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European clocks
IN THE J PAUL GETTY MUSEUM
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Gillian
Wilson
David Harris Cohen
Jean Neree Ronfort
Jean-Dominique Augarde
Peter Friess
T H E J . P A U L G E T T Y M U S E U M . L O S A N G E L E S
EUROPEAN CLOCKS
I N T H E J . P A U L G E T T Y M U S E U M
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C O N T E N T S
F O R E W O R D
v i i
P R E F A C E
A N D A C K N O W L E D G M E N T S
i x
A B B R E V I A T I O N S
x i
C A T A L O G U E
1
B I O G R A P H I E S
1 6 3
G L O S S A R Y O F
M O V E M E N T
T E R M S
2 0 5
I N D E X
2 0 7
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F O R E W O R D
T H I S C A T A L O G U E appears
ju st as we prepare to open a
new Getty Museum, whose attractions include sixteen
galleries for French furniture and decorative arts—a
k i n d
o f museum-wit hin-a-mus eum in w h i c h our remark
able coll ection can
finally
be shown in the manne r it
deserves. Designed by T h i e r r y Desp ont i n collab oratio n
w i t h
Richard Meier, these galleries and panel ed rooms
w i l l incorporate clocks as a prominent feature, as they
were in rooms of the eight eenth century. To visitors of
our century, when time is mostly t o l d by prosaic -looking
devices, the clocks o f the Ba roq ue, Rococo, and Neoclas
s i ca l periods are a cont inu al surprise a nd deli ght, not o n l y
f o r their beauty but especially for their ingenious fusion
o f
the mechanical, the decorative, and the metaphorical.
Th e new galleries are above all the achiev ement o f
G i l l i a n
W i l s o n , author of this book. It is f i t t i n g that she
should
be the cataloguer of the Getty's clocks. Not
o n l y
was every one bought on her i n i t i a t i v e , but her knowledge
o f the ma kers, especially of the cases, is exten sive. She has
made certain that this catalogue treats both the case-
makers and the movements, and
Jean
Neree Ronfort and
Jean-Dominique Augarde
have
undertaken new
research
i n t o the lives of the clock-makers.
I
am t h a n k f u l for the w o r k of all those at the Getty
Museum and Getty Trust Publications Services who con
t r i b u t e d to the ma kin g of this book, in particul ar the late
D a v i d Co hen, Associate Curat or of Decorative A r t s . As
f o r G i l l i a n
W i l s o n
herself,
w i t h o u t
whom there w o u l d be
neit her catalogue n or collecti on, I am grateful for her
keen eye and m i n d ,
w h i c h
are bound to impress the
reader throughout the book.
John Walsh
D i r e c t o r
v n
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P R E F A C E A N D
A C K N O W L E D G M E N T S
T H I S C A T A L O G U E is a revised and enl arged edi tio n of
French Eighteenth-Century
Clocks
in the
J . Paul
Getty Museum,
p u b l i s h e d in 1976. It describes and discusses nineteen
Fre nch clocks and two Ger ma n clocks in the coll ecti on,
w h i c h were acquired between the years 1971 an d 1988.
The clocks range in date
f r o m
approximately 1680 to
1798. They were acquired p r i m a r i l y for the superior
q u a l i t y
o f their
cases,
an d in thr ee instances, fo r the qual
i t y of the larger piece of furniture in w h i c h they are set.
T h e m a j o r i t y of the clocks possess f i n e movements, and
w h i l e the clocks are no longer kept in w o r k i n g order the
movements are described and i l l u s t r a t e d . A section is de
v o t e d
to the biographies o f the clock-makers and enam-
elers represented in the c o l l e c t i o n , and an index of names
o f
p ri ma ry makers and prev ious owners is pro vid ed.
Th e entries fo r six o f the clocks (nos. 15 -20 ) were
w r i t t e n by the late D a v i d Cohen, who died in October
1 9 9 2 .
The remaind er were w r i t t e n b y
G i l l i a n
W i l s o n . The
catalogue entries f or the long-case musica l clock
w i t h
a
mov emen t by J.-F. Domi nic e (no. 5 ) and the ninet eenth -
cen tur y clock on a pedestal (no. 21) were w r i t t e n i n collab
o r a t i o n
w i t h Jean
Neree Ronfort.
Peter Friess pro vid ed the text and diagrams describ
i n g
the mov ements, a nd the biogr aphies o f the clock-
makers and enamelers were w r i t t e n by
Jean
Neree
R o n f o r t and Jean-Dominique Augarde, as was the i n t r o
d u c t i o n to this section. Bruce Hoadley i d e n t i f i e d the
various woods,
w h i l e B r i a n
Co nsidi ne, Joe Godla, an d
G o r d o n
Ha nl on of the Museum's conservation depart
ment provided i n f o r m a t i o n on matters of c o n d i t io n and
c o n s t r u c t i o n .
Th e phot ogra phs were taken by Jack Ross and the
b o o k
was designed by K u r t Hauser.
W i t h
great patience
N i n a
Banna typed and retyped the manuscript, w h i c h
was edited by Cynthia Newman Bohn.
I
w o u l d l i k e to thank Wi nt hr op Edey for his c o n t r i
b u t i o n
to the catalogue. I t was he who discovered and
deci pher ed ma ny of the inscriptio ns on the movement s
and revealed the signatures o f the enamelers on the backs
o f
some o f the dials.
Jean
Neree Ronf ort and
Jean-
D o m i n i q u e Augarde contributed much invaluable i n f o r
m a t i o n on the clock
cases
and generously allowed me
access
to the pho tog rap hic archives at the Centre de
Recherche His tor iqu e sur les Maitres Ebenistes. Hen ry
H a w l e y read the manuscrip t and contribute d a num ber
o f
useful suggestions.
M a n y other colleagues have contributed i n f o r m a t i o n
t o
this catalogue. They include: Daniel A l c o u f f e, Musee
d u Lou vre , Paris;
W i l l i a m
J. H. Andrews, the D a v i d P.
W h e a t l a n d
C urat or of the
C o l l e c t i o n
o f
H i s t o r ic a l
Scien
t i f i c Instruments, Harvard U n i v e r s i t y ; Dr . W i n f r i e d
Baer, Schloss Charlottenburg,
B e r l i n ;
Christian Baulez,
Musee d u Chate au d e Versailles, France; Sir Geoffrey de
B e l l a i g u e , Surveyor of the
Queen's
Works of Art,
L o n
d o n ;
Dr. Burkhardt Gores, Schloss Kopenick, B e r l i n ;
Rosamund
G r i f f i n , James.
A. de Rothschild
C o l l e c t i o n ,
Waddesdon Manor; Peter Hughes, Wallace C o l l e c t i o n ,
L o n d o n ; Patrick LePerlier, Paris; the late Robert Marsh,
L o s
Angeles; the late Dr. Bruno Pons, Ecole Nationale
d u Pat rimo ine, Paris; and Ale xan dre Pradere, Sothe
by's, Paris.
I w o u l d also l i k e to thank the two assistant curators of
the depar tme nt o f decorative arts, Charissa B rem er
D a v i d and Jeffrey Weaver, for their help and
assistance.
A b o v e a l l , I am indebted to Theo dore
D e l l ,
who read
th e
final
manu scr ipt in great detail, corre ctin g many
I X
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mistakes a nd co ntr ibu tin g new
i n f o r m a t i o n .
His advice
was freely given during the formation of the collection
and his extensive photographic archive has always
been
available to me.
T o J. Paul Gett y I give than ks fo r his inte rest an d gen
erosity,
w h i c h
l ed to the acquisi tion of fourte en of the
clocks before his death i n 1976, and for ma kin g it possible
f o r the Museum to continue to
b u i l d
the collection since
that date.
G i l l i a n
W i l s o n
October 1995
x P R E F A C E
AND
A C K N O W L E D G M E N T S
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A B B R E V I A T I O N S U S E D I N T H I S C A T A L O G U E
A . N .
A r c h i v e s N a t i o n a le , Paris
A r c h i v e s B r a t e a u
M a n u s c r i p t s d e p o s i t e d a t t h e C o n s e r v a t o i r e N a t i o n a l d e s
A r t s e t M e t i e r s , Paris
A r c h i v e s d e la Seine
A r c h i v e s d e l a
Seine, Paris
A u g a r d e 1 9 8 4
A u g a r d e , J . - D . " L ' a t e l i e r d e F e r d i n a n d B e r t h o u d : s es
f o u r n i s s e u r s e t s es c l ie n t s , " Ferdinand Berthoud, 172J—
i8oy: Hor loger mecan icien du Roi et de la Marine. L a C h a u x -
de-Fonds, 1 9 8 4 .
A u g a r d e 1 9 8 6
A u g a r d e , J . - D . "Jean-Joseph d e S a i n t - G e r m a i n ( 17 1 9—
1 7 9 1 ) : B r o n z e a r b e i t e n z w i s c h e n R o c a i l l e u n d K l a s s iz is -
m u s , " i n O t t o m e y e r a n d P r o s c h e l , Vergoldete Bronzen.
M u n i c h , 1 9 8 6 .
A u g a r d e 1 9 9 6
A u g a r d e , J . - D . Les Ouvriers du temps: La pendule a Paris de
Louis
XIV a Napoleon premier. Geneva,
1996 .
B a i l l i e
1 9 2 9
B a i l l i e , G . H . Watchmakers and C lockmakers of the World.
L o n d o n , 1 9 29 . R e v . e d . , 1 9 6 3 .
B a l l o t 1 9 1 9
B a l l o t ,
M . - J . Charles Cressent, Sculpteur, Ebeniste et Collec-
tionneur.
Paris,
1 9 1 9 .
B a u l e z 1 9 8 9
B a u l e z , C . " L a Pendule a l a G e o f f r i n , M o d e l e a
succes,"
LEstampille 2 2 4 ( A p r i l 1 9 8 9 ) .
B e l i a r d 1 7 6 7
B e l i a r d , F . Reflexions sur VHorloger ie en general et sur les Hor -
logers
du Roi en particulier.
T h e H a g u e , 1 7 6 7 .
B e l l a i g u e 1 9 7 4
B e l l a i g u e , G . d e . The James A . de Rothschild Collection a t
Waddesdon Manor, F urn i ture, Clocks and Gil t Bronzes. L o n
d o n , 1 9 7 4 .
B l a k e y 1 7 8 0
B l a k e y , W . LArt de faire les ressorts de Montres, Suivi de la
maniere de
faire
lespetits ressorts de repetitions & les ressorts spi-
raux.
A m s t e r d a m , 1 7 8 0.
B r e m e r D a v i d e t a l . , Decor ative Arts
B r e m e r D a v i d , C . , e t a l .
Decor ative Arts: An Illustrated Sum
mary
Catalogue of the Collections of the J . Paul Getty Museum.
M a l i b u , 1 9 9 3 .
C a r d i n a l 1 9 8 4
C a r d i n a l , C .
Catalogue des
Montr
es du Musee du Louvre.
V o l . 1 , La c ollection O livier.
Paris,
1 9 8 4 .
C a r d i n a l 1 9 8 7
C a r d i n a l , C , a n d Sabrier, J . - C .
La dynastie des LeRoy, Hor -
logers
duRoi.
T o u r s , 1 9 8 7 .
X I
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G a l l o n 1 7 7 6
G a l lo n , M . Machines et Inventions approuvees par VAcademie
Roy ale des Sciences depuis son etablissementjusqu'a present avec
leur description.
Paris,
1776 .
GettyMusJ
Th e J . Paul Getty Museum Journal
G u i f f r e y 1915
G u i f f r e y ,
J .
Histoire de VAcadem ie de Saint-Luc.
A r c h i v e s d e
l ' A r t
Francais,
N o u v e l l e
Periode,
v o l . 9 .
Paris,
1915 .
Histoire + year
Histoire
de VAcademie Roy ale des Sciences.
A n n u a l p u b li c a
t i o n t h r o u g h o u t t h e e ighteenth c e n t u r y .
Lalande
1803
Lalande,J .
d e .
Bibliographic astronomique. Paris,
1803 .
L e R o y 1 7 3 7
[ L e R o y , J . ] S u l l y , H .
Regie artif icielle du Temps. Traite de la
Division naturelle & artificielle du Temps, des Horloges et des
Montres de differentes constructions, de la maniere de les con-
noitre & de les regler avecjustesse. Par Mr. Hen ry Sully, Horlo-
ger de Monseigneur Le Due d 'Orleans. De la Societe des Arts.
Nouvelle Edition corrigee
£sf
augmentee de quelques Memoires
sur VHorlogerie, par M.Julien le Roy, de la meme Societe.
Paris,
Lespinasse 1 8 8 6
Lespinasse,
H . d e .
Les metiers et corporations de la Ville de
Paris.
Paris,
1 8 8 6 .
Liste
1748
Liste des Maitres Horlogers de la Ville et Fa ubourgs de Paris avec
la
Da tte de leurs Receptions, et leurs Demeures, pour lAnnee
MDCCXLVIII.
Liste
+ year
Liste
alphabetique d es
Noms
et Demeures connues de Messieurs
les Maitres Horlogers de la Ville, Fauxbourg et Banlieue de
Paris. . .
O t t o m e y e r a n d
Proschel,
Vergoldete Bronzen
Ottomeyer, H . , a n d
Proschel,
P., eds. Vergoldete Bronzen:
Die Bronzearbeiten des Spatbarock und Klassizismus. M u n i c h ,
1986 .
Pradere, Les Ebenistes
Pradere, A .
Les Ebenistes F ranqais de Louis XIV a la Revolu
tion.
Paris,
1989 .
R a i l l a r d 1 7 5 2
R a i l l a r d , C .
Statuts des Maitres-Horlogers de la Ville Fau
bourg de
Paris.
Paris,
1752 .
R o n f o r t 1 9 8 6
R o n f o r t , J . N .
'Andre-Charles
B o u l l e : d i e B r o n z e a r b e i -
t e n u n d seine W e r k s t a t t i m L o u v r e , " i n O t t o m e y e r a n d
Proschel,
Vergoldete Bronzen.
M u n i c h , 1 9 86 .
R o n f o r t 1 9 8 9
R o n f o r t , J . N . "Science a n d L u x u r y : T w o A c q u i s i t io n s b y
t h e J . Paul G e tt y M u s e u m , " Th e J . Paul Getty Museum
Jour
na l
17 ( 1989) .
Sassoon a n d W i l s o n ,
Decorative Arts: A Ha ndbook
Sassoon,
A . , a n d W i l s o n , G . Decorative Arts: A Ha ndbook of
the Collections of the J . Paul Getty Museum.
M a l i b u , 1 9 8 6 .
Tablettes
1775
Chantoisseau,
R . d e .
Supplement
aux Tablettes Royales de
Renommees et dIndications . . .
Paris,
n . d . [ 1 7 7 5 ] .
Tablettes
1 7 9 1
Chantoiseau,
R . d e . Tablettes de
Renommee
ou du Vrai Me-
rite. . . Paris,
1 7 9 1 .
T a r d y 1 9 8 0
T a r d y .
Bibliographic Genera le de la Mesure du Temps. Paris,
1980 .
Tessin 1963
Tessin
[ P r o s c h w i t z ,
Gunnar
v o n ] .
Tableux de Paris et de la
Cour de Fra nce, 1739—1742, Lettres Inedites de Carl Gustafi
comte de Tessin. Paris,
1963 .
T h i o u t 1 7 4 1
T h i o u t , A .
Traite d'Horlogerie Mechanique et Pratique. Paris,
1 7 4 1 .
V e r l e t , Les Bronzes
V e r l e t , P .
Les Bronzes dores francais du
XVIII
6
siecle. Paris,
1987 .
W i l s o n , Clocks
W i l s o n , G . Frenc h Eighteenth-Century Clocks in the J . Paul
Getty Museum. M a l i b u , 1 9 7 6 .
W i l s o n , Decora tive A rts ( 1 9 7 7 )
W i l s o n ,
G .
Decorative Arts in the
J .
Paul Getty Museum.
M a l
i b u , 1977 .
Xll
A B
B R E V I A T I O N S
1 7 3 7 .
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C A T A L O G U E
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Long-case Clock
(Regulateur)
Fre nc h (Paris); circa 1680—1690
Movement by Antoine (I) Gaud ron
( c i r c a 1640-1714) (see
B i o g . ,
p . 174);
case
a t t r ibuted to And re-
Charles Boulle (1642—1732)
H E I G H T : 8 ft. 1
V ie
i n . (246.5 cm)
W I D T H :
1 ft. 6V2 in . (48 cm)
D E P T H
: 7 Va in . (19 cm)
8 8 . D B . 1 6
D E S C R I P T I O N
Th e clock is made i n two princi pal parts: the case and
th e pedestal whic h supports i t and houses the weights and
the pendulum. The rectangular clock
case
is sur moun ted
b y a cushion-shaped pedi ment
w i t h
an open g r i l l which
houses th e b e l l . The fr on t corners o f this ped imen t are
supported by detached columns resting on canted blocks.
The main
areas
o f the front and
sides
o f th e
case
are fitted
w i t h
panes o f glass. The rema in ing surfaces are
veneered
w i t h
a gro un d of tortoiseshell i n l a i d
w i t h
pewter and
brass
in the f o r m of int ert win ing leafy scrolls, tendrils,
penda nts, swags of husks, a nd rosettes. The marquetry of
the columns depicts t w i n i n g vines. The
case's
gilt-bronze
mounts include a g i r l seated on the back of a goat, to
w h o m she
feeds grapes,
and flam ing urns on the pedi
ment ; Cor in th ia n capitals atop the colum ns; and collars
and mol din gs of alte rna ting florets a nd
leaves
f raming
th e glass panes. T h e d i a l is of engraved g i l t bro nze set
w i t h enameled nu me ra l plaques. Below the d i a l is a g i l t -
bronz e figure o f Ti me , seated and supporting the d i a l
w i t h
his rais ed arms . To his ri gh t is an hourglass an d an
over tu rned urn s p i l l i n g coins, to his
l e f t
a profusion of
objects symbo lizin g the liber al arts ( f i g . la) . The p l i n t h on
w h i c h Time sits is inscribed: Solem Audet Dicere Falsum (It
dares the Sun to t e l l a l i e ) , and Gaudron JParis.
The upper stage of the pedestal swells at the
area
o f
the glazed vi ewi ng hole, whi le the low er is overlaid at the
top by a lamb req uin (fig. lb) ; the whole rests on a high
stepped base. The front and sides of the pedestal are
veneered, l i k e the clock itself,
w i t h
marquetry of brass
and pewter o n a gr ou nd o f tortoiseshell , whic h takes the
f o r m of leafy scrolls, husks, swags a nd pendants, tendrils,
2
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4 LONG-CASE CLOCK
1A
1B
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rosettes,
and, at the
sides,
bows (fig.
I C ) .
The intricate
s c r o l l i n g composition around the
v i e w i n g
hole emanates
f r o m
lion's
heads
placed on either side. At the top of this
c o m p o s i t i o n ,
a b i r d i n f l i g h t a ttempts to catch a butte rfl y
( f i g . i d ) . Suspended below the lam bre qui n is an elaborate
tassel-like marquetry composition.
S i m i l a r l y
conceived
compositions decorate the
sides
of the pedestal. Pewter
s t r i n g i n g frames
these
panels
and defines the profiles of
th e
case.
A
gilt-bronze molding encircles the
v i e w i n g
hole and,
i n th e
f o r m o f f r i n g i n g , edges
the lambr equ in. At the tops
o f the two
stages
of the pedestal, and at the top of the
stepped ebony-veneered base are broad horizontal
g i l t -
bronze mold ings . A t the back of the clock case is a hinged
door that provides access to the movement; the
f r o n t
o f
the upper
stage
of the pedestal is also hinged to give
access to the weights for
w i n d i n g .
T h e
carcase
is con
str ucte d of oak, alder, waln ut, an d fir.
M A R K S
The face, below the d i a l , is signed
Gaudron
JParis and
i n s c r i b e d Solem Audet
Dicere
Falsum.
The movement is
signed
Gaudron
JParis ( f i g . le) and there are repair marks
o n
the great wheel,
P. Sauvage Janvier 1950.
C O M M E N T A R Y
I t
is very probable that the
o r i g i n a l
i nte nti on was to
cover the rectangular
d i a l
plate
w i t h
black or dark red
v e l
vet. Man y exi sti ng clocks of this pe ri od are thus deco
rated. For
some reason
the plate was instead gilded and
s t i p p l e d
and provided w i t h an elaborately
chased
central
zone. It
w o u l d
also
seem
that the plate, though contem
porary, was not
made
for the
present case.
A viewer of
n o r m a l
height cannot see the
L a t i n
inscription beneath
th e d i a l , nor the signature of Gaudr on.
B o t h
are hidden
b y
the frame of the
glass
panel.
The inscript ion
Solem Audet Dicere Falsum
is a version
o f a quotation f r o m V i r g i l ' s Georgics (1.463) : "Solem quis
dicere falsum audeat" (Who
w o u l d dare
to
c a l l
the Sun
untrue?).
1
The altered
L a t i n phrase
was probably used
f o r
th e
first
time in Pierre Le Moyne's book on emblems,
D e VArt des Devises
in 1666, where it
appears
w i t h a pen
d u l u m clock w i t h c y c l o i d a l
cheeks.
2
Th e text explains that
the pendulum clock, a 1657 invention by Christiaan Huy-
gens,
runs so accur ately th at it can be used to demon stra te
th e
i r r e g u l a r i t y
o f the
sun's o r b i t .
3
M a n y of the decora tive element s on the clock—the
detached columns wo und w i t h ivy, the large gilt-bronz e
mount beneath the d i a l , and the f o r m and marquetry of
th e
pedestal—are
fo und on a numbe r o f mantel and
long-case clocks, all of
w h i c h
are veneered w i t h tortoise-
s h e l l ,
brass, and pewter and contain movements by such
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w e l l - k n o w n late seventeenth-century makers as An to in e
Gaudron, Pierre DuChesne, Balthazar
M a r t i n o t ,
and
Jacques T h u r e t.
4
T h e
case
itself, on the basis of the design of the mar
q u e t r y , can be attributed to Andre-Charles
B o u l l e .
The
panels at the f r o n t and the sides of the lower
stage
of the
pedestal a re very sim ila r i n desig n to those fo un d on t he
f r o n t
and sides of a pair of
stands
in the
V i c t o r i a
and
A l b e r t Museum, w h i c h are also attributed to
B o u l l e .
5
A
piece of paper fo un d
w i t h i n
th e
carcase
of one of
these
is date d 1693, g i v i n g a terminus ante quern for their
manufacture.
The small
b i r d
chasing a
b u t t e r f l y
is found, both in
premiere and contre-partie marquetry, on a pair o f c o f f e r s i n
the Getty Muse um. These are
o f
th e
same f o r m
as a coffer
made by Boulle for the Daup hin , w h i c h is described in
d e t a i l
i n the latter's inven tor y o f 1689.
6
The repeating
t r e f o i l
marquetry on the
base appears
i n a s l i g h t l y more
c o m p l e x f o r m on the above-mentioned coffers as w e l l as
o n a table attributed to B o u l l e , also i n the Getty M us eum
c o l l e c t i o n .
7
The moun t in the f o r m o f a g i r l feeding a
goat
w i t h grapes
is also found, paired
w i t h
a s i m i l a r l y
seated boy, on firedogs
8
and, in patinated bronze, as
paper weights.
9
O T H E R E X A M P L E S
T h e closest comp ari so n that may be made is to a clock
n o w in the Ecole Nati onale Superieure des Bea ux- Art s.
1 0
T h e case,
w i t h
a few minor differences, is of the same
design and
bears
marquetry of the
same
pattern, though
i n reverse. T hi s clock was cit ed i n the 1718 pos thu mou s
i n v e n t o r y of Louis
X I V ' s possessions,
where it is de
scribed
as
f o l l o w s :
N o. 18 Une pendule de dix huit pouces de haut, mar quant
le s secondes, faite par du Chene, les cadrons sont de cuivre
dore
sur velours noir. La bdete de marqueterie de cuivre et
d'etain su r fond ecaille, ayant chaque coin une colonne de
meme marqueterie d'orde corynthien dont les hazes et
chapiteaux sont cuivre dore; le haut est o rme et termine
pa r
un dome. La pendule, portee sur un scabellon aussi de
ladite marqueterie, de cinqpieds un pouces de haut
11
I t was again listed in the r o y a l in ven tor y of 1792,
whe re it was descr ibed as "ouvrag e de B o u l l e ."
1 2
I n 1797
i t was
sent
to the Academie de Peinture et de Sculpture
( l a t e r
nam ed t he Ecole des Beaux- Arts ), but on that occa
s i o n i t was mere ly descr ibed as "le corps e n est decore a la
maniere de B o u l l e . "
1 3
Another clock, nearly identical to
the Getty example
w i t h
a movement by Gaudron, d i f f e r
i n g p r i n c i p a l ly i n tha t its figure o f Ti m e is reverse d, was
reco rde d at auct ion in the late nine teen th cen tur y.
1 4
M O V E M E N T
Brass and i r o n , partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings of the movement.
The movement
( f i g .
i f ) consists o f two trains dri ven
b y weights mounted on an
endless
rope. The clock runs
f o r one week. The going
t r a i n
powers three
hands
that
i n d i c a t e hours (in ro ma n numerals) and minut es (in ara-
b ic
numerals) on the main d i a l and
seconds
(in arabic
numerals) on a subsidiary d i a l . A n ope nin g below the
number V I shows the day of the mo nt h. Th e clock strikes
the hours and h a l f hours on the same be l l .
The going t r a i n is connected to the
s t r i k i n g
t r a i n by
an endless-rope w i n d i n g mechanism and has one wheel
f o r th e endless rope (72) and three
p i n i o n
wheels (6/64-
8/60-8/30), the last being the escape wheel. The
t r a i n
is
regulated by an anchor escapement
( r e c o i l
escapement)
i n
connection
w i t h
a
seconds
pendu lum . Th e arbor of the
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t h i r d
wheel holds the cannon p i n i o n (32), w h i c h is part o f
th e m o t i o n
w o r k
(32 -32/6-7 2), and the minu te hand.
Th e hou r wheel (72) holds the ho ur hand . Th e ca nnon
p i n i o n (32) rotates once every ho ur ; it has two pins t hat
release th e s t r i k i n g t r a i n every h a l f an d f u l l hour. The
escape wheel holds the second hand; another wheel (24)
o n the back of the ho ur wheel drives the wheels (24 /48 -
1/31) that show the day of the m on t h on the f r o n t of the
d i a l .
Wh en a mo nt h has
less
tha n th irt y-on e days, this cal
endar has to be set f o r w a r d manu all y to the first o f th e f o l
l o w i n g mon th .
T h i s type of
s t r i k i n g
t r a i n has a count wheel
( l o c k i n g
p l a t e ) .
It has one wheel for the endless-rope mechanism
(72) ,
three p i n i o n wheels (8/72-6/66-6 /60), and a
f ly
vane
(6 ) . Th e second whe el (8/72) has twe nty -fou r pins that
move the s t r i k i n g hammer as
w e l l
as the wheel (12) that
drives
the co unt whe el (45).
S t r i k i n g
t ra in
1
F Thre e-q uart er view of the mo vemen t.
P U B L I C A T I O N S
" A c q u i s i t i o n s 1988," GettyMusJ 17 (1989 ), p. 140, no.
66 ( i l l ) .
P R O V E N A N C E
Jean D ur ie r [de ale r], Paris, circa 1945. Private collec
t i o n , Burgundy. A l a i n M o a t t i [dealer], Paris. Acq ui re d by
the J. Paul Getty Museum in 1987.
8 LONG-CASE
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N O T E S
1. I am grateful to M a r k Jentoft-Nils en for locating the
quote in V i r g i l ' s
Georgics
and for pro vid ing the correct
translation.
2 . K. Maurice , Fine Antique Clocks of the i yih to the igth Century
( M u n i c h , 1990), pp. 25-2 7.
3. A med all ion struc k circa 1700 for the clock-makers'
g u i l d
expresses a simi lar idea. I t bears th e phrase
Solis
mendaces
arguit horas (I t [the pend ul um clock] monit ors the
decep
t i v e
hour s of the day), Mau ric e (note 2), pp. 25- 27.
4 .
Examp les of clocks of the same model bearing a large
g i l t -
bronze mount beneath th e d i a l : mantel clock w i t h a move
ment by DuChesne (sold at Christie's, Lon do n, Octob er
13, 1983, lot 24); long-case clock w i t h a movement by Mar-
t i n o t (sold at Sotheby's, Mon aco , December 4, 1983, lot
106); mantel clock w i t h a moveme nt by Gau dro n (Freder
i c k
V i c t o r i a
and Son, I n c . ) , French Clocks in North American
Collections, exh. cat. (Ne w Y o r k , Frick Collection, 1982-83),
no. 28; long-case clock w i t h a movement by Gaudron
( p r i
vate collection),
i b i d . ,
no. 27; mantel clock w i t h a move
me nt by N . Han et (sold on the Ge rm an ma rket, 1993),
K uns t und Antiquitdten (June 1993), p. 79.
Exampl es o f clocks w i t h
pedestals
of similar f o r m and
decoration: a long-case clock w i t h a replaced mo vement, in
the collection of the duke o f Buccleuch, Bou ght on House,
Nor tha mpt ons hir e (the viewi ng hole has been filled w i t h a
marq uetr y plaque bearing the Monta gu cypher); a long-
case clock w i t h a movement by Langlois v i r t u a ll y identical
to the Buccleuch example, althou gh w i t h contre-partie mar
quet ry (K rae mer & Cie, Paris, 1992); a long-case clock w i t h
a tete de poupee hoo d housin g a movem ent by Th ur et
( f o r
m e r l y w i t h the Parisian dealer Marc Revil lon d'Apre val),
Connoisseur (September 1957), p.
L I V ,
and S. Faniel and
P. Levallois , Les Dix-septieme
siecle
frangais (Paris, 1958),
p . 121, fig. 6.
Examp les o f clocks w i t h s imilar de tached columns:
a clock in the Schloss Rohrau, Niederosterreich, Aus tr ia ,
H . Kreisel , Die Kunst des deutschen Mobels ( B e r l i n , 1970),
v o l . 2, fig. 395 (the f o r m an d mar que try o f this clock's case
an d pedestal are similar to those of the Getty Museum 's
c l o c k ; the clock is pres umab ly Fren ch and n ot Aust ri an as
stated; the maker of the mov eme nt is not given) ; a lon g-
case clock (Fersen [dealer], Monte Carlo), advertisement in
C onnais sance des Arts 62 ( A p r i l 1967), p. 1 (this clock's f o r m
and decoration are also simi lar to the Museum's clock. Th e
maker of the movement is not known ); a mantel clock w i t h
a movement by DuChesne (Paris, Musee des Arts Decora-
t i f s , inv. D. 14383).
5. Jones Coll ecti on (inv. 1025—1882), G. Wilso n, "Boul le, " The
Journal of the Furniture History Society 8 (1972), pp. 47-69.
6. 8 2 . D A . 209.1—2, G . Wi lso n, Select ions from the Decorative Arts
in the J . Paul Getty Museum ( M a l i b u , 1986), pp. 12—13, no. 6.
7. 83.D A.2 2, Bre mer David et al., Decorative Arts, p. 46,
no. 58.
8. Sale, Akr am Oj jeh , Sotheby's, Monaco,
Ju n e
25- 26, 1979,
l o t 172; Messrs Nir et-M inet & Coutau-Begarie , Hotel
D r o u o t ,
Paris, Decembe r 1, 1989, no. 119; Keck Collec
t i o n , Sotheby's, New Y o r k , Decem ber 5- 6, 1991, lot 188;
an example in the possession of Krae mer & Cie, Paris,
1990; and in the Petit Tr ia no n. For the last, see D. Led oux -
Lebard, Versailles: Le Petit Trianon (Paris, 1989), p. 167,
% 3452.
9. Sold, Ader , Picard, Tajan, Hot el George V, Paris, Decem
ber 11, 1988, no. 66.
10. J. N. Ronfort , "Le
M o b i l i e r
royal a l 'epoque de Louis X I V , "
LEstampille
180
( A p r i l
1985), pp. 38, 39,
i l l .
1 1 . A . N . , 0*3335.
12. A . N . , O
2
388a, f ol . 203.
13. A . N . , A J
5 2
5 8 , f o l . 30.
14. Sale, Thomassin Freres, Douai , Nov emb er 19—23, 1883,
l o t 1 , Theodo re D e l l archives. I n the catalogue i l lustra t ion,
the pedim ent of the clock
case
housing the
b e l l
is missing.
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W a l l
Clock
(Pendicle
d'alcove)
French (Paris); circa 1710
Case attr ibut ed to And re-Char les
B o u l l e
(1642-1732); maker of the
later Englis h movem ent un kn ow n
H E I G H T :
2 ft. 4 in . (71.1 cm)
W I D T H :
11Y 4 in. (28.6 cm)
D E P T H :
4V2 in . (11.4 cm)
7 3 . D B . 7 4
D E S C R I P T I O N
Th e cloc k is in the f o r m o f a l y r e . Th e upp er corners
are set
w i t h
ram's heads f r o m which depend floral pen
dants and a garland ( f i g . 2a). Below the d i a l is an andr og
ynous mask, fram ed by lau rel branches tied below
w i t h
a rib bon kn ot (fig. 2b). Th e finial of the clock case takes
th e f o r m o f a ber rie d kno p, while the clock terminates be
l o w i n a larger be rri ed kno p, enclosed by scrolling leaves.
T h e flat surface o f the case is
veneered
w i t h
a panel of
blue painted horn, set w i t h an engraved brass t r e l l i s ,
each square o f w h i c h is filled
w i t h
a four-petaled brass r o
sette.
T h e
sides
of the clock are decorated w i t h a central
rib bo n- bo un d ro d flanked by foliate strips. Br oa d acan
thus
scrolls encase the lower part of the lyre at the front
and sides.
The hol low case contains, at its widest part, a black
ened woo d box of confo rming
shape,
composed o f pieces
o f
white oak, Euro pean walnut, and apple or pear. Its
brass doo r is hi ng ed an d latch ed. I t is ope n below to allow
f o r
the swing of a pe nd ul um and pier ced thrice above to
a l l o w fo r passage o f the arms o f three b e l l hamme rs, now
m i s s i n g .
T h e
sides
of the clock are pierced to accommo
date the strings that, when pulled, w o u l d once have acti
vated a repe atin g mechan ism.
C O M M E N T A R Y
T h e present mov emen t is not orig ina l to the clock,
w h i c h once house d a repe atin g movemen t, a useful
device that enabled one to learn the time at night, in the
absence o f l i g h t.
1
This type of clock, without a striking
t r a i n ,
was kno wn as apendule d alcove and was intended for
use in a bed ro om .
l O
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A
A
possibl e source fo r the desig n of the
case
may be
f o u n d
in a sketch in the Musee du Louvre f r o m Charles
L e Brun's studio.
2
I t shows a l y r e
w i t h
goat's heads o f very
s i m i l a r f o r m ,
s uppor ted by two
p u t t i .
The sketch was for
a lead fo unt ain gro up made by Pierre Le Gros in 1 673-74
f o r th e Theat re d 'Eau at Versailles. Th e fountains wer e
d i s m a n t l e d i n the 1750s, an d the gr ou p is now in the
N a t i o n a l
Gallery of
A r t ,
Washing ton, D.C.
3
A n engraving
b y
Jean
I Berain of about 1690 for painted ornament at
the Tuil eries includes a l y r e bearing the heads o f g r i f f i n s;
4
however, in art of this peri od representations of lyres
bearin g animal's heads are extremely rare.
O T H E R E X A M P L E S
A
clock of the same model is in the V i c t o r i a and
A l b e r t Museum, London .
5
Its moveme nt is signed
" M y n -
u e l , "
6
an d it was acqui red by that mu seu m i n 1865.
A n o t h e r
clock of the
same
design, but
w i t h
its
finial
in the
f o r m
of a closed bud and the upper
area
of blue horn
o v e r l a i d
w i t h
l y r e "strings," is in the Musee des A r t s
D e c o r a t i f s ,
Paris.
F.J. B r i t t e n illustrates another simil ar clock in Old
Clocks
and Watches and their Makers (6th ed.
[ L o n d o n ,
1 9 7 1 ] , p. 467 , fig. 610),
w h i c h
belonged, at the time o f the
first e d i t i o n (1899), to the Marquis of
H e r t f o rd .
7
I t has a
closed-bud
finial
and a decorated fr ame for the
glass
cover. B r i t t e n states that the move ment is by Th ur et .
8
A
clock and a matc hin g barom eter of this
f o r m
were
s o l d by Monsi eur M .
R i k o f f
i n Paris (Galerie Georges
P e t i t ,
December 4—7, 1907, lot 255). A g a i n , the design
d i f f e r e d i n the closed-bud
finial
and the decorated r i m of
th e glass cover. The panels of horn were decorated
w i t h
larger
brass
rosettes
set at the crossings
o f
th e
brass
t r e l l i s ,
and th e dials were fo rm ed of one plaque of enamel. N e i
ther th e dials no r the movements o f the clock and b aro m
eter were signed.
I n 1977 Kr ae me r & Cie (Paris) possessed two
w a l l
c l o c k s
o f this model . Each bore a white enamel plaque
between the ram's heads,
w h i c h
was inscribed T H U R E T .
O n one example the marquetry of blue horn and brass
was i n contre partie. A lyre -sha ped clo ck, possibly this
m o d e l , was owned by Paris de Mon tm ar te l, who die d in
1766. I t hu ng i n his bed cha mbe r and was descri bed as
b e i n g
"Une petite pendule . . .
dans
sa boete en forme de
l y r e
de bronze dore en or
m o u l u . "
9
A
clock o f the same mo del is described i n the
sale
o f
the collec tion of the comte de Luc (Lieut enant General
des Armees d u Roi and Go uve rne ur de la Citadelle de
M a r s e i l l e s )
1 0
on Dec embe r 22, 1777, lot 49, as f o l l o w s :
Une Pendule, le mouvement a
repetition fait par
Julien
le
Roy, la boite de
Boule,
de bronze dore, en
cartel
representant
une
lyre,
a tete de belier sur chaque angle
du
haut, & a panneau de mosaique, sur le devant,
renfermant un medaillon a deux faces tournant a pivot,
Vu n representant le portrait de
Louis
XIV, Vautre celui
d 'Henr i
IV, mascaron au-dessous du cadran & les cotes
regul ierement
ouvrages.
11
The a ttr ibution here of the
case
to Andre-Charles
B o u l l e
is inte rest ing, bu t it shou ld be reme mbe red that by
the late eighteenth century this famous ebeniste's name
was sometimes used to describe pieces ma de i n his style or
was given to pieces decorated
w i t h
a marquetry of horn,
s h e l l ,
an d
brass.
Th e medal lion port rait of Henry I V and
L o u i s X I V may have been set between the ram's
heads.
A n o t h e r
clock o f the
same
mo de l was sold in Paris by
the comte de Choiseul-Praslin
( M a r c h
12, 1866, lo t 121)
and described thus: "Cartel du temps de Louis X I V , en
bronze dore, en forme de l y r e . I I presente a sa partie in-
ferieure un mascaron tete de femme et a sa partie supe-
rieure des
tetes
de belier."
