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Larry Fitzgerald(ссылка) 15.04.18 01:55
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Larry Fitzgerald(ссылка) 15.04.18 01:55
fake hublot | fake hublot | cartier tank americaine
Laura Jacobs on the Cartier Tank | Vanity Fair tank cartier
Timeless Beauty The iconic Cartier Tank fuses practicality and aesthetics. by Laura Jacobs November 2009 Email Facebook Twitter Elegance, style: Jackie Kennedy Onassis wearing a Cartier Tank, 1969; Warren Beatty, 1967., From Hulton Archives/Getty Images (Onassis); courtesy of Cartier (watch); by Jack Robinson/Cond? Nast Archives (Beatty); by Jack Nisberg/Roger-Viollet (Ranier). In the beginning it didn’t have a name. It was simply the answer to a practical question: How will men who need both hands free tell time? It was, as well, the answer to an aesthetic question: How do you make a wristwatch that isn’t just a small pocket watch on a strap? At first glance, these questions might seem trivial. But as the 19th century turned into the 20th, bringing telephones, automobiles, and airplanes into human life (in other words: connection, speed), and also bringing horror (world war), time changed forever. It came out of the vest pocket and off the fob, and was buckled just above the hand that steered the wheel and flew the plane. The man who put it there—squarely, incomparably—was Louis Cartier. Placed without ceremony into the windows of Cartier’s Paris salon in 1919—90 years ago—this wristwatch instantly took its place in history as an icon, a symbol, and a standard for modern design. Within months it had a name: the Tank. And within a decade it was the watch of choice for the most singular people in the world, first-namers who would include Greta, Cary, Jackie, Truman, Andy, Diana, and, most recently, Michelle. Technically, the Tank wasn’t the first documented wristwatch (that honor goes, in uncertain order, to the Swiss companies Patek Philippe and Girard-Perregaux). And it wasn’t even Cartier’s first wristwatch. That would be the Santos. Created in 1904 for Alberto Santos-Dumont, a wealthy flier and dandy, this watch was powerful, masculine, with screws spaced like rivets around the bezel. The Tank, however, was the first wristwatch to solve the problem that consumed Cartier: how to attach a face to a band with complete conceptual integrity. In fact, Cartier was alone in thinking that this was a problem. “Watchmakers were not really concerned with style,” explains Sam Hines, vice president and head of the watch department at Christie’s in New York. “Yes, you did get many beautifully designed pocket watches, but the pocket watch is kept in the pocket. Their concerns were: How is the watch running? How is it performing in this test or that exhibition? Cartier, being a jeweler, had an advantage because he was concerned with the design, how it would look on one’s wrist.” Another advantage: Louis Cartier was unafraid of the future. While the name Cartier was to Paris as Fabergé was to St. Petersburg (the two houses shared some of the same suppliers), Fabergé was known for ancien curves and elaborate chase work, where Cartier favored clean geometries and rectilinear restraint. (“The French don’t so much go for circles,” notes the style writer Holly Brubach.) Fabergé, despite its renowned imperial eggs, was not hatching any new ideas. But in Cartier’s workrooms it was full speed ahead. “You have to remember,” says Pierre Rainero, Cartier International’s director of image, style, and heritage, “that it was the period of Art Nouveau. And Louis Cartier was totally against Art Nouveau. Totally against! Because he thought it was a dead-end street for style. No evolution. And at Cartier everything we do in terms of design should be an open door to other possibilities.” As early as 1905, in advance of Art Deco, Cartier was already making abstract jewelry, according to Rainero, “with volumes, shapes, and colors just for the pleasure of assembling volumes, shapes, and colors. And not in a figurative way.” As artistic movements such as Cubism, Bauhaus, futurism, and de Stijl caught fire in the teens, introducing