Cloisonné

Cloisonné (pronounced kloi-zuh-ney or klwa-zaw-ney (French))

(1) A decorative technique for metalwork, especially brass, whereby colored enamel is baked between raised ridges of the metal; among those for whom "price-taggery" is the measure of things, it was sometimes disparaged as a cheaper alternative to jeweled encrustation or filigree.

(2) Pertaining to, forming, or resembling cloisonné or the pattern of cloisonné.

(3) As applied to metalwork, objects decorated by this technique collectively.

1863: From the French cloisonné (divided into compartments, partitioned (especially in reference to surface decoration)), from the twelfth century Old French cloison (partition), from cloisonner (enclosure; to divide into compartments) from the Provençal clausiō, from the Vulgar Latin clausiōn, stem of clausiō (closed), noun of action from past participle stem of claudere (to close; shut).  The alternative spelling cloisonne is now more common in English.  Cloisonné is a noun; the noun plural is cloisonnés.  The noun cloisonnism describes a school of postimpressionist painting and the verb cloisonner (to partition, to compartmentalize) is French.

Lindsay Lohan wearing vintage art deco bracelet in triangulated black & white, May 2007.

There were several steps in the cloisonné enamel process and they have been little changed since the process was first used in Egypt prior to 1800 BC when gold ornaments were inlaid with small pieces of turquoise, lapis lazuli, carnelian and garnet, the inlays held in position by ribs soldered to the gold base.  Although there’s no surviving evidence in archaeological digs, the speculation of Egyptologists is that goldsmiths and glass workers collaborated to forge or fabricate their creations using artificial gems.  Pieces of colored glass were substituted for the stones and some appear to have been cemented in place.  The modern sequence is usually:

(1) Design and Preparation: The artisan will create a two dimensional sketch which develops into a detailed design; this can be on paper or a digital rendering which is then transferred onto a metal object, made usually of bronze, copper or gold.

(2) Wire Application (Cloisons): Thin metal wires (usually of copper or gold) are shaped to suit the design; these are soldered or glued to the metal surface, forming compartments (cloisons).  It’s these wires which lend a three dimensional form to the design, acting as the barriers which will contain the various enamel colors.

(3) Enamel Filling: Enamel (powdered glass which is mixed with water to form a paste) is applied within the cloison compartments.  While there are designs which used only the one shade of enamel, historically the style is associated with contrasting colors, some vivid, some dark.

(4) Firing: Once the compartments have been filled, the object is fired in a high-temperature kiln.  This causes the enamel to melt, fusing it with the metal; depending on the design, multiple firings may be required to build up the enamel layers and achieve the desired thickness and finish.

(5) Polishing: After the final firing, the surface of the object is polished, this both smoothing the enamel to its final shape and enhancing the color.  As part of this process, some enamel may be removed so the metal wires are granted greater prominence better to define the shapes.

French Second Empire gilt cloisonné enamel carriage clock, circa 1870.

The intricate metalwork and detailed cloisonné engravings associated with the clocks of the First French Empire have always attracted collectors and there’s a view in the industry they’re superior in just about every way to those of the Second Empire.  They certainly tend to be more expensive.  There are those who prefer the later clocks, especially the more restrained.  For the discerning, a sub-genre of Second Empire horology was the carriage (or travelling) clock, small, sturdy and created in shapes suitable to packing in regular-sized boxes.  The earliest were purely functional with little embellishment but their diminutive form appealed to designers seeking to create exquisite miniatures.  From the mid-century on, an increasing number were produced for household use and it’s doubtful many were much used by those on the move.

1967 Ferrari 275 GTB/4 NART Spider.

The cloisonné "N.A.R.T." badge.

The Ferrari 275 GTB/4 NART Spider was a roadster commissioned by Ferrari's North American concessionaire, Italian-born Luigi Chinetti (1901–1994) who ran the North American Racing Team (N.A.R.T.) and wanted to offer something in the spirit of the charismatic 250 California Spiders (1957-1963).  Built by Ferrari's coachbuilder Scaglietti, the NART Spider was certainly a worthy successor but, being very much a traditional sports car with few of the luxury fittings to which buyers had quickly become accustomed, demand was subdued, most preferring its less raucous companion, the 330 GTS which pampered occupants with niceties like power steering, electric windows and air conditioning.  The NART's high price didn't help and of the planned run of 25, only ten were built.  Thus mostly unwanted when new, as a used car the performance of the 275 NART has been stellar, chassis #10709 selling at auction in 2013 for US$27.5 million.  Informally always known as the "NART Spider" despite the factory not using the designation, the only hint of its unusual gestation was a cloisonné badge with the N.A.R.T.'s logo, installed on the Kamm tail.

1967 Ferrari 275 GTB/4 NART Spider.

The NART's existence also created a footnote in the history of Ferrari nomenclature.  Although the ten have always been regarded as official factory models, Enzo Ferrari (1898-1988) was noticeably restrained in his enthusiasm for the venture and instead of being named 275 GTS/4 as would have been the current practice, it was listed in the records of both Scaglietti and the factory as the 275 GTB/4 NART spider.  That may have been because there had already been a 275 GTS (1964-1966) although it had been replaced by the 330 GTS by the time the NART cars were built or it may simply have been Il Commendatore didn't like his plans being changed.  Because of the high prices the things attract when from time to time they are offered at auction, the sales are always well publicized and the modern practice seems to be to label them as 275 GTB/4S, 275 GTB/4s or 275 GTB/4*S.  Given the well-known status of the NART machines the appended "S" seems superfluous.