Vintage
Chris Green's inquiry into Cartier's use of guilloché dials opens a fascinating discussion on vintage Cartier watchmaking, movement suppliers, and design evolution. This comprehensive set of questions delves into the historical nuances of Cartier's craftsmanship, from dial manufacturing to clasp systems. The community's responses provide essential insights for collectors navigating the complexities of acquiring vintage Cartier pieces.
The Wempe Tonneau represents the brand's entry in the shaped watch category, distinguished by its tonneau case configuration within the Chronometerwerke series. This reference demonstrates Wempe's approach to classical case forms with contemporary manufacturing standards.
The 40mm steel case houses the manual-wind Caliber CW3 movement, offering a power reserve of 38-45 hours. The watch features a white dial beneath sapphire crystal protection, with a fixed bezel and leather strap configuration. Water resistance is rated to 30 meters.
This reference appeals to collectors seeking shaped case alternatives from independent German watchmaking. The manual-wind movement and tonneau case form position it as a dress-oriented piece within Wempe's contemporary catalog. Production commenced in 2018 and continues presently, making it readily available in the current market.
cgreen, You have too many questions for any one person to answer. When did Cartier start using guilloche on their dials and whether it was done in-house or supplied to them by a dial manufacturer. Guilloche predates watchmaking and wristwatches have been around for a century but mechanised guilloche rose to prominence during Victorian times. Were there different dial manufacturers that delivered perhaps better quality dials, hand done guilloche? Yes. Cartier had the wherewithal to afford the bes
MTF, Thank you very much for your response, this information is tremendously helpful. I've emailed Cartier NA to inquire about this particular piece and will get back to you with the results. The movement and inside case back are signed EWC. I knew they made movements but I wasn't aware they made cases as well. We'll see what Cartier has to say. Meantime, thank you again, I do sincerely appreciate your time. Take good care. Yours, Chris
cgreen, Just to clarify. The original EWC made movements for Cartier for export. I believe Cartier New York encased themselves to avoid tax on fully assembled watches imported into USA. I've seen watches in UK also marked EWC movement but I'm not sure if Cartier London encased them. The import tax on 18K gold watches was also devastating so many US watches had 14K cases. Obviously, for Cartier buyers, this 2nd tax dodge was not an issue.... ;) Remember that by 3rd generation, Cartier was split u
Thank you again MTF, great information. I read that once Louis Cartier passed away in the early 1940s the company sort of took a turn, (that his artistic vision was what really drove the company forward) is that true? In looking to acquire a vintage Cartier am I better off sticking with a piece from the 1920s or would the '40s still be a safe bet? I understand that mechanically they won't compare to today's accuracy, I'm fine with that. I'm interested in acquiring a piece with good Cartier DNA f
cgreen, The heart wants what the heart wants....... I cannot advice on the aesthetic choice between 1920s and 1940s vintage Cartier watches. My comment would be about condition, spare parts and remnant authenticity. As watches get older, all three of those items dwindle. Unless you are already an established collector of Cartier pieces, I wonder if a contemporary model may serve better as an introduction to the brand? Louis Cartier was certainly a rare force: possessing both artistry and busines
I do appreciate that parts are becoming harder to come by with the very old pieces. I was recently advised of the same problem by the folks at Patek when inquiring about a 1960s piece. Just the same, I've always liked the older pieces and would like to pursue one. It won't be a daily wearer but I'd like to own just a little piece of the history in spite of the potential challenges down the road. I'm quite intrigued by this woman in the Paris store who kept the spirit and creativity alive after L
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