MAISON CARTIER Billiken, the sculpture model conceived in [1908], the subject that entered the Cartier collections from [1910-11], our print made in the 1910s Decorative subject. Proof in carved and polished agate; the rose-cut diamond eyes set in silver surrounds. The pyramidal base stepped with superimposed and assembled aventurine plates. Titled BILLIKEN, in engraved stick letters and highlighted in gold on the upper part of the base. Circa 1910. Very slight scattered bumps around the base, a corner of the base broken and reattached, scattered traces of glue. Presented in its original red sheathed case with gold nets and flaps; marked in gold on the silk CARTIER - Paris 13 rue de la Paix - London 175 New Bond St - New York 72 Tth avenue inside on both flaps and marked with the CARTIER gold stamp on the back. Height: 8 cm - Length: 5,5 cm - Depth: 5,6 cm Provenance: Former X. Collection, France. Bibliography and related works: Hans Nadelhoffer - Cartier - Éditions du Regard, Paris, 1984. A Billiken fixed on a small ivory perch and surmounting an agate ashtray, reproduced on the colour plate on page 95, under the n° 73. Billiken and the House of Cartier Although often associated with the Far East, the Billiken was designed in 1908 by an American teacher, Florence Pretz. Nevertheless, this chubby little character quickly conquered the whole world. In 1912, it already adorned one of the entrances to Luna Park in Osaka. The first Billiken in hard stone appeared early in the works of the House of Cartier. Hans Nadelhoffer, an eminent specialist of the house, estimates that the first were produced as early as 1910. Supposed to bring good luck, the little figurines were cut from hard stone and their eyes were often encrusted with small diamonds. They adorned ashtrays, doorbells, and later "mystery clocks". The inventory of the honourable house of the 1st Marquess of Crewe mentions a Billiken in 1913 - presented for sale in London in 2015. It is even said that Queen Alexandra cherished hers... Despite this, Billiken and their decorative use by the House of Cartier remain enigmatic; the small number of statuettes made and their rarity on the art market, have not allowed for an in-depth study of the subject until now. Billiken, imagined and considered as the God of things as they should be, reminds us, by keeping many of his secrets at Cartier, that things are not always as we would like them to be.