grid-like structures that suggested perception unadorned or perception multiplied, Cartier, with the lightest touch, brought abstraction to bear on his “problem.” Deep in the Tank’s design were the dynamics of modernism’s beginnings—the grids, the war, the ideas of “less is more” and “form follows function.” With the prototype of 1917, Louis Cartier produced a solution that has never been bettered. One could call Cartier’s new wristwatch “son of Santos,” for the Tank is nascent in the Santos design, which has a face that’s almost square and brancards that hug the band. Yet the Santos still has curves—baby bumps, let’s say, at each corner. It still has the same relationship to its band that a circular face might have. But the first Tank! Unbending. Unblinking. Unapologetically industrial and undecorated. Curves have been banished; its face is a perfect square. The band is the exact same width as the face, its points of attachment (the lugs) hidden, because all elements are held in suspension between the two parallel brancards, which have the linear reach of a rectangle, continuing well beyond 12 and 6. “When you see a Santos and a Tank,” says Rainero, “you see that the Tank is an incredible progress, in terms of purity of design. Because there’s not that curve anymore. It’s just straight bars. It’s such a simple idea, but so bright and so obvious when you see the object.” This object was named not for a man but for a machine, and not officially until sometime after it had appeared in the store, in November 1919. It was not sold as a “Tank” watch, says Rainero, “which would have been perceived as very provocative. The customer would come to Cartier and would buy the rectangular watch, and that was it. [But] it was our internal vocabulary, yes. Because every time we design an object, we name it. Nobody knows who starts the name. It can be a designer; it can be a worker—an allusion to, or a comparison made.” Lore has it that Louis Cartier was directly influenced by the new machine of the Great War, and it’s true that France’s zippy little two-man Renault FT-17 light tank was first delivered in March 1917. The watch’s brancards are remarkably like the parallel treads of a tank. But historians remain unconvinced. Franco Cologni, author of the stunningly erudite book Cartier: The Tank Watch, has said, “That’s a legend. The Tank followed the design of the Santos watch—it was an evolution of style. But Louis Cartier was not a stupid man. He was a salesman, a P.R. man … so he said it was copied from the tank.” Cartier further nailed the point by giving the prototype to America’s General Pershing. Thus the equation was made: Cartier Tank as Zeitgeist machine. Or, as Cologni put it, “the first elegant wristwatch destined for the modern man of action.” Prince Rainier III and Grace Kelly in Paris, in front of the Cartier boutique on the Rue de la Paix.
In 1919, a mere six Tank watches were made. In the following year, 33. Over the next 50 years, 5,829 Tanks were produced. (Until the 60s, most years saw fewer than 100 new Tanks.) The Tanks were made in golds (yellow, white, pink) or platinum or both, and the brancards were sometimes enameled or bejeweled. The first Tank, the design that set the standard, was called Tank Normale. Soon after, Cartier began introducing variations on his iconic theme—stretching, softening, narrowing, twirling, playing, but always within the bracing paradigm of those parallel brancards. Some of the more than 250 re-interpretations that followed could be a vocabulary of la danse: Chinoise, Allongée, Cintrée, Basculante, Asymétrique. Louis Cartier’s magnificent little Machine Age, Art Deco grid gave him infinite room to move. This year, Cartier is celebrating its 100-year anniversary in America. The Tank is still a top seller, still integral to the company’s image. “When you talk about Cartier,” says Rainero, “people spontaneously think of sumptuous jewelry. The Tank shows that we are also preoccupied by essential design.” The most recent Tank model is the Tank Française, first produced in 1996 and distinguished by jazzy bevels at the ends of each brancard. It is currently