A n o t h e r
version of the clock,
w i t h
a movement by
J. F. Laisse, was sold by Bou rge ois Freres, at Lem per tz,
C o l o g n e ,
on October 25, 1904, as lot 829. On this exam
p l e , the ram's heads at the top corners were replaced by
female winged busts, and the knop at the bottom by a
shaped p l i n t h , thus co nverti ng the
w a l l
clock i n t o a man
t e l
clock.
12 W A L L C L O C K
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E X H I B I T I O N S
De t r o i t In s t i t u t e o f Ar t s ,
1972-1973.
P R O V E N A N C E
Th e col lect ion o f L o r d H i l l i n g d o n at V e r n o n House ,
E n g l a n d .
Sold by the t rustees o f L o r d H i l l i n g d o n , Chr i s
tie's, L o n d o n , J u n e 29, 1972, lo t 56.
F ren ch
an d C o m
pany, Ne w York, 1972.
Purchas ed
by J.
Pau l Get ty
in 1972.
N O T E S
1. For a desc rip tio n of this device, see A. Smi th, ed., The
Country
Life
International Dictionary of
Clocks
(London,
1979)> PP- 1 72- 173 -
2 .
A. Marie , Naissance de Versailles, he C hateau—Les Jardins,
v o l .
1 (Paris, 1968), pi. L i (Louv re, Cabinet des Dessins,
i n v . 30162.8190).
3. C. Seymour, Jr., "Versailles' Fountai ns, two sculptures
f r o m
th e The a t r e d'Eau in Ameri ca," Gazette des Beaux-Arts
(Oct ober 1942) pp. 41—52, fig. 5.1 am gr atef ul to Chris-
tophe Leriba ult for bri ngi ng this article to my attention.
4 . In v. 130—1865. See N . Lang loi s, Ornemanspetits dans les
appartemens des
Tuileries,
dessinez et gravezpar Berain (Paris,
circa 1690).
5. A . de Cha mpe a ux , Portefeuille des arts decoratifs, vol . 5
(Paris, 1886-97), pl- 3
2 2
-
6. Th e clock-maker Louis M y n i i e l (circa 1675—1742) was
active bet wee n 1693 and 1742.
7. See H . Bouil het,
LOrfeverie
f ranqaise (Paris, 1908), p. 5,
whe re t he own er o f the clock is give n as Ric har d Wallace.
8. Jacques Thur et (died 1739) succeeded his father
Isaac
as
clock-maker to Louis X I V and to the Observatoire i n
1694. He also inhe r i t ed f r o m his father the pri vileg e of
possessing lodg ings i n the Lou vr e, and he was related to
Andre-Charles Boulle , for whose clock
cases
he seems to
have
often provid ed movements.
9. R. Dubois- Corneau, Paris de Montmartel (Paris, 1917), p.
243, quote d i n S. Eriksen, Early Neo-Classicism in France
( L o n d o n , 1974), pp. 345- 346.
10. Th e comte de Luc was the ille giti mate son of Louis X I V .
He so closely res emb led his fat her t hat he was kn ow n as
" d e m i - L o u i s . " I am grateful to Jean-Do miniq ue Aug arde
f o r this information.
1 1 . I am grateful to The odo re D e l l for this information.
2 B
W A L L
C L O C K
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M o d e l for a
M a n t e l C l o c k
Fre nch (Paris); circa 1 700- 1715
Name o f maker unkn ow n
H E I G H T : 2 ft. 7 in . (78.7 cm)
W I D T H : 1 ft. 8V2 in . (51 cm)
D E P T H : 9 V 2 in . (24.2 cm)
7 2 . D B . 5 2
D E S C R I P T I O N
Th e mod el is
made
ent i rely o f ter ra cotta w i t h enamel
numeral plaques and a r i n g o f g i l t bronze around the d i a l .
T he elabo rate d eco rat ion consists of a trell ised dom e set
above a d r u m g i r d l e d w i t h
acanthus
and strapwork. Pen
dants
o f f r u i t an d flowers ext end do wn the dr u m to the
f o u r up per corner s of the rectangul ar
case,
o n w h i c h are
m oun t e d
vases.
T h e
f r o n t
corners are canted and set w i t h
female herms bearing baskets o f f r u i t on their heads.
S i m i l a r
her ms are fo un d at the back o f the clock. Fou r
clawed
feet sup po rt large scrolls on w h i c h are pe rch ed
winged beasts (fig. 3a). The ir webbed and clawed fore
feet rest on plinths, w h i l e their bifurcate tails extend
d o w n
the outer surface o f the scrolls, to cross and tw ine at
thei r bases.
Occupy ing the lowe r pa rt o f the clock, below the
d i a l ,
is a chariot drawn by four
horses.
I t carries Pluto wh o
clasps
Prosperine to him . He r arms are outstretched and
her hair is flying ( f i g . 3b).
T h e
sides
of the clock are dec orat ed
w i t h
shells in
arched coves, above
tasseled
lambrequins. The lobed
lower p r o f i l e
o f the cl ock is set w i t h
acanthus
leaves
and a
s t y l i z e d
shell ( f i g . 3c).
The clock
rests
o n a
shaped
p l i n t h . T he back is h o l l o w
an d there is no doo r ( f i g . 3d).
M A R K S
None
Ill
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3A
C O N D I T I O N
T h e o r i g i n a l contents of the f o u r vases at the upp er
corners of the clock are missing . Th e vases may have he ld
flames.
T h e
heads
of the
beasts
at the back
l e f t
and f r o n t
r i g h t have br ok en off, as has the head o f the
l e f t
f r o n t
horse. B o t h the
horses
on the l e f t have lost their hooves,
and the
f r o n t
horse on the
r i g h t
has lost its
r i g h t f r o n t
h o o f .
Th ree corners o f the
p l i n t h
are chipped.
W h e n
the cl ock was acqui red i t was f i t t e d
w i t h
a
detachable terra-cotta
f i n i a l
in the f o r m of the g r i e v i n g
Demeter, crowned
w i t h
a wreat h of wheat (f ig. 3e).
T h o u g h
it is app rop ria te t o the iconogr aphy of the clock,
t h i s
finial
is of nineteenth-century date and is not dis
p l a y e d w i t h i t .
It is
l i k e l y
that the o r i g i n a l
finial
was i n the
f o r m o f Father Ti me
w i t h
his scythe, perhaps s i t t i n g on a
g l o b e , or a figure re pre sen ti ng Fame.
C O M M E N T A R Y
I t is probable that this clock was o r i g i n a l l y intended
as a model, w h i c h w o u l d have been shown to a client for
a p p r o v a l .
V e r y
few French eighteenth-century furniture
models exist today, and those that do were nearly
al l
made
f o r the approval o f M a r i e -A n t o i n e t t e.
1
Th ey are always o f
m i n i a t u r e
scale and m ade o f wax, or wax and paper. It is
possible that this unique
f u l l - s i z e
clock model, w h i c h
dates to about 1700, was made f or Louis X I V or a mem
ber of the French co urt.
I t
is extremely
d i f f i c u l t
to attribute the w o r k to any
one sculptor. I n the in ven tor y taken o f the objects
destroyed in the disastrous
fire
that swept through the
logement o f Andr e-Ch arle s Boul le in the Lou vre in 1720,
m e n t i o n is mad e o f "Mo del s of wax an d ter ra cotta m ade
b y
Bou lle and his chi ld ren in the course o f thei r profes
s i o n . "
2
Seventy-five clocks are also listed as having been
bu rne d, a nd i t is quit e possible that the
r o y a l
cabinet
maker could have been responsible for the fine w o r k
e x h i b i t e d on this piece. On the oth er han d, model s by
Francois Gir ar do n were also destroyed i n that
fire.
3
He
was a neighbor of Boulle's in the logement of the Louvre,
and i t is conceivabl e that a scul pto r of such emine nce
c o u l d
have made this model.
Th e figures o f Plu to an d Pros erpi ne are s omewhat
s i m i l a r
to those found on a marble
r e l i e f
by Robert Le
L o r r a i n e (1666—1743) in the park at Versailles. Executed
i n
1696—99, th e
r e l i e f
was on a pedestal for the Enlevement
de
Proserpine by Girar don.
4
Th e sculptor Jean Cornu
(16 50- 171 0) has also been suggested as the aut ho r of this
c l o c k . Germa in B r i c e , i n his D escription de Paris (1698 and
1 7 0 6 ) ,
writes: I I [C or nu ] travaille a present a des
boetes
de pendule enrichies de figures de bronze d 'une grand
beaute." I n 1699 Cor nu deli vered an elaborate clock to
C o l b e r t ,
w h i c h was in the f o r m of an allegory of the
Peace
o f R y s w i c k .
5
A l t h o u g h it is te mp ti ng to give this extremel y
s c u l p t u r a l
piece to the han d of one of the pr om in ent
sculp tors o f the day, it is u n l i k e ly that any firm a t tr ibution
w i l l ever be ma de. I t is, howe ver, poss ible to give as a
source for the Pluto and Proserpine group an engraving
b y Daniel
M a r o t ( f i g .
3 f) .
6
W h i l e the posi tion of the limbs
o f
the protagonists are d i s s i m i l a r — P l u t o balances h i m s e l f
w i t h
his
f o o t
firmly
pla nted on the raised f r o n t of the
c h a r i o t ,
clasping the wind swep t Proserpine a rou nd her
waist—the gr oup , in reverse, shows simi lar agitat ion and
c l o t h i n g .
T h e p r i n t
appears
to be based o n a draw ing by
Jean (I ) Berai n (1640-1711 ),
w h i c h
was engraved as the
f r o n t i s p i e c e
for the 1680 publ icat ion of Jean-Baptiste
L u l l y and P hilipp e Quinault 's opera Proserpine.
1
The
s c u l p t u r a l
style of the winged beasts at the lower corners
may be com par ed t o that of one o f the dragons made by
an unknown sculptor of the school of Versailles for the
Bosquet du Labyri nthe (1672-74). It is known that Jean-
Baptiste
T u b i ,
Etienne Le Hongre, Pierre Le Gros, and
the brot hers Gasp ard an d Balthazar Marsy wor ked on
these
thir ty-ni ne founta ins
i l l u s t r a t i n g
Aesop's fables at
V e r s a i l l e s ,
bu t it is not possible to distin guis h amo ng t heir
c o n t r i b u t i o n s.
8
T h e
presence o f
w i n d i n g holes is
p u z z l i n g .
T h e
edges
o f the enamel numeral plaques have been carefully
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g r o u n d down to make room for them. Such precision
w o u l d surely have been
necessary o n l y
i f the c l o c k once
contained a movement . The
same
applies to the presence
o f
an aperture for the regulati on of the pen dul um. It has
been suggested that the
c l o c k
may have been
f i t ted with
a
movement at a later date, and the w i n d i n g holes bored
i n t o the face at that
t i m e .
H e n r y
Hawl ey, in his revi ew o f the 1976 catalogu e of
the Getty Museum's clocks, was of the o p i n i o n that this
c l o c k model was made in the nineteenth century as an
actual case.
He recommended that the terra cotta be
tested by means of thermoluminescence. This was done,
r e s u l t i n g in a rat her b roa d dati ng between the seven
teenth and eig hteenth century.
O T H E R E X A M P L E S
W h i l e a number of clocks of this period
e x h i b i t
domed tops,
vases
of flames, and scrolled lower corners
suppor t ing female herms, no single c l o c k seems to have
s u r v i v e d
that has winged
beasts
set in this pos iti on, or,
indeed,
w i t h
a gro up of Pluto and Pros erpine i n a horse-
d r a w n
chariot. But what must have been a
s i m i l a r c l o c k
app ear ed at auc ti on at Christ ie's on Febr uar y 13, 1899, as
l o t 48 ,
w h i c h
is described, but not i l l u s t r a t e d , in the
sale
catalogue: "A Loui s X I V bracket clock, i n scroll-shaped
B o u l l e
case mo u n te d
w i t h
Plut o and Proserpine , an d
other chasing, and borders of o r m o l u , and surmounted
b y a figure o f Fame and bracke t en suite—50 inches h i g h . "
The closest in design is a mantel
c l o c k
at the Chat eau
de C h a n t i l l y , w h i c h stands on the mantelpiece of the
Cham bre de Mon sieu r le Prince .
9
It has a dom ed top
w i t h
M O D E L
F O R A
M A N T E L
C L O C K
17
3 B
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f e m a l e
herms
a t t h e c a n t e d c o r n e r s . W i n g e d f e m a l e busts
replace t h e beasts, a n d t h e l a rg e g i l t - b r o n z e m o u n t b e l o w
t h e d i a l i s o f a f e m a l e f i g u r e o n a w i n g e d horse.
A
s o m e w h a t s i m i l a r c l o c k w a s s o l d
f r o m
t h e c o l l e c t i o n
o f
t h e R t . H o n . V i s c o u n t E m l y n , S t a c po l e, Y o r k s h i r e
( S o t h e b y ' s , J u l y 1 3 , 1 9 6 2 , l o t 1 9 3 ) . I t bears a f igu r e r e p
r e s e n t i n g
Fame,
f in i al s c o n t a i n i n g f l am e s a t t h e f o u r
upper corners
above c a n t e d f e m a l e h e r m s . B e l o w t h e d i a l
A p o l l o is s h o w n i n a f o u r - h o r s e c h a r i o t .
P U B L I C A T I O N S
G .
W i l s o n , " T h e J . P a u l G e t t y M u s e u m , 6
d m e
p a r t i e ,
L e s M e u b l e s B a r o q u e s , " Connaissance des Arts ( M a y 1 9 7 5 ) ,
p .
1 0 9 , i l l . ; B . F r e d e r i c k s e n , H . L a t t i m o r e , a n d G . W i l s o n ,
Th e
J . P aul Get ty Museum
( L o n d o n , 1 9 7 5 ) , p . 1 8 5 , i l l . ;
W i l
s o n ,
Clocks,
p p . 8— 1 1 , n o . 1 , i l l . ; W i l s o n , Decorat ive Arts
( 1 9 7 7 ) , p . 9 , n o . 6 , i l l . ; H . H a w l e y , " B o o k R ev i e w s ," The
Decorative
Arts Newsletter
( S u m m e r 1 9 7 7 ) , p . 1 3 ; G . W i l s o n ,
Selections from the Dec orative Arts in the J . Paul Get ty Museum
( M a l i b u , 1 9 8 3 ) , p p . 1 4 - 1 5 , n o . 7 , i l l . ;
Sassoon
a n d W i l s o n ,
Decorative Arts : A Hand book, p . 3 6 , n o . 7 6 , i l l . ; P . V e r l e t , Les
Bronzes, p . 1 6 4 , f ig . 2 0 0 ; C . B r e m e r D a v i d e t
a l . , Decorat ive
Arts,
p p . 8 2 - 8 3 , n o . 1 2 8 , i l l .
E X H I B I T I O N S
N e w
Y o r k ,
M e t r o p o l i t a n M u s e u m o f A r t ,
" M a g n i f i
cent
T i m e - K e e p e r s ,"
January
4 - M a r c h 2 8 , 1 9 7 2, n o . 6 7 ;
D e t r o i t I n s t i t u t e o f A r t s , 1 9 7 2 - 1 9 7 3 .
P R O V E N A N C E
D a l v a B r o t h e r s , N e w Y o r k . Purchased b y J . P a u l
G e t t y i n 1 9 7 2 .
18
M O D E L
F O R A M A N T E L C L O C K
3 C
3 D
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N O T E S
1
.
S e e , f o r
instance,
t h e w a x m o d e l o f a j e w e l
cabinet
made
f o r
M a r i e - A n t o i n e t t e i n 1 7 7 0, J . Niclausse, " T h e Jewel
Cabinet o f t h e D a u p h i n e M a r i e - A n t o i n e t t e , " Th e Journal of
the Walters Art Gallery 1 8 ( 1 9 5 5 ) , p p . 6 9 - 9 1 .
2 . T h e comple te i n v e n t o r y is p u b l i s h e d i n A . d e M o n t a i g l o n ,
"Documents
s u r
Pierre
e t A n d r e - C h a r l e s B o u l l e , ebenistes
d e L o u i s X I I I e t L o u i s
X I V .
I n c e n d i e d u
chantier
d u Sr .
B o u l l e , " Archives de I 'ArtFrangais 7 (Paris, 1 8 5 5 - 5 6 ) , p p .
3 3 4 - 3 4 9 -
3. I b i d . , p . 3 4 7 .
4 . M . B e a u l i e u , RobertLe
Lorrain,
1666-1743 ( N e u i l l y - s u r -
Seine, 1 9 8 2 ) , p . 1 0 2 , p i . V I I , f i g . 1 0 .
5 . I a m g r a t e f u l t o Jean Neree R o n f o r t f o r t h is suggestion.
6 . T h e e n g r a v i n g ,
represent ing
F i r e , is on e o f a se t o f th e
F o u r
Elements.
I t w a s p r o d u c e d i n H o l l a n d a n d w a s
p r i n t e d c i r c a 1 7 0 3 .
7 . T h e d r a w i n g b y B e r a i n i s i n t h e Musee de s A r t s Decora-
t i f s ,
Paris (i n v . C D . 2 0 1 ) .
8. The Splendid Century: French Art
1600—iyi5,
e x h . c a t .
( N a t i o n a l G a l l e r y o f
A r t ,
W a s h i n g t o n , D . C . , i 9 6 0 ) , p . 6 5 ,
f ig . 114 .
9 . I l l u s t r a t e d i n A . G u e r i n e t , Le Chateau de Chantilly
(Paris,
1 9 0 0 ) , p . 9 .
M O D E L
F O R A
M A N T E L
C L O C K 1 9
3 E T e r r a - c o t t a f ig u re o f Demeter, w h i c h
f o r m e d t h e
finial
o f t h e c l o c k w h e n i t w a s
a c q u i r e d i n 1 9 7 2 . T h e f ig u re
dates
f r o m
t h e n ineteenth c e n t u r y a n d is n o l o n g e r
d i s p l a y e d w i t h t h e c l o c k .
3F D a n i e l M a r o t , F ire , e n g r a v i n g ; o n e o f a
series, " T h e F o u r
Elements,"
w h i c h w a s
p r i n t e d i n A m s t e r d a m c i r c a 1 7 0 3 .
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M a n t e l C l o c k
Frenc h (Paris); circa 1715- 1725
M o v e m e n t by Paul
G u d i n
(active
c i r c a 1739-1755) (see
B i o g . ,
p .
176); case a t tr ibut ed to Andr e
Charles
B o u l l e
(1642 -1732)
H E I G H T : 3 ft. 4 in. (101.6 cm)
W I D T H : 1 ft. 8 in . (50.8 cm)
D E P T H :
1134 in . (29.8 cm)
7 2 . D B . 5 5
D E S C R I P T I O N
T h e c l o c k has an arched top and rests o n a base
w i t h
f o u r short st raigh t legs. Above is mo un te d a
f lying g i l t -
bronze c u p i d . B e l o w the d i a l a large gilt-bronze figure o f
T i m e
recli nes on a swag o f tasseled drap ery. H e hold s
a l o f t a balance i n his r i g h t hand ( f i g . 4c).
Th e side (fi g. 4a) and f r o n t surfaces o f the case are
veneered
w i t h
tortoiseshell, brass, and ebony. A recessed
panel of blue horn , decorated
w i t h
a brass
t r e l l i s
enclos
i n g rosettes, is set belo w the
d i a l .
The legs are veneered on
a l l
f o u r
sides
w i t h
bl ue hor n inset
w i t h
p enda nt scrolls of
brass. Gil t-br onze mol din gs frame all the profiles of the
c l o c k and its legs, as
w e l l
as f o r m i n g the feet. There is a
b l a n k gilt-b ronze cartouch e beneath the
d i a l .
The hipp ed
sides o f the c l o c k are set at the f r o n t
w i t h
gilt-bronze acan
thus scrolls.
T h e carcase o f the
c l o c k
is
o f
blackened
w h i t e
oak and
w a l n u t . I t is
fitted
at the back
w i t h
a hinged and latched
wooden door.
M A R K S
Th e central plaque of the d i a l is painted in black
G U D I N
LE J E U N E A P A R I S . T he m o v e m e n t is simila rly
engraved in cursive script
Gudin le jeune APARIS ( f i g .
4b).
C O M M E N T A R Y
W h i l e th e
d i a l
of the
c l o c k appears
to be contempo
r a r y
w i t h
th e
case,
the movement is not. The blank
g i l t -
bronze cartouche beneath the face may once have borne
an enamel plaque inscribed
w i t h
the name o f the m aker
o f
th e o r i g i n a l movement. The present movement by
G u d i n seems
to have been mou nt ed in the case later in th e
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22 M A N T E L
C L O C K
4 A
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4B
e i g h t e e n t h c e n t u r y , a n d a t t h a t t im e G u d i n ' s name was
p a i n t e d o n t h e c e n t r a l e n a m e l p l a q u e .
T h e r e i s a d r a w i n g r e l a t e d t o t h i s c l o c k a t t r i b u t e d t o
A n d r e - C h a r l e s B o u l l e i n th e M u s e e d es A r t s D e c o r a t i fs ,
P a r i s .
1
I n i t , t h e c u p i d is s h o w n c a r r y i n g a l o n g - h a n d l e d
s c y t h e w h i c h i s m i s s i n g
f r o m
t h e G e t t y M u s e u m ' s c l o c k .
2
T h e c l o c k i s s h o w n r e s t i n g o n a
w a l l
b r a c k e t . O n l y o n e
c l o c k
o n a b r a c k e t o f t h i s d e s i g n
seems
t o
have
s u r v i v e d .
3
T h e d r a w i n g
also
s h o w s
masks
a t t h e
sides
o f t h e
case,
a n d
a
d i a l
cast w i t h d a n c i n g
babies
i n r e l i e f . T h e a t t r i b u t i o n o f
t h e d r a w i n g to B o u l l e is s t r e n g t h e n e d b y t h e appearance
o f a s i m i l a r c l o c k i n P i e r r e M a r i e t t e ' s p u b l i c a t i o n o f
B o u l l e 's e n g r a v e d d e s i g n s .
4
H e r e , a c l o c k o f t h e
same
shape, w i t h t h e
f l y i n g
c u p i d b u t l a c k i n g t h e f ig u re o f
T i m e , s i t s o n a
serre-papier
a c c o m p a n y i n g a
bureau plat.
T h e f i g u r e o f T i m e is t a k e n f r o m a w o o d c u t t h a t h a s
been
a t t r i b u t e d t o N i c o l o V i c e n t i n o ( f i g . 4 d ) .
5
T h i s w o o d
c u t , i n t u r n , seems t o have been made f r o m a finished
s t u dy b y G i o v a n n i A n t o n i o d e Pordenone ( 1 4 8 4 - 1 5 3 9 )
6
f o r
a f r es c o p a i n t e d b y h i m c i r c a 1 5 3 3 o n t h e
facade
o f
t h e
Palazzo d ' A n n a o n th e G r a n d C a n a l i n V e n i c e .
7
I t
i s k n o w n t h a t B o u l l e h a d a l a r g e c o l l e c t i o n o f p r i n t s
a n d d r a w i n g s b y t h e hands o f m a n y masters, w h i c h w e r e
d e s t r o y e d i n t h e
fire
t h a t sw e p t t h r o u g h h i s l o d g i n g s a n d
w o r k s h o p at t h e L o u v r e i n 1 7 2 0 .
8
I t i s q u i t e p o s s i b l e t h a t
h e
possessed
t h e w o o d c u t a f t er P o r d e n o n e .
I n a n i n v e n t o r y d r a w n u p a f te r B o u l l e 's d e a t h i n
1 7 3 2 , i n t h e s e c t i o n d e v o t e d t o b r o n z e m o u n t s , i s t h e
f o l
l o w i n g e n t r y : " U n e boete c o n t e n a n t l e s m o d e l e s d e l a
p e n d u l e d e M r . D e s m a r a i s d o n t l e T e m p s c o u c h e e st d e
M r .
G i r a r do n pesant ensemble v i n g t - t r o i s l i v r e s , prises a
r a i s o n d e q u a t r e f r a n c s l a l i v r e . . ."
9
Jean-Pierre
S a m o y a u l t b e l i e v e s t h a t t h i s m o d e l o f
c l o c k i s o f t h e same f o r m a s t h e o n e u n d e r d i s c u s s i o n a n d
assumes
t h a t M r . D e s m a r a i s i s N i c o l a s
Desmarets
( 1 6 4 8 -
1 7 2 1 ) , n e p h e w o f C o l b e r t .
1 0
T h e i n v e n t o r y d e s c ri p t io n
suggests t h a t t h e m o d e l w a s first
made
f o r D e s m a r e t s , a n d
i f this is so , i t w a s perhaps p r o d u c e d d u r i n g t h e t i m e w h e n
h e w a s C o n t r o l e u r G e n e r a l d e s Finances b e t w e e n 1 7 0 8
a n d 1 7 1 5 .
C l o c k s o f t h i s d e s i g n , o f w h i c h m a n y s l i g h t l y o r
w i d e l y d i f f e r i n g v e r s i o n s s u r v i v e , w e r e made o v e r a
p e r i o d
o f t w e n t y o r m o r e years, a n d i t w a s a n e x c e e d i n g l y
p o p u l a r m o d e l . T h e i n v e n t o r y ' s d e c l a r a t i o n th a t F r a n c oi s
G i r a r d o n
( 1 6 2 8 - 1 7 1 5 ) p r o d u c e d t h e m o d e l o f T i m e is
n o t s u r p r i s i n g — m o d e l s i n w a x a n d p l a s te r b y t h e s c u l p t o r
a r e l i s t e d i n t h e i n v e n t o r y t a k e n o f t h e o b je c ts d e s t r o y e d
a f t e r t h e 1 7 2 0
fire
i n B o u l l e ' s l o d g i n g s i n th e L o u v r e . I t i s
p o s s i b l e t h a t G i r a r d o n also possessed t h e w o o d c u t a f t e r
P o r d e n o n e .
T h e c l o c k appears i n t h e b a c k g r o u n d o f a n u m b e r o f
p a i n t i n g s , e sp e c i a ll y i n th e w o r k s o f
Jean-Francois
d e
T r o y ( 1 6 7 9 - 1 7 5 2 ) . T h e e a r l i e s t r e p r e s e n t a t i o n
w o u l d
seem
t o b e a p o r t r a i t o f G a b r i e l B e r n a r d d e R i e u x ( 1 6 8 7 -
1 7 4 5 ) , y o u n g e r s o n o f t h e f inancier S a m u e l B e r n a r d .
1 1
T h e p a i n t i n g m a y b e d a t e d a f t e r 1 7 1 4 , as t h e y o u n g m a n
i s s h o w n w e a r i n g t h e b l a c k robes o f a c o u n c i l l o r o f t h e
P a r l e m e n t d e P a r i s , a p o s t h e
assumed
i n t h a t
year.
I t is
p o s s i b l e t h a t t h e c l o c k w a s i n f a c t t h e p r o p e r t y o f t h e B e r
n a r d f a m i l y . T h e m o d e l appears a g a i n i n d e T r o y ' s The
Garter,
w h i c h w a s e x h i b i t e d a t t h e S a l o n o f 1 7 2 5 .
1 2
Per
haps d e T r o y h i m s e l f o w n e d t h e c l o c k , o r , h a v i n g t a k e n a
d r a w i n g
o f i t w h e n p a i n t i n g R i e u x , h e s i m p l y
used
i t
a g a i n . T h e c l o c k i n th e s e c o n d p a i n t i n g h a s t h e same d i s
t i n c t i v e
base,
t h o u g h
here
i t i s s h o w n p l a c e d o n a b o o k
case, r a t h e r t h a n o n t h e serre-papier o f a bureau plat.
I n
A Reading from
Moliere, d a t i n g
f r o m
a b o u t 1 7 2 8 ,
t h e c l o c k appears a g a i n , b u t here t h e p o s i t i o n o f T i m e has
been
c h an g e d , a n d w i t h h i s r a i s e d
arms
h e s u p p o r t s t h e
d i a l
above
h i m as
i f
i t
w e r e a g l o b e .
1 3
T h i s w a s p r e s u m a b l y
a r t i s t i c l i c e n s e , a s n o cases o f t h i s m o d e l a re k n o w n w i t h
T i m e
i n t h a t p o s i t i o n .
1 4
O T H E R E X A M P L E S
N u m e r o u s m o d e l s o f t h i s c l o c k e x i s t . C l o se s t t o t h e
M u s e u m ' s e x a m p l e i s o n e o f t w o i n t h e W a l l a c e C o l l e c t i o n ,
L o n d o n .
1 5
T h a t c l o c k l a c ks t h e
tassels
o n t h e s w a g o f
d r a p e r y b e l o w T i m e a n d t h e s c a l l o p sh e ll s a t t h e t o p s o f
M A N T E L
C L O C K
23
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4
c
4 D N i c o l o V i c e n t i n o , Time,
w o o d c u t
( A r t
Ins t i tu te
o f Chicago, i n v . 1 9 6 5
. 2 2 ) .
2 4
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the shor t legs; there are also significa nt differe nces i n the
design of the marq uetr y. Th e move ment is by
Jacques
T h u r e t ( 166 9-1 739 ). A second, closely rel ate d clock in
th e
Neues
Palais at
Sans
Souci,
w h i l e
having the
same
body and marquetry
panels
as fo un d on the Museum 's
c l o c k , differs in two apparently unique ways.
16
The cupid
above, instead of
c l u t c h i n g
Time's scythe, holds a feather
p l u c k e d
f r o m
his
w i n g .
T im e himsel f holds his scythe.
T h i s
new arrangement
seems
to be a ninete enth- centur y
i n v e n t i o n .
1 7
Her e, Love has no longe r conqu ered Ti me
b u t mere ly attempts to slow do wn its
speed.
Th e oth er
unu sua l fea tur e o f this clock is the ext ensi on of the dial's
glass
cover below the face to
a l l o w
for the
v i e w i n g
of the
p e n d u l u m . A second clock of this model in the Wallace
C o l l e c t i o n
has a
f l a t
base—possibly i nt en de d to be posi
t i o n e d
on a
cartonnier
—and contai ns a mov eme nt by
Claude Mart inot ,
w h i c h
is signed "C. Ma rt in ot aux Gal
leries du Louvre 1726. "
18
Ano the r similar version, resting
o n the uppe r section of a
cartonnier
and w i t h a movement
signed "1723 by Mart ino t, " was on the Paris marke t in
1965.
1 9
Yet othe r notable versions, probably intend ed f or
car tonniers
or serre-papiers, incl ude one w i t h a movement
by
Charles Le Bo n in the Musee des Antiqu ite s, Roue n ,
2 0
and another w i t h a case veneered w i t h kingwood parque
t r y
and a move men t sign ed by Ju li en Le Roy at Wa ddes-
d o n Manor .
2 1
A s l i g h t l y d i f f e r i n g
version has a semicircular barom
eter
set into the swag of drapery, and a moon
phase
aper
ture above the d i a l . I n these cases the area containing the
d i a l
and the moon
phase
is oval in
shape,
and so is the
glass
that covers i t .
2 2
S t i l l
more c omplex variants bearing the reclini ng
fig
ure of Time exist. One, in the Gulbenk ian Foundation,
L i s b o n , was made for Cardinal Otto boni .
2 3
W h i l e
of basi
ca l ly t he
same f o r m ,
i t
bears
on its
p l i n t h
an additional
f i g
ure of a winged cupid supporting a medallion w i t h a
r e l i e f
por tr ai t of the card inal ; above the c lock is a winge d
figure o f
Fame
h old ing a shield emblazoned w i t h th e
car
dinal's arms and t wo cupids ho ld in g up his
tasseled
hat. It
is
dat ed 1712.
T h e same figure o f
Fame
w i t h a shield surmounts a
c l o c k of this mod el that for ms the uppe r section of a
regu-
lateur made
in 1717—18 for the comte de Toulouse and
n o w
in the Musee du Louv re .
2 4
The cresting
here perhaps
represents
Fame
triumphant over Time. A mantel or
table clock of this
series,
moun ted w i t h the arms of the
E l e c t o r o f Bavari a on its stele-like superst ructur e and
housing a movement by Thuret, is in the Zahringer Mu
seum in Baden-Baden.
2 5
T w o distinct models of Ti me are fo und on these
c l o c k s . T h a t
w h i c h
appears, for instance, on the Wallace
C o l l e c t i o n ' s Ma rt in ot clock o f 1726 has the fingers o f the
l e f t ha nd he ld straight and not bent into a fist. T h e w i n g is
longer and
sweeps
farther out at the
base.
Th e draped
c l o t h
does not so f u l l y cover the thighs, and it does n ot
f i l l
a gap between the legs. It has been suggested that the
o r i g i n a l
Gi ra rd on mod el was destroyed i n the 1720 fire,
and that this second model was
made
to replace i t .
2 6
But as
we have
seen,
the Girardon model
s t i l l
existed in 1732.
Nevertheless, the model
w i t h
the extended fingers may be
a later version, and clocks bearing it may w e l l have been
made
in the later
decades
of Boulle's long
career.
M O V E M E N T
Brass
and
i r o n ,
pa rtly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
The movement ( f ig . 4e) consists o f three trains driven
by
mainsprings;
each
tra in runs f or about two weeks. Th e
g o i n g train provides power for the
hands,
w h i c h
indicate
the hours i n ro ma n numerals a nd the minutes in arabic
numerals on the main
d i a l .
The clock strikes every f u l l
hour on one large
b e l l
and
each
quarter hour on two
smaller bells.
Th e goi ng tr ai n has one rota tin g barr el (84),
w h i c h
holds the mainspring and four
p i n i o n
wheels (14/80—
8/72—6/66—6/29), the last being the escape wheel. This
t r a i n is regulat ed by a cr own wheel (verge
escapement)
i n
connection w i t h a pendulum. The pendulum can be
adjusted
w h i l e
the clock is running by
l i f t i n g
or lower ing
it s
s i l k
suspension. The second wheel holds the cannon
p i n i o n
( 36), a par t of the mo ti on
w o r k
(36-36/6-72), and
the min ute hand . The h our wheel (72) holds the h our
hand. The cannon
p i n i o n
(36) rotates once every hour; it
has four pins that release t he
s t r i k i n g
trains every quarter
o f an hour.
M A N T E L
C L O C K 25
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T h i s c l o c k h a s t w o s t r i k i n g
t r a i n s .
T o t h e r i g h t o f t h e
g o i n g t r a i n i s t h e s t r i k i n g t r a i n f o r t h e quarters o f a n
hour . T o t h e l e f t o f th e g o i n g t r a i n i s t h e s t r i k i n g t r a i n f o r
t h e hours. B o t h trains u s e l o c k i n g
plates ( c o u n t wheels).
T h e s t r i k i n g t r a i n f o r t h e quar ter hours ha s a r o t a t i n g
b a r r e l ( 8 4 ) , w h i c h holds t h e m a i n s p r i n g , f o u r p i n i o n
wheels
(14/52-8/72-6/60-6/48)
a n d a f ly
vane
( 6 ) . T h e
t h i r d w h e e l ( 8 / 7 2 ) h a s t w e l v e pins that move t h e s t r i k i n g
hammer.
E v e r y
f u l l
hour t h e l o c k i n g plate o f t h i s t r a i n
releases t h e s t r i k i n g t r a i n f o r t h e hours. T h e second s t r i k
i n g
t r a i n also ha s a r o t a t i n g b a r r e l ( 8 4 ) , w h i c h holds the
m a i n s p r i n g , f o u r p i n i o n wheels
(14/80-7/70-7/66-6/48),
a n d a f l y vane ( 6 ) . T h e t h i r d w h e e l ( 7 / 70 ) h as t e n pins that
move th e s t r i k i n g
hammer.
S t r i k i n g t r a i n f o r t h e
hours
4E T h r e e - q u a r t e r v i e w o f t h e movement .
E X H I B I T I O N S
Paris, H o t e l George V , "Haute J o a i l l e r i e d e France,"
June
11-20, 1 9 7 1 . D e t r o i t I n s t i t u t e o f A r t s , 1972-1973.
N e w Y o r k , F r i c k C o l l e c t i o n ,
French Clocks in North Ameri
can Collections, November 1982-January
1 9 8 3 , no . 3 8 ,
i l l .
p . 4 6 .
P U B L I C A T I O N S
B .
Fredericksen, H . L a t t i m o r e , a n d G . W i l s o n , The
J .
Paul
Getty
Museum ( L o n d o n , 1 9 7 5 ) , p . 1 5 0 ,
i l l . ;
G .
W i l
s o n , " T h e J . Paul G e tt y M u s e u m ,
6
6 m e
p a r t i e , L e s Meubles
Baroques,"
Connaissance des Arts
( M a y 1 9 7 5 ) , p . 1 0 6 ,
i l l . ;
W i l s o n , Clocks, p p . 22-25, n o . 4 , i l l . ; W i l s o n , Decorative Arts
( 1 9 7 7 ) , p . 1 6 , no . 1 7 , i l l . ; A . S m i t h , e d . , The Country Life
International Dictionary
of
Clocks
( L o n d o n , 1 9 7 9 ) , p . 9 0 , f ig .
6 ; W. Edey, French Clocks in North American Collections ( N e w
Y o r k ,
1 9 8 2 ) , p . 4 6 , n o . 3 8 ; M . D . Schwartz, " B o u l l e
Fur
n i t u r e , " Art and Antiques ( A p r i l 1 9 8 3 ) , p . 7 5 , i l l . ; W . Edey,
" T i m e f o r B o u l l e , "
House and G arden
( M a r c h 1 9 8 5 ) , p . 8 2 ,
i l l . ;
Sassoon
a n d W i l s o n , Decorative Arts: A Handbook, p . 3 6 ,
n o . 7 8 ,
i l l . ;
R o n f o r t 1 9 8 6 , v o l . 2 , p . 4 7 8 ;
also
v o l . 1 , p . 4 0 ,
i l l . ;
C .
Bremer
D a v i d e t a l . ,
Decorative Arts,
p p .
85-86,
no . 1 3 2 .
2 6
M A N T E L
C L O C K
S t r i k i n g t r a i n f o r t h e
quar ters
o f a n hour
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P R O V E N A N C E
G r a f Janos P a l f f y ; s o l d , B a d Pistyan (Czechoslova
k ia ) , June 3 0 - J u l y 1 , 1 9 2 4 , l o t 2 8 5 ( i l l . ) . Etienne L e v y 8c
C i e , Paris, 1 9 7 1 .
French
a n d
Company,
N e w Y o r k , 1 9 7 2 .
Purchased b y J . Paul G e t t y i n 1 9 7 2 .
N O T E S
1. O t t o m e y e r a n d Proschel, Vergoldete Bronzen, v o l . 1 , p . 3 8 ,
f i g .
1 . 2 . 1 .
2 . W h e n t h e c l o c k w a s s o l d f r o m t h e c o l l e c t i o n o f
G r a f
Janos
P a l f f y
i n 1 9 2 4 , t h e i l l u s t r a t i o n i n t h e sale
catalogue
s h o w e d
t h a t t h e
scythe
w a s t h e n s t i l l w i t h t h e c l o c k .
