An Exceptionally Fine and Rare Art Deco 'La Pendule Ecran Chinoise' Mother-Of-Pearl, Diamond, Lacquer and Enamel Table Clock, by Cartier, Circa 1930Designed as a vertical screen, the rectangular dial of lac burgauté set with inlaid mother-of-pearl depicting Chinese warriors on horses-in-motion, to rose-cut diamond set black enamel Roman hour numerals and hands, within a mother-of-pearl, black enamel and black lacquered rectangular case, decorated with orange lacquered batons, supported by two black lacquered arches on a pedestal of similar material, mechanical movement, signed Cartier, numbered, accompanied by the winding key, height 14.5cm, width 10.6cm, depth 8.3cm, original fitted case注脚Accompanied by a copy of the Cartier authenticity letter, stating that the Cartier archives date this clock to be circa 1930. Reference number 2890, dated 6 September 1985.

精美罕見裝飾藝術時期珍珠母貝,鑽石,彩色漆及琺瑯座檯鐘,卡地亞,約1930年代
高度14.5厘米,寬度10.6厘米,深度8.3厘米,附卡地亞證書複印件及原裝盒

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, jade bangles were being used as clock cases: lot 652, the nephrite and enamel desk clock, circa 1920, and lot 653, the jadeite and enamel desk clock, 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 651, the purple enamel and agate table clock, is an exquisite example of the fashionable desk clocks being produced during this glamorous period.

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 shortage of the materials being imported from the East; P41-56: the ancient Chinese technique 'Lac Burgauté'; P210-211: the inspiration source 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

裝飾藝術時期卡地亞座鐘
這套座鐘系列完美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、獨具匠心的座鐘。
其中最奢華之一當屬拍品656——卡地亞製作的精美"中國風"屏風座鐘。其靈感來自古代中國檯式屏風，該屏風是在肖像畫「書房裏的乾隆皇帝，中國，約1850年」中被發現。屏風造型（modéle écran）於1923年被首次引用，通過運用古老的中國黑漆嵌母貝工藝（lac burgauté）將精巧細緻的珍珠母貝嵌入黑色漆器背景中。
卡地亞還深受東方工藝和原材料的影響，並可在其製作高品質座鐘中運用漆，彩繪琺瑯及翡翠的設計而略見一斑班呈現出來。在裝飾藝術時期，這些材料價格昂貴且供應有限，因此這些座鍾只流入到卡地亞最富裕的一群客戶手裹。在1920年代，翡翠及軟玉的使用漸趨流行，卡地亞將這些元素自如地運用到設計中。比如，玉鐲被用作座鐘外殼：拍品655，軟玉及琺瑯座鐘，約1920年代；以及拍品654，翡翠及琺瑯座鐘，約1925年代。
由於卡地亞受到路易十六國王的小型座鐘及琺瑯精品風格的影響，還推出了一系列小而精緻的座鐘、化妝盒及精品，並以機械雕刻而成的精緻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，包括紫羅蘭色和綠色。拍品652，紫羅蘭色琺瑯配瑪瑙座鐘，正是製作於這段充满迷人色彩年代，時尚座鐘之精彩代表作。

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