Cartier’s best-selling Tank. For collectors, the Tanks that heat up the auction houses are the early ones, especially the Normale. “A platinum top with a pink-gold back,” says Daryn Schniper, Sotheby’s worldwide head of watches. “Because of the rarity and the ultimate chicness of it. It gives you the whole Cartier mystique. Of course, should Tanks arrive where there’s some enamel, the 30s … anything that’s a little bit different.” Sam Hines, of Christie’s, cites the Tank Cintrée. “In platinum,” he says. “It’s like the Tank Normale, but the Cintrée is larger, and it’s curved so that it bends around the wrist. You never ever come across these watches. I’ve seen one in 10 years. It can easily make in excess of $50,000.” As for the most beautiful Tank design to grace his desk, Hines answers, “There was a Tank Normale from 1928. When you wound the watch, the power and ticking you could feel going into the movement, it made me think of a sports car of the time.” “There’s nothing superfluous in the design,” says Holly Brubach. “I think of the Tank watch as being so quintessentially French. It’s hard to imagine it could have been designed in any other country.” Which is probably why it’s been worn by so many couturiers, among them Pierre Balmain, Hubert de Givenchy, Pierre Cardin, and Yves Saint Laurent. It’s quintessentially androgynous, too. From the start, the Tank was referred to as “la Tank,” because in French the word for “watch” is feminine. Moreover, Tanks have always been produced in models for women—yet another way Cartier was reaching into the future. Jackie Kennedy Onassis wore her Tank with turtlenecks. The late Princess Diana’s, a gift from her father, the Eighth Earl Spencer, is now a treasured possession of her elder son, Prince William. And for Michelle Obama’s White House portrait she wore a stainless-steel Tank Française on her long, strong, sleeveless arm. Look closely. That square watch face continues to say exactly what Louis Cartier meant it to: “Now.” Laura Jacobs is a Vanity Fair contributing editor. Diana FOLLOW Michelle Obama FOLLOW Follo dyczesnw. praghas faire Hublot san India w to get the latest news and analysis about the players in your inbox. See All Players Share Email Facebook Twitter Laura Jacobs Laura Jacobs joined Vanity Fair as a contributing editor in 1995. YOU MIGHT LIKE Ivanka Trump’s History of Sitting in Inappropriate Seats Vanity Fair Steve Bannon Half-Heartedly Disowns Milo Yiannopoulos Vanity Fair Comey’s Cryptic Tweets Are Fueling Speculation That He’s Running Vanity Fair Melania Resumes Doomed Effort to Curb Her Husband’s Favorite Pastime Vanity Fair Why Robert Mueller May Be the Last Hope to Link Trumpworld to Russia Vanity Fair Why Trump Just Accused a Grieving War Widow of Lying Vanity Fair Around the Web Powered by Zergnet RELATED SEEK Ivanka Trump’s History of Sitting in Inappropriate Seats BY EMILY JANE FOX Steve Bannon Half-Heartedly Disowns Milo Yiannopoulos BY TINA NGUYEN SEEK
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The following are common watch specifications and their definitions:
Model Number- Consists of a combination of letters and/or numbers that are found on the back cover of a watch
Collection- Watch family name
Circa- Year watch was made
Case Thickness- Width between the case back and the top of the crystal
Bezel Type- Indicates whether the bezel is functional or purely aesthetic
Movement- The internal mechanism of a watch (either Manual, Automatic, or Quartz)
Water Resistance- The amount of pressure a watch can endure (typically underwater)
Manufacturer's Reference #
Case Shape:
Case Size:
34 mm x 27 mm
Case Thickness:
5.55 mm
Case Material:
Stainless Steel
Dial Color:
Dial Markers:
Water Resistance:
300 meters
Strap/Bracelet Material:
Manufacturer Warranty:
2 years
The quintessence of Cartier's style harmoniously combines a reminiscence from the past with contemporary trends. The silver opaline dial is accented with Roman numerals and sword-shaped blue steel hands. Dedicated to Cartier lovers, the steel tank case holds a Cartier calibre 690 quartz movement and is attached to a round scale alligator strap.
