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Item: 204377310827

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Cartier:Cartier
Type:Watch Winder
Color:Red
Vintage:Yes

Check out our other new and used items>>>>>HERE! (click me) FOR SALE:A timeless treasure for your automatic watch CARTIER AUTOMATIC WATCH WINDER BOX DETAILS:Genuine, vintage Cartier!This exquisite piece is a perfect fusion of elegance and functionality, designed to house and maintain your cherished timepieces. This Cartier watch winder box boasts a classic red exterior, radiating a sense of sophistication and refinement. The striking gold accents beautifully complement the vibrant red hue, adding a touch of opulence to its overall appearance. The combination of these elements ensures that this vintage piece stands out in any collection. Open the box, and you’ll be greeted by a soft white interior, meticulously crafted to cradle your precious watches. The velvety texture provides a gentle and luxurious cushion, protecting your timepieces from scratches and ensuring their safekeeping. Turns counterclockwise (CCW). Requires 2 “D” batteries to operate (not included). With its “D” battery-operated design, this Cartier watch winder box offers unparalleled convenience. You can proudly showcase your watches anywhere in your home or office without the need for a power outlet. The battery-operated mechanism ensures that your timepieces receive the necessary winding to keep them running smoothly. Dimensions:Closed: approximately 6-7/8″ (L) x 6″ (W) x 5-3/4″ (H) (inches). CONDITION:In excellent working order but missing watch cuff and has replacement screw. Needs watch cuff piece that attaches to winder for proper use. There are signs of previous use (minimal scuffs and spots) but the box is in good cosmetic condition. The battery compartment cover brass screw has been replaced with a similar size screw though the head is not as wide as the original. Please see photos.Signature required for delivery. To ensure safe delivery all items are carefully packaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK.*ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* “Cartier International SNC, or simply Cartier (/ˈkɑːrtieɪ/ KAR-tee-ay, French: [kaʁtje]), is a French luxury goods conglomerate that designs, manufactures, distributes, and sells jewellery, leather goods, and watches.[2][3][4] Founded by Louis-François Cartier (1819–1904) in Paris in 1847, the company remained under family control until 1964.[4] The company is headquartered in Paris and is a wholly owned subsidiary of the Swiss Richemont Group.[5][6] Cartier operates more than 200 stores in 125 countries, with three Temples (Historical Maisons) in London, New York, and Paris.[6][7] Cartier is regarded as one of the most prestigious jewellery manufacturers.[4][8][9][10][11][12] Forbes ranked Cartier on its Most Valuable Brands list as 56th in 2020, with a brand value of $12.2 B and revenue of $6.2 B.[1][13] Cartier has a long history of sales to royalty.[14] King Edward VII referred to Cartier as “the jeweller of kings and the king of jewellers.”[4][15] For his coronation in 1902, Edward VII ordered 27 tiaras and issued a royal warrant to Cartier in 1904.[4][16] Similar warrants soon followed from the courts of Spain, Portugal, Serbia, Russia and the House of Orléans. History Early history Louis-François Cartier founded Cartier in Paris in 1847 when he took over the workshop of his master, Adolphe Picard.[17] In 1874, Louis-François’ son Alfred Cartier took over the company, but it was Alfred’s sons Louis, Pierre, and Jacques who established the brand name worldwide.[17] Pierre Cartier Louis ran the Paris branch, moving to the Rue de la Paix in 1899. He was responsible for some of the company’s most celebrated designs, such as the mystery clocks (a type of clock with a transparent dial and so named because its mechanism is hidden), fashionable wristwatches and exotic orientalist Art Deco designs, including the colorful “Tutti Frutti” jewels.[18][19][20] In 1904, Brazilian pioneer aviator, Alberto Santos-Dumont complained to his friend Louis Cartier of the unreliability and impracticality of using pocket watches while flying. Cartier designed a flat wristwatch with a distinctive square bezel that was favored by Santos-Dumont and many other customers.[21] This was the first and only time the brand would name a watch after its original wearer.[22] The “Santos” watch was Cartier’s first men’s wristwatch. In 1907, Cartier signed a contract with Edmond Jaeger, who agreed to exclusively supply the movements for Cartier watches.[23] Among the Cartier team was Charles Jacqueau, who joined Louis Cartier in 1909 for the rest of his life, and Jeanne Toussaint, who was Director of Fine Jewellery from 1933. Pierre Cartier established a New York City branch in 1909, moving in 1917 to 653 Fifth Avenue, the Neo-Renaissance mansion of Morton Freeman Plant (son of railroad tycoon Henry B. Plant), designed by architect C.P.H. Gilbert.[24] Cartier purchased it from the Plants in exchange for $100 in cash and a double-stranded natural pearl necklace valued at the time at $1 million.[25] By this time, Cartier had branches in London, New York and Saint Petersburg and was quickly becoming one of the most successful watch companies.[11][3] Designed by Louis Cartier, the Tank watch was introduced in 1919 and was inspired by the newly introduced tanks on the Western Front in World War I.[17] In the early 1920s, Cartier formed a joint-stock company with Edward Jaeger (of Jaeger-LeCoultre) to produce movements solely for Cartier. Cartier continued to use movements from other makers: Vacheron Constantin, Audemars Piguet, Movado, and LeCoultre. It was also during this period that Cartier began adding its own reference numbers its watches by stamping a four-digit code on the underside of a lug. Jacques took charge of the London operations and eventually moved to the current address at New Bond Street. Re-organization After the death of Pierre in 1964, Jean-Jacques Cartier (Jacques’s son), Claude Cartier (Louis’s son), and Marion Cartier Claudel (Pierre’s daughter)—who respectively headed the Cartier affiliates in London, New York, and Paris—sold the businesses. In 1972, Robert Hocq, assisted by a group of investors led by Joseph Kanoui, bought Cartier Paris.[26] In 1974 and 1976, respectively, the group repurchased Cartier London and Cartier New York, thus reconnecting Cartier worldwide.[26] The new president of Cartier, Robert Hocq, coined the phrase “Les Must de Cartier” (a staff member is said to have said “Cartier, It’s a must!” meaning something one simply must have) with Alain Dominique Perrin, who was a General Director of the company.[27][28] As a result, in 1976, “Les Must de Cartier” became a diffusion line of Cartier, with Alain D. Perrin being its CEO.[29][30][31] In 1979, the Cartier interests were combined, with Cartier Monde uniting and controlling Cartier Paris, London, and New York. Joseph Kanoui became vice president of Cartier Monde. In December 1979, following the accidental death of president Robert Hocq, Nathalie Hocq (daughter of Hocq) became president.[26][31] Recent development Cartier is in the former Morton F. Plant House on Fifth Avenue in New York. In 1981, Alain Dominique Perrin was appointed Chairman of Cartier SAA and Cartier International.[28][30] The next year, Micheline Kanoui, wife of Joseph Kanoui, became head of jewellery design and launched her first collection “Nouvelle Joaillerie.”[29] In 1984, Perrin founded the Fondation Cartier pour l’Art Contemporain to bring Cartier into the twenty-first century, by forming an association with living artists. In 1986, the French Ministry for Culture appointed Perrin head of the “Mission sur le mécénat d’entreprise” (a commission to study business patronage of the arts). Two years later, Cartier gained a majority holding in Piaget and Baume & Mercier. From 1989 to 1990, the Musée du Petit Palais staged an exhibition of the Cartier collection, “L’Art de Cartier.”