A sterling silver eight day mechanical travel clock. This folding desk travel clock was a very popular design for the period. It allowed it to be kept on a desk, or bed side table, and then easily transported to an office, or carried on travels. They have been made by a host of the world's leading watch makers for well over one hundred and fifty years, including; Jaeger LeCoultre, Cartier, Boucheron, Asprey, Rolex, Vacheron and Tiffany & co., to name but a few. However, none may be more rare than this.
This example of an Art Deco travel clock is very unusual as it was made for, and retailed by one of, if not the, leading names in American twentieth century jewellers; Paul Flato. The captivating Paul Flato left an indelible mark on American jewelry history. His creations were as inventive and flamboyant as the man himself, catering to the extravagant tastes of high society and Hollywood stars. In a gilded age when the wealthy dressed to impress, Flato thrived, advertising in Vogue and Harper's Bazaar, hosting fashion shows and charity galas, and opening elegant salons in New York and Los Angeles. He was a master of self-promotion, immersing himself in his clients' world to keep his business relevant and in demand.
Flato's subsequent downfall may have been shocking, but his optimistic spirit and determination ensured his legacy would be imbued with glamour, intrigue, and breathtaking jewels. Born in 1900 to a prosperous Texan family, he enjoyed a privileged upbringing that exposed him from a young age to a world of elegance. After leaving for New York and severing ties with his family, the ambitious Flato parlayed his passion for jewelry and knack for networking into opening his own successful salon.
Through a brief summary of Flato's captivating career, we catch a glimpse of the man behind some of the most inventive and flamboyant jewels in American history.
Flato's illustrious career spanned decades, from his early focus on rare, matched natural pearls and grand diamond designs to his later flamboyant creations. A prime example was the 1930 pearl strand he sold, featuring eighty-five graduated natural pearls clasped by a four-carat Golconda diamond.
In the late 1930s, Flato's most notable diamond supplier was the then-unknown but ambitious dealer Harry Winston. Their most famous collaboration was the 1938 necklace Flato designed to complement Winston's 125-carat Jonker diamond.
Flato's exceptional eye for design was matched by his talent for cultivating gifted collaborators. His chief designer, Adolph Klety, crafted Flato's formal platinum and diamond pieces in a "drippy" naturalistic style. George Headley, another featured designer, was renowned for his fanciful gold creations.
While Flato lacked formal design training, he guided his team with a keen vision, particularly in his bold, vibrant colored gemstone works. He also tapped into the design talents of two incomparable socialites - Millicent Rogers and Josephine Forrestal - whose contributions ranged from "fat heart" brooches to "wiggly clips" inspired by antique pieces.
The most famous Flato collaborator, however, was Fulco Verdura, who designed a number of the jeweler's bold, colorful pieces after leaving Chanel. Verdura went on to open his own successful boutique.
Flato's imagination shone through in his whimsical "Deaf and Dumb" brooches, as well as other unexpected subjects like feet, nuts and bolts, and even boxer shorts transformed into jewelry. His designs also graced the glamorous stars of Hollywood, with pieces featured in five films and worn by icons like Rita Hayworth and Katharine Hepburn.
Sadly, Flato's illustrious career came to an ignominious end when financial improprieties landed him in New York's notorious Sing Sing prison. Undaunted, he returned to Mexico after his release, opening a store in Mexico City and continuing to create remarkable jewels for two more decades until his retirement at age 90.
Flato's enduring legacy is one of unparalleled creativity, bold vision, and a flair for the dramatic - a true master of the jeweler's art.
The winder is mounted just below the six o'clock position and is simply wound once to produce eight days of power. The clock is powered by a 2 adjusted fifteen jewel movement by Lemania. The Swiss giant was known to provide may of its reliable and well finished movements to luxury houses at the time, such as; Tiffany & Co. and Cartier, so it would make sense that upon commission of this beautiful study, they would contact Lemania to provide one of their movements to power the clock. The movement is finished with a lovely Geneva striping over the plates and is a higher grade than found in basic clocks of pocket watches from the time.
Made in New York, the clock has on "sterling" mark on the inside of the lip of the frame of the clock. There is a Swiss .800 mark on the border frqme of the clock, and there is also a registration parts mark of "47" on the inside lip of the bezel, along with a Swiss poinçon for silver. The clock is presented in its original leather, hand tooled, silk lined presentation box with paul Flato's name screen printed in gilded lettering to the inside of the lid, with the address of his store; 1 East 57th St., New York below. It is in his trade mark font, with its Art Deco flair!
The clock is presented in untouched condition. It appears to have never been machine polished, only by a silver cloth. There is a lot of patina to the inside, but it has been left as is to preserve the original beauty of the piece. It has been decided to leave it largely as 'found'. The dial would seem to have been refinished over the years. This is not unusual for pieces of this period as the y approach in and around one hundred years old. The box it is presented in is in fantastic condition. Overall, the piece is wonderful condition, and ready to be enjoyed for another hundred years. The clock is working, and keeping good time.
While Flato was well know for his jewellery, very little time pieces, either watches or clocks rarely come to market. This piece was likely a commission piece for one of his illustrious clients, and has a small added cartouche to the exterior of the lif with the initials M. K. B. The client is currently unknown, but given his following it is very likely to be one of New York's most successful and powerful individuals. A rare and special gem of a piece.