Tank Solo Large
Item#: CAR0100090
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Tank Solo Large
Ballon Bleu de Cartier
INSIGHT: The 100 year history of the Cartier Tank, and the people who made it famous Tank Louis Cartier from 1944. For any designer, regardless of product type, the holy grail is to create an object that so perfectly balances form and function and so elegantly expresses an aesthetic that it will not only last for many generations but will forever look as modern as it did when it left the drawing board. Among those rare products are Le Corbusier’s Chaise LC4, Mies van der Rohe’s Barcelona chair and Cartier’s Tank wristwatch. Louis Cartier’s practical, no-frills design has not only become one of the most successful and enduring watches of all time, it has accepted tweaks, updates and experiments without ever losing its integrity. And it is loved equally by men and women – for the not-so-simple reason that it’s perfectly suited to both. The beginning Cartier Tank Original 1919. It’s hard to think of a less likely time than 1917 – three years into the havoc of World War I – for launching an object that would become a symbol of 20th-century luxe et chic. Louis Cartier. Grandson of the maison’s founder, revolutionised timepieces when he introduced the Tank watch in 1917. © Ministère de la Culture – Médiathèque du Patrimoine, Dist. RMN / Atelier de Nadar Before the war, Cartier’s fame had grown, thanks to its boldly modern jewellery designs and the marketing instincts of Louis-Joseph Cartier. In 1904, he designed a wrist-worn watch for his friend, Brazilian aviator, Alberto Santos-Dumont, to enable him to read the time more easily while flying. It was not the world’s first wristwatch but it was a catalyst: clearly these, not pocket watches, were the future. The Santos-Dumont watch was also a catalyst for a major shift in taste. Louis Cartier couldn’t abide the fussiness of Art Nouveau – and his next two watches, the Tonneau (1906) and Tortue (1912), were equally clean-lined. Then, in 1917, came the prototype of the Tank (the model now known as Tank Normale), its design a radical step beyond its predecessors. The bold, square case was visually ‘stretched’ into a rectangle by the brancards that extended its sides to form the lugs; Roman numerals on a simple, creamy-white dial offset the strong lines. Marquis Boniface de Castellane, Boni to his friends, a dandy and figure of the Belle Époque, wears the square watch given to him by his friend, Louis Cartier. 1918. With permission of Ch.-H. and C. Allibert © Ministère de la Culture – Médiathèque du Patrimoine, Dist. RMN / Atelier de Nadar The romanticised version of what inspired Louis Cartier is compelling (and, having a nose for marketing, Cartier did nothing to dismiss the story): the shape of a Renault FT-17 tank seen from above – so the story goes – gave Cartier not only the design codes for the simple, stripped-down form of the watch but also its name. The brancards represent the tracks of the tank and the square case its main housing, while the chemin de fer minutes ring was a stylised version of tank tracks. When Cartier presented the prototype to General John Pershing, Commander of the American Expeditionary Force in Europe, the story became inseparable from the watch. General John J. Pershing, commander of the American Expeditionary Forces in Europe in the First World War. Louis Cartier gave him the prototype for the Tank watch whose form echoes that of a military tank. 1918. © Scherl/Suddeutsche Zeitung/ Rue des Archives. The 1920s Cartier Tank Louis Cartier from 1925. As the Jazz Age played out in a streamlined Art Deco setting, wristwatches became de rigueur for stylish men – albeit sometimes worn in addition to a pocket watch. 1926 brought the Tank a moment of high-camp incongruity as Rudolph Valentino swashed and buckled all over ancient Araby in Son of the Sheik , Tank watch strapped to wrist. Not a faux pas by the wardrobe department; the actor was so in love with his watch that he refused to take it off during filming. Rudolph Valentino in The Son of the Sheik, 1926. © United Artists Associated/Sunset Boulevard. In 1921 Cartier offered the first variation on the ‘Normale’ – the Tank Cintrée, which slimmed the square into an elongated rectangle and curved the case to follow the shape of the wrist. Made in small numbers, its elegance was personified by Fred Astaire, who bought one in 1928. Sketches for the Tank Cintrée. In 1922 came the Tank Louis Cartier – which has become the ‘default’ Tank, with its beautifully proportioned rectangular case and rounded angles. Also that year, as a craze for Far Eastern exotica swept Europe, Cartier introduced the Tank Chinoise – its