[32] Perrin founded an international committee in 1991, Comité International de la Haute Horlogerie, to organize its first salon, held on 15 April 1991; this has become an annual meeting place in Geneva for professionals in this field. The next year, the second exhibition of “L’Art de Cartier” was held at the Hermitage Museum in St Petersburg. In 1993, the “Vendôme Luxury Group” was formed as an umbrella company to combine Cartier, Dunhill, Montblanc, Piaget, Baume & Mercier, Karl Lagerfeld, Chloé, Sulka, Hackett, and Seeger.[33] In 1994, the Cartier Foundation moved to the Rive Gauche and opened headquarters in a building designed for it by Jean Nouvel. The next year, a major exhibition of the Cartier Antique Collection was held in Asia. In 1996, the Lausanne Hermitage Foundation in Switzerland exhibited “Splendours of the Jewellery”, presenting a hundred and fifty years of products by Cartier.[34] In 2012, Cartier was owned, through Richemont, by the South African Rupert family, and Elle Pagels, a 24-year-old granddaughter of Pierre Cartier.[35][36] Managing directors Champs-Élysées store in Paris A window of the Cartier store in Helsinki, Finland Laurent E. Feniou – (25 March 2013 – present).[37] Rupert J. Brooks – (16 December 2015 – present).[38] Francois M. J. R. Le Troquer – (1 September 2010 – 28 March 2013).[39] Bernard M. Fornas – (21 January 2003 – 16 December 2015).[40] Guy J. Leymarie – (2 September 2002 – 28 October 2002).[41] Grieg O. Catto – (2 April – present).[42] Denys E. Pasche – (2 April 2002 – 17 July 2002).[43] David W. Merriman – (2 April 2002 – 17 July 2002).[44] Richard P. Lepeu – (1 November 2000 – 1 April 2002).[45] Sophie Cagnard – (1 November 2000 – 1 April 2002).[46] Gerard S. Djaoui – (12 June 1997 – 1 April 2002).[47] Francois Meffre – (11 June 1993 – 28 September 2000).[48] Richard N. Thornby – (11 June 1993 – 7 October 1996).[49] Luigi Blank – (11 June 1993 – 1 April 2002).[50] Joseph W. Allgood – (22 June 1992 – 8 April 1993).[51] Arnaud M. Bamberger – (4 June 1992 – 16 December 2015).[52] Mario Soares – (22 June 1991 – 5 March 2002).[53] Joseph Kanoui – (22 June 1991 – 31 January 2000).[54] William A. Craddock – (22 June 1991 – 31 October 1997).[55] Christopher H. B. Honeyborne – (22 June 1991 – 31 October 1997).[56] Pierre Haquet – (22 June 1991 – 8 April 1993).[57] Phillipe Leopold-Metzger – (22 June 1991 – 4 June 1992).[58] Jewelry and watch manufacturing Bismarck sapphire necklace (1935), now at the US National Museum of Natural History Notable products 1911 – Launch of Santos de Cartier wristwatch.[3] 1918 – Creation of batons for Field-Marshals Foch and Pétain. 1919 – Launch of the Tank watch.[3] 1921 – Creation of the Tank cintrée watch. 1922 – Creation of the Tank Louis Cartier and Tank Chinoise watches. 1923 – Creation of the first portico mystery clock, crowned with a statuette called Billiken. 1926 – Creation of the Baguette watch. Cartier jewellery in its red box appeared on the Broadway stage in Anita Loos’ play Gentlemen Prefer Blondes.[59] 1928 – Creation of the Tortue single push-piece chronograph watch.[3] 1929 – Creation of the Tank à guichets watch. 1931 – Creation of the mystery pocket watch. 1932 – Creation of the Tank basculante watch. 1933 – Cartier filed a patent for the “invisible mount”, a stone-setting technique in which the metal of the mount disappears to show only the stones. 1936 – Creation of the Tank asymétrique watch. 1942 – Creation of the “Caged Bird” brooch as a symbol of the Occupation.[3] 1944 – Cartier created the “Freed Bird” to celebrate the Liberation of France. 1950 – Creation of a watch in the form of a ship’s wheel. 1967 – Creation of new watches in London including the Crash. 1968 – Creation of the Maxi Oval watch. 1969 – Creation of the Love bracelet.[3] Cartier Santos – steel/gold from 1988 1969 First inclusion of a Cartier Chronometer in a Luxury Car 1971 – Creation of the Juste un Clou bracelet at Cartier New York. 1973 – Creation of Les Must de Cartier by Robert Hocq with Alain-Dominique Perrin.[3] 1974 – Launch of the first leather collection in burgundy. 1976 – First collection of Les Must de Cartier vermeil watches. Creation of the first oval pen. 1978 – Creation of the Santos de Cartier watch with a gold and steel bracelet. Creation of the first Cartier scarf collection.[3] 1981 – Launch of the Must de Cartier and Santos de Cartier perfumes. 1982 – Launch of the first New Jewellery collection on the theme of gold and stones. 1983 – Creation of the Collection Ancienne Cartier (later the Cartier Collection) to record and illustrate how the jeweller’s art and its history have evolved. Creation of the Panthère de Cartier watch. 1984 – Launch of the second New Jewellery collection on the theme of gold and pearls. Creation of the Fondation Cartier pour l’Art Contemporain in Jouy-en-Josas. 1985 – Launch of the Pasha de Cartier watch.[3] 1986 – Launch of the third New Jewellery collection on the theme of the panther. 1987 – Launch of the Panthère de Cartier perfume. Creation of Les Maisons de Cartier tableware (porcelain, crystal and silver). 1988 – Launch of the fourth New Jewellery collection on the theme of Egypt. 1989 – Launch of the Tank Américaine watch. The Art of Cartier, the first major retrospective in Paris, was held at the Petit Palais. 1995 – Creation of the Pasha C watch in steel. Launch of the So Pretty de Cartier perfume. 1996 – Creation of the Tank Française watch collection. Launch of the sixth New Jewellery collection on the theme of Creation. Creation of the Tank ring.[3] 1997 – Cartier celebrated its 150th anniversary with creations including a necklace in the form of a serpent, paved with diamonds and set with two pear-cut emeralds of 205 and 206 carats (41.2 g).[3] 1998 – Creation of the Collection Privée Cartier Paris Fine Watch collection. 1999 – Creation of the Paris Nouvelle Vague Cartier jewellery collection, inspired by Paris. 2001 – Creation of the Délices de Cartier jewellery collection. Launch of the Roadster watch.[3] 2003 – Launch of the Le Baiser du Dragon and Les Délices de Goa jewellery collections. 2007 – Launch of Ballon Bleu de Cartier watch.[3] 2016 – Launch of the Drive de Cartier watch. Environmental rating In December 2018, World Wide Fund for Nature (WWF) released a report assigning environmental ratings to 15 major watch manufacturers and jewelers in Switzerland.[60][61] Cartier (being a subsidiary of the Swiss Richemont Group) was ranked No. 2 among the 15 manufacturers and assigned an average environmental rating of “Upper Midfield,” suggesting the manufacturer has taken first actions addressing the impact of its manufacturing activities on the environment and climate change.[60] According to Cartier’s official company document, the company is committed to conduct businesses “in an environmentally responsible manner” and “minimising negative environmental impacts.”[62] Notable patrons and owners Mackay emerald and diamond necklace, 168 carats Muzo, Colombia, 1931 Celebrities 1904 – Alberto Santos-Dumont requested a watch from Louis Cartier, leading to the creation of the Santos de Cartier, the first men’s wrist watch, first sports watch, and first pilot’s watch 1928 – Marjorie Merriweather Post bought from Cartier in London earrings once worn by Queen Marie-Antoinette of France. 1950 – The Hollywood actress Gloria Swanson appeared in Sunset Boulevard wearing the two diamond and rock crystal bracelets that she had bought from Cartier in 1930. 1955 – Creation of Jean Cocteau’s sword for his election to the Académie française, to the artist’s own design.[3] 1957 – Barbara Hutton bought a tiger brooch in yellow gold, onyx and jonquil diamonds. 1968 – The Mexican actress María Félix commissioned Cartier to make a diamond necklace in the form of a serpent.[3] 1969 – Robert Kenmore, the chairman of Cartier’s parent company, acquired a 69.42-carat (13.884 g) pear-shaped diamond which it sold to Richard Burton and Elizabeth Taylor. The Cartier Diamond was thus renamed the Taylor-Burton Diamond.[3] Royalty 1904 – Cartier received its first appointment as official purveyor to King Edward VII of the United Kingdom.[3] 1904 – Cartier received another appointment as the purveyor for King Alfonso XIII of Spain.