3 . E x
c o l l .
S i r V a l e n t i n e A b d y , P . V e r l e t , French Furniture and
Interior
Decoration of the 18th Century ( L o n d o n , 1 9 6 7 ) ,
p. 2 0 2 , p i . 1 7 3. S o l d ,
Sotheby's,
M o n a c o , June 22—23,
1991,101519.
4 . A n d r e - C h a r l e s ¥>ou\\e, Nouveaux Deisseins de Meubles et Ouv-
rages de Bronze et de Marqueterie Inventes et graves par Andre-
Charles Boulle ( P a r i s , n . d . ) , p i . 4 ; reproduced i n J . -P .
S a m o y a u l t , Andre-Charles Boulle etsa famille (Geneva, 1 9 7 9 ) ,
p .
217 , f i g . 9 .
5.
The Genius of Venice
1500—1600, e x h . c a t . ( R o y a l A c a d e m y
o f A r t s , L o n d o n , 1 9 8 3) , p p . 3 3 5 - 3 3 6 , n o . 3 5 .
6 . E x c o l l . D u k e o f D e v o n s h i r e ; s o l d , C h r i s ti e 's , L o n d o n ,
M a r c h 7 , 1 9 8 4 , l o t 3 6 . I l l u s t r a t e d i n O t t o m e y e r a n d P r o
s c h e l , Vergoldete Bronzen, v o l . 2 , p . 4 7 5 , f ig . 4 .
7 . A d r a w i n g o f t h e facade is i n t h e D e p a r t m e n t o f P r i n t s a n d
D r a w i n g s at t h e V i c t o r i a a n d A l b e r t M u s e u m , L o n d o n .
8 . T h e i n v e n t o r y o f objects
destroyed
i n B o u l l e ' s fire, i n c l u d
i n g
a l l t h e w o r k s o f a r t , i s reproduced i n A . d e M o n t a i g l o n ,
"Documents s u r Pierre e t A n d r e - C h a r l e s B o u l l e , ebenistes
d e L o u i s X I I I e t L o u i s X I V . I n c e n d i e d u chantier d u Sr .
B o u l l e , " Archives de VArtFrancais 7 (Pa r i s , 1855— 56) ,
P P - 3 3 4 - 3 4 9 -
9 . Q u o t e d i n J . -P . S a m o y a u l t , Andre-Charles Boulle et sa famille
(Geneva, 1 9 7 9 ) , p . 1 3 7 , n o . 1 7 . S ee also p p . 1 4 , 1 4 7 .
1 0 . S a m o y a u l t (note 9 ) , p . 1 7 2 , n . 1 2 1 .
1 1 .
P . H u n t e r - S t i e b e l ,
ChezElle, ChezLui,
e x h . c a t .
(Rosenberg
& S t i e b e l , I n c . , N e w Y o r k , 1 9 8 7 ) , p . 1 4 , f ig . 3 .
1 2 . E .
Fahy
a n d F . J . B . W a t s o n , The Wrightsman Collection ( N e w
Y o r k , 1 9 7 3 ) , v o l . 5 , p p . 2 8 0 - 2 8 3 , n o . 2 9 .
1 3 . P . V e r l e t (note 3 ) , p . 1 0 5 , p i . 7 1 .
1 4 . H o w e v e r , a d r a w i n g b y G . M . O p p e n o r d i n t h e Cooper-
H e w i t t M u s e u m , N e w Y o r k ( in v .
1911.28229),
shows a
fig
u r e o f T i m e i n t h i s p o s i t i o n . Se e O t t e r m e y e r a n d Proschel,
Vergoldete Bronzen, v o l . 1 , p . 3 4 .
1 5 . F . J . B . W a t s o n , Wallace Collection Catalogues, Furniture ( L o n
d o n , 1 9 5 6 ) , p p . 2 0 - 2 1 , p i . 4 7 , n o . F 4 3 . A s im i l a r m o d e l
w i t h a m o v e m e n t b y L o u i s M y n i i e l w a s s o l d a t
European
F i n e A r t s L i m i t e d , H o n g K o n g , A p r i l 1 3 , 1 9 8 1 , l o t 1 4 7 .
1 6 . R . D o h m e , Moebel aus den koeniglichen Schloessern zu Berlin
undPotsdam ( B e r l i n , 1 8 8 9 ) , p i . 1 5 . T h e face i s s i g n e d
" H e n r y
I l l a i r e ,
B e r l i n . " T h e m o v e m e n t i s n o t s i g n e d .
1 7 . A c c o r d i n g t o U s e Baer, t h e q u a l i t y a n d g i l d i n g o f t h e
feather d i f f e r s c o n s i d e r a b l y f r o m t h e o ther g i l t - b r o n z e
mounts
o n t h e c l o c k a n d i s n o t t h o u g h t t o be a u t h e n t i c .
1 8 . W a t s o n (note 1 5 ) , p p . 1 8 - 1 9 , p i . 4 7 , n o . F 4 1 .
1 9. Palais G a l l e r ia , Paris, June 1 1 , 1 9 6 5 , l o t 2 9 .
2 0 . S a m o y a u l t
(note
9 ) , p . 227 , f i g . 19a .
2 1 . G . d e B e l l a i g u e ,
The James A . de Rothschild Collection at W ad-
desdon Manor: F urniture, Clocks and Gilt Bronzes
( L o n d o n ,
1 9 7 4 ) , v o l . 1 , p p . 4 8 - 5 0 .
2 2 . P r i v a t e c o l l e c t i o n , S a n Francisco, a n d B a r o n G u y d e R o t h
s c h i l d : J . R i c h a r d s o n , " L e S t y l e R o t h s c h i l d , "
House and
Garden
( A p r i l 1 9 8 4 ) , p . 1 1 2 .
2 3 . I n v . 2 5 6 , R o n f o r t 1 9 8 6 , v o l . 2 , p . 4 7 7 , fi g . 6 .
2 4 . I n v . O A 6 7 4 6 ,
w i t h
a m o v e m e n t b y L e B o n , O t t o m e y e r
a n d Proschel,
Vergoldete Bronzen,
v o l . 1 , p . 4 0 , f i g . 1 . 2 . 6 . 1 .
2 5 . O t t o m e y e r a n d Proschel, Vergoldete Bronzen, v o l . 2 , p . 4 7 8 ,
f igs. 7a a n d 7 b .
2 6 . J . M . H u r t , " A n E i g h t e e n t h - C e n t u r y B r o n z e S a t u r n as a
F i g u r e o f T i m e , "
North C arolina Museum
of Art
Bulletin
10, 3
( M a r c h 1 9 7 1 ) , p . 2 2 .
M A N T E L C L O C K 27
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Long-case
M u s i c a l
C l o c k
Fre nch (Paris); circa 1712
Movement b y
Jean-Francois
Dominice
(169 4- die d after 1754)
(see
B i o g . ,
p. 168); musical
movement by M i c h e l Stollenwerck
(circa 170 0-1 768 ; master 1746)
(see B i o g . , p. 195); case at t r ibuted
to Alexandre-Jean Oppen ord t
(1639—1715), possibly after designs
b y G i l l e s - M a r i e O ppe no r d ( 1672 -
1742), w i t h later alterations also
after designs by Oppenord
H E I G H T :
8 ft. 9 in.
(266.7
cm)
W I D T H :
3 ft. 5 in . (104.1 cm)
D E P T H :
1 ft. 3Y2 in . (39.4 cm)
7 2 . D B . 4 0
D E S C R I P T I O N
The clock is d i v i d e d into two parts: a large clock case
above,
w h i c h
contain s bot h the clock and t he musical
movement, and a supporting pedestal, w h i c h houses the
weights and the pend ul um .
A
bronze f igure of Fame
stands
on the domed top of
the clock. O n the canted co rners below, wi ng ed drago ns
ar e seated on an openwork
g r i l l
composed of f l o r a l
swags
and scrolls. Beneath the m, an arched bron ze mold in g
supports at its center Fame's pl um ed he lm et flanked by
crossed tr umpe ts. A t the fou r corners of the
case
are
bronze figures of the Four Conti nents: A f r i c a (fi g. 5a),
Europe
( f i g .
5b), Asia
( f i g .
5c), an d the America s
( f i g .
5d).
T h e d i a l is fo rm ed by
f i v e
enamel segments w i t h hour and
min ute indications, an arched enamel plate for the
equa
t i o n
o f t i m e , a nd a central gilt-bro nze plate w i t h
apertures
f o r
the mon th and the day. Th e
area
below the
d i a l
is
fit
t e d w i t h a brass g r i l l engraved w i t h geometric designs
filled
w i t h alleg orical symbols: Tim e/S atu rn (the Satur-
nian scythe l i n k e d by a small
r i n g
bea rin g zodiacal signs to
th e
serpent
Ouroboros b i t i n g its t a i l ) ; War/Mars (helmets
top ped by dragons); M er cur y (caducei and a win ged hat);
Love/V enus (bows an d quiver s of arrow s); Jup ite r (an
eagle); a
r i s i n g
sun (in the lower central triangu lar car
touche); two small
crescent
moons entwined w i t h oak
leaves
a nd
acorns
(in the lower corners)
( f i g .
5e).
A l l these
symbols correspond more or less to the seven classical
planets.
Between the engraved
g r i l l
and the
area
i n
f r o n t
o f
the comp art men t cont aini ng the musical movem ent is a
small
bronze
p l a t f o r m , w h i c h
supports a
seated
bronze
figure o f A p o l l o , hi s
l e f t
a rm hold i ng a l y r e and his feet
V
28
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5 A A f r i c a 5B Europe
3 0 L O N G - C A S E M U S I C A L C L O C K
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5 C Asia
5 D T h e Amer icas
L O N G - C A S E M U S I C A L C L O C K 3 1
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5E
r e s t i n g
on the dragon Python, whom he slew in his youth
( f i g .
5f). Below the
p l a t f o r m
is the head o f a lau ghi ng
bear ded satyr that part ly covers a panel of brass and tor-
toiseshell marquetry, w h i c h depicts a rocky ground occu
p i e d by a rabbit, a
f l y i n g
b i r d , a nd a dragonfly. Th e lower
corners rest on ram's
heads
and are in the
f o r m
o f
i n v e r t e d consoles set
w i t h
female masks.
Th e int eri or of the clock
case
is veneered
w i t h
mar
q u e t r y o f t o r t o i s e s h e l l
a nd
brass.
The inner surface
o f
the
back door bears marquetry in contre partie composed of
s t r a p w o r k ,
C-scrolls, and tendr ils (fig. 5g). Th e f l o o r is
decorated
w i t h
a panel of f i g u r a l marquetry,
w h i c h
is the
contre-partie
version of that foun d on the
f r o n t
o f
the com
part ment ho using the musical movemen t
( f i g .
5 I1) . At the
i n t e r i o r
corner s are vertic al panels of mar que try com
posed o f simple musical trophies, surm ount ed by contre-
partie
versions of the marquet ry
scenes
foun d on the sides
o f
the music box.
T h e
area
between the clock
case
and the pedestal is
f i l l e d
w i t h
a wood-veneered alcove set
w i t h
short
brass-
f i l l e d
flutes. Th e undersi de o f the
case
is
f i t t e d w i t h
a
w o o d e n
cul-de-lampe decorated
w i t h
bronze
acanthus
leaves and a bronz e pine cone pendan t. Simil ar pendan ts
are attached beneath the sides.
T h e f r o n t and the sides o f the pedestal are venee red
w i t h
brass and red- gro und tortoiseshell in a combina tion
o f
premiere and contre-partie m arquetry. Th e tapering
panel at the f r o n t and the concave panels at the sides are
decorated
w i t h
a Berainesque desig n inc orp ora tin g
s q u i r r e l s ,
bird s, baldachins, an d stra pwork. At the center
f r o n t ,
above a large glazed
v i e w i n g
aperture, is a large
bronze mount centered by a blank cartouche, w h i c h is
decorated at the top
w i t h
a m a n t l i n g o f acanthus leaves. A
crescent moon
decorates
the lower part of the frame of
the apert ure. Br onz e mou nts composed of auric ular
f o r m s
cen ter ed by cabochons are placed at the canted cor
ners
(fig . 5i). Th ey are set over the up per part o f l o n g
pilasters, orna mente d
w i t h i l l u s i o n i s t i c
marquetry canne
lures th at ru n to the base.
T h e
base
of the pedestal is supported by
f o u r
hairy
paws w h i c h are topped
w i t h
acanth us. I n its center is a
large lion's mask, f r o m
w h i c h
depend f i v e guttae.
These
32
L O N G - C A S E
M U S I C A L
C L O C K
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5 G I n t e r i o r surface o f the back door o f the c l o c k case.
L O N G - C A S E
M U S I C A L C L O C K
33
5 F
5 H F l o o r o f t h e c l o c k c a s e ' s i n t e r i o r .
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5 i
m o u n t s a r e a l l p l a c e d o v e r
panels
o f t o r t o i s e s h e l l a n d
brass m a r q u e t ry . T h e w h o l e rests o n a t w o - t i e r e d w o o d e n
p l a t f o r m o f c o n f o r m i n g shape, w h i c h i s p a i n t e d b l a c k
a n d
fitted
w i t h w o o d e n r o l l e r s .
T h e b a c k o f t h e c l o c k case a n d t h e
pedestal
a re
fitted
w i t h
three
d o o r s ,
g i v i n g
access t o t h e m o v e m e n t , t o t h e
m u s i c a l m o v e m e n t b e l ow , a n d t o th e i n t e r i o r o f th e p e d
e s ta l . T h e carcase i s o f b l a c k e n e d o a k .
M A R K S
T h e
d i a l
i s e n g r a v e d Lepaute ( f o r P i e r r e - B a s i l e
L e p a u t e , 1 7 5 0 - 1 8 4 3 ) ; t h e b a c k p l a t e o f t h e m o v e m e n t is
s i g n e d
J .
F . Dominice JParis ( f i g . 5 J ) ; t he o u t s ide o f t h e f r o n t
p l a t e i s i n s c r i b e d
fait
pa r
Stollenwerck
I
da n s
Vabbaye I
St . Ger
main I a
Paris
a n d Bouchez 1829 k 16 avri l le in London ' , t h e
i n s i d e o f t h e f r o n t p l a t e is i n s c r i b e d
II y aDe Lafidelite
I
et
defort bonne idee I dans cet te ouvrage a n d Blaine Jewelers 246
Thomas S t
I
Newport RI
I
CC H 12-2-57
John
Foster; o n t h e
b a c k p l a t e a r e r e p a i r e r s ' m a r k s ,
M8340 BL-12-3-57 CCH
J Foster; t h e b a r r e l o f t h e s t r i k i n g t r a i n ( f i g . 5 k ) is i n s c r i b e d
je suits tres aise que M. Thiery ait repare cette piece en 1754
Thiery n ettoyez Cette piece aux moy de decem bre 1758 Quant a
moi je la netoye et ajoute u n cadr an d'email et des equilles en
1773 mois d'octobre—Lepa ute neveulje suis satisfait d'avoire
netoye
je [ l e ]
repare tout lapand ulle entiere le 15 avrille 1829a
Bouchez a London I W.Jones 2/71 Karrel Solle 1888 208/10/
Cette piece et ete de Montee le 4 Fevrier 1754 par Thiery demeu-
rant aux n . . A/ a diminu yez tous le s petitpignon qui et[?] trop
gr a
. . . [ g r a n d ? ] ; t h e b a c k o f t h e
d i a l
p l a t e i s s i g n e d
e n H
Lepaute 1785
a n d
there
a r e g r a f f i t i o n v a r i o u s
parts o f
t h e
m u s ic a l m o v e m e n t , / o k
Lamb
I
June 26, 1800/Tourbieu
I
BL12-4-57
CCHJohn Foster
I
Newport
I
dBouchez 1829k 16
avrille in London I B L 12-3-57 CCH
John
W . Foster I Newport
R I
I
Netoye en 1773 au m ois d 'octobre par F [ ? ] Lepaute.
F r o m
t h e m a r k s a n d
signatures
o n t h e m o v e m e n t w e
c a n gather t h e f o l l o w i n g : T h e c l o c k w a s r e p a i r e d b y a M .
T h i e r y i n 1 7 5 4 a n d a g a i n b y h i m i n 1 7 5 8 .
1
I n 1 77 3 P i e r r e -
B a s i l e L e p a u t e
changed
t h e
face
a n d t h e hands a n d
c l e a n e d t h e m o v e m e n t .
2
I n 1 7 8 5 P i e r r e - H e n r y , c a l le d
H e n r i - L e p a u t e ,
also
seems t o
have
w o r k e d o n
i t .
B y 1 8 0 0
t h e c l o c k w a s i n E n g l a n d , as i n t h a t year t h e m u s i c a l m o v e
m e n t w a s w i t h o n e J o h n L a m b .
3
A r e p a i r e r c a l l e d
B o u c h e z r e p a i r e d t h e c lo c k i n L o n d o n i n 1 82 9 ( j
u s t
a f t e r
it s sale b y t h e
f irs t L o r d G w y d i r ) .
4
I n 1 8 8 8 , p r e s u m a b l y
a f t e r i t w a s s o ld by t he Marquess o f E x e t e r , t h e m o v e m e n t
w a s i n t h e hands o f K a r e l S o l le.
5
T h e l a te s t i n s c r i p t i o n i s
t h a t o f J o h n Foster o f B l a i n e J e w e l l e r s , w h o c a r e d f o r t h e
c l o c k
i n N e w p o r t , R h o d e I s l a n d , i n 1 9 5 7 .
S t o l l e n w e r c k ' s s i g n a t u r e , w h i c h appears o n t h e m o v e
ment's
f r o n t p l a t e , i n a l l l i k e l i h o o d r e f e r s t o t h e m u s i c a l
m o v e m e n t as J e a n - D o m i n i q u e A u g a r d e ha s p o i n t e d o u t
( se e t h e b i o g r a p h y o f S t o l l e n w e r c k i n t h i s v o l u m e ) .
3 4
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C O N D I T I O N
S m a l l
areas
of tortoiseshell and brass are missing and
were replaced
w i t h
brown mastic and g o l d paint, before
the clock's acquisition by the Getty Mu seu m. The engrav
i n g
of the tortoiseshell was o r i g i n a l l y
filled w i t h
a trans
parent wax m i x e d
w i t h
powdered g o l d . This remains
i n a few
areas
at the
sides
of the pedestal. I t is possible
that this elaborate decorative technique was infrequently
e m p l o y e d a nd has rarely survived the rigors of t i m e . The
bronze mounts are not gil ded .
6
C O M M E N T A R Y
A
careful examination of the clock, w h i c h included
the di sma ntl ing of many o f its moun ts, was carri ed out in
1993 (fig. 5I). As a resul t it was con clu ded that the clock
case
ha d o r i g i n a l l y been constructed to house a short pen
d u l u m movement
w i t h
a compartment below for a musi
c a l movement, the clock case set on the existing pedestal.
I t was later cha nge d t o a long-case mus ical clock
w i t h
a
l o n g
pe ndu lu m and weights housed i n the
f o r m e r l y
empty base. Whe n the engraved g r i l l is remov ed, the inte
r i o r of the case, entirely veneered
w i t h
marquetry of
brass,
ebony, and tortoiseshel l, is v i s i b l e . T he remov al of
the f raming moun t
w i t h
its crescent f r o m th e f r o n t of the
pedestal showed that the v i e w i n g hole for the pendulum
bob had been cut out of the marq uet ry panel. S i m i l a r l y ,
the remo val of the f l u t e d alcove and its cul-de-lampe incor
p o r a t i n g
a pin e cone pe nda nt b etwee n the clock and the
pedestal revealed that part
o f
the marquetry-covered sur
face of the to p of the pedest al h ad been c rud ely cut away
t o
a l l o w
for the swing of the pe nd ul um and the suspen
s i o n
o f the ropes f or the weights, as had the mar que try
f l o o r of the clock case above (see fig. 5I1).
F r o m t he existence o f various drawing s, archival ref
erences,
and similar mounts and m arquet ry foun d on
ot her objects, we can surmise t hat the clock an d the p ed
estal were made by Alexan dre-Jean O pp en or dt before
his death in 1715, and that the alterations were carried
o u t by his son G i l l e s - M a r i e Oppenord after that date.
Th e figures o f the Four Conti nent s on the presen t
c l o c k were cast f r o m th e same modellos as those found on
c l o c k s
bear ing
o v a l
faces at the Arsenal, in Paris; the
W a l
lace C o l l e c t i o n , Lon do n; Waddesdon Man or, in A y l e s
b u r y ,
England; and the
D e t r o i t
Insti tute of A r t s .
Jean
Neree R on fo rt has observed that the modellos fo r these
f o u r
s l i g h t l y later clocks have been elongated at their
bases
to fit a
case
of greater height. Thi s w o u l d lead one to
presum e t hat the Four Conti nents on the clock und er dis
cussion take the o r i g i n a l f o r m o f these mounts.
A t the corners of the pedestals of the aforem en
t i o n e d
series
o f clocks are
l o n g
gilt-bronze mounts,
w i t h
b i f u r c a t e d scro lled tops above acanthus consoles, their
5K
L O N G - C A S E
M U S I C A L
C L O C K 35
5 J
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5 L Th e clock, part ly dism antl ed, as it may have appeared
befor e it was conv erte d i nto a long-case musical clock
by Gilles-Marie Opp en ord at
some
po in t after 1715.
lengths centered by bo un d rods. These mounts, inverted
so that the scrolls f o r m feet and top ped by ho rn ed ram's
heads, are also found at the
f r o n t
corners o f several com
modes,
7
w h i c h Ron fort has attrib uted to Alexandre-Jean
Op pe no rd t, not in g that their surfaces are veneered i n
par t
w i t h
th e same design i n tortoises hell and brass as that
f o u n d on the surface of the desk deli vered by Opp eno rd t
t o
Louis X I V in 1685.
8
A n engravin g by Opp eno rd on the
t i t l e page o f DIXIEME LIVRE des Oeuvres de G.M. Oppe
nord Contenant des Guaisnes et grave par Huquier shows one
side of a pedestal
s i m i l a r l y
decorated w i t h a mount
to ppe d by a ho rn ed ram's head a nd end ing in a large
s c r o l l .
9
The marquetry on the
f r o n t
o f th e pedestal is a contre-
partie
version of that fou nd on the f r o n t o f the tape rin g
pedestal of the A p o l l o clock at Fontainebleau, w h i c h is
a t t r i b u t e d by Ronfor t to Oppenordt.
1 0
Moreover, the
A p o l l o
w i t h
his l y r e , no w
seated
on the small
p l a t f o r m
o f
the Gett y clock, is
cast f r o m
the
same
modello as th e figure
o f
A p o l l o d r i v i n g
the sun-chariot on the Fontainebleau
c l o c k . Mo un te d at the top
o f
the Fontainebleau pedestal is
a larg e gilt -bro nze female ma sk set above a pal met to- li ke
c o l l a r , an d it is
l i k e l y
tha t a simil ar mo un t was once
attached to the Getty Museum's pedestal where a blank
area o f brass of conforming shape is found. Other ped
estals
have appeared on the market in recent years
bear
i n g mar quet ry of the
same
design.
1 1
Th e r emov al of the lion's mask set
w i t h
guttae at the
base
of the pedestal revealed a small panel o f marquetry ,
and it
w o u l d seem
therefore that this mount is probably a
later addit io n. Th e gilt- bronze feet, on the other han d,
appear
to be part of the
o r i g i n a l
con fig urat ion, as the
acanthus leaves co ver sma ll panels o f marquetry that have
been placed somewhat a w k w a r d l y on their sides.
A t
the death of Alexandre-Jean Op pen ord t in 1715,
the empt y clock
case
and its pedestal w o u l d have passed to
G i l l e s - M a r i e Oppenord, who shared his father's lodgings
i n the Louvre and was his sole heir.
1 2
By that
date
G i l l e s -
M a r i e had de sig ned t he Le Bas de Mon tar gi s clock, dat ed
1712 and no w in the Musee Nati ona l des Techniques,
Paris,
13
for
w h i c h
he owned the modellos of the early
rococo corner mo unt s of the stand and o f the cartouche-
shaped m ou nt that fra med the barometer. A dra win g
signed by
G i l l e s - M a r i e
Oppenord for the Montargis ped
estal,
w i t h these
mounts, is in B e r l i n (fig.
5 m ) .
1 4
Casts
f r o m th e modellos were made an d attached to the upp er
par t of the pedestal o f the Museum' s clock. Th e youn ger
Opp eno rd a lso seems to have add ed the lion's mask
w i t h
guttae at the base, the design of
w h i c h
is
t y p i c a l
of the
e a r l y
classical period of his oeuvre.
Wh et he r in ord er t o sell the cloc k, or to keep it fo r
h i m s e l f ( w h i c h was to be the case), Gilles-Marie appar-
36
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e n t l y decided to convert the clock case f r o m a short p en
d u l u m one to a clock w i t h a more
accurate
long
pe ndu l um w h i c h h un g down into the pedestal. I n ord er
t o view the swi ng of the pe nd ul um bo b it was necessary to
cut an apert ure int o the face of the pedestal, rem ov in g
part of the marque try panel. He then fram ed this aper
ture
w i t h
a moun t of his design w h i c h incl uded a crescent
m o o n ,
the wh ole arra nge d in such a way as to f o l l o w , at
it s lower edge, the design of the marqu etry.
1 5
Overlap
p i n g
the top o f the pendulum aperture he added a casting
o f the f orm er fr ami ng moun t of the Le Bas de Montargis
barometer,
w i t h
the open center
filled.
Th e mov eme nt he installe d is by Jean-Francois Do-
m i n i c e , wh o was not active in Paris before about 1721 . I t
includes the indications o f the equation o f t i m e , w h i c h are
not fo un d on Frenc h clocks befor e 1 715- 17. Th e use o f
the long pendulum and weights was certainly the reason
w h y
th e g r i l l , cut and engra ved after a draw in g by Gilles-
M a r i e
Op pe no rd (fig. 5n), was installed below the d i a l to
cover the unsightly ropes and pendulum bar.
16
U n f o r t u
nately this g r i l l also obscures f r o m view not only the mar
quetry in brass and tortoiseshell on the inside surface of
the clock case but also the marquet ry floor and the vertica l
marq uet ry troph ies in the inter ior of the case.
5 M Gilles-Marie Opp eno rd, draw ing for the
pedestal
of a
clock
(Be rlin , Kunstbibli othek, inv. Hdz 6575).
L O N G - C A S E
M U S I C A L
C L O C K 37
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5 N Att rib ute d to Gilles-Marie Oppe nor d, d rawi ng for the
g r i l l
of cat. no. 5 (Ber
l i n ,
Kuns tbiblio thek, inv. Hdz 3986).
Th e musical movement was inserted
i n t o
the existing
comp artme nt. I t was then necessary to change the v e r t i c a l
p o s i t i o n o f one o f the wei ght ropes t o the horizo ntal by
means o f two pulleys.
I n the in ven to ry taken at the death o f Gilles- Marie
Op pe no rd in May 1742 a clock is listed whose descrip tion
fits w e l l
w i t h
the Getty Museum's example: " I t e m une
grande pendule sonnante les
heures avec
c a r i l l o n mar-
qua nt le jo ur s des mo is, le retar d et l'avance du s o l e i l , a
minutes et
secondes, avec
son pied et
boeste
de marq uet-
teri e orn ee de figures, pi lastres et orn emen s de br onze
avec
son cha pit eau de marqu ett eri e or ne aussi de figures
de bronze prisee et estime la somme de six
m i l l e
l i v r e s ,
cy
.
. . 6,000
l i v r e s . "
1 7
W h e n
t he cloc k was sold f r o m the collecti on of
V i n
cent Donjeux in 1793,
1 8
it was descr ibed as being sur
mo un te d by the figure of A p o l lo , w h i c h is now placed,
perhaps
mor e suitably, above the terrace t hat holds t he
P y t h o n
that A p o l l o slew. Wh et he r or not the present po si
t i o n o f the go d is that in ten ded by Op pe no rd is impossible
t o
deter min e. Und ou bt ed ly the figure hides a major p art
o f th e fine g r i l l . Th e height o f the c lock i n 1793 was given ,
v e r y s p e c i f i c a ll y ,
as 8 pieds, 4 pouces. Th e present hei ght of
the clock is a
l i t t l e
higher than the eighteenth-century
measure ment, and this difference can perhaps be
e x p l a i n e d
by the later
a d d i t i o n ,
possibly in London about
1800, of the pine cone pendants, ram's
heads,
and the cul-
de-lampe w i t h its
fluted
alcove, all o f
w h i c h
raise the clock
case
u p f r o m the pedestal somewhat. A l l o f
these
mounts
and the woo den struc ture are of very poo r q u a l i t y . One
assumes that the fluted alcove was add ed to hide bot h
the unsi ghtly hole cut i n t o the top of the pedestal an d
the ropes an d pe nd ul um bar, but it may equally replace
some other o bscu ring device that Gilles -Marie Oppe
n o r d
devised.
M O V E M E N T
Brass and i r o n , pa rtly blue d
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings of the movement.
The movement
( f i g .
50) consists of thr ee trai ns. T h e
g o i n g
t r a i n
is dr iv en by a w e i g h t ; t he s t r i k i n g
t r a i n
and the
38
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50 Three -qua r te r v i e w o f the move ment .
5 P
T he musical t r a i n .
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M u s i c a l t ra in
Going train
m u s i c a l train are driven by mainsprings. Each train runs
f o r
abou t one week. The goi ng tr ain provides power f or
th e
hands, w h i c h
indicate the hours in ro ma n numer als
and the minut es in arabic numerals o n the mai n d ia l .
There are two subsidiary dials
w h i c h
indicate the
days
o f the mo nt h at V I and the days of the year at X I I ; a
t h i r d
subsidiary
d i a l
indicates the equation of time ( ± 1 6
minutes) during the year. The clock strikes the
f u l l
hours
o n
on e b e l l . The musical tr ai n runs every hour, or
o n
demand.
The going train has one barrel that carries the weight
( 8 4 )
and four
p i n i o n
wheels (18/56-8/64-8/60-8/30), the
last being the
escape
wheel. This train is regulated by an
anchor
escapement
in connection w i t h a seconds pendu
l u m . Th e arbor of the t h i r d wheel holds a wheel (60) that
drives the motion
w o r k , w h i c h
is divided into two parts:
one drives the hour hand (60—60/6—72) and the other
the minute hand (60-6 0-60 ). The
escape
wheel holds
the second han d. Th e arbo r of the hou r wheel also
car
ries a wheel (30) that drives the mont hl y calendar (3 0-
6 0 / 1 - 3 1 ) .
The mot ion
w o r k
releases
th e
s t r i k i n g
train
every hour.
T h e
s t r i k i n g
t ra in is to the l e f t o f the goin g
t r a i n .
It is
d r i v e n
by a mai nsp ri ng and con tro lle d by a count wheel
( l o c k i n g
plate). I t has a rot ati ng bar rel (84),
w h i c h
holds
the mainspring, four
p i n i o n
wheels (12/7 2-8/ 60-
6/54—6/54), an d a fly vane (6) . T h e t h i r d wheel (8/60) has
ten pins that move the
s t r i k i n g
hammer. T he count wheel
carries on its arbor another wheel that drives the indica
t o r
for the
days
of the year and the mechan ism f or the
equation (14-70/13-26/1-73).
The musical train
( f i g .
5p) is driven by a weight and is
released
by the going train every hour. This train has a
b a r r e l
tha t carries the we ight (84), three
p i n i o n
wheels
(20/80—10/72—8/60—6/60), and a fly vane (6). The t h i r d
w h e e l (72) drives the pin cylinder,
w h i c h
has ten tracks
that release th e
s t r i k i n g
hammers.
Seventeen
hammers
and ten bells
a l l o w
fo r the pla ying of twelve melodies
(chosen manually).
P U B L I C A T I O N S
B .
Fredericksen, H . Latt imor e, and G.
W i l s o n , Th e J .
Paul
Getty Museum
(L on don , 1975), p. 151,
i l l . ;
G.
W i l s o n ,
Clocks,
pp. 26-33, no. 5,
i l l . ;
Wilson, Decorative
Arts
(1977),
p . 23, no. 28,
i l l . ;
Sassoon and
W i l s o n , Decorative Arts: A
Ha n db ook , p. 37, no. 80,
i l l . ;
Ro nfo rt 1986, vol. 2, p. 491 .
Bremer
D a v i d
et al.,
Decorative Arts,
p. 84, no. 130; J. N .
R o n f o r t ,
"Vi e et oeuvres retrouvees d'Alexa ndre-J ean
Oppenordt (1639-1715)," LEstampille (forthcoming).
E X H I B I T I O N S
D e t r o i t
Inst i tu te of
A r t s ,
1972—1973.
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P R O V E N A N C E
Probably in the
possession
o f Gi l l es -Mar ie O p p e n o r d
until his d e a t h in 174 2. (?)
V i n c e n t
Do n jeu x
[dealer] , sold,
Paris, A pr il 29, 1793, lot 562. Peter Bur rel l, 1st Lo rd
Gwydi r ,
G r i m s t h o r p e Castle, Cokayne; by
descent
to
Peter
Bur re l l , 2nd Lo rd
G wydir , sold,
Christie's,
L o n d o n ,
M a r c h 11-12 , 1829, l
o t 1 0
3>
t o
Samue l Fogg [dealer] ,
L o n d o n ,
fo r 147 guineas.
19
W i l l i a m
Alleyne Ceci l ,
3rd
Marques s o f E xe te r ; by descent to Br o wn l o w Hen ry
George , 4 t h Marques s o f Exeter , B u r g h l e y H o u s e ,
2 0
sold,
Chris t ie ' s ,
L o n d o n ,
J u n e 7-8, 1888, lot 26 1,
2 1
sold
to
Char le s Davis [ d e a l e r ] , Lo n d o n , for 1,655 guineas. Co r
nel ius Va n d e r b i l t I I , New York. Wil l iam K. Va n d e r b i l t I I ,
New York.
Countess
Laszlo
Szechenyi,
nee Gladys
Van
derb i l t , New Yor k and T he Breakers , N e w p o r t , Rhode
I s l an d (circa 1 9 2 6 -2 7 ) . Ros enbe rg an d Stiebel [dealers],
New York, 1971.
F ren ch
an d
Co mp an y ,
New York. Pur
chased
by J.
Pau l
Get ty i n 1972.
N O T E S
1. Probably Jean-Baptiste Thi ery , wh o l i v e d and wo rke d in
the rue Saint-Denis in 1780 w i t h the clock-maker L i g e r
( A r c h i v e s
de la Seine, cart. 55, balance
sheet
of Seig-
neuret , Mar ch 20, 1780) . Inf orm ati on provi ded by
Jean-
Domin ique
Augarde. See also Tardy, Dictionnaire des Horlo-
gersFrangais (Paris, 1972), p. 61 1.
2 .
I t is l i k e l y that the replaced enamel d i a l by Lepaute is a
copy of an o r i g i n a l d i a l ma de o f carton. Th is delicate mate
r i a l
was used by clock- makers f r o m tim e to ti me bu t has
rare ly surviv ed. A long-case clock w i t h a similar movement
b y
Dom in ic e was sold in Paris in 1984 ( N i c o l a y , July 11,
no. 86). It
possessed
a d i a l of the
same
confi gurat ion in
car ton. I thank Jean-Dom inique A ugard e for this
i n f o r m a t i o n .
3. Thr ee Jo hn Lambs are listed in G. H .
B a i l l i e ,
Watchmakers
and Clockmakers of the World, 3rd ed. (London, 1966),
p .
186. On e l i v e d in Fetter Lane in 1775, another in New
ma n Street in 1820, and a t h i r d in Cockspu r Street a rou nd
1830.
4 .
Probably W. Boucher, wh o was
w o r k i n g
at 4 Lon g Acre ,
L o n d o n , in 1820 . See F.J.
B r i t t e n ,
Old Clocks and Watches
and
their
Makers ,
7th ed. (Lon don , 1956), p. 338.
5. See the cat. no . 21 , not e 1.
6. Bron ze moun ts often were not gild ed but were instead
dip ped i n acid to prod uce a g o l d - l i k e color and then lac
quered. The
process
was called mise en couleur d'or.
7. See cat. no . 21 , not e 8.
8 . J. N. Ronfort ,"Le mobil ier royal a l 'epoque de Louis
X I V ,
1685, Versailles et le Bureau du R o i , " LEstampille ( A p r i l
1986), pp.
4 4 - 5 1 .
9. Th e engr avin g is illus trat ed in Christie's, Lon do n,
June
15^ 99 5 >
l o t
SO-
i o . A. Guerinet , ed. , Les Palais de Fontainebleau, vol. 4, Les
Bronzes , Objets d'Art etc. (Paris, 1908), t i t l e page, and Tardy,
La Pendule f rangaise, iere partie, des origines au Louis XV
(Paris, 1974), p. 110. Th e clock has a mov em ent by
M y n u e l .
1 1 . Christie's, Lo nd on , Decemb er 3, 1981, lot 85. See also
another pair on the Paris market in 1992.
12. A . N . , M i n . ,
I V ,
412, Acte de Notorie te, February 28, 1720,
indicates that no inve ntor y was made: I I n'a ete f a i t aucun
inventaire et qu'ils [ses parents] n'ont laisse pour leur seul
et uni que her itie r que Sieur Gilles Mar ie Op pen or d, le ur
f i l s , dir ect eur gen eral des Bat ime nts et Jard ins d e S. A. R.
Mons eign eur le due d'Orleans, Regent du Royaume."
13. Ron for t 1986, v o l . 2, p. 486,
f i g .
12.
14. Inv. Hd z 6575. See E. Berckenha gen, Die Franzdsischen
Zeichnungen der KunstbibliothekBerlin ( B e r l i n , 1970 ), p. 176.
15. Th e promi nen ce on the pedestal of the bronze
crescent
moon ,
th e m i l i t a r y and re ligious symbol of the O tto man
T u r k s ,
ma y indica te that the clock was
o r i g i n a l l y
intended
f o r export to the
M i d d le
East,
w h i c h
throughout the e igh
teenth century was a good market for clocks
made
in Paris.
A s imilar
crescent
is included in the marquetry in the
design by Oppenord for the Le Bas de Montargis pedestal.
Th at pa rt of the design was not carrie d out, and the
moon's
presence
in the draw ing and on the Getty
Museum' s clock may be coincidental.
16.
See Berc kenh age n (n ote 13), p. 172 (inv. H dz 3986; not
i l l u s t r a t e d ) . T he dra wi ng is described as possibly having
been
ma de
for a
c e i l i n g .
We are grateful to the late Bruno
Pons
for ha ving brough t this draw ing to our a t tent ion.
17. A . N . , M i n . , IV , 517. See also the partage o f Septem ber 25,
1749
( A . N . , M i n . ,
V , 450) .
18. Paris, A p r i l 29, no. 562: "Un e grande pe ndule a
secondes,
dans
sa boete, enrichie des 4
heures
d u j o u r ; le hau t cou-
ronne par un f igure
d ' A p o l l o n ;
le corps, en gaine est e n r i
chie d 'ornemens de genre chantour ne et posant sur qua tre
g r i f f e s de
L i o n .