brancards shaped like the lintels of a Chinese temple portico. Cartier Tank Chinoise As the decade rolled on, Duke Ellington was packing them in at the Cotton Club and giving even Jay ‘the Great’ Gatsby a run for his sartorial money. His suits were made on Savile Row by Anderson & Sheppard and (like the equally dapper Maharajah of Patiala) he wore a Cartier Tank à Guichets on his wrist. It showed jumping hours and minutes through small portholes in the brushed-gold case. Duke Ellington wearing a Tank à Guichets watch circa 1930. With permission of the Estate of Duke Ellington – Collection F. Driggs/Magnum Photos. Cartier Tank à Guichets. The decade fizzed with creativity: in 1922 came Tank Allongée, in 1926, Tank Savonette and Petite Tank Rectangle (one of just a few models aimed specifically at women), and as the decade drew to a close, the square-faced Tank Obus. As throughout Tank’s history, some models created a big splash, others remained little-known (until, in some cases, being revived in the early 2000s by Collection Privée Cartier Paris – CPCP – of which more, later). Cartier Tank Cintrée from 1929. The 1930s and 1940s Rather than dampening Cartier’s creativity, the Great Depression seemed to have the opposite effect. The 1930s opened with three new variations: the little-known Tank Forme Baguette (an elongated rectangle), the Tank Étanche – with a lunette over the dial and a lockable crown that made it waterproof (étanche being French for impermeable) and Tank 8 Jours, with a double-barrelled movement that provided an eight-day power reserve – an outstanding technical feat at the time. Produced in very small numbers, the 8 Jours is highly coveted by collectors (estimated at more than $100,000 by Antiquorum way back in 1996). The Maharajah of Indore Yeshwant Rao Holkar II wears a small Tank Rectangle watch on a leather strap. Circa 1930. © Man Ray Trust, Prolitteris, Zürich 2012 et Adagp, Paris 2012. As it became chic to participate in sport, Cartier (hot on the heels of Jaeger-LeCoultre’s Reverso), introduced a Tank that was ideal for the rough and tumble of the tennis court or polo field. The case of the Tank Basculante (1932) pivoted lengthwise to hide the glass and expose the metal caseback. Then came the brief appearance of the Tank Mono-Poussoir, an elegant square-faced chronograph. The Cartier Tank Basculante. The Tank Asymétrique of 1936 was a bold experiment in aesthetics (seen again in the 1963 Tank Oblique) as well as an essay in functionality: with the case and hour markers rotated by 45 degrees, it was designed for drivers, corresponding to the angle of their hands on the wheel. Tank Louis Cartier from 1944. This was to be the last significant Tank variation for several decades, as the outbreak of World War II was followed in 1942 by the death of Louis Cartier. Gary Cooper wears a Tank Basculante watch. Circa 1940. With permission of Maria Cooper Janis – Rue des Archives/RDA However, despite there being only minor tweaks – the Tank Carrée of 1944 and the Arrondie about the same time – the Tank continued to draw devotees. The Duke and Duchess of Windsor bought each other matching Tanks, while Clark Gable and Gary Cooper helped to preserve its status as the choice of Hollywood royalty. Clark Gable wears a Tank watch. 1948. With permission of the Estate of Clark Gable – MGM/Collection Sunset Boulevard. The 1950s to 1970s The Cartier Tank Rectangle Broad. As the 1950s segued into the ’60s and ’70s, bringing radical change to the social order and shaking up the rules of fashion, the Tank remained impervious to trends, adopted by vastly different tastemakers and celebrities. How little Muhammad Ali, Pierre Balmain, Warren Beatty, Ingrid Bergman and Stewart Grainger had in common, yet how well the same watch worked for them all. After an absence from the United States of more than 20 years, the actress Ingrid Bergman, star of Casablanca , returned to the stage in Los Angeles, in 1967. Image: Bill Ray – Time & Life Pictures/Getty Image For most, Tank meant the classic Louis Cartier Tank. And, despite only a few new variations during this period – the Broad Rectangle of 1952, the JJC (standing for Jean-Jacques Cartier), Elongated of 1966 and, for women, the Mini Tank Allongée of 1962 – the watch became more entrenched as a stylistic icon. Andy Warhol summed it up: “I don’t wear a Tank to tell the time. In fact, I never wind it. I wear a Tank watch because it’s the watch to wear.” The Tank Allongée. Andy Warhol in 1973. Image: Arnold Newman/Getty Images In 1959 Simone Signoret gave her husband, Yves Montand a Tank for his birthday; he wore it in the 1960 musical Le Milliardaire opposite Marilyn Monroe. Alain Delon wore his Tank Arrondie on