at its best by paving the way for the creation of original models made by the legendary Maurice Coüet, such as the rare clocks with mobile hours, two of which are in this sale (lots 61 and 96).

The exoticism of oriental cultures also had a great influence. The exploration of Tutankhamun's tomb prompts the use of elements of geometric design, while the visit of the maharajas to Paris with their trunks full of precious stones exacerbates the interest in Indian or Mughal themes. Cartier adapted typically Asian elements to create its own Art Deco motifs, symbolizing a wonderful synchretism: the gold hands, enamelled or set with diamonds, take the shape of hearts, arrows or Persian tulips. The ornaments on the faces and the diamond stars that traditionally decorated the base of the clocks are transformed into cabochons of sapphire, ruby but also coral or cypress trees made of jade and lapis lazuli . As for the dials, they are now made of ivory, mother-of-pearl inlays or embellished, the ultimate luxury, with magnificent iridescent kingfisher feathers (lot 101).

How could one not agree with what a columnist wrote in the special issue of the Gazette du Bon Ton devoted to the 1925 Exposition des Arts Décoratifs about Cartier clocks: 'These unique pieces, which bear witness to an admirable sense of decoration and the most refined taste as much as to a perfect craftsmanship, exude in some privileged salon, a taste of art worthy of the greatest periods of civilization'.

O. Bachet, A. Cartier