Upon hear­ing the name of Sal­vador Dalí, even a total lay­man in the art world is bound to get visions of melt­ing clocks. Sur­pris­ing­ly, for an artist who showed so much self-mar­ket­ing savvy, Dalí nev­er brought an actu­al time­piece in that dis­tinc­tive­ly, even canon­i­cal­ly sur­re­al shape to mar­ket. But that hard­ly stopped Carti­er from putting out the Crash, whose dis­tort­ed shape may have always brought The Per­sis­tence of Mem­o­ry to mind, but whose name hints at the inspi­ra­tion of a watch smashed up in a car wreck. The Crash came out in swing­ing-six­ties Lon­don at its very height, by which time Dalí him­self had been design­ing real jew­el­ry for more than a quar­ter cen­tu­ry. ?si=v8xd7w6Tr3ZQzIIq You can see a few of Dalí’s jew­els in the 1960 British Pathé clip at the top of the post. Unsur­pris­ing­ly, they occu­py a realm apart from, or at least orthog­o­nal to, that of con­ven­tion­al jew­el­ry. Some of them move: Liv­ing Flower, for instance, which “opens to reveal sta­men and petals paved with dia­monds. The mech­a­nism is embed­ded in mala­chite from the …