set during filming of Un Flic in 1971 – only to discover that the director, Jean-Pierre Melville, had the same watch. Hubert de Givenchy and Yves Saint Laurent were among the fashion luminaries who also wore Tanks. Alain Delon & Jean-Pierre Melville. The actor and director during the filming of Un Flic in 1972. With permission of Alain Delon © Studio Canal/Collection Sunset Boulevard Truman Capote, an avid Tank collector, interrupted a 1972 interview because he couldn’t stand the watch the reporter was wearing. “Take that ugly watch off your wrist and put this one on,” he said, unbuckling his Tank and handing it over. “I beg you, keep it. I have at least seven at home.” Truman Capote in 1973. With permission of Truman Capote Literary Trust – Rue des Archives/ Farabolafoto/Ital Following the launch of the Must de Cartier collection in 1977, the Must Tank (with that most ultra-modern of inventions, a quartz movement) swept numerals off the dials, replaced the classic creamy white with lacquer in deep red, followed by blue, black and a series of other strong shades, and made the watch much cheaper, using gold-plated silver (vermeil) rather than solid gold. More than just an aesthetic change, it was a bold, early move in the democratisation of luxury that we now take for granted. The Must de Cartier Tank. The 1980s to 2000s Catherine Deneuve in 1980. Image: J.J. Lapeyronnie/GAMMA Even as the mechanical-watch revival gained momentum, the Tank (by now mostly quartz-powered) remained the watch for many buyers. “If it ain’t broke, don’t fix it” could have been Cartier’s mantra. The maison focused on new Tank designs rather than mechanical innovation: Tank Américaine in 1989 was a bigger, bolder take on the elongated rectangle of the 1920s Cintrée; and the Tank Française in 1996 introduced an assertive square case and chunky metal bracelet. In 2002, Cartier flipped the Tank on its side with the Divan. This striking design had a relatively short life and is now very collectible. The trilogy of models representing Cartier’s three international divisions (based in Paris, New York and London) was eventually completed by the Tank Anglaise in 2012. The Tank Américaine from 1989. In 2012 Cartier also introduced the Tank Folle (imagine a regular Tank locked in a room with Salvador Dalí and a pile of diamonds) and a revival of the Tank Louis Cartier, which had remained in the catalogue from 1922 (with a minor update in 1944) until 1998. The new Tank Louis Cartier XL Slimline, carrying Cartier’s hand-wound in-house calibre 430 MC and measuring just 5.1mm thick, was a triumphant return of the design that had become a point of reference for all rectangular wristwatches for nine decades. Cartier by Jean-Charles de Castelbajac. Meanwhile, it had been left to Cartier Paris to fulfil watch enthusiasts’ desire for mechanical sophistication. For a decade, from 1998, Cartier Paris Collection Privée (CPCP) revived a series of original Tank shapes (as well as other cases), issuing them in very limited runs with mechanical movements sourced from the likes of Piaget, Jaeger-LeCoultre, Gérald Genta, Techniques Horlogères Appliquées (THA) and Frédéric Piguet. Cartier reassembled these high-quality movements and gave many watches a clear sapphire caseback to display its signature finishing, which included Côtes de Genève and the double-C Cartier logo. Everything released by CPCP is now highly collectible. Among the most coveted prizes: the Tank Mono-Poussoir with a new movement co-developed by François-Paul Journe, Denis Flageollet and Vianney Halter (yes, really!); Tank à Vis (an adaptation of the Étanche with a four-screw bezel); and a Tank Double Fuseau with an Arabic-numeral and Chinese-numeral dial. Large model Tank Anglaise. A few years into the new millennium, Cartier realised that the key to a seat at horology’s high table was to develop and produce its own movements. And so, the Cartier Fine Watchmaking division (led by the brilliant Carole Forestier-Kasapi) took over from CPCP. The 2009 launch of the Tank Américaine Tourbillon Volant (with calibre 9452 MC, the first Cartier movement to carry the Geneva Seal) set the scene for what has followed, with various Tank cases hosting a series of haute horlogerie movements – not least the sublime Tank MC Skeleton and the Tank LC Sapphire Skeleton. The Tank LC Sapphire Skeleton from 2012. The fact that every variation has looked and felt so utterly right, so very Tank, is proof that Louis Cartier’s original was not just a good design but a truly great one. The question, it seems, has always been: can a Tank be better than a Tank? Can an icon outdo itself? The story isn’t over yet.
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