Le tou t eleve sur un socle de bois n o i r c i .
Haut 8 pieds 4 p. l a r g . 2 pieds." It seems that the Four
Conti nents were misun ders tood by the cataloguer, who
took th em fo r the Ho ur s of the Day.
19. Th e entr y in the G y w d i r
sale
catalogue
reads:
"A Superb
Parisian Clo ck abou t eigh t feet h i g h , the upp er part sup
por ted by caryat id figures representi ng the four quarters
o f the globe, the lowe r part enr iched w i t h foliage in s c r o l l
w o r k , and the brass w o r k i n h i g h relief. " Th e
sale
was held
after the death, in 1828, of L o r d Gwydir ' s w i f e , Lady
W i l -
lou ghb y de Eresby.
20. Acc ord ing to Joh n Culverhouse, the adminis tra tor of
Burghley House (correspondence w i t h G i l l i a n W i l s o n ,
July 9, 1993), inventor ies of the house in that per iod w ere
ma de o n l y for the years 1796 and 1892. Thus the clock
does no t appear in either of these, having been acquire d
about 1829
a n
d sol d in 188 8.
2 1 . Th e Marchiones s of Exeter, w i f e of the 2n d Marquess, was
present at the G w y d i r
sale
since lots 16 and 24 were sold to
her. I n the Exeter
sale
catalogue the clock is ill ust rat ed and
described as f o l l o w s : "A Louis X I V clock, in case of re d
B o u l l e , the upper part supp ort ed by caryatid figures rep
resenti ng the fou r quarters o f the globe, the lower part
en r iched w i t h s c r o l l fol iage of or-m oul u in h i g h relief—
8 feet
h i g h . "
We are grate ful to H ug h Roberts for supply
i n g this info rma tion .
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W a l l
C l o c k
French
( C h a n t i l l y ) ;
circa 1740
M o v e m e n t by Charles
V o i s i n
( 1 6 8 5 - 1 7 6 1 ; master 1710) (see
B i o g . ,
p. 199);
case
made at the
C h a n t i l l y porcelain manufactory
H E I G H T : 2 ft. 5V2 in . (74.9 cm)
W I D T H : 1 ft. 2 in . (35.6 cm)
D E P T H : 4
3
/8 in . (11.1 cm)
8 1 . D B . 8 1
D E S C R I P T I O N
T h e
w a l l c l o c k
is composed of C h a n t i l l y soft-paste
p o r c e l a i n , fired i n two sections. A wi ng ed dr ag on is set
above the
d i a l
(fig. 6a),
w i t h
its t a i l extending down the
r i g h t
side, en di ng below i n a
flourish.
A
goose perches
at
uppe r
l e f t
( f i g . 6b). A monkey sits below the
d i a l
among
branches
o f
leaves an d flowers w h i c h f o r m the entire mass
o f
th e
c l o c k
case
( f i g .
6c). He is held in posi tion by a
brass
clamp around his r i g h t leg, w h i c h attaches to a
brass
plate
that forms the back of the clock. A n und ula tin g g i l t -
bronze garland
o f
leaves and berries surrounds the entire
c l o c k , w h i l e the r i m of the d i a l is set a l l a round
w i t h
single
g i l t - b r o n z e flowers backed by leaves. There is a pierced
c i r c u l a r d oor mo unt ed in the back of the case w h i c h gives
access to the movement.
M A R K S
Th e di al is
pa in ted
i n black
C H A R L E S V O I S I N A P A R I S ,
and t he back plate o f the mo vem ent is engrav ed C
les
Voisin
JParis ( f i g .
6 d). One o f the ma in wheels o f the m ovem ent
is
engraved
w i t h
a number of i n s c r i p t i o n s , most of w h i c h
are indecipherable, but the words Nettoyez and Netoy can
be read, as can the dates 1756, 1768, 1817, an d 1854
( f i g . 6e).
C O N D I T I O N
Considering
the extreme
f r a g i l i t y
of the porcelain
elements, the case is in remarkably f ine
c o n d i t i o n .
The
edges of a few of the petals an d leaves are chipped, but
there are no major losses.
V
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44
W A L L C L O C K
6 A
6 B
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C O M M E N T A R Y
T h e c l o c k , o f a t y p e s o m e t i m e s k n o w n as a
pendule
d'alcove, h a s a s t r i k i n g m o v e m e n t t h a t c a n b e a c t iv a t e d t o
t h e nearest q u a r t e r h o u r b y
p u l l i n g
a s t r i n g w h i c h p r o
trudes t h r o u g h t h e p o rc e l a i n
case
at th e b o t t o m r i g h t . I n
t h i s w a y o n e c o u l d t e l l t h e t i m e i n th e d a r k w i t h o u t l i g h t
i n g
a c a n d l e . C l o c k s b e a r i n g s u c h d ev i c e s w e r e o f t e n h u n g
i n b e d alcoves—hence t h e i r name.
T h e p o r c e l a i n
case,
w h i c h is t i n g l a z e d , w a s
made
a t
t h e C h a n t i l l y m a n u f a c t o r y . T h e f a c t o r y w a s
se tup
i n 1 7 2 5
b y
L o u i s - H e n r i , d u e de B o u r b o n a n d se v e n t h p r i n c e d e
C o n d e . I t w a s g i v e n a r o y a l c h a r t e r i n 1 7 3 5 a n d o p e r a t e d
u n t i l 1 8 0 0 . I t s
f i r s t
d i r e c t o r w a s C i q u a i r e C i r o u ; u n d e r h i s
d i r e c t i o n , t h e f a c t o r y e x c l u s i v e l y used a n opaque t i n g l a z e
r a t h e r t h a n t h e t r a n s l u c e n t l e a d g l a z e c o m m o n l y
used
a t
o t h e r F r e n c h p o r c e l a i n m a n u f a c t o r i e s . T h i s p r a c ti c e h a d
a l m o s t ceased b y C i r o u ' s d e a t h i n 1 7 5 1 .
T h e p r i n c e d e C o n d e h a d a l a r g e c o l l e c t i o n
o f Japa
nese p o r c e l a i n , a n d t h e e a r l y wares o f t h e f a c t o r y o f t e n
c o p i e d Japanese f o r m s a n d d e c o r a t i o n . I t i s p o s s ib l e t o
see a l i n g e r i n g i n f l u e n c e o f t h e O r i e n t i n t h e case o f t h e
G e t t y M u s e u m ' s c l o c k , w i t h i ts e x o t i c d r a g o n a n d m o n k e y ,
t h o u g h i t i s
also
t r u e t h a t these an i m a l s a re o f t e n f o u n d a s
elements o f t h e r o c o c o r e p e r t o i r e . S u c h a n i n g e n i o u s a n d
e x u b e r a n t p i e c e m a y w e l l have been made as a special
c o m m i s s i o n f o r t h e
chambre a coucher
o f o n e o f t h e m e m
bers o f t h e C o n d e
f a m i l y
a t t h e C h a t e a u d e
C h a n t i l ly ,
or a t
t h e Palais d e B o u r b o n i n P a r is .
O T H E R
E X A M P L E S
O n l y
o n e o t h e r F r e n c h w a l l c l o c k w i t h a case
made
w h o l l y
o f C h a n t i l l y p o r c e l a i n i s k n o w n t o e x i st . F o r m e r l y
i n t h e c o l l e c t i o n o f M r . a n d M r s . Jack L i n s k y , i t i s n o w i n
t h e M e t r o p o l i t a n M u s e u m o f A r t , N e w
Y o r k.
1
T h e
case,
w h i c h
is c o n s i d e r a b l y s m a l l e r t h a n t h e G e t t y M u s e u m ' s
e x a m p l e , i s s e t
w i t h
three Chinese f ig ures , a n d i t s m o v e
m e n t i s b y E t i e n n e L e
N o i r .
A l s o a t t h e M e t r o p o l i t a n M u s e u m is a m a n t e l c lo c k
made
o f C h a n t i l l y p o r c e l a i n .
2
T h e case o f t h i s c l o c k c o n
sists
o f t w o o r i e n t a l fig ure s s u p p o r t i n g a p o r c e l a i n d r u m
W A L L
C L O C K 4 5
6 c
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6F
T h r e e - q u a r t e r
view of the
movement .
6 E
Ma i n whee l
w i t h
signatures a nd dates inscribed by var
ious
repairers .
that holds the movement. The d i a l ,
w h i c h
is also of Chan
t i l l y porcelain, appears to be unique.
Other clocks w i t h porcelain cases are kn own , but they
were mainl y prod uced by German manufactories. One of
the earliest was
made
at Meissen in 1727 by Fritzsche and
K i r c h n e r .
3
Ano ther , made at Frankenthal by J. W. Lanz i n
1760, is in the high rococo style.
4
Such clocks were also
produced in faience, notably at Strasbourg .
5
T h e
Sevres
manufactory produced at least one porcelain clock
case
in
the late rococo period—a tall-legged mantel clock
made
f o r Mad ame de Po mpa dou r in the early 1760s as par t of
a garni ture.
6
I n later
decades
the manufactory
made
a
number of biscuit clocks in the Neoclassical style.
M O V E M E N T
Brass
and
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of
the movement.
The movement ( f ig . 6f) consists of two trains driven
by
mainsprings. The going
t r a i n , w h i c h
runs for about a
week, provides power for the
hands, w h i c h
indicate the
hours i n ro ma n numerals and the minutes in arabic
numerals on the main d i a l . This type of
s t r i k i n g
train is
c a l l e d
a repeating
t r a i n .
It is not released by the going
t r a i n
but is loaded by
p u l l i n g
on a stri ng. Th e hours are
6
D
46
W A L L
C L O C K
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C l o c k and Barometer
o n Brackets
Fr enc h (Paris); circa 1755
(barometer), circa 1758 (clock)
Movemen t by
Jean R o m i l l y
(1714—1796;
master
1752)
(see
B i o g . ,
p . 193); maker o f the
modern mechanism of the
baromete r
unk now n;
cases
of both
c l o c k
and
barometer
attributed to
Charles Cressent
(1685-1768);
bracket o f clock by
Jean-Joseph
de
Saint-Germain (1719—1791;
master
1748); bracket of
barom eter
probably by Saint-Germain
7 1 . D B . 1 1 5 (clock)
7 1 . D B .
116 (bar omete r)
C l o c k :
H E I G H T :
2 ft. 8V2 in . (82.5 cm)
W I D T H : 1 ft. 4 in . (40.7 cm)
D E P T H :
8 in . (20.3 cm)
Bracket:
H E I G H T : 1 ft. 5 in . (43.2 cm)
W I D T H : 1 ft. 6 V
2
in . (47.0 cm)
D E P T H : 7 7
2
in . (19.1 cm)
O V E R A L L
H E I G H T :
4 ft. 1 V in.
(125.7 cm)
Barometer:
H E I G H T : 2 ft. 10 in . (86.2 cm)
W I D T H : 1 ft. 3 in . (38.1 cm)
D E P T H : 7 V
2
in . (19.1 cm)
Bracket:
H E I G H T : 1 ft. 5 in . (43.2 cm)
W I D T H : 1 ft. 6 in . (45.7 cm)
D E P T H :
7 7
4
in . (18.4 cm)
O V E R A L L H E I G H T : 4 ft. 3 in.
(129.4 cm)
48
V
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5<3 C L O C K A N D B A R O M E T E R
7 A
7 B
7c
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7D
D E S C R I P T I O N
Barometer
Th e entir e facade o f the
case
is mad e o f one piece of
g i l t bronze. The sides and the top are veneered
w i t h
brass
sheets. T h e carcase is o f wh it e oak, pain ted an d stained
black. S urm oun tin g the whole is a gilt-bronze flying cupid
( f i g . 7a), above an open b e l l
case
capped by a lunette dec
orated
w i t h
repeating cabochons on a rosetted
g r i l l
that
radiates f r o m a central pal mette.
The enamel d i a l is covered by a convex glass to w h i c h
is attached a second manual ly operat ed han d w h i c h
serves as an indicator of past barometric pressure. To
either side of the d i a l is a border filled
w i t h
a repeating
tongue m o t i f , overl aid at its
edges
by
floral
pendants.
B e l o w th e d i a l is a female mask topped by a shell
m o t i f
( f i g . 7b). To either side of the mask are g r i l l s of rosetted
t r e l l i s . T h e case is support ed o n i n c u r v i n g legs decorated
w i t h
rushlike leaves that are set on small C-scrolled feet.
T h e sides of the barometer case are main ly occupied
by
panels of pierc ed
t r e l l i s
simi lar to
those
at the
f r o n t
( f ig .
7c ) .
Below , at the l e v e l of the legs, are plac ed larg e leafy
rosettes. Pendants o f flowers above ru sh li ke leaves outlin e
the back edge. The back is
f i t ted with
a hinged and
latched door. Th e int eri or of the oak carcase has been cut
away to provide
space
for the swing of a pe ndu lum —th e
case having o r i g i n a l l y been that o f a clock. Th e wo oden
d i v i s i o n between the large and small int eri or compar t
ments has been cut to a l l o w passage for the arm of a be l l
hammer. The b e l l
w o u l d
have been hous ed in the u pp er
compartment.
C l o c k
A l t h o u g h th e case is of the
same
f o r m as tha t of the
barom eter it has been cast f r o m entir ely diffe rent models.
I t differs
p r i n c i p a l l y
i n the f o l l o w i n g areas: The lun ette of
the top is not cast
w i t h
repeating cabochons, and the
pierced area below is filled
w i t h
a symmetri cal spray of
acanth us leaves rather than a
t r e l l i s
g r i l l . To either side of
th e d i a l a flame
m o t i f
replaces the tongue border, w h i l e
this
m o t i f
is also fou nd on the in ne r surfaces o f the legs.
O n th e sides of the clock case the pier ced panels are
f o r m e d
o f shell, rosettes, leaves, flame bord ers, strap-
w o r k , and cabochons, rather than the simpler panel of
t r e l l i s ( f i g . 7d).
Brackets
T h e v i r t u a l l y i denti cal gilt- bronze brackets are o f
asymmetrical f o r m a nd comp osed o f C- and S-scrolls,
auricular fo rms , gui ll och e, an d flamelike m o t i f s . Apart
f r o m
the central cockerel, each is cast as one pi ece of
bronze. The upper
f r o n t
corners are provided
w i t h
short
pins w h i c h insert
i n t o
th e f r o n t legs o f the case above.
C L O C K
A N D B A R O M E T E R 51
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M A R K S
Barometer
T h e d i a l is signed D I G U E A P A R I S ; there are no other
marks o r signatures.
C l o c k
The bracket is signed S T .
G E R M A I N ( f i g .
7e), th e d i a l
is e n a m e l e d
R O M I L L Y A P A R I S ,
and the movement i s
engraved Romilly
JParis
( f i g .
7f ). Each of the attached
g i l t -
bronze elements,
i n c l u d i n g
that f o r m i n g th e f r o n t of the
case, is stampe d on its back
w i t h
the letter E. The
carcase
o f
the clock bears two red wax
seals,
th e l e t t e r i n g o n w h i c h
is indecipherable.
T h e
spr ing
o f
the going t r a i n
o f the
movem ent is inscribed Blakey 1758
( f i g .
7g). As the move
ment
appears
to be o r i g i n a l to the case, th e
case
w o u l d
most l i k e l y also have been made
i n
that year. Th e
f r o n t
plate is inscribed H L a
Cobiel
aufermye 91
I Willard Murs
1851
A.J. Noordanus Los Angeles 24 Mar 19J6
C O N D I T I O N
The barometer
an d i t s
enamel
d i a l
a re
modern
replacements; t h e latter is possibly a copy o f an
eighteenth-century o r i g i n a l . These alterations were
made under th e direc tion of the Duveen brothers, deal
ers who acquired the present case and barom eter in 1933
t h r o u g h
B. Fabre, Paris. The ir int ent io n was to convert it
i n t o
a baromete r to f o r m a pair
w i t h
the clock, w h i c h they
had sold
to
Ann a Tho mso n Dodge
a
year earlier.
B o t h
were to be placed i n t h e entrance
h a l l
o f Rose Terrace,
M r s . Dodge's newly constr ucted house i n Grosse Pointe
Farms, M i c h i g a n .
1
C O M M E N T A R Y
The design a n d manufacture o f t h e
case
o f the
barometer is
t r a d i t i o n a l l y
given to Charles Cressent. A
case
of the same model as the Museum's barometer
case
is
described by Cressent i n the catalogue f or the aucti on of
his works i n 1757 as "une pend ule a face d e bronze sur
son pied tout de bronze; elle est coeffe d'un enfant sur un
nuage; a u pied, i l y a deux dragons,
avec
une tete d e l y o n
q u i sort par
u n t r o u .
O n laisse aux curieu x
a e n
dir e leu r
sentiment; doree d ' o r
m o u l u , avec
son mouvement; d e
quatre pieds
d e
hauteur."
2
I t is
possible that
th e
model
first
app ear ed i n the early 1730s. I n 1733 various works
were confiscated
f r o m
Cressent's
workshop
by the
cor
p o r a t i o n
o f
fondeurs-ciseleurs, and i t is probabl e that it is
t h i s
mode l w h i c h is described in thei r proces verbal as f o l
l o w s :
"une porte d e pendulle de cuivre dore d 'or
m o u l u ,
avec
sa lunette
aussy
d e cuivre dore d 'or m o u l u , la char-
niere d e ladit e lunet te, quatre bout s de moulure , une
f a u x , le s deu x pieds d e deriere
avec
l es deux chuttes d e
l a d i t e pendulle, la nuee
et
l 'enfant pou r mettre dessus,
le
t o u t de cuivre dore d'or
m o u l u ,
plus le pied de ladite pen
d u l l e
d e
cuivre dore
d ' o r
m o u l u . "
3
T h e
bracket
w h i c h
52
C L O C K
A N D
B A R O M E T E R
7 E
7
F
7G T h e spr ing of the going tra in,
signed
Blakey 1758
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7 H Mauric e-Quentin de La Tour, Portrait of
Gabrie l Bernard
de Rieux,
1739—1741
(JPGM, acc. no. 94.PC.39); detail showing a clock of
s i m i l a r
model to the Getty Museum's clock.
C L O C K A N D B A R O M E T E R
53
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T h e
back
o f the c l o c k case.
7J T h e back o f the barometer case.
7 K
D e t a i l of the
back
of the
barometer
case
showing
th e t r i - l o b e d
cul-de-lampe.
54
C L O C K A N D B A R O M E T E R
7 1
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suppor ts t he Muse um's clock is stamped by
Jean-Joseph
de Saint-Germain.
4
Jean-Domin ique Auga rde has sug
gested that Sai nt-G ermai n was responsible for the design
and ex ecuti on of the clock
case
as
w e l l .
5
But this seems
u n l i k e l y as a clock of this model
appears
in the back
g r o u n d
o f the large pastel po rtr ait of Gabri el Ber na rd de
R i e u x
by Maur ice- Quent in de la Tou r ( f i g . 7 I 1 ) , w h i c h was
e x h i b i t e d i n the Paris Salon of 1741 and may have been
executed as early as 1739, when Rieux inherited the
estate of his father, Samuel Bernard.
6
I n 1741 Saint-
G e r m a i n
was
o n l y
twenty-two years ol d. In addit ion,
a l t h o u g h
a nu mb er o f the other brackets are stamped
w i t h Jean-Joseph de Saint-Germain's mark none of the
other
cases
are, although two examples do
bear,
on their
w o o d e n carcases, the stamp of his ebeniste father Joseph
de Saint-German, possibly struck in his capacity as a
restorer.
7
Giv en the evidence of the above-mentioned La
T o u r por tra i t , i t w o u l d seem that Cressent had pr oduce d
a rew ork ed set o f casting models fo r the clock, inco rpo
r a t i n g
st ylish rococ o flouri shes, as early as the late 1730s.
Th e gilt-b ronze facade o f the Museum's barom eter
case
differs in two ways
f r o m
all the other
cases
of this
m o d e l , w h i c h are considerable in numb er. Th e cul-de-
lampe below the mask is not trilobate but
f o l l o w s
exactly
th e
m o t i f
fou nd in the
same
posit ion on the Museum's
updated clock case. T h e
f r o n t
legs, instead of taking the
f o r m of small stemlike feet f r o m w h i c h spring palm
leaves, are i n the f o r m o f C-scrolls, as fo un d on the clock
case. These two d i f f e r i n g element s have no t been braze d
ont o the facade bu t are part of the whole cast. No other
Cressent
case
of this earlier model
bears
either of
these
t w o features. Possibly it represents an
i n i t i a l
stage in the
e v o l u t i o n
of this model,
w i t h
the casting models for the
w h o l e
case
bei ng rewo rke d soon after.
Further differences between the Getty clock and
baro mete r can be observed both in the constru ction of
t h e i r wooden carcases and in the f inishing of some of
t h e i r mounts,
w i t h
th e
carcase
of the s ty l i s t i c a l l y earlier
baro mete r bei ng compo sed o f a greater n umb er of pieces
less t i g h t l y j o i n e d ( f ig s . 7i and j ) . This case is also mar gin
a l l y wider at the waist and s l i g h t l y narrower above and
b e l o w .
Th er e is also evidence th at it may have once been
fitted w i t h
another g ilt-b ronze facade—perhaps in the
process of exper iment atio n—as there are at least three
screw holes for attachment w h i c h now serve no purp ose.
Th e part of the carcase that backs the cul-de-lampe is t r i
lobate ( f i g . 7k), thus
f o l l o w i n g
th e outli ne for the o r i g i n a l
cul-de- lampe of this mod el. Possibly in the construc tion of
these
clocks the
carcases
were made i n groups ,
w i t h
some
b e i n g
kept in reserve f or late r use. O n the barom eter' s
case
the cupid lacks chasing and exhibits the
same
smoothne ss as the brac ket; thi s too may be the result of
t h i s practice.
O T H E R E X A M P L E S
A large num ber o f such cases exist, all mounted
w i t h
clock movemen ts an d most
w i t h
brackets either of
Cressent's
i n i t i a l , essentially symme trical , design inco r
p o r a t i n g
drag ons and a lion's head (as described i n the
catalogue of the 1757 sale), or
w i t h
the Saint-Germain
v e r s i o n
composed of asymmetrical scrolls
w i t h i n
w h i c h a
c o c k e r e l
is perched. Examples that have
cases
similar to
the earlier "barometer"
case
inc lud e a clock i n the collec
t i o n o f
N e i l
P h i l l i p s , New Y o r k (sold, Sotheby's, Lon do n,
1 9 6 4 , June 5, lot 24),
w i t h
a movemen t by Etienn e B a i l l o n ,
w h i c h has a
case
and bracket struck
w i t h
crowned C tax
stamps that date th em precisely betw een 1745 an d 1749.
The bracket of this clock, though
f o l l o w i n g
th e Cressent
desig n, is cen ter ed no t by a lion's head bu t
w i t h
th e same
c o c k e r e l
that
appears
on the Saint-Germain bracket.
8
The
c u p i d holds a bow w h i c h probably replaces a scythe, or
f laming
t o r c h .
A clock in the G rog- Carv en collect ion,
Musee du Lo uv re, has the Cressent bracket and a move
ment by Audinet .
9
A clock in the Musee des
A r t s
De -
c o r a t i f s
has the
Cressent
bracket.
1 0
A clock i n the Chat eau
de Versailles, w i t h a movement by B a i l l o n , was delivered
t o Versailles i n Febr uar y 1745 for the chambre a coucher o f
the Daup hi ne Marie-T heres e of Spain and described in
th e
Journal
of the Garde -Meub le de la Cou ron ne u nde r
n o . 42.
1 1
A clock sold anonymously in Paris (Galerie
Georges Petit,
June
17, 1921, lot 9 1 , and late r at the Gale
r i e Charp enti er, M ar ch 29, 1955, lot 75) has the Cressent
bracket and a d i a l sign ed "Gu iot AParis."
Examples having the later clock
case
in clud e: a clock
f o r m e r l y
in the possession o f Dalva Brot hers , New
Y o r k ,
w h i c h has the Saint-Germain bracket and a d i a l signed
R O B I N
H
E R
D U R O Y ,
a clock sold anonymously in Paris
( G a l e r i e Char penti er, M ar ch 19, 1953, lot 62)
w i t h
the
Saint-Germain
bracket and a
d i a l
signed
B O U L A R D
A P A R I S , a clock sold anonym ousl y in Paris (Galerie Char
pentier, A p r i l 2, 1954, lot 148) w i t h the Saint-Germain
bracket and an unsigned d i a l , an d a clock sold a nony
m o u s l y i n Paris (Galerie Charpent ier, Ma rc h 17, 1956, lot
6 3 )
w i t h
the Saint-Germain bracket and a d i a l signed
" D U C O R O Y
A P A R I S . "
Examples
w i t h
no brackets, intended as mantel or
table clocks, include: a clock in the B r i t i s h Royal Collec
t i o n ,
W ind sor Castle,
w i t h
a d i a l signed G U D I N A P A R I S ,
1 2
a clock in the Swedish Roya l collection at D r o t t n i n g h o l m
S l o t t ,
w i t h
a d i a l signed N I C O L A S B R O D O N A P A R I S ,
1 3
a
c l o c k i n the Residenzmuseum, M u n i c h ,
w i t h
a d i a l signed
j . B
T E
B A I L L O N A P A R I S , "
1 4
and a
c l oc k f o r m e r l y
in Mm e de
Pompa dour' s H erm it age at Fontainebl eau, now own ed by
a membe r o f the de Noailles
f a m i l y .
1 5
C L O C K A N D
B A R O M E T E R
55
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Going train
56
C L O C K A N D B A R O M E T E R
M O V E M E N T
Brass
and
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
Th e mo veme nt (fig. 7I) consists o f two trains driv en
b y
mainsprings,
each
o f
w h i c h
runs for one week. The
g o i n g train provides power for the
hands
w h i c h
indicate
the hours in ro ma n numerals a nd the minute s in arabic
numer als on the main dial .Th e clock strikes the hours
and h a l f hours on the same be l l .
Th e g oing train has one rota ting barre l (80),
w h i c h
holds the mainspring and four
p i n i o n
wheels (12/80—
8/66-6/60-6/33), the last being the
escape
wheel. Th e go
i n g
train is regulated by an anchor
escapement (deadbeat
escapement)
in connection w i t h a pen dul um. The pen
d u l u m can be adjusted
w h i l e
the clock is running by l i f t
i n g
o r
l o w e r i n g
it via its
s i l k
suspension. Th e second wheel
holds the cannon
p i n i o n
(30), a part of the motion
w o r k
(30—30/6—72) ,
and the minute hand. The hour wheel (72)
holds the hour hand. The cannon
p i n i o n
(30) rotates
once ever y hou r; i t has two pins that release th e
s t r i k i n g
t r a i n
every
h a l f
and
f u l l
hour.
T h i s
type of
s t r i k i n g
train has a
l o c k i n g
plate (count
w h e e l ) .
Thi s tr ai n has one rotat ing bar rel (80),
w h i c h
holds the mainspring, four
p i n i o n
wheels (12/ 72-8/ 60-
6/5 4-6 /48 ), an d a fly vane (6) . Th e second whe el (8/60)
has ten pins that move the
s t r i k i n g
hammer.
7 L T h r e e - q u a r t e r
view of the
movement .
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E X H I B I T I O N S
De t r o i t
Inst i tu te o f Ar t s ,
1971—1973.
P U B L I C A T I O N S
De t r o i t In s t i t u t e o f Ar t s , A Catalogue of Works of Art of
the 18th Century in the
Collection
of Anna Thomson Dodge
(Det ro i t ,
1933),
i l l . ; T. Dell , "The Gi l t - Br o n z e
Car tel
Clocks
o f
Cha r le s
Cressent,"
Burlington Magazine
(Apr i l
1967),
pp .
2 1 0 - 2 1 7 ;
B. Fredericksen, H . La t t i mo r e , and
G.
Wi l son ,
The J. Paul
Getty Museum
( L o n d o n , 1975), p.
187;
Wi l son ,
Clocks, pp .
4 4 - 5 1 ,
nos. 8- 9, i l l . ;
Wi l son , Dec
orative Arts (1977), p. 47, no. 61 ,
i l l . ;
Sassoon an d Wilson,
Decorative Arts: A Handbook, p. 38, no. 82, i l l . ;
Ot t o mey er
an d Proschel , VergoldeteBronzen, vol . 1, p. 79, i l l . ; B r e m e r
David et al., Decorative Arts, p. 89, no. 139.
P R O V E N A N C E
George
Jay G o u l d ,
Geo rg i an Co u r t ,
L ak ewo o d , New
Jersey; sold f r o m the p remis es on Ap ri l 23, 1924 (clock
only) .
B.
Fabre
[dea le r ] ,
Paris (barometer
only) .
Du v een
Bro t h e r s ,
Ne w York, 1933 (ba rome te r only) . Mrs. An n a
T h o m s o n
D o d g e
( t h en Mrs. H u g h D i l l ma n) , Rose T er
race ,
Grosse Pointe Farms, M i c h i g a n , 1932 (clock), 1933
(b a ro met e r ) ;
sold at the A n n a
T h o m s o n D o d g e
sale,
Christie's, L o n d o n , J u n e 24, 1971, lot 40. Purchas ed at
t h a t
sale by J.
Paul Getty.
N O T E S
1. This infor mati on was provided by Theodo re
D e l l .
2.
M.-J. Ballot, "Charles Cressent, Sculpteur , Ebeniste, Col-
lectionneur," Archives de Vartfrangais, nouvelle periode (1916—
1918),
vol. 10 (Paris, 1919), p. 217. For mor e inf or ma ti on
o n
Charles Cressent,
see T.
D e l l ,
"The Gilt-bronze Cartel
Clocks of Charles Cressent," Burlington Magazine ( A p r i l
1967), pp. 210-217, fig. 39; G. de Bellaigue, The James A.
de Rothschild Collection at Waddesdon Manor: Furniture, Clocks
and Gi l t Bronzes, vol. 2 (Lon don , 1974), pp. 868-8 69; and
Pradere , Les Ebenistes, pp . 128—139.
3. A . N . , Y 11296. Cressent stated that this new model had
been made for the
k i n g
of Portugal, Joao V (Bibliotheque
Nati onal e, Ms. Joly de Fle ury 2016, fo l. 60).
4 . Jean-Joseph de Sain t- Ge rma in (171 g—1791) was a
bronzier and th e son of the ebeniste
Joseph
de Saint-
Germa in w i t h wh om he wor ked. He is menti oned i n the
Almanack General des Marchands in 1747, and again in 1772,
as
l i v i n g
in the rue Saint-Ni colas in the fau bou rg Saint-
A n t o i n e . O n Ju ly 15, 1748, he was reg ist ere d as a maitre
fondeur en terre et sable. He was elected as a.
jure
of the g u i l d
i n 1765, and his na me appears as a co-s igna tory o n th e
bronze fo unders' copyr ight resolution, which was ratified
i n 1766. He was one of the few bronziers to sign his works
and a numbe r o f clock
cases
signed "S T . G E R M A I N " exist.
See Jean-D omin ique Au gard e, "Jean-Joseph de Saint-
Germain (1719-1791), Bronzearbeiten zwischen Rocaille
un d Klassizismus," in Ott ome yer and Proschel, Vergoldete
Bronzen, vol. 2, pp. 521-538.
5. Thi s re-a ttri buti on to the Saint-Germains was
f i r s t
pro
posed by Jean-D omin ique Auga rde i n 1986 and published
i n Les Ouvriers du temps: La pendule a Paris de Louis XIV a
Napoleon premier (Geneva, 1995). I am gratef ul to hi m for
his comm ents on this mat ter.
6. Th e pastel was acqu ired by the J. Paul Getty Muse um in
1994 (94.PC.39). It is illustrated in P. Verlet,
French
Furni
ture and Interior Decoration of the Eighteenth Century (London,
1967), p. 15-
7. One example, w i t h a movem ent by Gu di n, is in the
B r i t i s h
R o y a l Coll ection at Wind sor Castle; another, w i t h a move
ment by Ferdinand Berthoud, was sold f r o m the collection
o f Ernes t W. Beckett, Christ ie's, Lo nd on , May 8, 1902, lot
93; and a
t h i r d ,
w i t h a movem ent by Vige r, was sold at
Christie's, London, Ju n e 20, 1985, lot 35.
8. T. D e l l ( note 2), fig . 32.
9. D. A l c o u f f e , Pet it Journal (Musee du Louv re) (1973),
f i g .
5.
10. T. D e l l (note 2), pp. 2 10- 217 , fig . 32.
1 1 . See Cinq annees d'enrichissement du Patrimoine national, 1975—
1980, exh . cat. (G ra nd Palais, Paris, 1980), no. 96.
12. See
F.
J. Bri t ten, Old Clocks and Watches and their Makers, 6th
ed. (rep rint , Lond on, 1971), p. 472, fig. 618.
13. See J. Bott iger , Fran de Kungliga Slotten (Stockholm, 1925),
p i . 19.
14. See L. Seelig, "Eine Pendule
Charles
Cressent," Kunst und
Antiquitaten 5 (1985), pp. 42 -4 5, figs. 1-3.
15. See "U n Royal Erm ita ge a Fontainebl eau," Connaissance des
Arts (Au gust 1958), p. 66. Th e clock the n stood on the
mante lpiece i n the gr and salon.
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V
W a l l Clock
(Pendule a
repetition)
Frenc h (Paris); circa 1735-17 40
M o v e m e n t
b y Jean-Jacques Fieffe
( c i r c a
1700-1770; master 1725)
(see B i o g . , p. 170);
case
by an
u n k n o w n
m ake r possibly after a
design by Juste-Aurele
Meissonnier (1695—1750)
H E I G H T : 4 ft. 4V2 in. (133.4 cm)
W I D T H : 2 ft. 2 V a in . (67.3 cm)
D E P T H :
5V8 in . (14.4 cm)
72.DB.89
D E S C R I P T I O N
T h e
w a l l
clo ck is comp osed o f
e i g h t separate
pieces of
g i l t bronze w h i c h have been bol ted to a whi te oak boa rd of
c o n f o r m i n g shape. T h e d i a l is surrounded by a broad
a s y m m e t r i c a l
s w i r l i n g flame m o t i f . Perched above, on an
S-shaped
s c r o l l ,
is a win ged cupi d ho ld in g an hourglass
( f i g . 8a). To the
l e f t
a second c up id lies on the flame m o t i f ,
h o l d i n g a scythe i n his l e f t hand ( f i g . 8b). Beneath the d i a l
a wing ed figure o f Ti me reclines on a clou d. B o t h his
hands
support the flame
m o t i f
w h i c h partly covers him
( f i g . 8c). Below, hel d by a rib bon , is a tro ph y of Time's
g l o b e , protract or, and dividers. Th e
case
terminates in
branches o f pal m and b err ied laure l, the leaves of w h i c h
rise and emerge to either side o f the trophy, extend ing up
th e
l e f t
side of the
case
to emerge at the top behind the
uppermost cupi d.
The backboard has no door. The
d i a l
and movement
are hinged so that they can be swung
f o r w a r d
for
adjustment.
M A R K S
Th e central enamel plaque of the d i a l is painted
F I E F F E
D E L O B S E R V A T O I R ,
and t he
backplate
of the
move
men t is engrav ed Fieffe JParis ( f i g . 8d). Th e back o f th e d i a l
i s f a i n t l y engraved J . E. Villamarina, w h i c h is probably the
name o f a later restorer, an d le B
on
Alphonse de Rothschild.
Repairers' ma rks are also fo un d on the barr el o f the going
t r a i n :
M Te 4368/3, the backplate: 5225/2, and the bar rel
o f th e
s t r i k i n g t r a i n :
B
on
Alphonse I Gunther. The pendu
l u m suspension is stamped B R O C O T - C
i e
, and the bob is
stamped 1977.
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8A
8B
8c
6o
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8 D
C O M M E N T A R Y
T h e e n t i r e b a c k o f t h e c l o c k i s c o v e r e d w i t h a shaped
b o a r d o f o a k w h i c h h a s n o d o o r f o r access t o t h e m o v e
m e n t . T h i s p r o b l e m h as been s o l v e d i n t h e f o l l o w i n g w a y .
T h e
d i a l
a n d i t s a t t a c h e d m o v e m e n t a r e
secured
b y f o u r
screws t o a r i n g b e h i n d t h e h i n g e d
glass
co v e r . T h i s r i n g ,
w h e n a w i n g e d r o d is r e m o v e d , c a n b e s w u n g f o r w a r d
w i t h
t h e d i a l a n d m o v e m e n t a t t a c h ed t o i t . H o w e v e r , i t
w o u l d
appear t h a t t h e
present d i a l
a n d m o v e m e n t ar e n o t
o r i g i n a l t o t h e case. O t h e r s c r e w h o l e s , s et a t a n a n g l e , a r e
f o u n d i n th i s i n n e r r i n g ; these also p i e r c e t h e b o d y o f t h e
c l o c k
a n d
w o u l d have
t h u s h e l d t h e w o r k s firmly i n p l a c e .
O n e c o u l d s u r m i s e f r o m t h i s a p p a r e n t l y la t e r a d j u s t m e n t
t h a t t h e
present
w o o d e n b a c k i n g
replaces
o n e t h a t p o s
sessed a d o o r . W h e n t h e F i e f fe m o v e m e n t w as a d d e d t h e
b a c k t o o w a s c h a n g e d t o a s o l i d b o a r d , n e c e s s i t a ti n g t h e
present a r r an g e m e n t o f
access
f r o m t h e f r o n t .
I t i s o b v i o u s t h a t , f r o m i t s i n c e p t i o n , a f a i r l y s t o u t
b a c k i n g o f
some
s o r t
w o u l d have been
p r o v i d e d f o r t h e
c l o c k i n o r d e r t o h o l d a l l t h e v a r i o u s elements o f t h e case
t o g e t h e r . T h e f ig u re o f T i m e i s o n l y a t t a c h e d t o t h e c l o c k
a t h i s r i g h t h a n d a n d , w i t h o u t t h e s u p p o r t o f t h e o a k
b a c k i n g , h e , a n d t h e t r o p h y b e l ow h i m ,
w o u l d
s w i n g
l o o s e . I t i s also p o s s ib l e t h a t t h e separate elements w e r e
o r i g i n a l l y
a t t a c h e d d i r e c t l y t o o n e o f t h e
panels
o f a
boise-
ri e o r t o a m i r r o r .
W h i l e
t h e t h e m e o f L o v e c o n q u e r i n g T i m e is
f r e
q u e n t l y p o r t r a y e d o n F r e n c h c l oc k s o f th i s p e r i o d , b o t h
t h e d e s i g n a n d t h e p e c u l i a r c o n s t r u c t i o n o f t h i s c l o c k a r e
u n i q u e .
T h e
name
o f C h a r l e s
Cressent
h as
been suggested
as
t h e bronzier r e s p o n s i b l e f o r b o t h t h e d e s i g n a n d t h e m a n
u f a c t u r e o f t h i s c l o c k .
