An Art Deco 'Dog of Fó' Rose Quartz, Marble, Enamel and Rosewood 'Chinoiserie' Table Clock, by Gubelin, Circa 1920The rectangular pink and pastel green guilloché dial, black enamel Arabic hour numerals, fleur-de-lys hands, within a carved rectangular green marble case, supported by a base of similar material, to the left a carved rose quartz 'Chinese dog of Fó', the auspicious mystical guardian dog-lion, also known as the Imperial Guardian Lion, completed by a carved rosewood floral stand, mechanical movement, movement and dial signed Gubelin Lucerne, height 21.0cm, width 34.0cm, depth 12.0cm注脚裝飾藝術時期粉水晶'福狗',大理石,琺瑯及紅木'中國風'座檯鐘,Gubelin,約1920年代
高度21.0厘米,寬度34.0厘米,深度12.0厘米

Property from a European Private Collection
歐洲收藏家之珍藏

Art Deco Cartier Clocks
This collection of clocks demonstrates the success of the aesthetic dialogue between the Eastern and Western cultures during the Art Deco period. With inspiration from Eastern cultures of China, ancient Egypt and Japan, Louis Cartier designed clocks with expert virtuosity and skill.

One of the most lavish is the exquisite 'La Pendule Ecran Chinoise' by Cartier (lot 656). Inspired by the ancient Chinese table screen, which was found in the portrait drawing of 'the Qianlong Emperor in his study, China, circa 1850. The 'modèle écran', or screen model, was first introduced in 1923. using the ancient Chinese technique 'lac burgauté' incorporating insertions of delicate pieces of mother-of-pearl into a black lacquered background.

Cartier was also strongly influenced by the techniques and materials from the East, including lacquer, painted enamel and the use of jadeite in high-quality clockmaking. These materials were expensive during Art Deco period and limited in supply making them accessible only to Cartier's wealthiest clientele. During the 1920s, the use of jadeite and nephrite became increasingly popular and Cartier freely incorporated elements into their designs. For example, jadeite bangles were being used as clock cases: lot 655, the jadeite, nephrite and enamel desk clock, and lot 654, the jadeite and enamel desk clock, both circa 1925.

Cartier also launched a line of small and exquisite clocks, vanity cases and accessories that featured delicate engine-turned decoration and enamelling, influenced by Louise XVI style of small clocks and enamelled accessories. Cartier concentrated on developing new combinations of hues, such as violet and green. Lot 652, the purple enamel and agate table clock, is an exquisite example of the fashionable desk clocks being produced during this glamorous period.

裝飾藝術時期卡地亞座鐘
這個座鐘系列珍藏展示了裝飾藝術時期東西方文化之間美學的成功對話。路易斯·卡地亞（Louis Cartier）受到中國、古埃及及日本東方文化的啟發，設計出這些工藝精湛、技術一流的座鐘。

最奢華之一當屬卡地亞製作的精美"中國風"屏風座鐘，拍品656。其靈感來自古代中國檯式屏風，該系列參考了肖像畫「乾隆皇帝在學習中，中國，約1850年」中的屏風形態。屏風模型（modéle écran）於1923年被首次引入，通過運用古老的中國黑漆嵌母貝工藝（lac burgauté）將精緻的珍珠母貝嵌入黑色漆器背景中。

卡地亞還受到東方技藝和材料的強烈影響，這體現在漆，彩繪琺瑯及翡翠在高品質座鐘中的運用。在裝飾藝術時期，這些材料價格昂貴且供應有限，因此只流入到卡地亞最富有的客戶手中。在1920年代，翡翠及軟玉的使用愈發流行，卡地亞（Cartier）將這些元素自如地運用到設計中。例如，玉鐲被用作座鐘外殼：拍品653，軟玉及琺瑯檯鐘，約1920年代; 以及拍品653，翡翠及琺瑯檯鐘，約1925年代。

卡地亞受到路易十六國王的小型座鐘及琺瑯器物風格的影響，還推出了一系列小而精緻的座鐘、化妝盒及配件，它們以精緻的機雕扭索狀花紋及琺瑯工藝為特色。卡地亞聚焦於開發新的琺瑯顏色組合，包括紫色和綠色。拍品652，紫色琺瑯配瑪瑙座鐘，正是在這段富有魅力時期所製作出時髦座鐘的絕佳範例。

References
Pierre Rainero, Evelyne Possémé, Stephen Harrison, Sarah D. Coffin, Sarah Davis, Jeweled Splendors of the Art Deco Era: The Prince and Princess Sadruddin Aga Khan Collection, 2017, P18-19: the history shortage of the materials being imported from the East; P41-56: the ancient Chinese technique 'Lac Burgauté'; P210-211: the inspiration for the form of the screen clock

Denver Art Museum, Cartier in the 20th Century, 2014, P75: Cartier's 1920s and early 1930s; P103: the imported Chinese lac burgauté technique

Judy Rudoe, Cartier 1900-1939, published for the trustees of the British Museum by British Museum Press, 1997, P188-196: the Chinese and Japanese style

The Moscow Kremlin Museums and Cartier, Cartier, Innovation through the 20th Century, 2007, P21-25: Cartier's enamelling innovation

參考文獻
皮埃爾·雷諾羅（Pierre Rainero），伊夫琳·波塞梅（Evelyne Possémé），斯蒂芬·哈里森（Stephen Harrison），莎拉·達·科芬（Sarah D. Coffin），莎拉·戴維斯（Sarah Davis），裝飾藝術時代的瑰麗珠寶：2017年，薩德魯丁·阿加汗（Sadruddin Aga Khan）親王和公主收藏，P18-19：從東方進口原材料的短缺; P41-56：中國古代黑漆嵌珍珠母貝工藝； P210-211：屏風座鐘的靈感來源

丹佛藝術博物館，二十世紀的卡地亞，2014年，P75：卡地亞的1920年代及1930年代初； P103：中國古代黑漆嵌珍珠母貝工藝

朱迪·魯道（Judy Rudoe），卡地亞1900-1939，由大英博物館出版社為大英博物館受託人出版，1997年，P188-196：中國及日本風格

莫斯科克里姆林宮博物館及卡地亞，卡地亞，橫貫20世紀的創新，2007年，P21-25：卡地亞的琺瑯工藝創新理念