[63] Royal Warrant of the King of Spain in Cartier, Fifth Avenue 1907 – Cartier held its first exhibition and sale in Saint Petersburg, at the Grand Hotel Europe. Shortly after, it was appointed as official purveyor to Tsar Nicholas II of Russia.[64] 1919 – Appointment as official purveyor to King Albert I of Belgium. Cartier on Mexico City’s Avenida Presidente Masaryk 1921 – Appointment as official purveyor to the Prince of Wales, future King Edward VIII who, on abdicating in 1936, became the Duke of Windsor. 1924 – Queen Marie of Romania wears a Cartier tiara created to resemble the Russian kokoshnik for her portrait painted by Philip de László. 1925 – Maharaja of Patiala commissions the Patiala Necklace. 1929 – Appointment as official purveyor to King Fouad I of Egypt. 1938 – One of the smallest wristwatches in the world, by Cartier, was given to Princess Elizabeth of the United Kingdom.[3] 1939 – Appointment as official purveyor to King Zog I of Albania. 1949 – The Duke and Duchess of Windsor bought a platinum panther brooch on a 152.35-carat (30.470 g) Kashmir cabochon sapphire in Paris.[3] 1954 – Creation for the Duchess of Windsor of a lorgnette in yellow gold, black enamel and emeralds representing a tiger. 1956 – For her marriage to Prince Rainier, Princess Grace received numerous gifts of jewellery by Cartier including her engagement ring, set with a 12-carat (2.4 g) emerald-cut diamond. 2014 – Kate Middleton, the Duchess of Cambridge, has been seen wearing the Cartier Ballon Bleu watch.[65] Use of the Cartier name in other products From 1976 to 2003, the company lent its name to special editions of several models of the luxury US automaker Lincoln, designing a Cartier edition of the 1976 Lincoln Continental Mark IV,[66] the 1977–79 Lincoln Continental Mark V,[67][68] the 1980–81 Lincoln Continental Mark VI, and the 1982–2003 Lincoln Town Car.[69] Books Cartier Panthère. The Panther In Art by Bérénice Geoffroy-Schneiter, Evolution Of The Cartier Panther by Vivienne Becker, Creation Of A Cartier Panther by Joanna Hardy, and The Panther As Cultural Icon by André Leon Talley. New York: Assouline. 2015. p. 300. ISBN 9781614284284. Nadelhoffer, Hans (2007). Cartier. Chronicle Books. ISBN 9780811860994. The Cartiers, Francesca Cartier Brickells” (wikipedia.org) “acques-Théodule Cartier (2 February 1884 – 10 September 1941) was a French jeweler and Cartier jewelry company executive. Early life Cartier was born on 2 February 1884 in Paris. He was one of three sons of Alfred Cartier (1841–1925) and Amélie Alice (née Griffeuille) Cartier (1853–1914). His two brothers were Pierre Cartier and Louis Cartier. His grandfather, Louis-François Cartier had taken over the jewellery workshop of his teacher, Adolphe Picard, in 1847, thereby founding the famous Cartier jewelry company.[1] Cartier graduated from Collège Stanislas de Paris.[1] Career Jacques worked with his two older brothers to create the world-famous name and business, ‘Cartier’, in jewellery and watches. While Jacques opened and managed the store in London, Pierre managed the store in New York City. Jacques took charge of the London operation of Cartier in 1909 and eventually moved to the current location at 175 New Bond Street. Meanwhile, Louis was the designer who created the Cartier style known today.[2] The brothers divided and conquered. Cartier was very lucky in getting the recommendation of Princess Mathilde, the young cousin of Napoleon III, and this contributed to the boosting business.[3] In the early 1900s, “Cartier became jewellers to the Rockefellers, Vanderbilts, the Fords, the Morgans, King Edward VII, King Zog of Albania, and King Chulalongkorn of Siam, who, in 1907 alone, according to Cartier biographer Hans Nadelhoffer, bought Cartier bracelets to the value of $450,000.”[4] Through their continued successes, Louis and Pierre got married, while Jacques kept himself busy by fulfilling royal needs and desires and trips abroad in search of unique and exceptional beauty in gems. Jacques went to the Persian Gulf to find the perfect pearl. Jacques then proceeded to India, carrying magnificent jewellery of local maharajahs back to the London studio to redesign and modify for their own use. Together, Pierre and Jacques purchased a large number of pearls and precious stones from an Indian prince. The uniqueness of the pearls and stones created a sense of each piece of jewellery being special, which helped with the success of their business.[5] Jacques ran the London store until his death in 1941.[1] His brother Louis died the following year in July 1942.[6] The Cartier family of jewellers relinquished control of the family business in 1964 due to the passing of Pierre.[7][8] Personal life In 1912, Cartier was married to Anna Margaretha “Nelly” (née Harjes) Gardiner (1878–1972).[9] Nelly, who was divorced from Lion W. Gardiner of Gardiner’s Island, was the mother of Mary Dorothy Gardiner (wife of Victor Louis Marie Jean Dupont) and the sister of banker Henry Herman Harjes, a partner of J.P. Morgan in France. Together, they were the parents of four children: Jacqueline Elma Cartier (b. 1913), who married the American, Sylvester Gardiner Prime of Shelter Island (a descendant of Nathaniel Prime),[8][10] in 1939.[11] Alice Cartier (b. 1915), who married Carl Nater, son of the mayor of St. Moritz, in 1945.[12] Jean-Jacques Cartier (1920–2010), who married Lydia Baels (1920–1990), a daughter of Henri Baels. Lydia’s sister, Lilian, Princess of Réthy was the wife of King Leopold III of Belgium.[3] Alfred Harjes Cartier (1922–1974), who married Elizabeth Conn (1911–1976) in 1945.[8] Cartier died on 10 September 1941 in Dax, Landes in Occupied France. He was buried at the Cartier Family Mausoleum at Cimetière des Gonards in Versailles.” (wikipedia.org) “Louis Joseph Cartier (/ˈkɑːrtieɪ/ KAR-tee-ay, French: [lwi ʒozɛf kaʁtje]; June 6, 1875 – July 23, 1942)[1] was a French businessman, jeweler and heir to the Cartier jewelry house. From 1909, he and his brother Pierre were primarily based in New York City. In 1917, they acquired the Cartier Building, formerly owned by Morton Freeman Plant, which became the headquarters of Cartier in North America.[2][3] He was a resident of San Sebastian, Spain.[4][5] He was a member of the Cartier family. Early life and education Cartier was the eldest of four children born to Alfred and his wife Amélie Alice (née Griffeuille) Cartier. His grandfather Louis-François Cartier founded the house in 1847, and his father had been in the management of the company since 1874, and was primarily interested to expand the business internationally.[6] Death Louis Joseph Cartier died July 23, 1942 aged 67 in Manhattan, New York, U.S.[7] He was transported back to France and buried on Cimetière des Gonards in Versailles near Paris. Literature Francesca Cartier Brickell; The Cartiers: The Untold Story of the Family Behind de Jewelry Empire; 2019” (wikipedia.org) “An automatic watch, also known as a self-winding watch or simply an automatic, is a mechanical watch where the natural motion of the wearer provides energy to wind the mainspring, making manual winding unnecessary if worn enough.[1] It is distinguished from a manual watch in that a manual watch must have its mainspring wound by hand at regular intervals. Operation In a mechanical watch the watch’s gears are turned by a spiral spring called a mainspring. In a manual watch energy is stored in the mainspring by turning a knob, the crown on the side of the watch. Then the energy from the mainspring powers the watch movement until it runs down, requiring the spring to be wound again. A self-winding watch movement has a mechanism which winds the mainspring using the natural motions of the wearer’s body.[2] The watch contains an oscillating weight that turns on a pivot.[3] The normal movements of the watch in the user’s pocket (for a pocketwatch) or on the user’s arm (for a wristwatch) cause the rotor to pivot on its staff, which is attached to a ratcheted winding mechanism.