1
I n d e e d t w o o f Cressent's d o c u
m e n t e d w a l l c l oc k s a r e s o m e w h a t s i m i l a r t o t h e M u s e u m ' s
c l o c k i n t h e elements o f t h e i r c o m p o s i t i o n . O n e , a t t h e
M e t r o p o l i t a n
M u s e u m o f A r t , d e s c r i b e d i n h i s i n v e n t o r y
o f
1 7 4 9 ,
bears
above
a s i n g l e c u p i d
w i t h
a n h o u r g l a s s
w h i l e T i m e , c a r r y i n g h is s c y th e , l ie s b e l o w t h e d i a l o n
a p i l e o f r o c k s , t h e l a t t e r r e p r e s e n t i n g " l e cahos d u
M o n d e . "
2
I n t h e s e c o n d e x a m p l e , t h e p o s i t i o n s o f T i m e
a n d t h e c u p i d
have been
r e v e r s e d .
3
B o t h
these
c o m p o s i
t i o n s a r e
t i g h t l y
c o n t r o l l e d ,
whereas
t h a t o f t h e M u s e u m ' s
c l o c k is m o r e l o o s e l y a r r a n g e d a n d m o r e r o c o c o i n s ty l e
w i t h i ts
s w i r l i n g
f o r m s a n d t o t a l a s y m m e t r y , w h i l e t h e
figure o f T i m e i s m o r e l a n g u i d l y p o s e d t h a n t h a t o f
Cressent. F u r t h e r m o r e , a
w a l l
c l o c k o f t h e d e s i g n o f t h e
M u s e u m ' s c l o c k i s n o t f o u n d a m o n g t h e v e r y c o m p l e t e
c o n t e m p o r a r y d o c u m e n t s d e s c ri b i n g Cressent's w o r k s .
W h i l e
t h e name o f t h e bronzier m u s t , f o r t h e m o m e n t ,
r e m a i n u n k n o w n , t h e d e si g n m a y b e a t t r i b u t e d to t h e
ornemanis te
J u s t e - A u r e l e M e i s s o n n i e r ( 1 6 9 5 - 1 7 5 0 ) . F o l i o
5 i n t h e e d i t i o n o f M e i s s o n n i e r ' s Oeuvres p u b l i s h e d b y
G a b r i e l
H u q u i e r ( 1 6 9 5 - 1 7 7 2 ) a b o u t 1 7 50 s ho w s a
cross
s e c t i o n o f t h e s e c o n d a n d t h i r d f l o o r s o f a house.
4
O n t h e
w a l l o f t h e
an t ichambre
i s a s k e t c h y r e n d i t i o n o f a l a r g e
c l o c k
w h i c h bears a f ig u re , p r o b a b l y o f T i m e , r e c l i n i n g
b e l o w t h e d i a l i n a s i m i l a r p o s i t i o n t o t h a t o n t h e M u
seum's c l o c k ( f i g . 8 e ) .
A n e n g r a v i n g f o r a b a r o m e t e r , i n s c r i b e d " C a d r a n a
v e n t d e M r . l e D u e d e M o r t e m a r e n 1 7 2 4 , " s h ow s a s i m i
l a r l y
p o s i t i o n e d f ig u re ,
here
r e p r e s e n t i n g
W i n d ,
w i t h
w i n g s o f p r e c i s el y t h e same f o r m ( f i g . 8 f ) .
5
A f u r t h e r
e n g r a v i n g , e n t i t l e d " P r o j ec t
d'une grande Pendule placee
s u r u n
paneau,"
s ho w s a w a l l c l o c k g e n e r a l l y d e s i g n e d
w i t h t h e same v i g o r o u s , s w i r l i n g l o o s e a s y m m e t r y , t h e
r o c o c o
elements
b o t h s u p p o r t i n g a n d p a r t i a l l y e n c l o s i n g
the f igures.
6
A d e s i g n f o r a p a i n t e d c e i l i n g f o r t h e C h a -
p e l l e d e l a V i e r g e o f S a i n t S u l p i c e , P ar i s, d e p i c t s w i n g e d
angels
flying a m o n g t h e c l o u d s s u p p o r t i n g t h e V i r g i n ,
three o f w h o m m u c h resemble
those
f o u n d o n t h e c l o c k .
7
T h e c l o c k w a s
o r i g i n a l l y
i n t e n d e d a s a
pendule a repe
tition. T h e r e p e a t i n g t r a i n i s n o w m i s s i n g . S u c h c l o c k s ,
also k n o w n a s pendules
oValcove,
w e r e u s u a l l y o f s m a l l s i z e ,
s u i t a b l e f o r a b e d a l c o v e ( s ee c a t . n o s . 2 a n d 6 ) . T h i s i s
per
haps t h e l a r g e s t e x a m p l e k n o w n , i n d i c a t i n g t h a t i t w a s
made f o r a n e x t r e m e l y g r a n d i n t e r i o r . T h e s c y t h e is a
m o d e r n r e p l a c e m e n t .
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8
E Gabrie l Huqu ier , engraving af ter a draw
i n g by
Juste-Aurele Meissonnier showing
a cross section o f a
house
designed for
Leon de Brethou s in the mid-1730s, pub
l ished in Meissonnier's Oeuvres, circa
1750.
8F Gabriel Huquie r , engraving af ter a draw
i n g by Juste -Aur ele Meisso nnier for a
w i n d
ind icat or designed f or the due de
M o r t e m a r
i n 1724, publ ishe d circa 1750.
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O T H E R
E X A M P L E S
A
clock of the same model was sold in New
Y o r k
i n
1982.
8
I t possessed a later movement by Robert Robin
(1742-1799),
w h i c h
included the
phases
of the moon and
th e
days
of the week and mo nt h. The bac kboard was lac
quered black and
fitted
w i t h a door for access to the
movement.
M O V E M E N T
Brass
a nd i r o n , partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
The movement
( f i g .
8g) consists of two trains driven
by
mainsprings,
each
o f
w h i c h
runs for about one week.
Th e go ing tra in provides power for the hands
w h i c h
i n d i
cate the hours in ro ma n numerals a nd the minutes in
ara
ble numerals on the main d i a l . The clock strikes the hours
and
h a l f
hours on the
same b e l l. O r i g i n a l l y
the clock had
an additional train for a
repeater;
this part of the move
men t is missing.
The going train has one rota ting barre l (84),
w h i c h
holds the mainspring and four
p i n i o n
wheels (14/84-
8/84—7/70—7/37), the last being for the
escape
wheel. The
t r a i n is regulated by an anchor
escapement
(deadbeat
escapement)
in connection w i t h a pendu lum
( o r i g i n a l l y
the clock had a verge escapement).
O r i g i n a l l y
the clock
had a pendulum w i t h a
s i l k
suspension ; this has be en
rep lac ed by a so-called Broc ot suspensio n (after the
famous Parisian horologist
A c h i l l e
Brocot [1817—1878]
w h o
invented
i t ) .
Thi s type of pe nd ul um can be adjusted
w h i l e
the clock is ru nn in g by using a key inser ted i n a hole
i n
th e
d i a l
at the numbe r
X I I .
Wh en the key is tu rn ed the
w o r k i n g
leng th of the pend ulu m is changed. Th e t h i r d
w h e e l holds the cannon
p i n i o n
(36), a part o f the mot io n
w o r k
(36-36/7—84), and the minute hand. The hour
w h e e l (84) holds the hour hand. The cannon
p i n i o n
(36)
rotates onc e every hou r; it has two pins that release the
s t r i k i n g
tr ain every
h a l f
and
f u l l
hour.
T h e
s t r i k i n g
t ra in is to the l e f t
o f
the going
t r a i n .
This
type of
s t r i k i n g
train has a
l o c k i n g
plate (count wheel).
T h i s
t rai n has one ro tati ng barr el (84),
w h i c h
holds the
m a i n s p r i n g ,
fou r
p i n i o n
wheels (14/72-8/60—6/60—6/48),
an d a fly vane ( 6). Th e second whe el (8/60) has ten p ins
that move the
s t r i k i n g
hammer.
8
G
T h r e e - q u a r t e r
view of the
movement .
Going train
S t r i k i n g
t ra in
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E X H I B I T I O N S
De t r o i t In s t i t u t e
o f
A r t s ,
1972—1973.
P U B L I C A T I O N S
E. Sch lumberge r , "Caffieri , le b ro n z i e r de Louis XV,"
Connaissance
des
Arts
(May 1965), i l l . p . 83;
Wi l son ,
Deco
rative
Arts
(1977), p. 31 , no. 40 ; G. Mabi l le , Le Style Louis
XV
(Paris, 1978),
p. 175; Sassoon an d
Wi l son , Decorative
Arts: A Handbook, pp . 3 8 - 3 9 , no. 83; O t t o m e y e r and Pro-
schel,
Vergoldete Bronzen,
vo l. 1, p. 111 , fig. 2 .3 .4 ; Br em er
Da v i d
et al.,
Decorative
Arts, p. 86, no. 133.
4. See D. Nyb erg , Meissonnier, the Eighteenth-Century Maverick
(New Y o r k , 1969), f o l i o 5; the
house
was designed for a
"Sieur Brethous."
5.
I b i d . ,
f o l i o 56.
6.
I b i d . ,
f o l i o 55.
7.
I b i d . ,
f o l i o 65.1 am grateful to Theodore D e l l for pointing
out to me the relationship
between these
engravings by
Huquier after Meissonnier and the Museum's clock.
8. Christie's, New Y o r k , Nove mbe r 20, 1982, lot 55. T he
c l o c k
previously had
been
sold at Christie's, London,
July 17, 1886, lot 140. The
sale
catalogue stated that it was
f o r m e r l y in the Hotel de V i l l e , Paris.
P R O V E N A N C E
Bar o n M ay er Al p h o n se de Rothsch i ld (1827-1905) ,
C h a t e a u de
Ferr ieres , T a r n ,
France; B a r o n E d o u a r d de
Ro t h sch i l d (1 8 6 8 -1 9 4 9 ) , C h a t e a u de Ferr ieres ; Baro n
Guy de Ro t h sch i l d , C h a t e a u de Ferr ieres . Sold , S otheby's,
L o n d o n ,
N o v e m b e r 24, 1972, lo t 7. Purchas ed at t h a t
sale
by J.
Pau l
Getty.
N O T E S
1 . Thi s a tt r ibu tion is given in the
catalogue
of the 1972 Sot h
eby's sale, and in
subsequent
publica tions. For biog raphies
o f Charles Cressent, see M .-J . Ball ot, "Charles Cressent,
Sculpteur, Ebeniste, Collectionneur," Archives de Vart
frangais ,
nouvelleperiode
(1916-1918),
vo l. 10 (Paris, 1919),
pp. 1—96; G. de Bellaigue,
Th e
James A. de Rothschild Collec
tion at Waddesdon Manor: Furniture, Clocks and Gi l t Bronzes,
v o l . 2 (London, 1974), pp. 868—869; and Pradere , Les
Ebenistes, pp. 129—139.
2. M. -J . Ba ll ot (not e 1), p. 200, no. 25:
U ne magnifique pendule de bronze, dont la composition et
du meilleur
gout;
ily a sur le
haut
un Amour qui est assis sur
des nuages, il appuye son coude sur un sable. Au-dessous du
cadron est la figure du Terns, tenans
sa
faulx, etpose sur le
cahos du monde, les pieds sont formes par deux grands
arbres,
le tout parfaitement bien sizele, dore d or moulu;
de quatre pieds trois pouces de haut.
See T.
D e l l ,
"The Gilt-bronze Cartel Clocks of Charles
Cressent," Burlington Magazine ( A p r i l 1967) , pp . 210—217.
I n this article the model discussed is illustr ated as fig . 34.
O t h e r examples of this model are at the
Musee
du Louvre,
Paris (inv. O A 9586), and the Wallace Collecti on, Lon do n
( i n v . F92).
3. D e l l (note 2), fig. 33. Th e exam ple illu stra ted is in the W i l
l i a m R ockh ill Nelson Gallery, Kansas C i t y . Ano th e r exam
ple is in the Rij ksmu seum , A ms ter dam . See Ball ot (note 2),
p . 202, no. 47:
Un e pendule
a
face de bronze, le corps de bois en marque-
terie; sa composition represente un Terns volant, avec sa
faulx, pret a trancher lefilde la vie a un enfant qui est dans
un rocher qui, en appercevant le Terns, abandonne son car-
quois et son arc; Veffroi qui paroit sur le visage de cet enfant
fait un effet des plus singulier. Les ornemens qui renferment
le cartel sont d un gout tout extraordinaire a toutes les autres
pendules,faites par les gens les plus experimentes en cet art,
pourquoi Von peut se flatter de I approbation des connois
seurs;
elle porte trois pieds de
haut
et est doree d or moulu.
64
W A L L
C L O C K
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X
M a n t e l Clock
French (Paris); circa 1742
Mov eme nt by Ju lie n Le Roy (1686
1759; master 1713) (see B i o g . ,
p . 185); d i a l enameled by Anto ine-
Nicolas Martiniere (1706-1784;
master 1720) (see B i o g . , p. 190);
make r o f the case unkno wn
H E I G H T :
1 ft.
6
1 1
/
2 4
i n .
(47 cm)
W I D T H : 1 ft. V
2
in . (32 cm)
D E P T H : 8V8 in . (20.6 cm)
7 9 . D B . 4
D E S C R I P T I O N
The gilt-bronze clock case is in the f o r m of a palm
tree g rowing
f r o m
a rocky ground that is set
w i t h
tufts of
grass and small shrubs (fig. 9a). Fro m the gro und also
emerges
a single branch of laurel, the
leaves
and berries
o f which mingle
w i t h
the palm leaves to the l e f t and right
o f th e d i a l . Above, the pelt of a
l i o n
is draped on a b i f u r
cate scroll. Th e hin ged an d latched gilt-bro nze back do or
is pierced w i t h an oval of holes ( f ig . 9b).
M A R K S
T h e d i a l is painted in black J U L I E N - L E R O Y - D E L A
S O C I E T E
D E S
A R T S -
Th e moveme nt is engraved Julien Le
Roy
JParis ( f i g . 9c). The back of the enamel d i a l is painted
i n
black a-n-martiniere 1742 (fig. gd). Th e back of the d i a l
plate is engraved
w i t h
th e
g r a f f i t i
o f various repairers;
these
are mostly indecipherable w i t h the exception of
some of the
names
and dates, which may be read as f o l
l o w s : P. Heller 1843; G. Paolini 28/10.1893; Jon (Shalberg)
3/72; A. Mazzenumy; W. Sutten.
C O M M E N T A R Y
T h e enameler Antoine-Nicolas Mart iniere (1706-
1784) became Emailleur et Pensionnaire du Roi in 1742 (see
M a r t i n i e r e biography in this volume). As this
t i t l e does
not
appear
on the d i a l we may assume that it was enam
eled early in that year, before he received his positio n. As
i t is unlik ely that the an onymous case-maker w o u l d have
kep t Le Roy moveme nts i n stock, it is almos t certain tha t
th e case is of the
same
date as the
d i a l .
(For another d i a l
signed by Mart in ier e, see cat. no. 10.) Th e mak er o f the
case remains unk now n.
1
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9 A
9
B
M A N T E L C L O C K 67
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gc 9E Fron t
plate
of the movemen t , showing the winding
mechan i sm
and the dial train.
9 D T h e
s igna tu re
of Antoine-Nicolas Marti niere
on the
back
of the dial.
68
M A N T E L C L O C K
O T H E R
E X A M P L E S
The model of this case is apparently unique; no oth
ers are k no wn . It may be com par ed to a clock in the
Schloss N y m p h e n b u r g ,
M u n i c h ,
wh ich, tho ugh o f a mo re
elaborate mode l
w i t h
three musicians at its base, has a
p a l m tree
w i t h
a trunk of the
same f o r m
and s i m i l a r l y
modeled leaves.
2
T h e cases were probably made by the
same unidentified maker.
M O V E M E N T
Brass and
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings of
the movement.
The movement ( f ig s , ge and f) consists of two trains
d r i v e n by mainsprings, each of wh ich runs for one week.
Th e goi ng tra in provides power for the
hands
which i n d i
cate the hours i n ro ma n numerals and the minutes in ara-
b i c numerals on the main
d i a l .
Th e clock strikes the h our s
and h a l f hours on one b e l l .
Th e g oing trai n has one rotat ing barrel (72), which
holds the main sp ri ng and fou r pi ni on wheels (12/80—?/?-
6/70-6/33), the last being the escape wheel. The going
t r a i n is regu lated by a cro wn wheel (verge escapement) i n
connection w i t h a pendulum. The pendulum can be
adjusted whil e the clock is ru nn in g using a key inserte d i n
a hole in the d i a l at the number X I I . When the key is
turned a s i l k thread is wo un d aro und a
square
rod,
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g F
D e t a i l s h o w i n g t h e
escapement.
G o i n g t r a i n
S t r i k i n g t r a i n
c h a n g i n g t h e l e n g t h o f t h e p e n d u l u m . T h e a r b o r o f th e
n o w - m i s s i n g
t h i r d
w h e e l h o l ds t h e c a n n o n p i n i o n ( 30 ) , a
p a r t o f t h e m o t i o n w o r k (3 0 - 3 0/ 6 — 7 2 ) , a n d t h e m i n u t e
h a n d . T h e h o u r w h e e l (7 2 ) h o l d s t h e h o u r h a n d . T h e c a n
n o n p i n i o n (3 0 ) rotates once e v e r y h o u r ; i t h a s t w o p i n s
t h a t release t h e s t r i k i n g t r a i n e v e r y h a l f a n d f u l l h o u r .
T h e s t r i k i n g t r a i n i s t o t h e l e f t o f t h e g o i n g t r a i n . T h i s
t y p e o f s t r i k i n g t r a i n h as a l o c k i n g p l a t e ( c o u n t w h e e l ) .
T h i s t r a i n o r i g i n a l l y h a d o n e r o t a t i n g b a r r e l ( 7 2 ) , w h i c h
h e l d
th e m a i n s p r i n g ,
three
p i n i o n w h e el s ( 1 2 / 7 2 - 8 / 6 0 -
? /? ) , an d a f ly vane ( ? ) . T h e l a s t w h e e l a n d t h e f ly vane a r e
m i s s in g . T h e
t h i r d
w h e e l ( 8 / 6 0 ) h a s t e n p i n s t h a t m o v e t h e
s t r i k i n g h a m m e r . T h e b e l l is n o t o r i g i n a l .
E X H I B I T I O N S
French Clocks in North American Collect ions , T h e F r i c k
C o l l e c t i o n ,
N e w
Y o r k ,
N o v e m b e r
1982-January
1 9 8 3 .
P U B L I C A T I O N S
G . W i l s o n , " A c q u i s i t i o n s
made
b y t h e D e p a r t m e n t o f
D e c o r a t i v e A r t s , 1 97 7 t o m i d - 1 9 7 9 , " GettyMusJ 6 /7 ( 1 9 7 8 -
7 9 ) ,
p p . 3 7 — 5 2 , n o . 1 4 ; W . E d e y , French
Clocks in North
American
Collections, e x h . c a t . ( N e w Y o r k , 1 9 8 2 ) , p . 5 8 , n o .
52 ( i l l . p . 1 3 ) ; Sassoon a n d W i l s o n , Decorat ive Arts: A Hand
book,
p . 3 9, n o . 8 5 ; B r e m e r D a v i d e t
a l . , Decorat ive Arts ,
p p .
8 7 - 8 8 , n o . 1 3 5 .
P R O V E N A N C E
Jacques
K u g e l [ d e a l e r ] , P a r is . A c q u i r e d by t h e J . P a u l
G e t t y M u s e u m i n 1 9 7 9 .
N O T E S
1. I n t h e 1 9 7 g catalogue t h e a u t ho r t e n t a t i v e l y a t t r i b u t e d t h e
case t o Jean-Pier re L a t z ( s e e
GettyMusJ
6/7 [ i g 7 8 - i g 7 g ] ,
p p . 5 0 - 5 1 , n o . 1 4 , c i t i n g " u n p a l m i e r e n
pendule"
l i s t e d i n
t h e i n v e n t o r y o f Latz's workshops d r a w n u p i n 17 5 4 a n d
1 7 5 6 . T h a t a t t r i b u t i o n i s n o w discounted.
2 . I n v . R e s M i i U 7 5 . T h e c l o c k contains a
movemen t
b y
G u d i n a n d dates t o about 1 7 4 5 .
M A N T E L
C L O C K
6 9
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X
C l o c k for a
Corner Cupboard
Fre nch (Paris); circa 1744
Movement
by Etienne I I Le
N o i r
(1 699 -17 78 ; master 1717) (see
B i o g . ,
p. 177);
d i a l
enameled by
Antoine-Nicolas
Mart inier e (1706
1784;
master 1720) (see
B i o g . ,
p . 190); design attr ibu ted to
Nicolas
Pineau (1684-1754) ;
maker o f the gilt-bronz e case
unknown
H E I G H T : 2 ft. 2V 2 in . (67.4 cm)
W I D T H : 2 ft. 8V
2
in . (82.5 cm)
D E P T H : 9V2 in . (24.2 cm)
7 9 . D A . 6 6
D E S C R I P T I O N
A
female f igure, probably represent ing Astronom y,
is seated o n a
c l o u d
at the to p of the clock ( f i g . 10a).
1
She
holds a globe in her
l e f t
hand and carries a torch (the
flame of w h i c h is missing ) i n her r i g h t . Her head is encir
cled
w i t h
stars, and a sunbu rst is placed on her chest. I n
f r o n t of her stands an eagle whose head is tu rn ed in he r
d i r e c t i o n ,
away f r o m the viewer. Th e d i a l is surrounded
by a flame m o t i f , w h i c h is con tai ned by large S-scrolls that
cont inue down the
sides
of the clock to j o i n th e w i d e l y
splayed and scr olled legs. T h e feet are over lai d w i t h acan
thus leaves, w h i c h rise and mingle w i t h a garland of f l o w
ers to eith er side of the clock. Ben eat h th e
d i a l
a broad
flame m o t i f depends f r o m a ddo rse d leafy C-scrolls.
The gi l t -bronze case is in the
f o r m
o f a facade. I t has
no back and o n l y t wo legs ( f i g . 10b) an d is sup po rt ed by an
S-shaped
i r o n bar. Th is bar is attach ed to the
case
below
th e d i a l an d to the top o f the corner cupboard by means o f
an L-shaped i r o n plate to w h i c h it is bol ted . T he two feet
o f th e case are attached to
i r o n
plates that are screwed to
the top of the corner cup boar d.
Th e majo r par t of the clock is cast in tw o pieces: the
f igure
above, i n c l u d i n g th e
c l o u d
on w h i c h it sits, the
eagle, and the g lobe; and the rest of the case below. The
t w o f l o r a l swags to eithe r side of the d i a l ar e cast as
sepa
rate pieces. Th e win dsw ept section o f the figure's c loak
and the r igh t-ha nd palm branch are brazed i n t o place.
70
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I O D T h e
s ignature
o f A n t o i n e - N i c o l a s M a r t i n i e r e o n t h e
back o f t h e d i a l .
I O E T h e s p r i n g o f t h e s t r i k i n g t r a i n , si g n e d
Buzot
aout
*744
72 C L O C K F O R A C O R N E R C U P B O A R D
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Î O B
I O C
M A R K S
T h e d i a l is signed
•
E T I E N N E
• L E •
N O I R
• A PAR IS •
Th e
back plate of the movement is inscribed Etienne LeNoir
AParis
( f i g .
10c). Th e back of the d i a l is signed n- marti-
niere,
1744-7* bre (fig. îod). The spring of the s t r i k i n g
t r a i n is signed Buzot août 1744 (seeBiog.,p. 167)
( f i g .
10e).
G r a f f i t i on the f r o n t plate read RK. 1788 ie 28
Aprilis
Kurk-
hausy, and on the d i a l plate, metez I cinqlpieds Igros I troux I
Etienne
Le
. . .
I
A . . . S/17/77.
C O M M E N T A R Y
The corner cupboard to w h i c h the clock is fixed is
stamped
I .
D U B O I S
f o r
Jacques Dubois (1694-1763; mas
ter 1742)
( f i g .
l o f ) .
2
T he cupb oard, in its basic design,
f o l
l o w s a drawing made by the ornemaniste Nicolas Pineau
some twenty years earlier.
3
The clock, however, is com
p l e t e l y dif ferent f r o m that drawn by Pineau.
T h e
case
may have been
cast
f r o m Dubois's own
m o d e l . He , l i k e a numbe r of the more promi nen t cabinet
makers of the mid-eighteenth century, retained his own
models. I n an inv ent ory dr aw n up at his death i n 1763, a
large number of mounts are listed: "432 livres pesant de
modeles de bronze, prises 1080 l [ i v r e s ] and "228 livres
pesant de fontes brutes."
4
Alexandre
Pradere
suggests
that this indicates that Dubois was anxious to protect the
e x c l u s i v i t y
of his bronze models and thus stocked quan
t i t i e s o f
unchased moun ts for use on his fu rni tu re and fo r
s u p p l y i n g to chasers and gilders. The constant use of his
o w n models
w o u l d
perhaps preclude the manufacture of
the clock case by an outside craftsman.
C L O C K F O R A C O R N E R C U P B O A R D 73
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I O F
Corne r cupboard
made
by Jacques Dubois (1694-17 63; master 1742) for
Coun t Jan Clemens B r a n i c k i betw een 1 744 an d 1753.
74
C L O C K
F O R A C O R N E R C U P B O A R D
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G o i n g t rain
S t r i k i n g
trai n for the hou rs
S t r i k i n g
t rain for the quarters of an ho ur
76
C L O C K
F O R A C O R N E R C U P B O A R D
The going train provides power for the hands
w h i c h
i n
dicate the hours i n ro ma n numerals a nd the minute s in
arabic numerals on the main
d i a l .
The clock strikes the
hours on the largest
b e l l
and the quarter hours on two
smaller bells.
Th e goi ng tr ai n has one rot ati ng bar rel (84), w h i c h
holds the mainspring and four p i n i o n wheels (14/80—
8/72-6/60—6/31), the last being the
escape
wheel. This
t r a i n
is regu late d by a cr own wheel (verge
escapement)
i n
connection
w i t h
a pendulum.The pendulum can be
adjusted w h i l e the clock is running by l i f t i n g or lowering
it s
s pri ng suspension. Th e arbor of the
t h i r d
wheel holds
the cannon p i n i o n (36), a part of the moti on w o r k (3 6 -
3 6 / 7 - 8 4 ) ,
and the minute hand. The hour wheel (84)
holds the hour hand. The cannon p i n i o n (36) rotates
once every hou r; it has fou r pins that
release
th e
s t r i k i n g
trains every quar ter of an ho ur.
T h i s
clock has two
s t r i k i n g
trains. To the
r i g h t
of the
g o i n g train is the s t r i k i n g train for the quarter hours. To
th e
l e f t
of the going train is the
s t r i k i n g
train for the
hours. They are both arranged upside down. B o t h strik
i n g
trains use
l o c k i n g
plates (count wheels). The
s t r i k i n g
t r a i n fo r the quar ter hours has a rot ati ng bar rel (84),
w h i c h
holds the mainspring, four
p i n i o n
wheels (14/72—
8/60—6/60-6/60), an d a fly vane (6). Th e t h i r d wheel
( 8 / 6 0 )
has te n pins (six on one side and f ou r on the oth er)
that move the
s t r i k i n g
hammer. Every
f u l l
hour the lock
i n g
plate of this tr ai n
releases
th e s t r i k i n g train for the
hours. T hi s trai n also has a rotat ing bar rel (84),
w h i c h
holds the mainspring, four p i n i o n wheels (14/52-6/54-
6/54—6/54), an d a fly vane (6). Th e
t h i r d
wheel (6/54) has
nine pins that move the
s t r i k i n g
hammer.
P U B L I C A T I O N S
E . M o l i n i e r ,
Le Mobilier au
XVIle
et au XVIIle siècle
(Paris, 1896), pp. 146-1 47, pl .
X I I I ;
R. Schmidt, Möbel
( B e r l i n ,
1920), p. 169,
i l l . ;
A. Feulner, Kunstgeschichte des
Möbels ( B e r l i n , 1926), pp. 3 21, 445,
i l l . ;
F. de Salverte, Les
Ebénistes du
XVIIIe
siècle (Paris, 1927), pp. 104—105, pl.
X V I I I ; A. Feulner, Kunstgeschichte des Möbels seit dem Al
tertum
( B e r l i n ,
1927), pp. 330—331 (Pineau's design
i l l u s
trated on p. 321); C.
Packer, Paris Furniture
(Newport,
M o n m o u t h s h i r e , 1956), p. 34, fig. 40; F.J. B. Watson, Wal
lace Collection
Catalogues,
Furniture
(Lo ndo n, 1956), p. 69;
A .
Bou tem y, "Des Meuble s Louis X V à grand s suc cès: les
encoignures," Connaissance des
Arts
91 (Septe mber 1959),
p p .
36, 41 ,
i l l . ;
J. Me uvret , Les Ebénistes du
XVIIIe
siècle
français (Paris, 1963), pp. 100 -1 01,
i l l . ;
P. Verlet, French
Cabinetmakers
o f
the Eighteenth Century (Paris , 1963), p. 102;
F . J . B . Watson, The Wrightsman
Collection
(New
Y o r k ,
1 9 6 6 ) ,
v o l .
1, p. 231;
v o l .
2, p. 54; A. Gonzales-Palacios, Gli
Ebanisti delLuigiXV ( M i l a n ,
1966), p. 67; C. Frégnac, Les
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Styles francais
( P a r i s , 1 9 7 5 ) , p i . 2 ; P . K j e l l b e r g , Le Mobilier
francais dumoy en age a
Louis
XV ( P a r i s , 1978) , pp . 192— 193,
n o . 2 1 7 ; P . K j e l l b e r g , "Jacques D u b o i s ,"
Connaissance des
Arts ( D e c e m b e r 1 9 7 9 ) , p . 1 1 5 , i l l . ; G . W i l s o n , " A c q u i s i
t i o n s M a d e b y t h e D e p a r t m e n t o f D e c o r a t i v e A r t s , 1 9 7 9
t o m i d - 1 9 8 0 , "
GettyMusJ
8 ( 1 9 8 0 ) , p p . 1 - 3 , i l l . ; G . W i l s o n ,
Selections from Deco rative Ar ts in the J . Paul Get ty Museum
( M a l i b u ,
1 9 8 3 ) , p p . 4 2 - 4 3 , n o . 2 1 ,
i l l . ;
P . H u n t e r - S t i e b e l ,
" E x a l t e d H a r d w a r e , t h e B r o n z e M o u n t s o f F r e n c h F u r
n i t u r e , Part I , Antiques (January 1 9 8 5 ) , p . 2 3 6 , i l l . ; Sas
s o o n a n d W i l s o n , Decorative
Arts: A Handbook,
p . 1 7 , n o . 3 8 ,
i l l . ; P. K j e l l b e r g , L e Mobilier francais du XVI lie s iecle: Dic-
tionnaire des ebenistes et des menu isiers
( P a r i s , 1 9 8 9 ) , p p . 2 6 7 ,
2 7 3 , 2 7 5 , i l l . ; Pradere, Les Ebenistes, p . 173 , f i gs . 153 , 154;
G . W i l s o n , " D a l l a R a c c o l t a d e l M u s e o J . P a u l G e t t y ," Ca s a
Vogue Ant iques
8 ( M a y 1 9 9 0 ) , p p . 1 1 4 - 1 1 9 , i l l . ; S . B o i r o n ,
"Jacques D u b o i s , M a i t r e d u S t yl e L o u i s
X V , "
UObjet dArt
2 3 7 (June 1 9 9 0 ) , p p . 4 2 - 5 9 , i l l . ; B r e m e r D a v i d
etal.,£tec-
orativeArts, p p . 3 1 - 3 2 , n o . 3 5 , i l l .
N O T E S
1 . A c c o r d i n g t o J . B . B o u d a r d ,
Iconologie t iree de Divers Auteurs
( V i e n n a 1 7 6 6 ) , p . 4 7 , U r a n i a , t h e M u s e o f
A s t r o l o g y ,
is
represented
w i t h
seven
stars e n c i r c l i n g h e r
head, measur
i n g a p o i n t o n a c e l e s t ia l g l o b e w i t h a p a i r o f compasses.
T h e i n c l u s i o n o f a n
eagle
i n s u c h a r e p r e s e n t a t i o n i s n o t
k n o w n
elsewhere. T h e
eagle
is t h e h e r a l d i c s y m b o l o f
P o l a n d , a n d i f t h i s piece w a s i n d e e d
made
t o t h e s p e c i f i c a
t i o n s o f a P o l i s h c l i e n t , i t m a y
have been
i n c l u d e d f o r t h a t
reason.
2 . F o r i n f o r m a t i o n o n
Jacques
D u b o i s , s e e Pradere, Le s
Ebe
nistes, p p . 1 6 8 — 1 7 5 .
3 . T h e d r a w i n g i s i n t h e M u s e e d e s A r t s D e c o r a t i f s ,
Paris
( i n v . 4 8 6 9 ) . S e e G . W i l s o n , " A c q u i s i t i o n s
made
b y t h e
D e p a r t m e n t o f D e c o r a ti v e A r t s , 1 97 9 to m i d - 1 9 8 0 , " Getty
MusJ
8 ( 1 9 8 0 ) , p . 3 , f i g . 3 . T h e r e i s
also
a n e n g r a v i n g b y
P i e r r e M a r i e t t e af t e r P i n e a u . S i n c e M a r i e t t e ceased b e i n g
i n v o l v e d
w i t h e n g r a v i n g s i n 1 7 3 4 , t h i s p l a t e m u s t
have
been
issued b e f o r e t h a t
year.
S ee
Pradere,
Les Ebenistes,
p .
1 7 2 .
4 . Pradere, Les Ebenistes, p . 1 7 0 .
5 . A t t h i s
date
P o l a n d w a s m o r e o r less a p r o t e c t o r a t e o f
Russia.
P R O V E N A N C E
C o u n t J a n
Clemens
B r a n i c k i , W a r sa w , P o l a n d
( o r d e r e d b y G e n e r a l M o k r o n o w s k i t h r o u g h M o n s i e u r
L u l l i e r o f W a r s a w c i r c a 1 7 4 4 ) ; p r o b a b l y i n h e r i t e d b y
B r a n i c k i ' s
sister
C h r i s t i n e ; b y descent to M a r i a n n a S zy -
m a n o w s k a ( n ee P o t o c ka ) , C h r i s t i n e B r a n i c k a ' s g r a n d
daughter, 1 8 2 0 s . B a r o n N a t h a n i e l d e R o t h s c h i l d ,
V i e n n a , b e f o r e 1 9 0 3 . B a r o n A l p h o n s e d e R o t h s c h i l d ,
V i e n n a . Baroness C l a ri c e d e R o t h s c h i l d , V i e n n a a n d N e w
Y o r k , 1 9 4 2 .
Rosenberg
a n d S t i e b e l [ d e a l e r s ] , N e w Y o r k ,
1940s
( ? ) .
Georges
W i l d e n s t e i n , [ d e a l e r ] , N e w
Y o r k .
B o u g h t f o r $7 5 , 0 0 0 ,
1940s
b y D a n i e l o r
Georges
W i l d e n
s t e i n , N e w
Y o r k .
A k r a m O j j e h , P a r is , 1 9 7 8 . S o l d ,
Sothe
b y ' s , M o n a c o , June 2 5 - 2 6 , 1 9 7 9 , l o t 6 0 . A c q u i r e d b y t h e
J . P a u l G e t t y M u s e u m i n 1 9 7 9 .
C L O C K
F O R A C O R N E R C U P B O A R D 7 7
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X
C l o c k f o r a Cartonnier
F r e n c h ( P a r i s ) ; 1 7 4 6
M o v e m e n t by E ti e n n e ( I I ) L e N o i r
( 1 6 9 9 - 1 7 7 8 ;
master
1717) (see
B i o g . , p . 1 7 7 ) ; d i a l e n a m e l e d b y
Jacques
D e c l a (a c t i v e c i r c a 1 7 4 2 -
1 7 6 4 ) ( s ee B i o g . , p . 1 6 8 ) ; m a k e r o f
case u n k n o w n
H E I G H T :
1 f t .
5 V 2
i n . ( 4 4 . 5 c m )
W I D T H :
1 f t . 1 1
V
4
i n . ( 5 9 c m )
D E P T H : 7 V 4
i n . ( 1 9 . 5 c m )
8 3 . D A . 2 8 0
D E S C R I P T I O N
T h e c l o c k
case
is v e n e e r e d
w i t h
a l d e r w h i c h h a s been
p a i n t e d w i t h b l a c k E u r o p e a n
vemis
( l a c q u e r ) . T h e
vern is
is
d e c o r a t e d w i t h
scattered
f l o w e r
heads
a n d
branches
o f
f l o w e r s a n d
leaves
a l l i n g o l d . P a i n t e d b r o n z e f ig u re s o f a
Chinese
w o m a n
w i t h
a t a m b o u r i n e a n d a m a n
w i t h
a h o r n
( f i g . 1 1 a ) a re seated o n t h e b r o a d s h o u l d e r s o f t h e case,
w h i l e
t w o p a i n t e d b r o n z e c h i l d r e n ar e seated
above
( f i g .
1 1 b ) .
A l l
a r e dressed i n b la c k robes l i n e d w i t h r e d .
T h e s c r o l l i n g s y m m e t r i c al m o u n t s , w h i c h s u r r o u n d
t h e
d i a l
a n d t h e a p e r t u r e b e l o w a n d o u t l i n e t h e p r o f i l e s
o f t he c lo c k , a re s e t w i t h l a u r e l , b e r r i e s , a n d g a r l a n d s o f
f l o w e r s .
T h e carcase i s o f w h i t e o a k w h i c h h a s been b l a c k
ened.
T h e c o n c a v e b a c k i s s et w i t h a h i n g e d a n d l a t c h e d
d o o r
( f i g .
1 i d ) .
M A R K S
T h e d i a l i s e n a m e l e d E T I E N N E
L E
N O I R
A P A R I S .
T h e
m o v e m e n t is e n g r a v e d
Et ienne Le Noir J P a r i s
( f i g . l i e ) .
T h e s p r i n g o f t h e s t r i k i n g t r a i n is i n s c r i b e d
Buzot
9BRE
1746 ( f i g . n f ) (s ee B i o g . , p . 1 6 7 ) a n d t h a t o f t h e g o i n g
t r a i n
Richard M a i
1752 (see
B i o g . ,
p . 1 9 3 ) . T h e
d i a l
p l a t e
h as g r a f f i t i o n b o t h sides: t h e f r o n t i s i n s c r i b e d Edmon d de
Rotchild [ s i c ] a n d t h e b a c k , Wilson I Dec 30 1839 Jwb Oct
82 .
T h e r e a r e r e p a i r m a r k s o n t h e f r o n t p l a te , M.Journe I
Le 13 Nov
1971/aParis/FP
JOURNE DEC 1 97 6IA Paris
Le
23 juin 1777IB.
T h e
b e l l ,
w h i c h is o f n i n e t e e n t h -
c e n t u r y
date,
i s i n s c r i b e d i n i n k
Le[7] Dreves
I
[P]aris.
