by Jean Goulden (1878-1946)
France, 1928

14 3/16" high; 10 1/8" wide; 4 7/8" deep

Silvered bronze and colored champlevé enamel.

Inscribed JEAN GOULDEN LIV 1928.

During World War I, Jean Goulden was a physician on the front line in Macedonia. While there, he discovered the beauty of Byzantine enamel. Between 1923 and 1933, Goulden mastered the technique of champlevé enamelling. This unique clock is an Art Deco masterpiece exemplifying this technique and is one of only 190 objects created by Goulden. It exhibits pure cubism, a strong avant-garde influence on all the arts by the mid-1920s. Jean Dunand, Jean Goulden, Paul Jouve and François-Louis Schmied exhibited together at the Galerie Georges Petit between 1921 and 1932 - this was their most creative period.

Sotheby's Monaco, April 5, 1987, Lot #212.
Barry Friedman, New York
Maurice & Margo Cohen Collection, Detroit, Christie's New York, June 11, 1999, Lot #419.

Victoria and Albert Museum, London - "Art Deco 1910-1939" March 27, 2003-July 20, 2003
Royal Ontario Museum, Toronto - "Art Deco 1910-1939" September 20, 2003-January 4, 2004
California Palace of the Legion of Honor, San Francisco -"Art Deco 1910-1939" March 6, 2004-July 5, 2004
Museum of Fine Arts, Boston - "Art Deco 1910-1939" September 19, 2004-January 9, 2005
Cooper Hewitt Museum, New York - "The Jazz Age: American Style in the 1920's" April 7, 2017-August 20, 2017
Cleveland Museum - "The Jazz Age: American Style in the 1920's" September 23, 2017-January 14, 2018

Ken Johnson, “The Essence of Wit and Cool as Jazz,” New York Times, August 20, 2004.
Charlotte Benton, Tim Benton and Ghislaine Wood, eds., Art Deco 1910-1939, V&A Publications, London, 2003, p. 100.
Blake Gopnik, “When Modernism Left High Art High ‘n’ Dry,” The Japan Times, May 11, 2003.
Alan Riding, “Escapism in Sexy Streamlined Fun,” The New York Times, April 10, 2003.
Bernard Goulden, "Jean Goulden", Editions du Regard, Paris, 1989, p. 96 illus.; LIV in Catalogue Raisonne p. 149.

$3,000,000. - #74