[4] The motion of the watch is thereby translated into circular motion of the weight which, through a series of reverser and reducing gears, eventually winds the mainspring. There are many different designs for modern self-winding mechanisms. Some designs allow winding of the watch to take place while the weight swings in only one direction while other, more advanced, mechanisms have two ratchets and wind the mainspring during both clockwise and anti-clockwise weight motions. The fully wound mainspring in a typical watch can store enough energy reserve for roughly two days, allowing the watch to keep running through the night while stationary. In many cases automatic wristwatches can also be wound manually by turning the crown, so the watch can be kept running when not worn, and in case the wearer’s wrist motions are not sufficient to keep it wound automatically.[a] Preventing overwinding Self-winding mechanisms continue working even after the mainspring is fully wound up. If a simple mainspring was used, this would put excessive tension on the mainspring. This could break the mainspring, and even if it did not, it can cause a problem called “knocking” or “banking”. The excessive drive force applied to the watch movement gear train can make the balance wheel rotate with excessive amplitude, causing the impulse pin to hit the back of the pallet fork horns. This will make the watch run fast, and could break the impulse pin. To prevent this, a slipping clutch device is used on the mainspring so it cannot be overwound. Slipping spring or “bridle” The “slipping mainspring” device was patented by Adrien Philippe, one of the founders of Patek Philippe, on 16 June 1863,[5] long before self-winding wristwatches. In an ordinary watch mainspring barrel, the outer end of the spiral mainspring is attached to the inside of the barrel. In the slipping barrel, the mainspring is attached to a circular steel expansion spring, often called the ‘bridle’, which presses against the inside wall of the barrel, which has serrations or notches to hold it.[6] As long as the mainspring is less than fully wound, the bridle holds the mainspring by friction to the barrel wall, allowing the mainspring to be wound. When the mainspring reaches full wind, its force is stronger than the bridle spring, and further winding pulls the bridle loose from the notches and it simply slides along the wall, preventing the mainspring from being wound further. The bridle must grip the barrel wall with just the right force to allow the mainspring to wind fully but not overwind. If it grips too loosely, the bridle will begin to slip before the mainspring is fully wound, a defect known as ‘mainspring creep’ which results in a shortened reserve power time. A further advantage of this device is that the mainspring cannot be broken by excessive manual winding. This feature is often described in watch company advertising as an “unbreakable mainspring”. History Pocket watches Illustration of an automatic watch with side weight from English patent No. 1249 “Recordon’s Specification”, 1780 Automatic watch with rotor weight. Signed on the dial “Mazzi à Locarno”, ca. 1778 The earliest reference to self-winding watches is at the end of 1773 when a newspaper reported that Joseph Tlustos had invented a watch that did not need to be wound.[7] But his idea was probably based on the myth of perpetual motion, and it is unlikely that it was a practical solution to the problem of self-winding watches. In 1776 Joseph Gallmayr also stated that he had made a self-winding watch, but there is no evidence to support this claim. The earliest credible evidence for a successful design is the watch made by the Swiss watchmaker Abraham-Louis Perrelet, who lived in Le Locle. In late 1776 or early 1777, he invented a self-winding mechanism for pocket watches using an oscillating weight inside the watch that moved up and down.[8] The Geneva Society of Arts, reporting on this watch in 1777, stated that 15 minutes walking was necessary to fully wind the watch. In 1777 Abraham-Louis Breguet also became interested in the idea, and his first attempts led him to make a self-winding mechanism with a barrel remontoire.[9] Although a successful design, it was too complex and expensive for it to be manufactured and sold. About the end of 1777 or early 1778, Hubert Sarton (fr: Hubert Sarton) designed a watch with a rotor mechanism. Towards the end of 1778 he sent a watch to the French Academy of Sciences and a report was written which, together with a drawing, gave a detailed description of the mechanism.[10] Sarton’s design is similar to those used in modern wrist watches, although there is no evidence linking the 18th-century design to 20th-century developments. About the beginning of 1779, Abraham-Louis Breguet became aware of Perrelet’s watches, probably through Louis Recordon, who travelled from Geneva to London via Le Locle and Paris.[11] Breguet studied and improved the design, and made many self-winding watches from then to about 1810. Although a few self-winding watches and patents for them were made from 1780 on, for more than one hundred years these watches were rare, until the advent of the wrist watch. During the years 1776 to 1810 four different types of weight were used: Side-weight The weight pivots at the edge of the movement and can oscillate up and down. The movement of the weight is limited to about 40°. This is the most common design produced by many makers including Breguet.[12] These watches were called jerking watches because, even with buffers, when the weight hit the case the whole watch would jerk. Center-weight The weight pivots in the center of the movement and rotates clockwise and anti-clockwise. The weight is supported by a bridge that blocks the rotation and it is limited to about 180°.[13] A few movements were made by different makers. Rotor-weight Again the weight pivots in the center of the movement and rotates clockwise and anti-clockwise. However, there is no bridge and it can rotate 360°.[14] Very few of these movements were made. Movement-weight Here the whole movement is pivoted in the case and acts as the weight. Only one example is known, made in 1806.[15] As noted above, some watches used bidirectional winding and others used unidirectional winding. The latter is sufficient and all of Breguet’s watches used unidirectional winding. Before the invention of the slipping mainspring, automatic watches had a system for locking the weight. Most common, as in the 1780 drawing, when the mainspring was fully wound a lever K was raised that entered a hole N in the weight to prevent it from moving until the mainspring had unwound enough to lower the lever. Different methods were used in side-weight, rotor and center-weight mechanisms. Wrist watches The advent of the wrist watch after World War I led to renewed interest in self-winding mechanisms, and all four types listed above were used: 1922: Léon Leroy, a side-weight system. This was almost certainly derived from Breguet’s design. 1923: Harwood, a center-weight system (invented ca 1917). This is discussed below. It is not known if Harwood was influenced by earlier pocket watch designs. 1930: Léon Hatot, Rolls watch, where the whole movement moves sideways. This was probably an independent re-invention. 1931: Rolex, a rotor system with unidirectional winding. Harwood “Bumper” wristwatches: 1923 First automatic wristwatch, Harwood, ca. 1929 (Deutsches Uhrenmuseum, Inv. 47-3543) Invented by John Harwood, a watch repairer from Bolton, England, who took out a UK patent with his financial backer, Harry Cutts, on 7 July 1923, and obtained a corresponding Swiss patent on 16 October 1923.[16][17] The Harwood system used a pivoting weight which swung as the wearer moved, winding the mainspring. The ratchet mechanism wound the mainspring only when moving in one direction. The weight did not rotate a full 360°; spring bumpers limited its swing to about 180°, to encourage a back and forth motion.[18] This early type of self-winding mechanism is now referred to as a ‘hammer’ or ‘bumper’.[19] Like its 18th-century counterparts, Harwood’s watch also had a problem with jerking because “the brass weight hit too sharply against the banking pins as it pivoted”.[20] When fully wound, Harwood’s watch would run for 12 hours autonomously.