T h e
d i a l i s s i g n e d i n b l a c k o n i t s reverse • decla -1746 ( f i g .
n g ) . Some
o f t h e g i l t - b r o n z e m o u n t s a r e s t r u c k w i t h
c r o w n e d C ' s .
7 8
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1 1
A
1 1 C
C O N D I T I O N
T h e t o p o f t h e c l o c k w a s once s et w i t h a g i l t - b r o n z e
p a l m
t ree.
I t c a n b e
seen
i n t h e p h o t o g r a p h o f t h e carton
nier i n a C h r i s t i e s
sale
catalogue o f 1 9 2 2 .
1
C O M M E N T A R Y
I t
is
apparent
tha t t h e c l o c k w a s n o t
made
b y B e r n a r d
( I I )
v a n R i s e n b u r g h
whose
stamp
appears
o n t h e carton
nier
( f i g . 1
l h ) . T h e mounts o f t h e c l o c k
bear
n o s i m i l a r i t y
i n a n y respect t o those o n t h e cartonnier a n d t h e lacquer,
c o n s i s t i n g o f s i m p l e m o t i f s , p a i n t e d flat w i t h o u t raised
gesso,
w o u l d seem t o b e b y a d i f f e r e n t hand t h a n that o f
t h e vernisseur w h o w o r k e d o n t h e cartonnier.
I t
is possible that t h e cartonnier w a s c o m m i s s i o n e d b y
Thomas-Joachim Hébert, t h e marchand-mercier f o r w h o m
v a n R i s e n b u r g h w o r k e d . V a n R i s e n b u r g h
seems
t o
have
made v e r y f e w c l o c k
cases
a n d none ar e k n o w n that
bear h i s
stamp.
2
H o w e v e r , i f
Hébert
h a d c o m m i s s i o n e d
another maker t o f u r n i s h h i m w i t h t h e c l o c k case, i t w o u l d
presumably
have been
s et
w i t h
mounts o f a s i m i l a r m o d e l
a n d lacquered b y t h e
same
vernisseur w h o w o r k e d o n t h e
cartonnier.
T h e c l o c k i s n o t fixed t o t h e cartonnier a n d t h e
surface
o n w h i c h it
rests
is e n t i r e l y c o v e r e d w i t h b l a c k vernis w h i c h
shows
n o
signs
o f a n y p r e v i o u s
attachment.
3
T h e back o f
t h e c l o c k i s
concave,
a n d t h i s p e c u l ia r i t y seems t o
empha
size t h e f a c t that t h e c l o c k w as n o t made f o r t h e cartonnier.
4
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1 1 B
1 1 D
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
l
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1 I E
11 F
T h e s p r i n g o f t h e s t r i k i n g t r a i n , s i g n e d
Buzot
9
BRE
IJ
4
6
8 2
C L O C K F O R A CARTONNIER
11 G T h e s ignature o f D e c l a o n t h e b a c k o f t h e
d i a l .
I t i s m e r e l y a h a p p y
assemblage,
t h e
date
o f w h i c h i s
n o t k n o w n . T h e name o f th e m a k e r o f t h e c l o c k case is
u n k n o w n .
Chinese f ig u re s s i m i l a r t o t h e f o u r o n t h i s c l o c k a r e
f o u n d , v a r i o u s l y c l o t h e d a n d posed, o n c l o c ks a n d c a n
d e l a b r a t h a t date f r o m t h e m i d - e i g h t e e n t h c e n t u r y .
P i e r r e V e r l e t , d i s c u s s i n g a
s i m i l a r l y
m o u n t e d c l o c k i n t h e
R e s i d e n z m u s e u m ,
M u n i c h , suggests
t h a t s u c h w o r k w a s a
s p e c i a l t y o f t h e M a r t i n b r o t h e r s ,
5
w h o p r o b a b l y i n v e n t e d
t he f i g ures a n d h a d a
near
m o n o p o l y o n t h e i r s u p p l y t o
t h e marchands-merciers .
6
O T H E R E X A M P L E S
A t a b l e w i t h a
cartonnier
i s d e s c r i b e d a s b e i n g i n t h e
Petit
Cabinet o f t h e d u e d e B o u r b o n i n t h e 1 7 4 0 i n v e n t o r y
o f t h e C h a t e a u d e C h a n t i l l y . T h e c l o c k o n t h i s cartonnier
b o r e
"pagodes"
i n
vern is
a n d m a y w e l l
have
r e s e m b l e d t h e
c l o c k
u n d e r d i s c u s s i o n .
7
T h e c lo c k case
appears
t o b e o f
u n i q u e f o r m a n d d e c o r a t i o n .
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11 H
Cartonnier,
c i r c a 1 7 45 , b y B e r n a r d
( I I )
v a n R i s e n b u r g h ( a f te r 1696—circa 1766; master b e f o r e 1730).
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
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i n
Three-quar ter v i e w of the mo veme nt.
G o i n g t r a i n
S t r i k i n g
t r a i n
11 j
D e t a i l sho wing the escapement.
M O V E M E N T
Brass and
i r o n ,
p artly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
The movement ( f igs . 1 l i a n d j ) consists of two trains
d r i v e n by mainsprings, each of
w h i c h
runs for about two
weeks. The going
t r a i n
provides power for the
hands
w h i c h
indicate the hour s in ro ma n numer als and the
m i n
utes
in arabic numerals o n the ma in
d i a l .
The clock strikes
the hours and h a l f hours on the same be l l .
The going t r a i n has one rota ti ng bar rel (84),
w h i c h
holds the mains prin g and
f o u r
p i n i o n wheels (14/88-
8/72—6/72—6/29), the last being the escape wheel. The
t r a i n
is regul ated by an anchor escapement ( r e c o i l
escape
ment) in connection
w i t h
a pendulum. O r i g i n a l l y the
c l o c k
probably had a
s i l k
suspensi on. Th is has been
replaced by a Brocot suspension, w h i c h can be adjusted
w h i l e the clock is running using a key inserted in a hole
i n
th e d i a l at the number X I I . When the key is turned
the
w o r k i n g
le ngth of the pen dul um is changed. The ar
bor of the now-missing t h i r d wheel held the cannon p i n
i o n (30), a part o f the m o t i o n
w o r k
(30-30/6-72), and
the min ut e han d. Th e hou r wheel (72) holds the hou r
hand. The cannon
p i n i o n
(30) rotates once every hour; it
has two pins that
release
th e s t r i k i n g
t r a i n
every
h a l f
and
f u l l hour.
T h e s t r i k i n g
t r a i n
is to the l e f t
o f
the going t r a i n . This
type of
s t r i k i n g
t r a i n has a
l o c k i n g
plate (count wheel).
?? ????? ??? ? ??????????
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T h i s
t r a i n h a s o n e ro t a t i n g
b a r r e l
( 8 4 ) , wh i c h holds t h e
mai n sp r i n g , f o u r
p i n i o n
wheels (14/72—8/60—6/60-6/54),
a n d a f l y vane (6 ) . T h e t h i r d
w hee l (8/60)
h a s t e n pins that
move t h e
s t r ik ing
h a m m e r . T h e
bel l
a n d t h e
cock
that
holds t h e
bel l
i n posi t ion a r e la ter replacements .
P U B L I C A T I O N S
A .
Sassoon,
Cartonnier
a n d
Serre-Papier
w i t h
Clock,"
GettyMusJ
12 (1984), p p .
193-197 ,
i l l . ; "Acquisit ions/
1983,"
GettyMusJ
12
(1984),
p p .
263—264,111.;
Sassoon a n d
Wilson ,
Decorative
Arts:
A Handbook, p . 5 , n o . 1 0,
i l l . ;
J . - D .
A u g a r d e ,
" 1 7 4 9
J o s e p h
B a u m h a u e r ,
ebeniste privi legie
d u r o i , "
L'Estampille
( J u n e
1987),
p . 2 5 , n o . 2 0 4 ; Pradere,
Le s
Ebenistes,
p . 1 9 6 , f i g . 1 8 8 ; B r e m e r
Da v i d
e t a l . ,
Decora
tive
Arts, p p . 17-18 , n o . 1 0 .
P R O V E N A N C E
(?)
H a r r i o t Mel lon , widow
o f T h o m a s
Coutts, later
Duchess o f S t .
Al b an s ;
h e r s t ep -g randdaugh t er ,
Angela ,
Baroness
Burde t t -Cou t t s ,
London (probab ly g iven
t o h e r
i n 1 8 3 5 o n h e r twenty-f i rs t b i r thday) ; b y descent t o h e r
husband ,
W i l l i a m A s h m e a d
Bar t l e t t -Bu rd e t t -Co u t t s ,
M . P . , 1 9 0 6. Sold,
Christie 's ,
L o n d o n , M a y 9 , 1 9 2 2 , l o t
1 4 4 , t o H . a n d J . S i m m o n s
[dealers] . Alexandr ine
d e
Rothsch i ld , Paris. Confiscated b y t h e G e r m a n s d u r i n g t h e
occupa t ion
o f
Paris
i n 1 9 4 0 . B a r o n E d m o n d d e Ro t h
schild, Paris, 1 9 7 2 . Jose a n d
Vera
Esp i r i to Santo, La u
sanne,
Swi tzer land , after 1 9 7 2 . Acq u i r ed b y t h e J . Paul
Get t y M u seu m
i n 1 9 8 3 .
T h e s e c o n d g e n e r a t i o n o f t h e f a m i l y w e r e G u i l l a u m e -
Jean ( b o r n 1 7 1 3 ) , E t i e n n e - F r a n c o i s ( d i e d 1 7 7 1 ) , Jean-
A l e x a n d r e ( 1 7 4 8 - 1 8 2 5 ) , a n d A n t o i n e - N i c o l a s ( b o r n
1 7 4 2 ) . J e a n - A l e x a n d r e w a s t h e la s t m e m b e r o f t h e f a m i l y
t o b e
engaged
i n t h e t r a d e . S ee H . H u t h ,
Lacquer
of
the West
( C h i c a g o , 1 9 7 1 ) , p p . 9 5 - 9 8 .
6 . V e r l e t , Les Bronzes, p . 2 1 , f ig . 7 . O n
page
1 8 0 , w h i l e d is
c u s s i n g t h e M a r t i n b r o t h e r s , V e r l e t r e c o r d s t h a t t h e 1 7 6 8
G a i g n a t sale c o n t a i n e d :
No. 1 88: Une tres belle et grand pen dule . . . (au nom
de
Pierre
LeRoy) . . .
Elle
est ornee de plusiers figures d e
cuivre
representant des magots vernis par Mart in, imitant le
laque;
Us sont r ichement habilles et ouvrages de divers ors,
su r
une terrasse dontpartie en roche etpartie doree et decoree
de
feuillages
et de f leurs de Vincennes
No. 189: Une paire de bras de cheminee a trois
branches, d 'un beau modele bein c isele et dore. Dan s chaque
bras
est une f igure d e magot, v ernie en laque et r icheme nt
habillee
d ans le gout du
Japon,
pa r
Martin.
7 . A . N . , X C I I , 5 0 4 : " U n b u r e a u a E c r i r e d e V e r n y aussi
Japon
a p i e d s d e b i c h e s o r n e d e b r o n z e d o r e d ' o r m o u l u e t
s o n
dessus
d e v e l o u r s v e r t avec s o n serre-papiers aussy d e
v e r n y d u
Japon
e t u n e p e n d u l l e
dessus
f a i t e p a r J u l l i e n L e
R o y a
Paris
dans sa boete a Pagodes d e v e r n y l e t o u t o r n e
d e b r o n z e d o r e d 'o r m o u l u
prises
ensemble m i l l i v r e s , c y
. . . 1 0 0 0 l i v r e s . " I a m g r a t e f u l t o J e a n - D o m i n i q u e
A u g a r d e f o r p o i n t i n g t h i s o u t t o m e .
N O T E S
1.
Sale
c a t ., c o l l e c t i o n o f t h e l a t e
Baroness
B u r d e t t - C o u t t s ,
C h r i s t i e 's , L o n d o n , M a y 4 - 5 a n d 8 - 1 2 , 1 9 2 2 , l o t 1 44
( M a y 9 ) .
2 .
H o w e v e r , i n t h e
l i s t
o f w o r k s s o l d b y B e r n a r d
( I I )
v a n
R i s e n b u r g h t o h is s o n B e r n a r d
( I I I )
o n O c t o b e r 1 8 , 1 7 6 4 ,
m e n t i o n is
made
o f " d e u x b a t i s d e p e n d u l e a
serre-papiers
g a r n i s d e b r o n z e s " ( s e e
Pradere, Les Ebenistes,
p . 1 9 9 ) .
These
a r e t h e o n l y c l o c k s l i s t e d a m o n g t h e t h i r t y - s e v e n
pieces
o f
ebenisterie.
3 . I t s h o u l d b e n o t e d , h o w e v e r , t h a t c l o c k s a r e r a r e l y f o u n d
a t t a c h e d t o cartonniers.
4 . A n o t h e r c l o c k , o f s i m i l a r b u t l a r g e r f o r m , w i t h a
concave
b a c k , w a s o n t h e
Paris
m a r k e t i n 1 9 9 1 . N e i t h e r t h e
case
n o r t h e m o v e m e n t b o r e a
maker's
m a r k o r s i g n a t u r e . I t i s
p o s s ib l e t h a t th i s c o n c a v i t y p r o v i d e d m a n u a l
access
t o t h e
m o v e m e n t .
5 . T h e f i r s t g e n e r a t i o n o f t h e M a r t i n f a m i l y c o n s i s t e d o f t h e
b r o t h e r s R o b e r t ( d i e d 1 7 6 5 ) , G u i l l a u m e ( d i e d 1 7 4 9 ) ,
J u l i e n ( d i e d 1 7 5 2 ) , a n d E t i e n n e - S i m o n ( d i e d 1 7 70 ) . I n
1 7 3 0 G u i l l a u m e a n d E t i e n n e - S i m o n a c q u i r e d a r o y a l pa t
e n t t o p r o t e c t t h e l a c q u e r {vernis) t h a t t h e y h a d i n v e n t e d
a n d i n 1 7 4 4 r e c e i v e d a f u r t h e r p a t e n t f o r t h e i r l a c q u e r
w o r k " e n r e l i e f dans l e g o u t d u Japon e t d e l a C h i n e . " B y
1 7 4 8 t h e y h a d o p e n e d t h e i r M a n u f a c t u r e R o y a l e d e v e r n i s
d e l a C h i n e .
C L O C K
F O R A
CARTONNIER
85
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X
W a l l C l o c k
F r e n c h ( P a r i s ) ; c i r c a 1 7 4 7
M o v e m e n t
b y
J u l i e n L e R o y ( 1 6 8 6 -
1 7 5 9 ; master 1 7 1 3 ) ( s ee B i o g . ,
p . 1 8 5 ) ; case
b y Jacques C a f f i e r i
( 1 6 7 8 — 1 7 5 5 ;
master
1 7 1 4 )
H E I G H T : 2 f t . 6 V 2 i n . ( 7 7 . 5 c m )
W I D T H :
1 f t . 4 i n . ( 4 0 . 6 c m )
D E P T H :
4 % i n . ( 1 1 . 4 c m )
72.DB.45
D E S C R I P T I O N
T h e w a l l c l o c k i s o f a s y m m e t r i c a l f o r m a n d made
e n t i r e l y
o f
g i l t
b r o n z e . A h e l m e t e d f ig u re o f M i n e r v a i s
seated above o n a c l o u d ( f i g . 1 2 a ) . O n t h e l e f t , b e l o w a
h i p p e d s c r o l l s et
w i t h
a n o a k b r a n c h
w i t h
a co rns , i s a
w i n g e d
p u t t o w h o p o i n t s to t h e
d i a l
( f i g . 1 2 b ) . T h e r e
m a i n i n g area o f t h e case is c o m p o s e d o f s c r o ll s , p a l m a n d
l a u r e l leaves, a n d f l o w e r s .
T h e b a c k o f t h e c l o c k is f o r m e d o f a sheet o f brass
c o n f o r m i n g i n shape t o t h e case. I t is h i n g e d o n t h e lef t
a n d f a st e n e d t o t h e r i g h t w i t h a l a t c h . T h e r e i s n o w o o d e n
carcase.
C O N D I T I O N
M i n e r v a
once
h e l d a s h i e l d , s u p p o r t e d b y h e r
l e f t
a r m .
I t i s p r o b a b l e t h a t t h e p u t t o once h e l d a s c y t h e i n h i s
l e f t h a n d . T h e a p e r t u r e b e l o w t h e d i a l , n o w c l o s e d b y a
p l a t e o f m o d e r n
glass,
w a s p o s s i b l y
o r i g i n a l l y
fitted w i t h a
g i l t - b r a s s
g r i l l .
M A R K S
T h e c l o c k f ac e i s s i g n e d - J U L I E N
• L E • R O Y -
a n d t h e
m o v e m e n t e n g r a v e d
Julien
Le Roy
JParis ( f i g . 1 2 c ) . T h e
case is s i g n e d , i n t h e c a r t o u c h e b e l o w t h e d i a l , fait par
Caf
fiery
( f i g .
1 2 d ) . T h e
case
i s also s t r u c k
w i t h
a l a r g e c r o w n e d
C
o n t h e
brass
b a c k p l a t e a n d o n t h e u p p e r
l e f t
s u r f a c e o f
t h e s c r o l l o n w h i c h M i n e r v a si ts , w h i l e M i n e r v a h e r s e l f is
s t r u c k
w i t h
a s m a l l c r o w n e d C o n h e r b a c k.
1
T h e b a c k o f
t h e
d i a l
i s i n s c r i b e d
a -n-
martinierePr[ivi\ig]eDu
R[oy] 1747
( f i g . i2 e ) ( s ee B i o g . , p . 1 9 0 ) . T h e g r a f f i t i o n t h e f r o n t o f
t h e
d i a l
p la t e i s d i f f i c u l t t o r e a d b u t m a y b e i n t e r p r e t e d as
Biwent t
I Dublin;
t h a t o n t h e b a c k
seems
t o r e a d
Lot Lei-
tun n I Da n Homp uon i , a n d , i n a n o t h e r h a n d , 12, 7, 87, FZI
12, 11, 89, IZ.
8 6
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1 2 A
W A L L C L O C K
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1 2 B
C O M M E N T A R Y
E v e n
though a
f i r s t
name
does
not accompany the
signature of
C a f f i e r i
on the
case,
it is certain that it was
made
by the famous
ciseleur Jacques C a f f i e r i .
2
I n 1747 his
son Philippe entered into partnership w i t h his father . A t
that time, a detailed inventory was
made o f Jacques
Caf-
fieri's
models for w a l l l i g h t s , firedogs, candlesticks, clocks,
etc. Am o n g the clocks, a mo de l for a cart el is descr ibed as
bear ing a figure o f Min er va on the cresting w i t h , lower
d o w n
on one side, a figure o f Cu pi d ho ld in g a scythe. A t
Jacques Caffieri's death in 1755 another, less detailed,
i n v e n t o r y
was drawn up, and the
same
model appears
again, showing that clocks of this model were probably
s t i l l being produced. The presence of the crowned C
places
the cons truc tion of this clock between 1745 and
1749, fu rt he rm or e the signature o f the enameler Mar -
t i n i e r e
is
f o l l o w e d
by the year 1747. Thus the case
was
made
in the first year of the partner ship o f father
and son.
Th e signature below the
d i a l
has been engr ave d
somewhat carelessly in compa ris on w i t h the h ig h quali ty
o f th e
w o r k
elsewhere on the
case,
and it does not fit the
12c
cartouche happily. However, this is not unusual on Caf
fieri's
signed work s. As Geoffrey de Bellaigue points out,
th e same
carelessness
may be seen in the signature on
one of the mount s o f the comm ode
made
by Antoine
Gaud rea u for Loui s XV' s be dr oom at Versailles and on
one o f the chandelie rs dated 1751, bot h in the Wallace
C o l l e c t i o n .
3
O T H E R
E X A M P L E S
A n
identical clock hangs in the Chamb re de Co m
merce at Bordeaux .
4
Another was sold at the Hôtel
D r o u o t
in Paris, on Decemb er 15, 1924, lot 278. T he
movement of the latter was b y J u l i e n Le Roy, and the case
was signed
" C a f f i e r i
Paris." Th is clock was sold again at
the Galerie Charpentier
f r o m
th e
c o l l e c t i o n
o f "Monsieur
F . . ." on N ove mb er 26, 1935, lot 35. In this exa mple,
M i n e r v a s t i l l
retained her shield.
A t h i r d exam ple, the mai n body in patina ted bronze,
is
in a New
Y o r k
private collection.
5
It s
d i a l
is signed
" J u l i e n Le Roy." Th e figure of Mine rv a, Cu pi d, an oak
branch, and the palm branch are all g i l t , and Minerva
has a pl um e in her h elm et and has lost her shie ld. T he
W A L L C L O C K
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2 D
2 E Th e signature of Antoine-Nic olas Mart inière on
the back o f the d i a l .
90
W A L L
C L O C K
g r i l l
for the aperture below the
d i a l
is miss ing, and the
case is signed in the cartouche below the
d i a l : C a f f i e r i
f e c i t . Another clock of precisely the same
f o r m
as the
Museum's example, also w i t h a move ment by Jul ie n Le
R o y and a case inscribed
F A I T P A R
C A F F I E R I
A P A R I S
and
struck
w i t h
a crowned C, was sold
f r o m
the collecti on of
Ricardo Espirito
Santo
at the Pavil ion Gab rie l, Paris, on
June 14, 1977, lot 84.
A n o t h e r , also w i t h a moveme nt by Jul ien Le Roy, the
case
unsigned , was sold
f r o m
an Aberdeenshire
c o l l e c t i o n
at Christie's, Lond on, A p r i l 12, 1984, lot 46. The ent ry in
th e sale catalogue does not give the clock a date. A late
nineteenth-century copy of the model was sold at auction
i n 1990.
6
The ent ire composi tion was reversed an d the
figure
o f
Min er va was replace d by that o f a
seated
Roman
w a r r i o r .
M O V E M E N T
Brass
and
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of
the movement.
The movement ( f i g . 12f) consists
o f t w o
trains drive n
b y mainsprings,
each
o f w h i c h runs for about two weeks.
Th e goi ng trai n provides power for the hands w h i c h i n d i
cate the hours i n ro ma n numerals a nd the minutes in ara-
b i c numerals on the main
d i a l .
The cloc k strikes the h ours
and
h a l f
hours on the
same b e l l .
T h e
hands
are not
o r i g i n a l .
Th e goi ng tr ai n has one rota tin g bar rel (72), w h i c h
holds the mainspring and four
p i n i o n
wheels (10/70—
10/76-7/76—7/30), the last one being the escape wheel.
The train is regulated by an anchor escapement
( r e c o i l
escapement)
in connection w i t h a pen dul um. The pen
d u l u m
can be adjusted
w h i l e
the clock is running using a
k e y inser ted i n a hole in the
d i a l
at numb er X I I . When the
k e y
is turned the
w o r k i n g
length of the pendulum is
changed. The t h i r d wheel holds the cannon p i n i o n (32), a
part of the motion
w o r k
(32—32/6-72), and the minute
hand. The hour wheel (72) holds the hour hand. The can
n o n
p i n i o n (32) rotates once every ho ur ; it has two pins
that
release
t he
s t r i k i n g
t rai n every
h a l f
and
f u l l
hour.
T h e s t r i k i n g t ra in is to the
l e f t
o f the going t r a i n . This
type of
s t r i k i n g
train has a
l o c k i n g
plate (count wheel).
T h i s t rai n has one rot atin g barr el (84), w h i c h holds
the mainspring, four
p i n i o n
wheels (12/72-8/60-6/60—
6/48), and a fly vane (6). Th e t h i r d wheel (8/60) has ten
pins that move the
s t r i k i n g
hamme r. A n unusu al feature
o f this clock is the hole in the
d i a l
at the number X, w h i c h
a l l o w s
access to a lever that
releases
t he
s t r i k i n g t r a i n .
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2 F
T h e movement.
G o i n g t r a i n
S t r i k i n g
t r a i n
E X H I B I T I O N S
Det ro i t
In s t i t u t e
o f Ar t s , 1972-1973.
P U B L I C A T I O N S
A . Smith , e d . , Th e
Country
Life
International Dictionary
of
Clocks (L o n d o n ,
1979),
p . 237 , f i g . 2 ; Ot tomeye r a n d
Proschel , Vergoldete Bronzen,
v o l . 1 , p . 114 , f i g .
2.5.2;
Sas-
soon
a n d
Wi l son , Decorative Arts:
A
Handbook,
p . 4 0 , n o .
8 7 ; B r e m e r Da v i d e t a l . , Decorative
Arts,
n o . 1 3 7 , p . 8 8 , i l l .
P R O V E N A N C E
Sold anonymous ly
at
Christie 's , L o n d o n , Ju l y
15,
1 9 7 1 , l o t 2 1 . French a n d Company , N e w York. Purchased
b y J . Paul
Get ty
i n 1 9 7 2 .
N O T E S
1 .
F o r i n f o r m a t i o n o n t h e c r o w n e d C , s ee c a t . n o . 1 3 ,
note
3.
2 . F o r a b i o g r a p h y
o f Jacques
C a f f i e r i , s ee G . d e B e l l a i g u e ,
The James A. de Rothschild Collection at Waddesdon Manor:
Furniture,
Clocks and Gilt Bronzes
( L o n d o n , 1 9 74 ) , v o l . 1 ,
p p . 8 1 - 8 2 ; v o l . 2 , p p . 8 4 8 - 8 5 0 .
3.
I b i d . ,
v o l . 1 , p p . 8 1 — 8 2. F o r t h e commode a n d t h e chande
l i e r ,
s e e F . J . B . W a t s o n , The Wallace Collection Catalogues,
Furniture
( L o n d o n , 1 95 6 ) , p p . 4 8 - 5 1 , p i . 3 7 , n o . F 8 3
( c h a n d e l i e r ) ; p p . 5 3 - 5 5 , p i s . 4 0 , 4 1 , n o . F 8 6 ( c o m m o d e ) .
4 . S e e P . V e r l e t ,
La Maison du
XVIIIe
s iecle en France
(Paris,
1 9 6 6 ) , p . 4 0 , f i g . 2 4 . I t is i m p o s s i b l e t o t e l l f r o m t h e p h o t o
g r a p h whether o r n o t M i n e r v a
s t i l l possesses
h e r s h i e l d
a n d C u p i d h is
scythe,
o r t o d i s t i n g u i s h t h e name o n t h e
face o f t h e c l o c k .
5 . W . Edey,
French Clocks in North American Collections
( T h e
F r i c k C o l l e c t i o n , 1 9 8 2 ) , p . 5 9 , n o . 5 4 ( n o t i l l u s t r a t e d ) .
6 . C h r i s t i e ' s , L o n d o n , N o v e m b e r 2 9 , 1 9 9 0 , l o t 1 0 6 .
W A L L
C L O C K 9 1
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X
Planisphere
Fre nch (Paris); circa 1745 -174 9
M o v e m e n t
(now missing) by
Alex and re Fortier (circa 170 0-
1770) (see
B i o g . ,
p. 171);
case
a t t r i b u t e d to Jean-Pierre Latz
( c i r c a 1691-1754)
H E I G H T :
9 ft. 3 in . (282 cm)
W I D T H :
3 ft. 1 in . (94 cm)
D E P T H :
1 ft. 3 in . (38.1 cm)
7 4 . D B . 2
92
D E S C R I P T I O N
T h e case is div ide d int o two parts. Th e f r o n t of the
upper element,
w h i c h
for mer ly contained the mo vement,
is mainly occupied by a large d i a l , above w h i c h are four
subsidiary dials (see
b e l o w ) .
The main d i a l is covered by a
c i r c u l a r convex glass, the smaller dials by a shaped panel
o f f l a t glass. On top of the
case
is a g i l t - w o o d orrery, and
there is a v i e w i n g hole below the main
d i a l .
T he sides are
fitted
w i t h
s o l i d doors
w h i c h
lower on hinges (fig. 13a).
The remaining areas of the case are veneered
w i t h k i n g -
w o o d , and panels o f t r e l l i s parquetry are set below the
d i a l and on the sides. Bronze moldings frame the glass
panels and the sides
o f
the doors and f o r m a bro ad arched
pediment beneath the orrery.
Elaborate bronze mounts are set on the upper cor
ners
and at the edges of the widest part of the circular
area below. Ano ther mo unt surrounds the v i e w i n g hole,
and large complex mounts set w i t h shells, cabochons, an d
v i n e branches f o r m the feet of the case ( f i g . 13b).
A t the center
f r o n t
the projecting base is fitted
w i t h
a
large mount consisting of a blank cartouche on w h i c h is
perched an eagle
w i t h
outst retch ed wing s. To either side
are sprays of palm, oak, and laurel above stylized shells
( f i g . 13c). Th e h o l l o w low er section o f th e base is o f bombe
f o r m and raised o n short cabriol e legs. It is veneere d w i t h
k i n g w o o d
and bois satine, th e f r o n t and sides bearing
panels
o f
t r e l l i s
parquetry. Hor izo nta l bronze mol dings
are placed at the top o f the bomb e section and at i t s j u n c
ture w i t h the legs. Bro nze moun ts compo sed i n the ma in
o f
cabochons and acanthus leaves are set along the f r o n t
corner s and o n the legs. Th er e are thre e moun ts on the
center f r o n t : an elaborate m ou nt compose d o f C-scrolls,
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1
3
A
94
P L A N I S P H E R E
13B
acanthus,
and a feathered
w i n g
above a smaller mount
that carries a seed pod, and a large apron mount com
posed of shells, leaves, C-scrolls, and a pair of feathered
w i n g s ( f i g . 13d).
Th e back o f the upp er par t of the case is
fitted
w i t h a
large door,
w h i c h
is hinged and latched. The carcase
thr oug hou t is of white oak.
B e h i n d the uppermost subsidiary d i a l was
o r i g i n a l l y
fitted
a r e v o l v i n g disk painte d w i t h the moon—the
phases
o f
w h i c h
could thus be seen thro ugh the crescent-shaped
aperture . Below this
d i a l
are three m ore dials. Th e
l e f t -
hand
d i a l
is engraved w i t h the numbers one to
f o r t y -
t w o and the words:
Eclipses du I
e r
Satellite de Jupiter
(fig.
13e). The center
d i a l
is engraved w i t h th e
days
of the
week and the words:
Inventé par A. Fortier
( f i g . i3 f ) . The
r i g h t - h a n d
d i a l bears
the roman numerals I to X I I and
th e names of the f o l l o w i n g French and B r i t i s h ports,
read clockwise:
Dunkerque, Nieuport, Ostende I Isle de
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i3C
i 3
D
P L A N I S P H E R E 95
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i 3
E
Zetlande I Belle Isle I Penmark I Isle de RhelSt. Poldeleonl
Kinsale I
St. Malo, Milfort, St. Davids
I
Barneville
I
Isigny
LeHavre I F e scam p I Dieppe I St. Valery
( f i g . i 3 g ) .
Each
o f
these three d i a l s h a s o n e hand.
T h e m a i n d i a l h a s a n
outer
t w e n t y - f o u r - h o u r chapter
r i n g
w i t h
t h e minutes m a r k e d i n arabic numerals. Set
i n s i d e t h i s i s another r i n g w h i c h is p i e r c e d . T h e l a t t e r is
engraved
w i t h
th e m o n t h s , t h e signs o f t h e zodiac
( w i t h
t h e i r d i v i s i o n s ) , a n d t h e names o f t h e c o r r e s p o n d i n g c o n
s t e ll a t io n s . I n t h e center o f t h e d i a l a r e t w o superimposed
d i s k s . T h e l o w e r a n d l a r g e r d i s k is
engraved
w i t h t h e
e q u a t i o n o f t i m e ,
w i t h
r o m a n numerals I t h r ou g h X I I
a n d arabic
numerals
o n e t o t w e n t y - n i n e a n d
one-half.
T h e uppe rmost d i sk i s engraved
w i t h
t h e
names
o f t h e
m a i n oceans a n d o f v a r i o u s c i ti e s a n d countries a r o u n d
t h e w o r l d .
Reading
c l o c k w i s e , t h e y a r e :
Tremesni Madr id Brest IMaroc Lisbonne Ire lande I
Madere
Ides Canaries ler Meridien
1 du Cap Verd I
Tercere I
Saint Salvador au
Bresil I
Mar ag nan au
Bresil I
Para au
Bresil I
Cayenne Terre Neuve
I
La Mart inique
9 6 P L A N I S P H E R E
Accadie
I
S. Domingue Quebec
I
Lima Le Chile Virginie
I
P anam a La Havana
I
Guat imala Floride
I Mexico
en
N ou
le
Espagne I Nouveau Mexique I La Californie I Isle
S. Thomas dAmerique I Isle Rocca Par t ida I Isle S. Pierre
del L'Equateur/ Isle Voisine ou Vexina I Isle des Chiens
Isle des Mouches I Isle Solitaire IIS. Pierre del
LEquateur I Isle
Sainte Croix
I Isle
de
Cocos I Isle
d 'Hoorn
I
Isle
S. Bartelmy
I
Isles d e Marie Anne ou des Larrons
fendo au Japon
I
Bungo au Japon
1
Philippines et
Moluquesl Pequing et Maca o en Chine I Batavie
Cochinch ine I Saim Malacca I Pegu Achem I Metiapur
Golcolde le Mogol I Goa Cal icu t Surate I Samarcand en G
de
Tartarie I Ormus en Perse I Hispahan Astracan I La
Mecque Erzeron
I
Jerusalem Cypre Mozamb ique
I
Constantinople Alexandrie
I
Stockholm Va rsovie Lepante
Barca
I
Vienne Rome M althe
I
Ham bourg Milan Tunis i
Anvers Londres,
a n d i n descending
orde r
t o w a r d t h e
center o f t h e d i a l :
PARIS
I Or leans I Limoges I G ao r s
Toulouse I Barcelone I Alger a l l e n c i r c l e d b y Europe,
Ocean
Amérique,
Mer du Sud ou Mer Pacif ique, Asie [ t h e
l a t t e r repeated f o u r t i m e s ] ( f i g . 1 3 b ) .
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13F
13G
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1
3
H
9 P L A N I S P H E R E
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Th e divisions ma rke d o to 42.5 on the upper l e f t -
hand subsidiary d i a l represent the
o r b i t a l
period of Io
(the Ier satellite) around Jupiter. The fact that this period
is 42.48 hours was
w e l l
established by the mid-eighteenth
centu ry. I n or de r to keep tra ck o f Io's eclipses, w h i c h
c o u l d be observed th ro ug h a co mm on telescope, one
w o u l d set the han d to zero at the mo me nt o f the eclipse;
the next eclipse w o u l d occur,
w i t h
a deviation of eight
minutes, when the hand reached zero again. This mech
anism was used to determine longitudes.
1
Th e upper rig ht-h and subsidiary d i a l was almost cer
t a i n l y
a t i d a l d i a l for the northern part of France, and it
suggests
that the clock was made fo r an own er
l i v i n g
i n
that area. The latitudes and longitudes of the various c i t
ies rang e
f r o m
47°2o ' N, 3°i o' W to 50°i 1' N , 2
0
55' E.
The smallest and innermost d i a l on the main face
indicates the l o c a l times of different cities and
areas
t h r o u g h o u t
t he
w o r l d .
The larger d i a l beh in d it shows the
ages
of the mo on and also proba bly provi ded the appar
ent n igh t ascension of the mo on, th at is, its posi tion in the
sky,
east to west.
The pierced d i a l shows the months and the position
o f
the sun in the ecliptic
w i t h
the zodiacal signs. The out
ermost
d i a l
was inte nde d to prov ide mean solar time . Th e
oute r han d is the mean solar time hand, w h i l e that in the
center is the lunar ha nd .
2
M A R K S
T h e
case
is not s tamped
w i t h
a maker's name. A l l the
mou nts on the lo wer section of the clock,
w i t h
the excep
t i o n o f the mold ings , are struck w i t h a small stamp in the
f o r m
o f
a cro wne d C. Th is was a stamp used o n alloys con
t a i n i n g copper to denote that a tax had been paid—the C
stands
f or cuivre—between the years 1745 and 1749.
3
C O N D I T I O N
The upper area of the
glass
cover is a modern
replacemen t. T he central part of the main d i a l was
o r i g i
n a l l y s ilvered but is now very w o r n . A l l th e
hands
are later
replacements. A l t h o u g h it once opene d, the fra me of the
v i e w i n g hole for the pe nd ul um is now nail ed shut. Th e
movemen t is entirely missing, along
w i t h
the pendulum,
w e i g h t s ,
and bells. The opening for the bells has been cov
ered over w i t h paper that bears
p r i n t i n g
in French. Th e
bronze mounts are not gilded.
Th e wo od orrery covered, in part,
w i t h g i l d e d
paper
may replace one of
g i l t
bronze, w h i c h w o u l d have been
mo re suitable for this elabora te piece. However , ther e are
no signs of a previo us attachment in the woo den p l a t f o r m
t o
w h i c h it is fixed.
C O M M E N T A R Y
T h e
case
is attributed to the cabinet-maker
Jean-
Pierre Latz (circa 1691-1754) .
4
Latz was bo rn i n Cologn e
and emi grat ed to Paris in 1719. By this date he was at least
t w e n t y - e i g h t years old and, therefore, had probably
received his tra in in g in Germany. I n 1741 he was
appointed Ebeniste
Privilegie
du Roi. A f t e r his death in
1754, his
w i f e ,
Marie-Madel aine, conti nued to operate
the large workshops
u n t i l
she died two years later. It
appears
that the makin g of
c l o c k cases
was th e c h i e f occu
p a t i o n o f Latz's worksh ops.
I n the inv ent ory taken at his death one hu nd re d and
seventy clocks are mentioned, w h i l e
o n l y
forty-eight
pieces o f
case
furniture are listed.
5
However, o n l y f o u r
c l o c k s
w h i c h bear his stamp are kn ow n today.
6
T h e
a t t r i
b u t i o n o f this
case
to Latz rests mai nly on a comparison o f
the mounts to those on pieces stamped
w i t h
his name or
securely attr ibut ed to hi m.
W i t h
th e
m a j o r i t y
of cabinet
makers this
w o u l d
be a vague me th od of attri but ion as
bro nze m ou nt s were , by law, mad e by a
separate
Paris
g u i l d . However , it is kn ow n f r o m various documents that
L a t z designed and made his own mounts, at least
u n t i l
1749 (after the date o f const ructi on of this piece). I n that
year members of the
g u i l d o f
fondeurs-ciseleurs
v i s i t e d
his
worksho ps to determ ine wh ethe r or not Latz was i l l eg a l l y
engaging i n their trade.
7
They recorded considerable
e v i
dence that he was. A l t h o u g h the out come o f the l i t i g a t i o n
is
not
k n o w n ,
it is probable that
f r o m
then on Latz used
outside worke rs to prod uce his moun ts, th ou gh it is
l i ke l y
that they wor ked
f r o m
his own models.
The mount around the
v i e w i n g
hole on the u ppe r
section of the planisphere
appears
on several un sta mpe d
long-case clocks, all o f sim ila r f o r m , profusely mounted
and veneered
w i t h
ebony.