[citation needed] It did not have a conventional stem winder, so the hands were moved manually by rotating a bezel around the face of the watch. The watches were first produced with the help of Swiss watch manufacturer Fortis and went on sale in 1928. 30,000 were made before the Harwood Self-Winding Watch Company collapsed in 1931 in the Great Depression. ‘Bumper’ watches were the first commercially successful automatic watches; they were made by several high grade watch manufacturers during the 1930s and 1940s.[citation needed] Rolex Rolex caliber 3175, released in 1988 and used until 1999 in the GMT-Master 16700 watch[citation needed] The Rolex Watch Company improved Harwood’s design in 1930 and used it as the basis for the SHANTS COMPANY , in which the centrally mounted semi-circular weight could rotate through a full 360° rather than the about 200° of the ‘bumper’ winder. Rolex’s version also increased the amount of energy stored in the mainspring, allowing it to run autonomously for up to 35 hours. Information about 18th-century rotor watches was not published until 1949. Although the Oyster Perpetual was probably an original invention, the company may have known of Coviot’s 1893 patent that re-invented the 18th-century design.[21] Glycine and mass production of automatics With John Harwood’s patent for self-winding watches set to expire in the early 1930s, Glycine founder Eugène Meylan started developing his own self-winding mechanism. Meylan’s design was unusual: a separate module that could be used with almost any 8.75 ligne (19.74 millimeter) watch movement. In October 1930, Glycine released their first automatic watches using this module, which became the world’s first widely-produced automatic watches. This allowed Glycine to survive the global depression in the 1930s that caused many Swiss watchmakers to close shop.[22] Eterna ball bearing The next development for automatic watches came in 1948 from Eterna Watch. To wind a watch effectively, one of the chief requirements of a rotor is heft. Until this point, the best bearing used in any watch was a jewel bearing, which perfectly suits the small gears of a watch. A rotor, on the other hand, requires a different solution. In 1948, Eterna introduced the solution that is still in use today: ball bearings. Ball bearings provide robust support for a heavy object to rotate smoothly and reliably even under abnormal stress, such as if the watch were dropped. Eterna adopted geared bidirectional winding shortly afterwards.[citation needed] Carl F. Bucherer weighted geared ring CFB A1000 movement using a peripherally mounted geared ring with a mass segment made of tungsten By the 1960s, automatic winding had become widespread in quality mechanical watches. Because the rotor weight needed in an automatic watch takes up a lot of space in the case, increasing its thickness, some manufacturers of quality watches, such as Patek Philippe, continue to design manually wound watches, which can be as thin as 1.77 millimeters. However, in 2007 Carl F. Bucherer implemented a new approach without a rotor, a peripherally mounted power source, where a geared ring and a rotating unbalance mass segment made of tungsten encircles the entire mechanism, rotating on carbon rollers whenever the watch moves. A system of clutch wheels captures power. No rotor means thinner watches and an ultradense weight swinging around a greater radius means a better chance of achieving a greater power reserve with same amount of arm movement.” (wikipedia.org) “A mechanical watch is a watch that uses a clockwork mechanism to measure the passage of time, as opposed to quartz watches which function using the vibration modes of a piezoelectric quartz tuning fork, or radio watches, which are quartz watches synchronized to an atomic clock via radio waves. A mechanical watch is driven by a mainspring which must be wound either periodically by hand or via a self-winding mechanism. Its force is transmitted through a series of gears to power the balance wheel, a weighted wheel which oscillates back and forth at a constant rate. A device called an escapement releases the watch’s wheels to move forward a small amount with each swing of the balance wheel, moving the watch’s hands forward at a constant rate. The escapement is what makes the ‘ticking’ sound which is heard in an operating mechanical watch. Mechanical watches evolved in Europe in the 17th century from spring powered clocks, which appeared in the 15th century. Mechanical watches are typically not as accurate as quartz watches,[1][2][3] and they eventually require periodic cleaning and calibration by a skilled watchmaker.[3] Since the 1970s, quartz watches have taken over most of the watch market, and mechanical watches are now mostly marketed as a luxury product, purchased for their aesthetic and luxury values, for appreciation of their fine craftsmanship,[2] or as a status symbol.[2] Components Mechanical wrist watch disassembled A chronograph watch, with stopwatch functions The internal mechanism of a watch, excluding the face and hands, is called the movement. All mechanical watches have these five parts: A mainspring,[4] which stores mechanical energy to power the watch. A gear train, called the wheel train,[5] which has the dual function of transmitting the force of the mainspring to the balance wheel and adding up the swings of the balance wheel to get units of seconds, minutes, and hours. A separate part of the gear train, called the keyless work, allows the user to wind the mainspring and enables the hands to be moved to set the time. A balance wheel, which oscillates back and forth. This is the timekeeping element in the watch. Its timekeeping accuracy is due to the fact that it is a harmonic oscillator, with a period of oscillation which is very constant, dependent on the inertia of the wheel and the elasticity of the balance spring. An escapement mechanism, which has the dual function of keeping the balance wheel vibrating by giving it a push with each swing, and allowing the watch’s gears to advance or ‘escape’ by a set amount with each swing. The periodic stopping of the gear train by the escapement makes the ‘ticking’ sound of the mechanical watch. An indicating dial, usually a traditional clock face with rotating hands, to display the time in human-readable form. Additional functions on a watch besides the basic timekeeping ones are traditionally called complications. Mechanical watches may have these complications: Automatic winding or self-winding—in order to eliminate the need to wind the watch, this device winds the watch’s mainspring automatically using the natural motions of the wrist, with a rotating-weight mechanism. Calendar—displays the date, and often the weekday, month, and year. Simple calendar watches do not account for the different lengths of the months, requiring the user to reset the date 5 times a year, but perpetual calendar watches account for this, and even leap years.[6] An annual calendar does not make the leap year adjustment, and treats February as a 30-day month, so the date must be reset on March 1 every year when it incorrectly says February 29 or 30. Alarm—a bell or buzzer that can be set to go on at a given time. Chronograph—a watch with additional stopwatch functions. Buttons on the case start and stop the second hand and reset it to zero, and usually several subdials display the elapsed time in larger units. Hacking feature—found on military watches, a mechanism that stops the second hand while the watch is being set. This enables watches to be synchronized to the precise second. This is now a very common feature on many watches. Moon phase dial—shows the phase of the moon with a moon face on a rotating disk. Wind indicator or power reserve indicator—mostly found on automatic watches, a subdial that shows how much power is left in the mainspring, usually in terms of hours left to run. Repeater—a watch that chimes the hours audibly at the press of a button. This rare complication was originally used before artificial lighting to check what time it was in the dark. These complex mechanisms are now only found as novelties in extremely expensive luxury watches. Tourbillon—this expensive feature was designed to make the watch more accurate. It is a demonstration of watchmaking virtuosity.[7] In an ordinary watch the balance wheel oscillates at different rates, because of gravitational bias, when the watch is in different positions, causing inaccuracy. In a tourbillon, the balance wheel is mounted in a rotating cage so that it will experience all positions equally. The mechanism is usually exposed on the face to show it off. The FHH (Fondation de la Haute Horlogerie) definition is: “Any function other than the indication of hours, minutes and seconds, regardless of whether the mechanism is hand-wound or self-winding, mechanical or electronic, and of movement height . The tourbillon is considered complication even if it do not fall within the generic definition.” Its function is not to provide additional information, but to adjust the timekeeping even more precisely. It is an adjustment device that is not essentially necessary for the operation of the watch….History Main article: History of watches Peter Henlein has often been described as the inventor of the first pocket watch, the “Nuremberg egg”, in 1510, but this claim appears to be a 19th-century invention and does not appear in older sources.[24] Until the quartz revolution of the 1970s, all watches were mechanical. Early watches were terribly imprecise; a good one could vary as much as 15 minutes in a day. Modern precision (a few seconds per day) was not attained by any watch until 1760, when John Harrison created his marine chronometers. Industrialization of the movement manufacturing process by the Waltham Watch Company in 1854 made additional precision possible; the company won a gold medal at the 1876 Philadelphia Centennial Exposition for their manufacturing quality.[citation needed] Mechanical watches are powered by a mainspring. Modern mechanical watches require of the order of 1 microwatt of power on average.[citation needed] Because the mainspring provides an uneven source of power (its torque steadily decreases as the spring unwinds), watches from the early 16th century to the early 19th century featured a chain-driven fusee which served to regulate the torque output of the mainspring throughout its winding. Unfortunately, the fusees were very brittle,[citation needed] were very easy to break,[citation needed] and were the source of many problems, especially inaccuracy of timekeeping when the fusee chain became loose or lost its velocity[citation needed] after the lack of maintenance. As new kinds of escapements were created which served to better isolate the watch from its time source, the balance spring, watches could be built without a fusee and still be accurate. In the 18th century the original verge escapement, which required a fusee, was gradually replaced in better French watches with the cylinder escapement, and in British watches with the duplex escapement. Then in the 19th century both were superseded by the lever escapement which has been used almost exclusively ever since. A cheaper version of the lever, the pin lever escapement, patented in 1867 by Georges Frederic Roskopf was used in inexpensive watches until the 1970s. As manual-wound mechanical watches became less popular and less favored in the 1970s, watch design and industrialists came out with the automatic watch. Whereas a mechanically-wound watch must be wound with the pendant or a levered setting, an automatic watch does not need to be wound by the pendant; simply rotating the watch winds the watch automatically. The interior of an automatic watch houses a swiveling metal or brass “plate” that swivels on its axis when the watch is shaken horizontally.” (wikipedia.org) “The Cartier Building, also 653 Fifth Avenue, is a commercial building on the southeast corner of 52nd Street and Fifth Avenue in the Midtown Manhattan neighborhood of New York City. The building serves as the flagship store of Cartier in New York City. It consists of two conjoined residences completed in 1905: the Morton F. Plant residence at 651–653 Fifth Avenue, designed by Robert W. Gibson, and the Edward Holbrook residence at 4 East 52nd Street, designed by C. P. H. Gilbert. The Plant House was designed in the Neo-Renaissance style and has facades on both 52nd Street and Fifth Avenue. The 52nd Street facade of the house contains an ornate pavilion, and both facades have an attic hidden inside a frieze. The Edward Holbrook House was also designed in a neoclassical style but has a mansard roof. Both houses are five stories tall and are connected internally. The Cartier store takes up all of the stories inside the building. The southeast corner of Fifth Avenue and 52nd Street was planned as a hotel in the early 1900s after the Roman Catholic Asylum vacated the site. After the Vanderbilts blocked the development of the hotel, the northern portion became the Morton F. Plant House, while the southern portion of the site was developed as the Marble Twins at 645 and 647 Fifth Avenue. In the late 1910s, Plant sold his house to Cartier. The Holbrook House was occupied by a variety of tenants until 1927, after which it was purchased by 653 Fifth Avenue’s owners and used by various organizations and firms. The New York City Landmarks Preservation Commission designated the Cartier Building as a city landmark in 1970, and it was added to the National Register of Historic Places in 1983 along with 647 Fifth Avenue. Site The Cartier Building is in the Midtown Manhattan neighborhood of New York City. It is along the southeast corner of Fifth Avenue to the west and 52nd Street to the north.[3][4] The land lot is “L”-shaped and covers 8,055 square feet (748.3 m2), with a frontage of 50 feet (15 m) on Fifth Avenue and a maximum depth of 130 feet (40 m).[3] The lot includes 651–653 Fifth Avenue, measuring 50 feet along Fifth Avenue and 100 feet (30 m) on 52nd Street,[5][6] and the adjacent 4 East 52nd Street to the east, measuring 30 feet (9.1 m) on 52nd Street and 100 feet (30 m) deep.[7] The building is on the same block as 647 Fifth Avenue and the Olympic Tower to the south, as well as 11 East 51st Street and 488 Madison Avenue to the east. Other nearby buildings include 650 Fifth Avenue to the west, 660 Fifth Avenue to the northwest, Austrian Cultural Forum New York to the north, 12 East 53rd Street and Omni Berkshire Place to the northeast, St. Patrick’s Cathedral to the south, and the International Building of Rockefeller Center to the southwest.[3][4] Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century.[8] The surrounding area was once part of the common lands of the city of New York.[9] The Commissioners’ Plan of 1811 established Manhattan’s street grid with lots measuring 100 feet (30 m) deep and 25 feet (7.6 m) wide.[10] Upscale residences were constructed around Fifth Avenue following the American Civil War.[8][11] In 1882, three Vanderbilt family residences were completed along Fifth Avenue between 51st and 59th Streets (the William H., William K., and Cornelius II mansions). The surrounding section of Fifth Avenue thus became known as “Vanderbilt Row”.[11][12][13] By the early 1900s, that section of Fifth Avenue was becoming a commercial area.[14][15] The site immediately north of St. Patrick’s Cathedral was owned by the Roman Catholic Archdiocese of New York, which used the site for the Roman Catholic Asylum.[13][16] The asylum took up two blocks between 51st Street, 52nd Street, Fifth Avenue, and Park Avenue. It was once one of several public institutions on the midtown section of Fifth Avenue, but by the end of the 19th century, it was the only one remaining.[17] The Roman Catholic Asylum site was placed for sale in 1899 after the institution had secured another site in the Bronx.[12][13] Architecture The Cartier Building, the main New York City store of jeweler Cartier, consists of the Morton F. Plant House at 651–653 Fifth Avenue and the Edward Holbrook House at 4 East 52nd Street.[18] The Plant House was designed by architect Robert W. Gibson in the Neo-Renaissance style for Morton Freeman Plant,[18][1][19] a financier who was the son of railroad tycoon Henry B. Plant.