8
Th e mount s of one of
these
c l o c k s are stamped
w i t h
the cr own ed C, and i t is thus
probabl e that this fr am in g mo un t was also produ ced in
the latt er part o f the 1740s. It is not fo un d elsewhere on
Latz's w o r k a nd ma y be an instance o f his use of a mo un t
n o t
made to his own design. Nevertheless, this mount has
been s i m p l i f i e d on the Museum's planisphere by the
r e m o v a l
o f smal l decor ativ e elements above and below.
O n l y two of the mounts on the lower section of this
piece
appear
on other clocks by Latz. The first is the
gourd-shaped seed po d supp or ted by leaves above t he
apron of the base. This can be found on two long-case
c l o c k s stamped
w i t h
his name: one at the Cleveland
M u s e u m
o f
A r t
9
and the ot her i n the James A. de Roth
s c h i l d Co llection at Waddesdon Manor, Englan d.
1 0
The
second mount—on the f r o n t corners o f the
base—is
f o u n d again at the upper corners o f the pedestal o f a cloc k
e x h i b i t e d at Schloss M o r i t zb u r g near Dresden, w h i c h has
been
firmly
attr ibute d to Latz by Hen ry Hawley.
1 1
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The style and elements of the mounts also strongly
suppo rt the att rib uti on of this case to Latz. The use of
feathe red wi ngs, auri cula r form s, and massive mo unts
flanked b y small
flickering
scrolls tha t brea k up the s o l i d
i t y o f the f o r m as
w e l l
as the pronounced asymmetry are
a l l
very characteristic of this maker's w o r k . A l s o t y p i c a l
are the clear horiz ont al str uctu ral divisions, c o n f i n i n g
th e
areas
of parquetry or marquetry
w i t h i n
definite
boundaries.
1 2
I t is possible that this planisphe re o r i g i n a l l y belon ged
t o the prince de
C o n t i .
I n the catalogue of the
sale
held
after his death, in 1777, there is a piece described as f o l
l o w s : " Un planisphere inventé par feu M. F O R T I E R ,
N o t a i r e , marquant l 'heure q u ' i l est dans les différentes
contrées de la terre, pareillement l'heure des marées, les
signes d u Zodia que, le quantième 8c les
phases
de la lune,
les jo ur s de la semaine, le quant ièm e d u mois
8c
c."
13
A m o n g the kn ow n planispheres designed by Fortier, o n l y
the Museum's clock bears a
d i a l
in dic ati ng the times of
the tides.
1 4
O T H E R
E X A M P L E S
Th er e are two othe r complet e eighte enth-cen tury
planisph eres kn ow n to exist today. One, w i t h an even
more elaborate
case,
is in the Wallace C o l l e c t i o n , L o n
d o n .
1 5
It was made for the financier Jean Paris de Mo n-
m a r t e l (1690-1766) circa 1750. It
s t i l l
retains its compl ex
moveme nt by Alex andr e Fortier and M i c h e l Stollenwerck
(see B i o g . , p. 195). Ano the r, dated 1760,
w h i c h
has a
m u c h simpler case bu t a mor e elaborate mov ement and
p r o b a b l y
belonged to Fortier himself, is in a private
c o l
l e c t i o n
i n New
Jersey.
16
I n
the Conser vatoi re Nati ona l des A r t s et Métiers,
Paris, there is anot her p lanisp here move ment w h i c h
bears on its dials precisely the same cities and parts of the
w o r l d as those found on the Museum's example, spelled
and arrange d i n the same way. It is engraved: Horloge
Astronomique inventée et aite
pa r
Mathieu Kriegseissen à Paris.
I Aprouvée par
Messieurs
de 1Académie Royale des
Sciences
à
Paris, le 10
Juillet
1726.
17
I t is possible that a co mm on
p r i n t e d source was used by the
d i a l
engravers.
18
E X H I B I T I O N S
N e w
Y o r k ,
Metro poli t an Museu m of
A r t ,
The
Grand
Gallery (La Con fed erat ion int ernat iona le des négociants
en oeuvres d'art
[ C I N O A ] ) ,
October 19, 1974-January 5,
i975>P-5°>
n o
-44-
I O O
P L A N I S P H E R E
P U B L I C A T I O N S
"The Grand Gallery," Connoisseur (October 1974), p.
1 2 2 ; G. W i l s o n , Selections from the
Decorative
Arts in the
J Paul
Getty Museum ( M a l i b u ,
1983), pp. 36 -37 , no. 18,
i l l . ;
Sassoon
a nd W i l so n ,
Decorative
Arts: A Handbook, p. 40, no.
8 6 ; P.
V e r l e t , Les
Bronzes, p. 115, fig. 144; Br em er D a v i d et
a l . ,
Decorative
Arts, pp . 88—89, no . 138.
P R O V E N A N C E
(? )
Louis-François de Bourbon, prince de C o n t i .
B a r o n Gustave de Rot hsc hil d, Paris. Charles Davis sale,
C h r i s t i e , Manson 8c Woods,
L t d . , L o n d o n ,
June 29, 1906,
l o t 132 (to Stettiner). Sold
f r o m
the collectio n of
M o n
sieur X . . . [M au ri ce Eph rus si] , Galer ie Georges Petit,
Paris, May 22, 1911 , lo t 63. Sold as "T he Pr ope rty o f a
L a d y
o f T i t l e , Sotheby's, Lon do n, Nov emb er 24, 1972,
l o t 34. Rosenberg and Stiebel, New Y o r k , 1974. Pur
chased b y J. Paul Ge tty in 1974.
N O T E S
1.
I am grat eful to Dr. Tor ran ce John son fo r this
i n f o r m a t i o n .
2 .
I am grat eful to
W i l l ia m
An drew s for this i n f o r m a t i o n .
3. For the compl ete text of the tax edict, see H. Noc q,
"Quelques Marques Le C Couronne," Le Figaro Artistique
( A p r i l
17, 1924), pp. 2-4. See also G. de Bellaigue,
The James
A. de Rothschild
Collection
at Waddesdon Manor:
Furniture, Clocks and
Gilt
Bronzes, v o l . 1 (L on do n, 1974),
PP-3 -37-
4 .
For a mon ogr aph on Jean-Pierre Latz and his
w o r k ,
see
H . Hawley, "Jean-Pierre Latz, Cabinetmaker," Bulletin
of
the
Cleveland
Museum
of Ar t (September/October 1970),
p p .
203—259, and Pradère,
Les Ebénistes,
pp. 152—161.
5. A . N . , M i n . , X X V I I I , 338, inven tory after death o f
Jean-
Pierre Latz, August 9, 1754.
6. For two o f the clocks, own ed respectively by the Clevela nd
M u s e u m
o f A r t an d Waddesd on Ma nor, see Hawley (note
4 ) , p. 2 16, pis. 1 and 2. A
t h i r d
cl ock, also a long-case
m o d e l
and elaborately veneered w i t h brass, horn, and
m o t h e r - o f - p e a r l ,
is in the Schloss Charlottenburg, B e r l i n .
I t has a mo ve me nt by Stol len werc k. See W. Baer, "Some
C l o c k s
of Frederick the Great,"
Connoisseur
(May 1977),
p p .
22—29, fig. 1 an d co lor plate. T he
f o u r t h
c lock, in the
Staatl iche Kunstsammlungen, Dresden,
w h i c h
resembles
the uns tam ped clock in the Schloss
M o r i t z b u r g ,
i l lustrated
as num be r 11 in Hawley's article (note 4), is not
o n l y
sta mpe d by Latz bu t also dat ed 1739.
7. A . N . , Y 10 992. Procès verbal , po ur la Com mun aut é des
fondeurs, Jean-Pierre Latz, December 2, 1749.
8. Hôtel Drou ot , Paris, Decemb er 13, 1963, lot 137, w i t h a
movement by Derblours; Sotheby Parke Bernet, Monaco,
Febru ary 8, 1 981, lot 265, w i t h a movement by
A d m i r a u l t ;
Etude Cour tu r ie r
N i c o l a y
(Hôtel
D r o u o t ) ,
Paris, Decem
ber 20, 1988, lot 102, w i t h a movement
b y
Jean-André
Lepaute; Pierre Cornette de Saint Cyr (Hôtel
D r o u o t ) ,
Paris, A p r i l 6, 1994, lot 134, w i t h a movement by
L o u i s -
François Normand.
9. Inv. 49.200 , Hawl ey (note 4), p. 215, no. 1,
f i g .
1.
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1 0 . S e e d e B e l l a i g u e ( n o t e 3 ) , p p . 8 4 — 88 , n o . 1 1 .
1 1 . S e e H a w l e y ( n o t e 4 ) , p p . 2 1 9 — 2 2 0 , n o . 6 , f i g . 6 .
1 2 . H a w l e y ( n o t e 4 ) , p . 2 0 6 .
1 3. Pierre R e m y , Paris, A p r i l 8 a n d days f o l l o w i n g , 1 7 7 7 , l o t
2 0 0 8 . 1 a m g r a t e f u l t o T heodore D e l l f o r t h is i n f o r m a t i o n .
1 4. T h i s i n f o r m a t i o n h as been k i n d l y s u p p l i e d b y
Jean-
D o m i n i q u e A u g a r d e .
15 . S ee F. J . B . W a t s o n ,
Wallace Col lection Catalogues, Furniture
( L o n d o n , 1 9 5 6 ) , p p . 6 5 - 6 7 , p i s . 50 , 5 1 , n o . F 9 8 , a n d
P.
Hughes ,
French Eighteenth-Century Clocks and Barometers
in
the Wallace Col lection
( L o n d o n , 19 9 4) , p p . 4 4 - 4 5 .
1 6 . S o l d f r o m t h e c o l l e c t i o n o f L é o n M a s c a r t , G a l e r i e Char
p e n t i e r , Paris, M a y 3 0 , 1 9 4 8 , l o t 8 9 . T h e d i a l i s engraved
Inventé par
Alexandre
Fortier, Fait
par Stol lewerck
IJ 6 O N u m
b e r 1 6 1 i n t h e
sale
o f A l e x a n d r e F o r t i e r ' s e ff e c ts h e l d o n
A p r i l 1 2 , 1 7 7 0 , w a s d e s c r i b e d a s: U n e grande Pendule
a s t r o n o m i q u e , d u S y s tè m e d e C o p e r n i c , marquant le tems
v r a i & le tems m o y e n , l e s m o i s , le s j o u r s ,
heures,
m i n u t e s &
secondes, avec
l e cours d e s planètes, l e l e v e r d u s o l e i l :
dans
sa boette &
dans
sa gaine d e b o i s d e v i o l e t t e , g a r n i e e n
b r o n z e . C e savant m o r c e a u e s t f a i t p a r S t o l w e r c k , H o r l o
g e r à Paris." I a m g r a t e f u l t o
Jean
N é r é e R o n f o r t f o r th i s
reference.
1 7 . I n v . 7 4 9 2 , C o n s e r v a t o i r e N a t i o n a l d e s A r t s e t M é t i e r s ,
Catalogue du Musée, Section
J B :
Horologerie
( P a r i s , 1 9 4 9 ) ,
p p . i 3 2 - i 3 5 > f i g s. 3 6 , 3 7 , n o . J B 3 3 : 4 .
1 8 . S e e, f o r e x a m p l e , D o m Pierre d e Sainte M a r i e M a g d e -
l i e n e ,
Traite d'Horologie Contenant Plusiers
Manières
de Con
struire
sur Toutes Surfaces, Toutes Sortes de Lignes horaires;
£sf
autres Cercles de la sphere,
2 n d e d . ( P a r i s , 1 6 4 5 ) .
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14A
the clock, w h i c h one can assume therefore to be the
"modele" provided.
1
T h e d i a l is inscribed in ink around
the bezel collar Alibert. The springs o f the g oing and s t r i k
i n g trains are signed Masson
( f o r
Joseph -Ant oine Masson;
see
B i o g . ,
p. 192) and are dated
Janvier
an d Fevrier 1763
( f i g .
14c). As the mov em ent is o r i g i n a l to the case, the lat
ter can also be dated to around this year.
C O N D I T I O N
The unblemished patina on the b u l l w o u l d appear to
be
f a i r l y
moder n. I t e i ther replaces t he o r i g i n a l patina, o r
the
b u l l
was
f o r m e r l y g i l t .
C O M M E N T A R Y
Dru m-s hap ed clocks sup por ted on animals were
popu lar i n the mid -eight eenth century. Those h aving ele
phants and bulls are most com mon ly fo un d, and some-
104
M A N T E L C L O C K
times the elephants are of Meissen porcelain.
2
Rhinoc-
e r i , horses, and boars were also used and, more rarely,
donkey s and camels. Such clocks were sometimes placed
o n elaborately mounted caskets containing musical
movements.
O T H E R E X A M P L E S
A
number of s i m i l a r clocks exist. Four have t he name
" O S M O N D , "
r efer rin g to the bronzier Robert Osmond,
stamped on their
bases.
One
o f these
clocks was so ld
f r o m
the collection of Lucie n Surm ont at the H o t e l Drouot
(Paris, May 13, 1912, lot 100). It stood on a marbl e base,
had a movement by
V i g e r ,
and was signed
O S M O N D
at
th e
l e f t
c orner of the
base.
A second clock, also stamp ed,
was sold f r o m the collection of Madame de Poles i n 1936
(Paris, Gallerie Charpenti er, N ovem ber 17-18, lot 151). It
too had a movement by
V i g e r .
3
A t h i r d clo ck stam ped by
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1 4 E T h e s p r i n g
o f
th e s t r i k i n g
t r a i n ,
signed Masson Fevrier
7 6
Osmond w i t h a movement by Boucher was in the Edward
A r n o l d col lect ion.
4
Another, of precisely the same model
w i t h a patinated bronze b u l l marked "os," as a partial
stamp f or Osm ond , is in Schloss Joh anni sbur g at Aschaf-
f e n b u r g .
5
T h e
d i a l
of this clock is signed
" V I G E R
APA RIS."
A
closely compar able clock w i t h a
s l i g h t l y
d i f f e r i n g
base is in the
B r i t i s h
Royal Collection at Bucki ngha m Pal
ac e.
6
Th e figures, th ou gh positione d in the same way, are
more s t i f f ly draped. The base of the case is signed
" O S M O N D "
on the
r i g h t ,
and the movement and
d i a l
were
replaced by V u i l l i a m y in 1817.
A
clock of the same model w i t h a movement by
Etienne Le
N o i r
and apparently not signed by Osmond
was sold at the Galerie Charpentier, Paris, December 2,
1952, lot 192 (listed in the section entitled "Divers ama
teurs"). Other clocks of the
same
model w i t h movements
b y
Le
N o i r
can be mentioned. One was sold at auction in
Paris in
1 9 9 1 ,
7
and another was w i t h a Parisian dealer in
th e same year. Another clock of this model, w i t h a move
men t signed "Lenoi r," was sold at the Ho te l Dr ouo t in
1989 ( A p r i l 26, lot 74). This movement,
w h i l e
old, was
apparently a replacement. A clock w i t h a movement by
G i l í e s
Vainé
was so ld f r o m the collection of Mada me Chai -
nau t (Sotheby's, Lo nd on , Dec embe r 10, 1936, lot 116).
T a r d y
illustrates a clock bearing a rhinoceros
w i t h
a man
d a r i n
above the drum,
w h i c h
has a base of the same
f o r m .
8
A l l
o f
these
unsigned clocks, together w i t h that in
the Ge tty Museum' s collect ion, may be given to the
bron-
zier
Osmond.
A clock of very similar design is in the Musée du
L o u v r e .
9
Th e p osition of the b u l l is rever sed, an d thr ee
femal e figures a re i n dif fe re nt poses. It s
base
is signed
"ST .
G E R M A I N . "
Ano th er clock, ident ical to this and also
signed "ST.
G E R M A I N "
was form er ly in the Pelham Galle r
ies, Lon don . Th e bronzier Jean-Joseph de Saint-Germain,
h a v i n g
been
made
a
master
in 1748, was a contemporary
o f Rober t Osmo nd. H e was a crafts man o f super ior sk i l l
an d invent ivenes s, a nd i t is possible that i t was he who
first
used this theme o f Eur opa an d the B u l l , and that the
m o d e l was then
m o d i f i e d
by Osmond.
M O V E M E N T
Brass
and
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings of the movement.
The movement
( f ig s .
i 4 f and g) consists of two trains
d r i v e n
by mainsprings,
each
o f
w h i c h
runs for more than
t w o
weeks. The going train provides power for the
hands
w h i c h
indicate the hours i n ro ma n numera ls and the m i n
utes in arabic numeral s on the mai n
d i a l .
The clock strikes
the hours and
h a l f
hours on the
same be l l .
Th e goi ng tra in has one rot atin g barrel (78),
w h i c h
holds the mainspring and
f i v e p i n i o n
wheels (12/78-
8/63-9/48-8/48-10/20), the last being the escape wheel.
The going train is regulated by an anchor
escapement
( r e c o i l
escapement)
i n connection w i t h a pen dul um. T he
pendulum can be adjusted
w h i l e
the clock is running by
14F Three-quar ter view
o f
the movemen t .
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14
G
D e t a i l s h o w i n g t h e
escapement.
G o i n g
t r a i n
S t r i k i n g t r a i n
l i f t i n g o r l o w e r i n g it s s p r i n g suspension. T h e a r b o r o f t h e
t h i r d w h e e l h o l d s t h e c a n n o n p i n i o n ( 3 0 ) , a p a r t o f t h e
m o t i o n
w o r k ( 3 0 - 3 0 / 6 - 7 2 ) , a n d th e m i n u t e h a n d . T h e
h o u r w h e e l (7 2 ) h o l d s t h e h o u r h a n d . T h e c a n n o n p i n i o n
( 3 0 )
rotates once e v e r y h o u r ; i t h a s t w o p i n s t h a t
release
t h e s t r i k i n g t r a i n e v e ry h a l f a n d f u l l h o u r .
T h i s t y p e o f s t r i k i n g t r a i n h a s a l o c k i n g p l a t e ( c o u n t
w h e e l ) .
T h i s t r a i n h as o n e r o t a t i n g b a r r e l ( 7 8 ) , w h i c h
h o l d s t h e m a i n s p r i n g , f o u r p i n i o n w h e e l s ( 1 2 / 6 3 - 7 / 6 0 -
6 / 6 0 - 6 / 5 4 ) , a n d a f ly vane ( 6 ) . T h e t h i r d w h e e l ( 7 / 6 0 ) h a s
t e n p i n s t h a t m o v e t h e s t r i k i n g h a m m e r .
T h e b a r r e l s o f t h e g o i n g t r a i n a n d t h e s t r i k i n g t r a i n
a r e v e r y u n u s u a l i n c o n s t r u c t i o n . N o r m a l l y t h e b a r r e l
car
r i e s t e e t h w h i c h d r i v e t h e f o l l o w i n g p i n i o n i n t h e t r a i n . I n
t h i s case t h e b a r r e l s c o n s i s t o f
t w o
p a r t s : a p l a i n b a r r e l a n d
a separate w h e e l w h i c h is fixed t o t h e b a r r e l
w i t h
screws.
T h i s c o n s t r u c t io n appears t o b e o r i g i n a l . T h e d i a l is n o t
o r i g i n a l t o t h e c l o c k . T h e holes f o r w i n d i n g t h e c l o ck a n d
t h e h o l e f o r t h e h o u r a n d m i n u t e
hands
w e r e
d r i l l e d
i n
t h e d i a l a f t e r i t w a s
enameled
( a s is t y p i c a l o f n i n e t e e n t h -
c e n t u r y d i a l s ) .
E X H I B I T I O N S
D e t r o i t
I n s t i t u t e o f
A r t s ,
1 9 7 2 - 1 9 7 3 .
P U B L I C A T I O N S
W i l s o n , Clocks,
p p . 56 — 5 9, n o . 1 1 , i l l . ; W i l so n , Deco
rative Arts ( 1 9 7 7 ) , p . 5 1 , n o . 6 7 , i l l . ; Sassoon a n d W i l s o n ,
Decorative
Arts : A Handbook, p . 4 1 , n o . 8 8 , i l l . ; B r e m e r
D a v i d e t a l . , Decorat ive Arts , p . 9 0 , n o . 1 4 0 , i l l .
P R O V E N A N C E
(?) L o u i s Fr a nç o is A r m a n d d e V i g n e r o t d u Plessis,
d u c d e R i c h e l i e u ; s o l d , P a r is , D e c e m b e r 1 8, 1 7 8 8 .
1 0
S o l d ,
C h r i s t i e ' s , L o n d o n , J u l y 5 , 1 9 7 3 , l o t 3 1 . Purchased b y
J . P a u l G e t t y a t t h a t sale.
N O T E S
1.
I a m g r a t e f u l t o J e a n - D o m i n i q u e A u g a r d e f o r d e c ip h e r
i n g these i n s c r i p t i o n s .
2 . F o r a m a n t e l c l o c k
w i t h
a p o r c e l a i n elephant, s e e G . d e
B e l l a i g u e ,
The James A. de Rothschi ld Col lection at Waddesd on
Manor, Furniture, Clocks and
Gilt
Bronzes,
v o l . 1 ( L o n d o n ,
1 9 7 4 ) , p p . 1 0 0 - 1 0 3 , n o . 1 6 .
3 . M a d a m e d e
Poles
o w n e d another c l o c k o f t h i s m o d e l ,
a p p a r e n t l y u n s i g n e d ,
w i t h
a m o v e m e n t b y H e n r y B l o n d e l .
S e e d e
Poles sale,
G a l e r ie
Georges
P e t i t , P a r i s ,
June
2 2 - 2 4 ,
1 9 2 7 , l o t 1 9 2 .
4 . S e e F . R u t t e r ,
Th e
Edward
Arnold Col lection
( L o n d o n , 1 9 2 1 ) ,
n o . 1 1 . T h i s c l o c k w a s f o r m e r l y i n t h e D e m i d o f f c o l l e c t i o n .
5 . I n v . A s c h . V a r 2 , O t t o m e y e r a n d P r ô s c h e l ,
Vergoldete
Bron-
zen,
v o l . 1 , p . 1 2 5 .
6 . S e e J . H a r r i s , G . d e B e l l a i g u e , a n d O .
M i l l a r , Buckingham
Palace
( L o n d o n , 1 9 6 8) , p . 2 0 0 . T h e m u s i c a l b o x o n w h i c h
t h e c l o c k n o w
stands
is n o t o r i g i n a l t o t h e p i e c e .
7 . H ô t e l D r o u o t , P a r is , December 6 , 1 9 9 1 , l o t 4 3 .
8 . T a r d y ,
La Pendule française, 1ère partie, des or igines au
Louis
XV
( P a r i s , 1 9 7 4 ) , p . 1 6 9 , f i g . 2 .
9 . I n v . O A 5 1 6 8 , C D — 3 2 3 , C . D r e y f u s ,
Catalogue sommaire du
mobil ier et des objets d'ar t
( P a r i s , 1 9 2 2 ) , p . 6 8 , n o . 3 2 3 ,
i l l . V I L
1 0 . A c l o c k i s d e s c r i b e d i n t h e
sale
catalogue a s 6 9 2 U n e Pen
d u l e , m o u v e m e n t d ' E t i e n n e l e N o i r ,
dans
s a b o î t e
terminée
pa r un e f i g ur e , e t
soutenue
p a r u n
taureau
e n b r o n z e e n
c o u l e u r a n t i q u e , aussi a c c o m p a g n é d e f i g u r e s s u r
terrasse
à r i n c e a u . I t i s p o s s i b l e t h a t th i s c l o c k a n d t h e M u s e u m ' s
e x a m p l e a r e o n e a n d t h e
same.
H o w e v e r , i t h a s
been
n o t e d
t h a t t h i s m o d e l
seems
t o have been f i t t e d
w i t h
m o v e m e n t s
b y E t i e n n e L e
N o i r f a i r l y
f r e q u e n t l y . I a m g r a t e f u l t o
Jean-
D o m i n i q u e A u g a r d e f o r t h is i n f o r m a t i o n .
M A N T E L C L O C K
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X V
W a l l
Clock on a Bracket
F r e n c h (Paris); circa 1764
Case
by
A n t o i n e
Foullet (1710—
1 7 7 5 ) ; m ovem ent by Lapi na (dates
u n k n o w n )
C l o c k :
H E I G H T : 2 ft. SVz in . (82.5 cm)
W I D T H :
1 ft. 4V2 in . (41.9 cm)
D E P T H :
8 in . (20.3 cm)
B r a c k e t :
H E I G H T :
1 ft. 2V 4 in . (36.2 cm)
W I D T H :
1 ft. 7
Vs
in . (49.5 cm)
D E P T H : 1 i Y
4
in . (28.6 cm)
75.DB.7
D E S C R I P T I O N
T h e
c l o c k is toppe d by a gilt-bronz e ur n placed on a
w o o d e n
p l i n t h
veneered w i t h horn that is painted green
o n
its under side. Th e p l i n t h is su rr ou nd ed on three sides
b y a freestanding brass f r e t pierced w i t h a greek key
p a t t e r n .
T h e
w h i t e
enamel
d i a l
is centered in the main octag
o n a l area. A bov e is a lion's mask
w i t h
a r i b b o n bow i n its
m o u t h . A t the two f r o n t corners are s m i l i n g satyr's faces
set on consoles
w i t h
s c r o l l i n g tops an d flutes (f ig. 15a).
Suspended by
r i b b o n
bows
f r o m
th e
base
o f
these
con
soles is a swag of oak leaves
w i t h
acorns, caught up at the
center below the d i a l . T h e concave surface o f the case
a r o u n d th e
d i a l
is veneered w i t h
brass
sheeting w i t h geo
m e t r i c cutouts inset w i t h red, green, and cream-colored
h o r n .
T h e ou tcurv ing base of the
c l o c k
is occupied at its
center by a glass panel of trapezoidal
shape.
The panel is
p a r t i a l l y covered by a f l a m i n g u r n w i t h a length of drap
e r y thr ea ded t hr ou gh its handles to ha ng loose at the
sides. The canted lower f r o n t corners are set w i t h acan
thus leaves and leafy buds and e nd i n rec tang ular blocks
decorated on the sides
w i t h
a greek key and on the
f r o n t
w i t h a rosette. The r em ai nin g surface o f the case is
veneered
w i t h
brass sheeting
w i t h
geometric cutouts inset
w i t h red, green, and cream-colored hor n.
T h e sides o f th e
c l o c k
are decorated w i t h three panels
o f pierced brass o f t r e l l i s design w i t h rosettes at the cross
i n g s ( f i g . 15b). Each is surrounded w i t h a frame of
brass
a n d hor n marquetry cut w i t h a greek key pat ter n. At the
l e v e l o f the mov em ent is a glass v i e w i n g panel. Towards
the rear is a console decorated w i t h a scrolled top set w i t h
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1
5
A
H O W A L L C L O C K
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an acanthus l e a f and
piasters.
Below, each lower edge is
decorated w i t h a h a l f rosette above w h i c h is an
acanthus
l e a f halved down its length.
T h e carcase of the clock and the bracket are of oak,
painted red. The octagonal hinged door of the former is
covered on its inner surface w i t h a sheet o f brass. Anoth er
h i n g e d door, for
access
to the pendulum, is
s i m i l a r l y
decorated.
The clock is supported on f o u r short, f l u t e d feet
w h i c h
rest on the bracket; the latter is fitted on its top
w i t h
a rectangular p l i n t h w i t h concave sides veneered w i t h
brass.
The upper
edge
of the bracket is mounted
w i t h
a
broad gilt-bronze m o l d i n g decorated w i t h V i t r u v i a n
s c r o l l s
a l ternating
w i t h
panels of v e r t i c a l grooves. Below,
five g i l t - b r o n z e consoles separate the fan-shape d brack et
i n t o f o u r
panels, each veneered w i t h brass sheeting w i t h
geometric cutouts inset
w i t h
red, green, and cream-
c o l o r e d horn. Goat's heads decorate the f r o n t three con
soles,
w i t h
a ribb on swag suspended between these and
the two back consoles
( f i g .
15c). Th e brack et termina tes in
a large acanthus bud. The top of the bracket bears two
stout i r o n rings for attachment to the w a l l .
M A R K S
The clock
case
is stamped on its underside and the
brack et on its up pe r s urface, t ow ar d the back: ANT-/
F O V L L E T / J M E
( f i g . i5 d) . Th e movement is signed Lapinal
A-PARIS (fig. 15c). The spring of the going t r a i n is
i n s c r i b e d Richard
X de 1764 Mouvement foule M Ebeniter.
Th e spri ng of the s t r i k i n g t r a i n is inscri bed
Richard
X (see
B i o g . , p. 193) de 1764 Sonnerie A foule
Eben.
Th e back of
the enameled
d i a l
plate is inscribed
dia- metre
I
du cadran
aul santre de la
I
lentille 8 PI A. foule an d A J Noordanus for
J Paul
Getty 1 May 1976.
15c
C O M M E N T A R Y
Th e clock-mak er Lap ina is not record ed. H e was pos
s i b l y a mi no r clock-maker or jo urn eym an who has
i n s c r i b e d his name in a somewhat amateurish way.
A n o t h e r clock
w i t h
a movement signed by Lapina was
s o l d at public auction in 1902; it was described as a Louis
X V I clock
w i t h
a horizontal d i a l.
1
A n t o i n e Foullet (171 0-17 75; master 1749; jure
1 7 5 6 ) , whose name is stamped on both the
case
and the
bracket a nd is inscri bed twice on the springs of the move
ment and once on the back of the enamel d i a l , was a
w e l l -
k n o w n ébéniste. His comparatively large workshop on the
rue d u Faubou rg Saint-Ant oine contained six benches
and two vises as indi cated in the invent ory dra wn up after
his deat h on Septe mber 24, 1775 .
2
A l s o listed are
f o r t y
c l o c k cases
and twe nty -fou r clock brackets, all inc om
plete, and approximately twenty completed clock cases,
some entirely of bronze. The same documents indicate
that F oullet was in debt to the clock-make r Louis Musson
[ M a s s o n ] in 1775 and to the Swiss clock-maker Abraham-
L o u i s - H u m b e r t Droz in 1767. The bronziers Caron père
and Claude-Bernard Héban's
w i d o w ,
as
w e l l
as the ciseleur
B o u l l a n g e r , among others, are also indicated as debtors at
the ti me of Foullet's deat h.
15
D
Th e stamp of Ant oin e Foullet.
W A L L
C L O C K
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1 5 E
A n t o i n e F o u l l e t is g e n e ra l ly t h o u g h t to have w o r k e d
a l m o s t e x c l u s i v e l y i n the r o c o c o s t y l e , t h o u g h hi s d e a t h
i n v e n t o r y i n d i c a t e s t h a t a few o f the c l o c k s i n his w o r k
shop
w e r e "a la g r e c " or "a l' a n t i q u e , " t e r m s w h i c h
w o u l d
a p p l y to the d e s i g n o f t h e M u s e u m ' s c l o c k .
3
A l t h o u g h the
s t y le of the G e t t y c l o c k case is m o r e i n character w i t h the
w o r k o f h i s
s on
P i e r r e - A n t o i n e , A n t o i n e F o u l l e t d e f i n i te l y
h a d c l o c k cases i n the
gout grec
s t y l e i n h i s w o r k s h o p at the
t i m e
o f t h i s d e a t h .
A
d r a w i n g o f t h i s c lo c k w i t h o u t th e e l a b o r a t e i n l a y s o f
c o l o r e d h o r n has r e c e n t l y
been
d i s c o v e r e d . I t i s i n s c r i b e d
" C a b i n e t d ' e b e n i s t e r i e a la grecque . . . F o u l e t . "
4
O T H E R
E X A M P L E S
T w o s i m i l a r c l o c k s
a n d
b r a c k e t s
w i t h
p l a i n veneers
have been
s o l d a t a u c t i o n , t he
first,
w i t h a
d i a l
s i g n e d "Jos-
s e l i n / A P a r i s , " i n 1 9 2 5 ,
5
the s e c o n d , w i t h no s i g n a t u r e , i n
1 9 8 2 .
6
A
t h i r d
e x a m p l e was o n the
Paris
a r t m a r k e t i n
1 9 8 7 (it is no t k n o w n w h e t h e r the
d i a l
of the l a t t e r was
s i g n e d ) .
A n o t h e r e x a m p le ,
also
w i t h p l a i n
veneers
a nd po s s i
b l y i d e n t i c a l to one o f
those
a l r e a d y m e n t i o n e d a b ov e , was
r e c o r d e d i n 1 9 55
as
b e i n g i n
the
W a s h in g t o n residence o f
t h e F r e n c h ambassador, H e n r i B o n n e t .
7
A b r a c k e t s i m i l a r to the M u s e u m ' s e x a m p l e , but
v e n e e r e d w i t h t u l i p w o o d a n d p u r p l e w o o d , was s o l d at
a u c t i o n i n 1 9 7 5 .
8
1 1 2
W A L L
C L O C K
1 5F
Th r e e - q ua r t e r
v i e w
o f the
m o v e m e n t .
G o i n g t r a i n
S t r i k i n g t r a i n
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M O V E M E N T
Brass
a nd
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
o f
the movement.
The movement
( f i g .
15F) consists o f tw o trai ns dri ve n
b y
mainsprings,
each
o f
w h i c h
runs for one week. The
g o i n g train provides power for the
hands,
w h i c h indicate
the hours i n ro ma n numerals a nd the minutes in arabic
numerals on the main
d i a l .
Th e clock strikes the h our s
and h a l f hours on the same b e l l .
Th e go ing train has one rota ting barre l (80),
w h i c h
holds the mainspring and four p i n i o n wheels (12/84-
8/72-6/60—6/31), the last being the
escape
wheel. The
g o i n g train is regulated by an anchor escapement
( r e c o i l
escapement)
in connection w i t h a pen dul um. Th e pen
d u l u m
can be adjusted
w h i l e
the clock is running by
l i f t
i n g
or low er ing it via its
s i l k
suspension. The arbor of the
t h i r d
wheel holds the cannon
p i n i o n
(3 0), a pa rt o f the
m o t i o n w o r k
(30—30/6—72), an d the mi nu te han d. Th e
hour wheel (72) holds the hour hand. The cannon p i n i o n
( 3 0 )
rotates onc e every hour ; it has two pins that
release
th e
s t r i k i n g
t rai n every
h a l f
and
f u l l
hour.
T h i s type of s t r i k i n g train has a l o c k i n g plate (count
w h e e l ) .
Thi s train has one rot atin g barre l (80),
w h i c h
holds the mainspring, four
p i n i o n
wheels (12/72 -8/6 0-
6/60- 6/54) , and a fly vane (6). Th e t h i r d wheel (8/60) has
ten pins that move the
s t r i k i n g
hammer.
The stop w o r k f or bot h barrels is missing.
E X H I B I T I O N S
D e t r o i t
Institute of
A r t s ,
on loan, June 16-October
3
1
* 975-
P U B L I C A T I O N S
G .
W i l s o n , Clocks, pp. 60-6 3,
n o
-
1 2
> iU-î W i l so n , Dec
orative
Arts
(1977) , p. 65, no. 85,
i l l . ;
Sassoon and W i l s o n ,
Decorative Arts: A Handbook, p. 41 , no. 89,
i l l . ;
Ottomeyer
and Prôschel, VergoldeteBronzen,
v o l .
1, p. 158,
i l l . ;
Verlet,
L e s
Bronzes, pp. 112—113, fig. 137; Pradère, Les Ebénistes,
p .
275; Bre mer
D a v i d
et
a l . ,
Decorative
Arts,
p. 90, no. 141.
P R O V E N A N C E
A
Corni sh private collection, England . Alexan der
and Berendt,
L t d . ,
Lon don . Purchased
b y
J. Paul Getty in
9 7 4 -
N O T E S
1 .
Fr om the collect ion of the Ho n. W. F. B. Massey-
M a i n w a r i n g ,
Christie's, Lon do n, Jul y 2, 1902, lot 255.
2 . A . N . , M i n . , X X V I I I ,
452. Doc ume nt dated September 30,
1775. See Pradère, Les Ebénistes, p. 279, where the inven
t o r y
is part ial ly repr inted . Svend Eriksen (Early Neo-
Classicism in
France
[L on do n, 1974], pp . 181—182) discusses
the inventory, thou gh he states there were two inventories
after Foullet's death an d at least seven benches listed in the
w o r k s h o p .
3. A com mod e in the Nati onal mus eum, Stock holm, in the
t r a n s i t i o n a l
style generally associated w i t h th e
w o r k
o f
Foullet's son Pierre-Antoine (circa 1732—circa 1780, mas
ter 1765), is stamped ' A N T . F O U L E T , " for the father, and
" B O U D I N , " for Léonard B oud in. Alexan dre Pradère has
stated (letter to the author, dated July 25, 1990) that this
commode was made by the son and
passed
on to the fath er
f o r repa ymen t of certain debts. Th e father stamped the
com mod e i n ord er to sell it, and t hen
passed
it on to
B o u
d i n , again in repa yment o f certain debts. Bo ud in w o u l d
also
finally
have had to stamp the commod e in orde r to
s e l l it.
4 . Bibliot hèque Doucet, Paris, V I E Rés. fol . 8.
5. Galerie
Georges
Petit, Paris, December 4, 1925, lot 26.
6. Kunsthaus Lempe rtz , Cologne , May 24- 26, 1982, lot
1 7 1 1 . I l lust rated in Ottomeyer and Prôschel , Vergoldete
Bronzen, v o l . 1, p. 90.
7. Maison et
Jardin
33 (De cem ber 1955—January 1956),
p . 104.
8. New Y o r k , Sotheby Parke Bern et, No vem ber 1, 1975, lot
227 (not i l l u st r a t e d ) . Acquired at that auction by Dalva
Brothers, New Y o r k .
W A L L
C L O C K
113
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XVI
M a n t e l C l o c k
Fre nch (Paris), circa 1772
Movement
by Et ienne- August in
L e
Roy (1737 -179 2; master 1758)
(see
B i o g . ,
p. 183); case by Etienne
M a r t i n c o u r t
( die d after 1791 ;
master 1762)
H E I G H T : 2 ft. 4 i n . (66 cm)
W I D T H :
1 ft. 11 % in . (59.7 cm)
D E P T H : 1234 i n . (32.4 cm)
7 3 . D B . 7 8
114
D E S C R I P T I O N
T h e case is constru cted entire ly of
g i l t
bronze. T he
move ment is contai ned in an o v o i d u r n , g i r d l e d by a band
o f rosette-filled g u i l l o c h e . A t the center o f each side, rect
angular brackets h o l d loose rings ( f i g . 16c). Th e body of
the urn is decorated w i t h
f o u r
large acanthus leaves set
w i t h i n burnished frames between w h i c h rise rods tha t ter
min ate above i n leafy buds. Wrea ths o f lau rel leaves,
t i e d
at the top w i t h a r i b b o n , sur r ound the d i a l and the hinged
door at the back.