[19][20] The Holbrook House was designed by C. P. H. Gilbert for Edward Holbrook,[18][21] who was president of the Gorham Manufacturing Company in the 1900s.[22] The two houses comprise the Cartier Building and have been joined internally since the 1920s.[21] Facade Morton F. Plant House Facade of the central pavilion on 52nd Street, which includes a triangular pediment atop the windows Central pavilion on 52nd Street The Morton F. Plant House at 651–653 Fifth Avenue has frontage on both 52nd Street and Fifth Avenue. The facade along Fifth Avenue is three bays wide and, at the ground floor, contains a large opening surrounded by blocks of rusticated limestone. The facade along 52nd Street also has a rusticated limestone facade and contains seven vertical bays, with an arched entrance in the center bay.[23] The 52nd Street entrance was the original main entrance to the house, which was known initially as 2 East 52nd Street.[24][25] The ground-story openings are square-headed, except for an arched opening at the center, which was the carriage entrance.[19] At the second and third stories on 52nd Street, the central three bays form a slightly projecting pavilion, with an ornate balustrade in front of the second-story windows. The center window on the second story of the pavilion has engaged columns, which support a curved pediment.[19][1][23] The pavilion also contains four pilasters separating the windows on the second and third stories; the pilasters are fluted and contain Scamozzi capitals at their tops. The pilasters support a pediment at the fourth story.[1][23] On either side of the central pavilion, there are two windows on each of the second and third stories on 52nd Street, as well as three similarly designed windows on each story on Fifth Avenue. The second-story windows have individual balustrades at the bottom and are flanked by engaged columns that support lintels with denticulation. The center window on Fifth Avenue has a clock above it. The third-story windows are topped by denticulated lintels supported by brackets. On the fourth story, there are six windows on 52nd Street (three on each side of the pavilion) and five on Fifth Avenue. These windows are simpler in design and contain lintels above them.[23] The fifth-story attic has a frieze within which are small window openings. A cornice with modillions, as well as a balustrade, runs above the attic.[1][23] During the December holiday season, the facade of the mansion is wrapped with a large red ribbon.[26][27] Edward Holbrook House Detail of the Holbrook House facade, which contains a mansard roof above the limestone facade Detail of the Holbrook House facade 4 East 52nd Street comprises the Edward Holbrook House, which is internally joined to the Morton F. Plant House.[18] This house is five stories tall and has a neoclassical design. The limestone facade is divided into three bays. At the lowest two stories, there are plate glass windows and the center bay is wider than the other two bays. There is a projecting marquee and a clock above the center bay of the first story, while the outer bays have light fixtures.[23] The original entrance at the Edward Holbrook House was removed when Cartier moved into the building in the 1920s.[28] The current entrance was installed in a 2000 renovation.[29][30] The third and fourth stories each contain three windows with molded surrounds. The third-story windows are topped by keystones, while a cornice with modillions, dentils, and brackets runs above the fourth story. The fifth story contains a mansard roof with a skylight and three stone dormers.[23] Features As designed, the Plant House was supposed to have a large dining room, drawing room, and smoking annex on the ground floor, as well as a library and music room on the second floor, connected by a circular grand staircase.[31] The east side of the second story had Plant’s piano room, which contained a coffered ceiling. The west side of the second story had Pierre C. Cartier’s private offices.[30] After Cartier moved into the Plant House, it made some changes. The Cartier store occupied the first two stories of the Plant House while offices were placed on the upper floors. A second-story mezzanine, built in 1917 and demolished in 2001, had cabinet doors containing leather bindings on the edges.[30] Following a 2016 renovation, the Cartier store was expanded to 44,000 square feet (4,100 m2) on five floors, with an interior stairway connecting all the stories.[32][33] The first floor was designed as an imitation of a residential mansion.[34] The restored interior had a lacquered panel in the foyer, with representations of panthers in gold leaf, as well as oak paneling on the walls.[32] The second floor contained salesrooms for fine jewelry.[34] The third floor was designed to sell watches while the fourth floor was designed to sell perfume. In addition, a terrace facing Fifth Avenue was installed.[32][34] History In October 1899, the Roman Catholic Asylum sold much of the city block bounded clockwise from west by Fifth Avenue, 52nd Street, Madison Avenue, and 51st Street.[35] The sale was valued at $2.5 million and included the lots on the east side of Fifth Avenue between 51st and 52nd Streets, as well as those on the side streets.[36] George R. Sheldon and Charles T. Barney were reported as the purchasers.[13][36] In the subsequent months, many of the lots along 51st and 52nd Streets were sold to families, though one lot was sold to the Union Club of the City of New York.[12][13] The single-family lots were sold under the stipulation that they would remain in residential use for 25 years.[13][37] By May 1900, only the lots along Fifth Avenue remained unsold.[38] Residential use Construction Edward Holbrook bought a 50-by-100-foot (15 by 30 m) lot on the south side of 52nd Street, just east of Fifth Avenue, from Worthington Whitehouse in August 1900.[39][40] That December, Holbrook bought the 30-by-100-foot (9.1 by 30.5 m) lot immediately to the east from Lansdale Boardman.[41][42] A group of developers led by Stewart H. Chisholm bought the southeast corner lot at 52nd Street and Fifth Avenue, measuring 100 by 125 feet (30 by 38 m), from Flake & Dowling in early 1901.[43] That October, Chisholm’s syndicate filed plans for an 18-story apartment hotel, designed by William C. Hazlett, to be built on that site.[43][44] To the east, Holbrook hired C. P. H. Gilbert to construct a 14-story apartment house adjacent to Chisholm’s hotel on the 50-foot lot, along with a private house for Holbrook’s use on the 30-foot lot.[22] In March 1902, after the corner site had been excavated, Chisholm sold the site to the New York Realty Corporation.[45][46] The Real Estate Record and Guide described the sale as “a peculiar transaction, and one which can hardly be called a sale”.[45] The corporation was acting on behalf of the Vanderbilt family, which did not want to see a high-rise hotel development opposite their houses.[12][13][47] The Vanderbilts sold the northern section of the plot, facing 52nd Street and measuring 50 by 100 feet (15 by 30 m), to Morton F. Plant. However, they were unable to obtain a buyer for the southern section, which was in the middle of a city block.[13][47] Holbrook canceled plans to build his apartment hotel in August 1902 after agreeing with the Vanderbilts to restrict their respective lots to private residential development.[48][49] The following month, when George W. Vanderbilt announced plans for marble townhouses at 645 and 647 Fifth Avenue, the Vanderbilt family was confirmed to be associated with the New York Realty Corporation.[50][51] Holbrook did build a 5-story residence on the eastern site of the lot at 8 East 52nd Street, but he sold it to Ernest Kempton Adams.[52][53] Gilbert designed a six-story residence for Holbrook on the western side of his 52nd Street lot, which would have been the site of the apartment hotel.[49][54] In December 1902, Robert W. Gibson was announced as the architect for Morton Plant’s residence.[5][6] Gibson filed plans for Plant’s house with the New York City Department of Buildings in May 1903; the plans called for a five-story limestone house to cost $300,000.[31] Gilbert filed plans that November for Holbrook’s house, which was to be a six-story limestone structure costing $95,000.[55][56] Plant’s residence at 651–653 Fifth Avenue was completed in 1905, and he and his wife Nellie moved into the house.[21][57] The facade of the Holbrook House was finished by that April,[58] and his house was finished the next year.[21] Occupancy Storefront in the lowest stories of the facade at 653 Fifth Avenue View of the base of 653 Fifth Avenue, later modified to contain a Cartier storefront When 4 East 52nd Street was completed, it was occupied by Edward Holbrook and his wife Frances.[59] In January 1906, the Holbrook House hosted the wedding of their daughter Lilian to Count Guillaume de Balincourt.[60] The Holbrooks sold the residence a year and a half later, in June 1907.[61][62] The buyers of the 52nd Street house were initially not publicly revealed, but The New York Times announced the following month that tobacco businessman James Buchanan Duke had bought the house for $300,000. The Times reported that Duke was rumored to have been looking for a mansion on the Upper East Side.[63] Duke had purchased a site on 78th Street by 1909, which would become his house.[64] 4 East 52nd Street was then occupied by the family of real estate developer Harry James Luce, who had moved into the house by August 1910, when he received a mortgage on the property.[65] Immediately to the west, Fifth Avenue was widened in 1911, and the marble steps in front of Plant’s house had to be cut back.[66] Plant was forced to truncate his front areaway and fence.[30] Around that time, the neighborhood was growing increasingly commercial.[19][67] Plant’s wife Nellie died in 1913 and the next year he remarried to Mae Cadwell.[20] By 1916, Plant decided to move to a new mansion at Fifth Avenue and 86th Street.[37][68][69] The new mansion was designed by Guy Lowell as an interpretation of an Italian Renaissance palazzo.[69][a] The Luces retained their adjacent house for several more years; in 1922, The New York Times published a social bulletin announcing that Harry Luce’s daughter was returning to the house after three years abroad.[70] The Luce family continued to live at 4 East 52nd Street until about 1927.[7] Commercial use Store conversion 653 Fifth Avenue was resold to William Kissam Vanderbilt, who leased the house to Cartier in October 1916, thereby breaking his family’s own restriction on the lot. At the time, Cartier’s previous space at 712 Fifth Avenue was becoming too small for the company.[68][71] The neighboring house at number 647 was sold to an art dealer the next month.[72] According to the Real Estate Record and Guide, these sales marked “another step in the transition of this section of Fifth avenue from the residential to the business stage”.[73] In July 1917, Louis J. Cartier and Pierre C. Cartier decided to buy the Plant House outright.[74][75] The trade consisted of $100 in cash and included a double-stranded necklace of 128 flawlessly matched natural pearls valued at the time at $1 million (equivalent to $22,841,600 in 2022[b]).[24][25][c] Mae Plant had admired this necklace in the window of Cartier’s 712 Fifth Avenue shop.[24][25] Because of the later advent of cultured pearls causing the prices of pearls to plunge, the Cartier necklace was worth only $151,000 (equivalent to $1,614,600 in 2022[b]) after Mae Plant died in 1956.[24][76] William Welles Bosworth designed a conversion of the Plant House into a Cartier store. As part of the Plant House’s conversion, the original front doorway in the middle of the facade on 52nd Street was removed.[24] The Fifth Avenue Association granted its “gold medal for altered buildings” to Cartier in November 1917 for its alteration of the Plant House.[77] Cartier hired Bosworth again in 1919 to make further alterations to the Plant residence.[78] 1920s to 1950s The Cartier store was shared with Charvet & Fils, a gentlemen’s haberdasher, until 1927.[79] The store also hosted events such as a 1927 exhibition of old timepieces.[80] Nicholas C. Partos took a 63-year lease on Luce’s house in March 1927 and considered erecting a 12-story commercial structure on the site.[81][82] Louis F. Mentz bought Luce’s house that July, including a $200,000 mortgage on the property.[7][83] The house was resold shortly afterward to the 653 Fifth Avenue Corporation, which owned the former Plant residence that Cartier occupied.[83] It was likely around this time that the two houses were joined internally.[21] In November 1928, an information bureau for the French government opened at 4 East 52nd Street.[84] Bronze plaque on the facade, indicating the house is a New York City Landmark Landmark of New York plaque 4 East 52nd Street came to be occupied by the French Chamber of Commerce and the Alliance Française de New York, which respectively elected Pierre C. Cartier as their president in 1935 and 1938.[85][86] The French Chamber of Commerce continued to occupy 4 East 52nd Street until at least 1945, when it hosted an exhibit of French craftsmanship.[87] The houses at 653 Fifth Avenue and 4 East 52nd Street, along with the neighboring property at 647 Fifth Avenue, were all acquired in May 1950 by the Phoenix Mutual Life Insurance Company. The buyer, who reportedly paid for the buildings in cash, held the properties as an investment and continued leasing 653 Fifth Avenue to Cartier.[88][89] In the late 1950s, design firm Design-Technics had a showroom at 4 East 52nd Street,[90] though the firm moved out after 1959, when it leased another building on 53rd Street.[91] 1960s to 1980s The New York City Landmarks Preservation Commission (LPC) designated the Cartier Building as a city landmark on February 5, 1967.[92] Cartier officials threw a party at the Plaza Hotel to celebrate the designation.[93] In designating the building as a landmark, the LPC assumed Cartier owned the building. Phoenix had never even been aware of the landmark status, let alone attended any hearing about it. Once Phoenix learned of the action, it asked the LPC to reconsider the landmark designation, as such a status prohibited major alterations to a building’s facade without the LPC’s permission.[93][94] As a result, the landmark status was revoked in August 1967.[95][96][97] LPC rules at the time prevented the agency from reconsidering the building as a landmark until 1970.[94] The Cartier Building was re-designated as a city landmark on July 14, 1970.[1] Detail of the clock on the facade Clock detail In the late 1960s, Best & Co. purchased the development rights over the Cartier Building. This permitted Best’s to erect a skyscraper above their store, which was two buildings south of Cartier’s.[98] Aristotle Onassis—the president of Olympic Airways, which at the time had a sales office at 647 Fifth Avenue—established a family trust called Victory Development in March 1970. Victory formed a joint venture with Arlen Realty & Development Corporation to acquire Best’s store, 647 Fifth Avenue, and the Cartier Building.[99] The Best & Co. store closed in late 1970[100] and it was demolished the next year to make way for the Olympic Tower.[101] As part of the Olympic Tower’s construction, a pedestrian plaza was built east of 647 Fifth Avenue and the Cartier Building.[102] The tower was ultimately completed and dedicated in 1974.[103] A Ben Kahn fur salon opened at 4 East 52nd Street in November 1970; at the time, Ben Kahn and Cartier were both owned by the Kenton Corporation.[104] Kenton sold Ben Kahn in 1972,[105] and Cartier opened Les Must de Cartier, a watch boutique, inside 4 East 52nd Street in 1976.[106] Cartier celebrated its 75th anniversary in early 1983 with a gala at the building, to which several LPC officials were invited.[107] On September 8, 1983, the Cartier Building at 651–653 Fifth Avenue and 4 East 52nd Street was added to the National Register of Historic Places (NRHP), along with the adjacent building at 647 Fifth Avenue.[2] The buildings were cited as examples of residences in Midtown Manhattan that were later converted to commercial use.[108] The houses were added to the NRHP as a single listing, the “Houses at

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