T h e fluted stem of the u rn ends in a laurel-wreath
base, w h i c h rests on a simple square base w h i c h is in t u r n
placed on a h i g h p l i n t h w i t h incurva te corners decorated
w i t h panels of rosette-filled t r e l l i s . A t eith er side of this
p l i n t h
is seated a female f igure. Th at on the
l e f t ,
repre
sent ing Ast ro no my , hold s a globe in one a rm ( fig. 16a),
w h i l e that on the r i g h t , representing Geography, holds a
s c r o l l o f paper ( f i g . 16b). B o t h wear loosely
g i r d l e d
robes.
Th e ent i re sculpted composi t ion thus form ed rests
on a rectangular p l a t f o r m , the semicircular
ends
o f w h i c h
are decorated w i t h panels o f studde d gu illoche, and the
f r o n t and back w i t h reeded gadro oning. This p l a t f o r m i n
t u r n rests at either end on a recessed semicircular sub
s tructure b o l d l y mode led w i t h a m o d i f i e d egg-and-dart
m o t i f .
T h e f r o n t a nd back corne rs of the rectang ular cen
t r a l section rest on turned feet. The hinged and latched
door at the back is elaborately pierced ( f i g . i6e).
M A R K S
T h e d i a l is signed
CH A RL E S
LE R O Y / A
PARIS.
The
movement is engraved Ch !
es
LeRoy JParis and stamped
"2417"
on the back plate ( f i g . i6 d) ; two springs are signed
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and dated Richard
fevrier
1JJ2 (fig. i 6 f ) (see B i o g . , p.
1 9 3 ) .
T h e f o l l o w i n g repairer's marks are fou nd on the
d i a l
plate:
Grandperrinfilsfevrier
1826 GBonnefont neveul
20 Juine 1889. Th e cock fo r the
b e l l
is marked w i t h the
number "1962."
C O M M E N T A R Y
The clock case is a remarkably fine example of
g i l t -
bronze w o r k
f r o m
the second
h a l f
of the eighte enth cen
t u r y . The body is composed of a number of separate,
f a i r l y massive elements: the
o v o i d
urn housing the move
ment, the former's finial, its stem and
base,
the tw o figures
and the p l i n t h on w h i c h they sit, the p l a t f o r m and the
feet. W i t h th e except ion of the rings and thei r brackets,
a ll the decora tion of the ur n, the
p l i n t h ,
and the
p l a t f o r m
is cast complete w i t h the section on w h i c h it is placed and
is not attached
w i t h
pins or screws. The chasing, g i l d i n g ,
and bu rni shi ng are of the highest q u a l i t y , w i t h the heavy
l a y e r o f g i l d i n g showing v i r t u a l l y no wear.
A d ra wi ng of this clock, shown sta ndin g on a large
m u s i c a l base, has recently been discovered
( f i g .
16g).
1
I t is
s igned " Mart incou rt" for the bronzier Etienne
M a r t i n -
c o u r t . Jean -And ré Lepaute also associated Martinco urt 's
name
w i t h
a clock
w i t h
similar characteristics,
w h i c h
he
described in his book
Description
de plusieurs ouvrages
d'Horlogerie (Paris, 1764), und er num be r 6:
I 6 A
l l 6 M A N T E L C L O C K
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Une Pendule de 2 y pouces de hauteur de 22 pouces de
large,
placée dans un beau vase déforme antique couronné
par des fruits £s? d es
fleurs, accompagné
de ses anneaux
avec des impostes ornés d'entrelas. Le C adran qui a 5
pouces £s f demi, est placé dans une lunette qu'entourent des
guirlandes de laurier, le vase se termine en oeuf, il est
soutenu sur une base ronde ornée de canelures, dans
lequelles sont des feuilles de laurier, son tore est aussi
enrichi
dbrnemens.
Deux
figures
placées noblement richement drapées
sont assises sur un grand socle qui porte la Pendule £s f sa
base, elles expriment l'Astronomie la Géog raphie; le
socle
est orné dune mosaïque garnie en rosaces.
Cet assemblag e est placé sur un grand p lateau de
bronze qui a une partie
quarrée,
terminée par d eux demi-
cercles avec des retours en équerre; ce plateau est orné de
moulures formant quart de rond, quarré cavet, le quart
de rond est orné de canaux feuilles d'eaux dans les
milieux
f
dan s les angles;
le s
parties
cintrées
sont ornées
par
des
rises,
au milieu d esquelles sont des doubles entrelas;
le total est
porté
sur six pieds ornés d'oves, i l en
résulte
un
tout d une
forme nouvelle, noble £s f gracieuse. Je ne suis
entré
dans le détail des ornemens
£s f
des petites parties; que
pour faire voir qu'on les a composés avec choix avec
dessein. Ce modèle est de M . M a r t i n c o u r t, très-habile
Ciseleur,
aussi-bien que le suivant. La Pendule vaudra
3000 liv. quand elle sera dorée en entier: mais quand les
figures seront seulement en couleur de bronze, 2 y00 liv.
2
I 6 B
M A N T E L C L O C K
117
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Th e latter par t of the descript ion closely resembles
th e
base
of the clock un de r discussi on. Lepaut e clearly
states that "this model is by the ciseleur M a r t i n c o u r t . " I n
subsequent clock descriptions in the
same l i s t ,
Lepaute
shows h i m s e l f to be very precise as to what each workman
was responsible for —me nti oni ng the designer Cauvet
3
and the bronzier Osmond.
4
W i t h this i n f o r m a t i o n and the
evidence o f the signed d raw in g, there can be
l i t t l e
doubt
that M ar ti nc ou rt or his wor ksh op was responsible for at
least the m od el i f not the actual ma kin g of the case.
I t has been sug gested, almost certai nly inco rrect ly,
that the figures of As tr on om y and Geogr aphy were
designed by Aug ust in Pajou (1730-1 809) ,
5
who is know n
t o
have worked on a number of clock designs during his
l o n g
career.
6
However, the recent
p u b l i c a t i o n
o f the clock
d e l i v e r e d
i n 1755 for the bed roo m of Louis X V at Fon-
tainebleau w o u l d tend to discount this
a t t r i b u t i o n .
7
That
c l o c k is decorated w i t h allegorical figures of "La Force"
and " La Prudence," the latter of w h i c h is v i r t u a l ly i d e n t i
c a l
to the figure
o f
A s t r o n o m y
on the Museum's clock dat
i n g at least ten years later.
8
Pajou was a student at the
French Academy in Rome f r o m 1751 to 1756 and there
f o r e probably w o u l d not have been asked by the Menus-
Plaisirs for such designs. Whoever was responsible for the
desi gn o f the figures on the Muse um' s clock, it is obvio us
tha t he was someon e o f tale nt l i k e Pajou.
A
pencil and wash drawing of a different clock
w i t h
i d e n t i c a l
figures, at tr ib ut ed i n 1970 to Jean-Dem osth ene
D u g o u r c (1749—1825)
w i t h
scant foundation, is in the
K u n s t b i b l i o t h e k , B e r l i n .
9
Three eighteenth-century ex
amples of this later clock are
k n o w n ,
al l
w i t h
figures o f
A s t r o n o m y
an d Geog raph y ident ical to the Getty exam
p l e
in patinated rath er than g i l t bronze.
1 0
I t
has been ass umed tha t Charles Le Roy, wh o signed
b o t h th e d i a l and the back plate of the Getty clock, was
h i m s e l f
responsi ble f or its movem ent. However, the fact
that the two mainsprings,
w h i c h
are probably
o r i g i n a l ,
are signed and dated " Rich ard fevrier 1772" w o u l d make
t h i s
impos sibl e since Charles Le Roy died the year be fore.
Therefore, the movement must have been made in his
w o r k s h o p
un de r the super vision of his son Etienne-
A u g u s t i n ,
who continued to use his father's name, as was
the accepted custom at the time.
Since the clock
bears
no inventory marks, tracing its
e a r l y history has proved
d i f f i c u l t .
Etienne- Augusti n Le
R o y was attached to the personal hous ehold o f the Dau
p h i n , later Louis X V I , w ho purc has ed six clocks
f r o m
the
you nger Le Roy between September 1773 and January
1777. Since the Getty clock is the
o n l y
example known
w i t h
a
d i a l
painted
w i t h
the n ame o f Charles Le Roy it is
assumed tha t it is the one descr ibed i n the 1790 in ve nt ory
o f
t he Salle du Conseil at the Tui ler ies:
1 1
16c
I 6 D
118
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I 6 E
I 6 F T h e s p r i n g o f t h e g o i n g t r a in , signed Richard fevrier
1772
M A N T E L C L O C K l i g
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I 6 G Etienne
M a r t i n c o u r t ,
draw ing for a clock on a musi
ca l
base
(Paris, Bibl iotheque Doucet, inv. V I E Res,
f o l . 8 6 ) .
Unependule de2 6po. de haut compris
le socle,
de 22po.de
large
representant un vase soutenupar 2femmes, Vune te
nant une sphere,
I'autre
une carte geographique;
le
vase orne
de fleurs d'ornements, le mouvement de
Char les
Le Roy.
12
Th e Tuile ries was sacked o n Augu st 10, 1792, an d
much
o f its contents was tra nspo rted to the Maiso n
C o i g n y . Th e abov e-me ntion ed clock is described as com
i n g f r o m
that depot i n a docu ment dated 24 Prairial A n I I
(June 12, 1794).
1 3
I t was subsequently mov ed to the cabi
net de physique at the Louvre, f r o m where, on 24 Brumaire
A n I V (No vem ber 15, 1795), it was requested w i t h
twen ty-t hree oth er clocks by Pierre Benezech, mini stre de
l ' l n t e r i o r ,
for the deco rati on of the apartments of the
Directorate at the Palais de Luxembourg .
1 4
A l l the clocks
were de liv ere d to the clock-m aker Rober t Rob in by 27
Bruma ire A n IV (November 18, 1795),
1 5
to the Gar de
Meub leby 29 Frimaire A n I V (December 20, 1795),
16
and
f i n a l l y
to the service of the Dire cto ire Execu tif at the L u x
emb our g on 7 Ventose A n IV (February 26, 179 6).
17
T h e subsequent hist ory of the clock is unc ert ain. Th e
l a c k o f inventory numbers w o u l d seem to indicate that it
had l e f t th e Fren ch pu blic collec tion by 1832, whe n a gen
eral inve ntor y of all the roy al residences was completed
( t h i s
entaile d new numbe rs bei ng placed on all the objects
f o l l o w i n g the coronation of L o u i s - P h i l ip p e tw o years ear
l i e r ) . A similar inve ntor y and nu mb eri ng was done und er
the Second Em pi re . Th e clock can possibly be
i d e n t i f i e d
as lot 1 i n the 1861 auc tio n of the
possessions
of the mar
quis de Saint Cloud.
1 8
O T H E R E X A M P L E S
A t least
three other eighteenth-century examples of
th e
same
f o r m as the Mus eum 's clock are kn ow n. On e, its
case
identical except for the bezel surr ou nd ing its d i a l ,
was auct ione d i n Paris in 1994, havin g
been
owned, l i ke
the Getty clock, by Krae mer & Cie in the early 19 70s .
19
Its
d i a l bore the names of the clock-maker Lepaute—proba
b l y Jean-An dre Lepaute —and the enameler Georges-
A d r i e n Mer let . A second clock, its d i a l enameled w i t h the
name Pie rre Le Roy (1717—1785) and con tai nin g a later
movement, was auctioned in Lon do n in 1959.
2 0
A
t h i r d ,
bearing no makers ' names, is own ed by the Cooper -
H e w i t t
Museum, New Y o r k , and is on exten ded loan to
the Detr oit Instit ute of A r t s .
2 1
T ha t clock differs f r o m the
Getty example i n that its pla tfo rm
base
is of red marb le
rather than g i l t bro nze an d the frieze plaque above
depicts disporting
cherubs
rather than t r e l l i s . The crisper
chas ing o f its tw o figures, t oge the r w i t h the red marble
base and the
swags
of flowers enameled aro und its d i a l ,
suggests that it dates far later in the eigh teen th century.
A possible
f o u r t h
ex ample , consisting of the cen tral
u r n o n a s l i g h t l y d i f f e r i n g stem, was sold in Paris in
1995.
22
It s d i a l was enameled, l i k e the clock aucti oned i n
L o n d o n i n 1959, "PIERRE LE ROY A PARIS," and i ts mov e
ment was s i m i l a r l y a repla cement . Th re ad ed holes on the
undersi de of its base suggest that it was
once
attached to
somethi ng an d that i t too started l i f e as a complete ver
s i o n .
T h e possibility that i t is the cen tral section o f the
1959 clock canno t be ign ore d.
Variou s oth er versions of the
present
example can be
seen
i n publ ished interior views,
2 3
bu t given the great
nu mb er o f later copies made, it is impossible to
date
any
o f
these
f r o m small-scale illustr ation s. A m on g the
nineteenth-century bronziers known to
have
made copies
o f this h i g h l y adm ired mod el are Hen ri Dasson,
24
Ferdi
nand Barbedienne,
2 5
Denie re,
2 6
Delafontaine ,
2 7
and V i c
t o r Pa i l l a rd.
2 8
A nu mb er o f such examples were pai red
w i t h candelabra.
120
M A N T E L
C L O C K
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1 1 . Information supplied by Jean-Dominique Aug arde, who
also suggests (letter to the author, dated A p r i l 17 , 1 9 9 1 )
that the Museum's clock was purchased through the
Menus-Plaisir.
1 2 . A . N . , O
1
3 4 1 8 , f o l . 1 2 4 . Inventory dated May 2 1 , 1790.
Information
kindly
su pplied by Chris tian Baulez.
1 3 . A . N . , T 1 o 7 7 .
1
E ta t des instruments de physique en depot a
P . . . [?] section de physique etprovenant de la Mais on Coigny.
Le 24 prairial an 2. [. . .]No. 22: "Une pendule a vase
avec
deux figures representant la geographie et l'astronomie en
bronze dore d'or moulu. Mouvem ent ordina ire de Charles
le Roi." Information provided by Patrick Leperlier.
1 4 . A . N . , O
2
4 4 4 . Letter
from
the Minister o f the Interior to
Citoyen Charles, Conservateur du Cabinet de Physique au
Louvre. Information supplied b y Jean-Dominique
Augarde.
1 5 . A . N . ,
O
2
4 4 4 .
Letter
from
Jacques-Alexandre-Cesar
Charles to the Minister o f the Interior. T he clock is also
described in the
Etat des Pendules Remises
au
C. Robin
en
vertu de Vordre
du
ministre de VInterieur 10:
"Pendule a
vase
avec
deux figures de la geographie et l'astronomie dore
d'or moulu par Charles le
Ro i .
Inv.
Coigni,
n °
2 2 ,
au com-
it e
de
division" ( A . N . ,
Paris, O
2
4 4 4 ) .
I t is possible that
Robert Robin had previously had possession o f
this
clock.
I n
the
Etat de Vhorlogerie particuliere
du
cy-devant Roy,
en
1793,
it is described unde r num ber 5 as
follows:
"Une pen
dule
en forme de
vase
ornee de deux figures representant
l'astronomie et la geographie, le tout en cuivre dore et or
moulu, le mouvem ent a sonnerie—2 pieds de haut et 1
pied 6 po de large—par Charles Le
Ro i ,
Chez
M .
Robin."
Information
pro vid ed by Guy Kuraszewski.
1 6 . A . N . , O
2
4 4 4 . Letter
from
Ba yard, Inspecteur d u Garde-
Meuble
National, to the Minister o f the Interior.
1 7 . A . N . , O
2
4 1 3 , f o l . 1 0 7 . Garde
Meuble,
Journal des Sorties de
Meubles.
Information supplied by Jean-Dominique
Augarde.
1 8. Hotel Drouot, Paris, February 2 5 — 2 6 , 1 8 6 1 , lo t 1 :
"Magni-
fique pendule ancienne du temps de Louis X V I , en bronze
dore. Elle est en for me de
vase
richem ent orne de feuilles
d'acanthe
et de guirlandes; le socle, orne de
rosaces,
sup-
por te deux figures de femmes alle goriq ues. Cette piece
remarq uable est, en ce genre, l'une des plus belles produc
tions
de cette epoque. Mou vem ent de Charles Leroy, a
Paris."
1 9. Etude Couturier Nicolay, Hotel Drouo t, Paris, March 3 1 ,
1 9 9 4 , 1 0 1 7 3 .
2 0 . Sotheby's,
London,
July 3, 1 9 5 9 , lo t 1 09 (not
illustrated).
2 1 . Inv. 1 9 4 7 - 1 2 9 - 1 , J .
Mannheim,
Catalogue of the Rodolphe
Kann Collection: Objets d'Art, v o l . 2 , Eighteenth Century (Paris,
1 9 0 7 ) , no . 1 8 4 , i l l . facing p. 68.
2 2 . Etude Tajan, Hotel Drou ot, Paris, July 4 , 1 9 9 5 , lot 75.
2 3 . See, for example, the pho tog rap h of a clock on the man
telpiece in the gr and salon of the Hotel
Bouligneux
( H . Soulange-Bodin, Le Quartier Sainte-Avoye, v o l . 15 of Les
Vieux Hotels de Paris [Paris, 1 9 2 3 ] , p i . 3 9 ) as wel l as that
photographed circa 1 9 1 5 on the mantelpiece o f the Konigs-
kamm ern, Schloss Berlin (A . Geyer, Geschichte des Schlosses
zu Berlin [Berlin, c. 1 9 9 2 ] , p . 7 4 , p i . 1 0 7 ) .
2 4 . Liquidation sale
of
H .
Dasson et Cie,
Hotel
D rou ot, Paris,
December
1 0 - 1 2 , 1 8 9 4 ,
lo t
2 6 . Information kindly
sup
plied by
Jean-Dominique Augarde.
2 5 . Sotheby's, Am ster dam , December 2 1 , 1 9 9 3 , lo t 4 9 2 .
2 6 .
Laurin, Guilloux,
Buffetaud & Tailleur, Palais d'Orsay,
Paris, A p r i l 3, 1 9 7 9 , lo t 78 .
2 7 .
Jean
Gerard-Tassel and Robert
Juge,
Succession Rethore,
Chateau de la Merce rie a Magnac-Lavalette, Angou leme ,
June
2 4 - 2 5 , 1 9 8 7, lot 2.
2 8 . A clock o f
this
model w i t h gilded figures and a
dial
signed
" V I C T O R
P A I L L A R D /
F T .
D E
B R O N Z E S / A P A R I S "
is in the
collection o f the
Italian bronzier
Mascaro Renato,
Treviglio
(Bergamo).
According to Tardy
(Dictionnaire des H orlogers
Franqais ,
p. 4 9 9 ) , Paillard was active in Paris between 184 0
an d 1 8 7 0 . Renato, who owns a second example w i t h pati-
nated figures and a
dial
signed
" L A F O N T A I N E / B R O N Z E S /
P A R I S ,
has made his own reproductions curiously
mounted w i t h dials painted w i t h streams, bridges, and
figures.
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X V
M a n t e l C l o c k
F r e n c h ( P a r i s ) ; c i r c a 1 7 8 5
Case a t t r i b u t e d t o P i e r r e - P h i l i p p e
T h o m i r e ( 1 7 5 1 - 1 8 4 3 ) ; d e s i g n
a t t r i b u t e d t o J e a n - G u i l l a u m e
M o i t t e
( 1 7 4 6 - 1 8 1 0 ) ; r i n g s
e n a m e l e d b y H . F r . D u b u i s s o n
( d i e d c i r c a 1 8 2 3 ; m a s t e r 1 7 6 9 )
(see B i o g . , p . 1 6 9 ) ; m a k e r o f
m o v e m e n t u n k n o w n
H E I G H T : 1 f t . 8 % i n . ( 5 3 c m )
W I D T H :
2 f t . 1
Vs i n .
( 6 3 . 8 c m )
D EP TH: 9V 4 i n . ( 2 3 . 5 c m )
8 2 . D B . 2
D E S C R I P T I O N
T h e m a n t e l c l o c k i s i n t h e f o r m
o f
b r o n z e f ig u re s p e r
f o r m i n g a c la s s i ca l
l i b a t i o n .
T w o p a t i n a t e d b r o n z e f e m a l e
f ig u re s t e n d t h e f l a m e , o n e p o u r i n g a
l i b a t i o n
i n t o a f lame
a t o p a w h i t e m a r b l e d r u m - s h a p e d a l ta r . T h e a l t a r, w h i c h
houses t h e m o v e m e n t , is
fitted
w i t h h o r i z o n t a l e n a m e l e d
a n d j e w e l e d h o u r a n d m i n u t e r i n g s ( f i g . 1 7a ) a n d d e c o
r a t e d b e l o w w i t h a g i l t - b r o n z e
r e l i e f
d e p i c t i n g a s a c r i f i c i a l
p r o c e s s io n . T h e a l t a r is t o p p e d b y a b r o a d m o l d i n g o f
m i l l e d g i l t b r o n z e w i t h t w o g i l t - b r o n z e ra m ' s heads a t
e i t h e r s i d e ; b e h i n d these
pass
t h e e n a m e l e d c h a p t e r
r i n g s . T h e w h i t e m a r b l e d i s k t h a t f o r m s t h e t o p o f t h e
a l t a r i s c e n t e r e d b y a g i l t - b r o n z e b r a z i e r c o n t a i n i n g t h e
s a c r i f i c i a l f la m e . A t t h e f r o n t a g i l t - b r o n z e floral s p r a y
f a l l s
o v e r t h e
edge
o f t h e a l t a r t o m a r k t h e t i m e .
T h e p a t i n a t e d b r o n z e f i gu re s r e s t u p o n a r e c t a n g u l a r
w h i t e m a r b l e p l i n t h w i t h s e m i c i r c u l a r ends, u p o n w h i c h
a r e a l s o p l a c e d a g i l t - b r o n z e b a s k e t o f f l ow e rs ( F i g . 1 7 b ) , a
p a t i n a t e d b r o n z e u r n across w h i c h i s a d r a p e d c l o t h (a t
l e f t ) ,
a n d a l o w g i l t - b r o n z e b r a z i e r d e c o r a t e d
w i t h
r i n g e d
l i o n ' s masks
a n d i s s u i n g c l o u d s o f p a t i n a t e d b r o n z e s m o k e
(a t
r i g h t ) .
T h e
p l i n t h ,
w h i c h rests o n f o u r b u n - s h a p e d
fee t , i s i n s e t
w i t h
a g i l t - b r o n z e o p e n w o r k f r ie z e across t h e
f r o n t a n d g i l t - b r o n z e g a r l a n d s a t
each
e n d .
M A R K S
T h e i n t e r i o r o f t h e h o u r r i n g i s s i g n e d b y t h e e n a m e l e r
D u b u i s s o n
b e h i n d
t h e n u m e r a l V I . T h e
s p r i n g o f
t h e
s t r i k
i n g
t r a i n i s s i g n e d : S NDVIK/ Sweden. T h e f o l l o w i n g g r a f
f i t i a r e f o u n d o n t h e d i a l p l a t e :
Repar
of
AJG . .
.
pe 1811 d
. . .
o f
Stockholm a n d t h e n u m b e r s / H5522 H609 8 .
T h e p e n d u l u m s u sp e n s i o n i s s i g n e d b y
A c h i l l e
B r o c o t .
1 2 4
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17A
C O M M E N T A R Y
Th e two femal e figures r epre sent vestals te nd in g the
f l a m e
of the Temple of Vesta, the
goddess
of the heart h.
The clock w o u l d have been placed on a mantelpiece and
thus the classical theme w o u l d have been suitably related
t o the hearth beneath it.
A
clock of the
same
mode l
appears
in a watercolor
d r a w i n g
i n the Mu see des
A r t s
Decoratifs, Paris
( f i g .
17c),
that represents a mantelpiece set
w i t h
various objects.
1
The two halves of the drawing d i f f e r , and it w o u l d seem
tha t it was in te nd ed as a scheme for alternate arrange
ments . Th e clock is plac ed on the center o f the man tel
piece. I t
does
not have bun- sha ped feet bu t a s o l i d
counterbase. Th e artist has also indi cated
l i q u i d
s p i l l i n g
f r o m the
l i b a t i o n
b o w l held by the standing figure.
M o s t o f the objects shown i n the dr awi ng are kno wn
t o
exist and
a l l
are known to be by, or have been attributed
t o ,
th e bronzier Pierre-Philippe Thomire (1751-1843).
2
Examples of the candelabr um o n the r i g h t end of the
mantelpiece are fo un d i n Sweden
3
and i n the Getty
M u s e u m
(86.DF.521). Th e
w r i t i n g
figure on th e
o i l
lamp
is kn own as La Philosophie an d was desi gned i n abou t 1780
17B
126
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17c At tr i but ed to Pierre-Phil ippe Tho mi re , drawings for a mantelpiece w i t h alternate designs, sup por tin g a clock,
vases, and cand elabr a (Paris, Musée des Art s Décoratif s, inv. 8195) .
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b y
L o u i s - S i m o n B o i z o t ( 1 7 4 3 - 1 8 0 9 ) .
4
I n t h a t
year,
B o i z o t
s o l d
t h e m o d e l t o t h e p o r c e l a i n f a c t o r y a t
Sevres
a l o n g
w i t h t h e c o m p a n i o n f ig u re
L'Etude
( R e a d in g ) . M a n y
e x a m p l e s o f these tw o f igures have s u r v i v e d e i t h e r i n
b r o n z e o r b i s c u i t p o r c e l a i n .
5
A n
e x a m p l e o f t h e c a n d e l a b r u m o n t h e
l e f t
i s no t
k n o w n , t h o u g h t h e
t r i p o d
base w i t h w i n g e d g r i f f i n s
c l o s e l y
resembles
t h e b r o n z e a n d
Sevres t r i p o d
a l t a r
used
b y T h o m i r e o n t h e c lo c k h e made i n 1 7 8 8 f o r t h e b a t h
r o o m
o f M a r i e A n t o i n e t t e a t t h e T u i l e r i e s .
6
E v e n m o r e
t e l l i n g is t h e c o m p a r i s o n o f t h e c a n d e l a b r u m i n t h e d r a w
i n g
t o a p a i r o f s i m i l a r c a n d e l a b r a
f r o m
1 7 9 0 — 1 7 9 1
s i g n e d b y T h o m i r e a n d n o w i n t h e R oy a l Palace i n
M a d r i d .
7
These also bear
t h e same
Sevres t r i p o d
w i t h
b r o n z e g r i f f i n s .
T h e f ir ed og s s h o w n o n t h e h e a r t h
also
e x i s t . T h e o n e
w i t h t h e s p h i n x resembles t h e p a i r made i n 1 7 8 6 f o r t h e
S a l o n d e s N o b l e s d e l a R e i n e a t V e r s a i ll e s f o r w h i c h
T h o m i r e chased th e f igure o f t h e s p h i n x a n d s u p p l i e d t h e
m o d e l o f t h e f a c e i n t h e f r ie z e o n t h e f r o n t .
8
I n th e same
year, T h o m i r e w as also w o r k i n g o n a n o t h e r p a i r o f fire-
dogs
w h i c h resemble th e f i redog w i t h a l i o n . T h e y w e r e
made f o r t h e S a l o n d e l a P a i x a t V e r s a i l l e s , w h e r e t h e y
n o w a re e x h i b i t e d .
9
A n o t h e r p ai r , also a t V ers a i l le s , s ho w s
g r e a t s i m i l a r i t i e s w i t h t h e l i o n e x a m p l e , e v e n t o h a v i n g a
m a s k i n t h e center o f t h e f r o n t f r i e z e .
1 0
T h e f ire pl ac e i n t h e d r a w i n g
also
h as a p o ss i b l e c o n
n e c t i o n
w i t h
T h o m i r e . H e is k n o w n t o have s u p p l i e d
v i r
t u a l l y
a l l t h e g i l t - b r o n z e m o u n t s f o r p o r c e l a i n
made
a t
a n d s o l d b y Sevres. I n 1 7 8 9 a n d a g a i n i n 1 7 9 1 , T h o m i r e
m o u n t e d fi re pl ac es w i t h
Sevres
p o r c e l a i n p l a q u e s , o n e o f
w h i c h w a s s o l d t o t h e d u e d ' O r l e a n s , t h e o t h e r t o t h e p r i n -
cesse K i n s k i ,
each
f o r 6 , 0 0 0
livres.
11
I t
i s p o s s i b l e t h a t J e a n - G u i l l a u m e M o i t t e ( 17 46 —
1 8 1 0 ) p r o v i d e d th e d e s i g n f o r th i s c l o c k .
1 2
B o t h h e a n d
T h o m i r e
w e r e p a r t o f a s m a l l b u t
i n f l u e n t i al
g r o u p o f a r t
i st s w h o w e r e m u c h s o u g h t a f t e r i n Paris b e f o r e t h e R e v
o l u t i o n .
M o i t t e w a s o n e o f t h e f o r e m o s t exponents o f t h e
f a s h i o n a b l e E t r u s c a n a n d R o m a n s t yl es d u r i n g t h e l as t
decade o f t h e a n c i e n r e g i m e . M a n y o f h i s d r a w i n g s d e a l
w i t h c la s s i ca l
subjects
a n d d e m o n s t r a t e h i s c o n s u m m a t e
s k i l l i n t h is m e d i u m . O n e o f these, n o w o w n e d b y t h e E . B .
C r o c k e r A r t G a l l e r y i n
Sacramento
p o s s i b l y i n s p i r e d t h e
o r i g i n a l
d e s i g n o f th e G e t t y c l o c k .
1 3
I t s h o w s a c i r c u l a r
a l t a r t o t h e
l e f t
o f w h i c h s t an d a m a n a n d a w o m a n w h o
t o g e t h e r p o u r a
l i b a t i o n
f r o m a s h a l l o w d i s h o n t o a s m a l l
fire, t h u s c r e a t i n g b i l l o w i n g s m o k e . T o t h e r i g h t , a k n e e l
i n g w o m a n o f f e r s a g a r l a n d o f f l o w e r s t o t h e c o u p l e , o n
e i t h e r s id e o f h e r a r e a n o v e r t u r n e d
basket
o f
f l o w e r s
a n d
a n u r n . T h e m a j o r d i f f e r e n c e b e t w e e n t h e d r a w i n g a n d
t h e G e t t y c l o c k i s t h a t t h e f o r m e r s h o w s b o t h a m a n
a n d a w o m a n p o u r i n g th e l i b a t i o n . I f o n e c o m b i n e s t h e
w o m a n ' s b o d y w i t h t h e
man's
a r m s , t h e c o m b i n a t i o n
w o u l d
b e e x t r e m e l y c lo s e t o t h e s t a n d i n g f ig ur e. A c c o r d
i n g t o R i c h a r d James C a m p b e l l , M o i t t e e x h i b i t e d a t t h e
S a l o n o f 1 7 8 5 a w o r k d e s c r i b e d a s: " U n e
vestale
f a i s a n t
l ' a s p e r s i o n d e l ' e a u , m o d e l e e n p l a t r e d e 3 p i e d s d e
t o u t . "
1 4
T h i s s u b je c t m i g h t w e l l be t ha t o f t he f ig ures o n
t h i s c l o c k .
I t h a s been suggested t h a t t h e g i l t - b r o n z e f r i e z e o n
t h e base o f t h e G e t t y M u s e u m ' s c l o c k w a s d e s i g n e d a f t e r
t h e f ri e z e w h i c h r u n s a r o u n d t h e r o o f l i n e o f t h e T e m p l e
o f A n t o n i n u s a n d F a u s ti n a i n t h e R o m a n F o r u m .
1 5
I t
cer
t a i n ly w o u l d have been p o s s ib l e f o r M o i t t e t o have s t u d i e d
t h i s b u i l d i n g w h i l e h e w a s a st u d e n t i n R o m e . T h e same
p u b l i s h e d
source suggests
t h a t t h e d e s i g n f o r t h e s t a n d
i n g
f ig u re a t t h e a l t a r m i g h t have been i n s p i r e d by d r a w
i n g s e x e c u t e d b y
Jacques
L o u i s
D a v i d
w h i l e i n R o m e a n d
t o w h i c h h is students l a t e r h a d f r e e access. A d r a w i n g b y
D a v i d
r e p r e s e n t i n g t h e f u n e r a l o f a w a r r i o r , n o w i n t h e
E . B . C r o c k e r A r t G a l l e r y , h a s also been suggested as a
p o s s i b l e
source
f o r t h e d e s i g n o f t h i s c l o c k i n g e n e r a l , i f
n o t f o r th e f r ie z e a r o u n d t h e a lt a r d r u m i n p a r t i c u l a r .
1 6
U n f o r t u n a t e l y ,
m a n y o f th e a rt i st s w o r k i n g i n Paris
d u r i n g
t h e t e n o r s o
years
b e f o r e t h e R e v o l u t i o n p r o
d u c e d s i m i l a r d r a w i n g s f r o m i d e n t i c a l sources. I t i s t h e r e
f o r e
i m p o s s i b l e t o p o i n t t o D a v i d ' s d r a w i n g s a s t h e
source
o f i n s p i r a t i o n . M o i t t e h i m s e l f is k n o w n t o have d e s i g n e d
s i m i l a r
f r i ez e s , n o t a b l y t h e o n e h e e x e c u t e d i n 1 7 8 3 f o r
t h e p r i n c e d e S a l m - K y r b o u r g a t t h e H o t e l d e S a l m i n
P a r i s .
1 7
A c l os e c o m p a r i s o n o f t h e f r i e z e w i t h t h e c l o c k
reveals m a n y s i m i l a r i t ie s , n o t a b l y t h e presence o f a s a c r i
ficial
b u l l b e i n g l e d t o s l a u g h t e r a n d t h e i d e n t i c a l shape o f
t h e a l t a r
w i t h
ram's heads a t t h e t o p . O n a d i f f e r e n t facade
o f t h e H o t e l d e S a l m , t h e s c u l p t o r P h i l i p p e - L a u r e n t
R o l a n d ( 1 7 46 — 1 8 1 6 ) s u p p l i e d a p a i r o f fr i ez e s
represent
i n g
s a c r i f i c i a l processions w h i c h d is p la y m u c h o f t h e same
i m a g e r y a n d c o u l d
also
b e t h o u g h t t o
have
i n s p i r e d t h e
bronzier.
18
T h e s pe c i fi c sources f o r t h e s a c r i f i c i a l p r o c e s s i o n
a r o u n d t h e a l t a r o f t h e c l o c k
have
n o t a s y e t
been
l o c a t e d .
O T H E R
E X A M P L E S
F o u r o t h e r e x a m p l e s o f t h e same m o d e l a re k n o w n .
A l l a r e s l i g h t l y d i f f e r e n t f r o m t h e G e t t y c l o c k a n d none
bear
t h e j e w e l i n g o n t h e h o u r a n d m i n u t e r i n g s n o r t h e
p a t i n a t e d b r o n z e c l o t h o v e r t h e m a r b l e vase t o t h e l e f t o f
t h e a l t a r . T h e m o s t s i m i l a r c l o c k i s i n t h e c o l l e c t i o n o f
A n d r e w
C i e c h a n o w i e c k i i n L o n d o n a n d w as e x h i b i t e d i n
1 9 72 i n " T h e A g e o f N e o - C l a s s ic i s m . "
1 9
I n t h i s e x a m p l e
t h e s m o k e
f r o m
t h e b r a z i e r o n t h e r i g h t i s i n
g i l t
b r o n z e
r a t h e r t h a n p a t i n a t e d b r o n z e .
A n o t h e r
e x a m p l e , s o l d b y S o t h e b y 's , M o n a c o , i n
1 9 8 0, h as b l u e e n a m e l e d h o u r a n d m i n u t e r in g s . G i l t -
1 2 8
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G o i n g t rain
S t r i k i n g
t rain
130 M A N T E L
C L O C K
(30—30/6—72) ,
and the minute
r i n g .
The hour wheel (84)
holds the hour r i n g . The cannon
p i n i o n
(30)
rotates once
every hour ; i t has two pins that
release
th e
s t r i k i n g
t rain
every h a l f and f u l l hour.
T h i s
type of
s t r i k i n g
train has a
l o c k i n g
plate (count
w h e e l ) .
Thi s tr ai n has one rot at ing bar rel (80),
w h i c h
holds the mainspring, four
p i n i o n
wheels (12/6 3-7/ 60-
6/54-6/48), and a fly
vane
(6). Th e
t h i r d
wheel (7/60) has
ten pins that move the
s t r i k i n g
hammer.
The p endu lum is modern.
P U B L I C A T I O N S
G .
W i l s o n ,
"Acquisit ions Made by the Dep art men t of
Decorative
A r t s , 1 9 8 1 , " GettyMusJ
10 (19 82) , pp . 79—84,
i l l . ; "Some Acquisitions (1981-82) i n the Depar tment of
Decorative
A r t s ,
The J. Paul Getty Museum,"
The
Burling
ton Magazine
(Ma y 1983), ill ust rat ed on p. 322 and on t he
cover; A. González-Palacios,
The Adjectives of History:
Fur
niture and Works of Ar t 1550—1870
(P.
8c
D. Colnagh i and
C o . ,
London, 1983), pp. 44-45; G.
W i l s o n ,
Selections
f rom
the Decorative
Arts
in the J .
Paul
Getty Museum ( M a l i b u ,
1 9 8 3 ) , pp. 84-85, no. 42,
i l l . ;
Sassoon and
W i l s o n ,
Deco
rative Arts: A Handbook,
p. 42, no. 91,
i l l . ;
Ottomeyer and
Proschel,
Vergoldete Bronzen,
vol . 1, p. 299,
i l l . ;
Bremer
D a v i d
et
ah, Decorative Arts,
p. 92, no. 144,
i l l .
P R O V E N A N C E
I n Sweden by 18 11. Ba ro n de Klingsp or, Stora
Sundby Castle, Sweden. Sold, Sotheby's, Lon don, Decem
ber 11, 1981, lot 99. Ac qu ir ed by the J. Paul Getty
M u s e u m at that
sale.
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NOTES
1. Inv.
8 1 9 5 ,
Cliche
5 1 9 3 .
The drawing has
traditionally
been
given
to Pierre-Philippe Tho mi re. This attribut ion can be
seriously questioned since this artist is not k now n to have
drawn
objects or rooms.
Jean-Demosthene
Dugourc
( 1 7 4 9 — 1 8 2 5 )
has also been
suggested
as the drawing's
author. This is certainly more
likely,
though no substantial
proof has been offered. For the time being, therefore, the
artist must remain anonymous. Christian Baulez has sug
gested
that this drawing
comes
from
a catalogue by the
marchand-mercier Domi nique Daguerre (circa
1 7 4 0 — 1 7 9 6 ) .
2 . For a biograph y of
Thomire,
see J. Niclausse, Thomire
(Paris, 1 9 4 7 ) , and D . H . Cohen, "Pierre-Philippe Th o
mire—Unternehmer und Kimstler," in Ottomeyer and
Proschel, VergoldeteBronzen, v o l . 2 , pp. 6 5 7 - 6 6 5 .
3 . Stockholm, Husgeradskammaren HG K 6 8 , Ottomeyer
and Proschel, Vergoldete Bronzen, v o l . 1, p. 2 9 8 , no. 4 . 1 8 . 7 .
4 . See R. Savill, The Wallace Collection: Calatogue of Sevres Porce
lain, v o l . 3 (London, 1 9 8 8 ) , pp . 96 7—96 9.
5. Th e Getty Muse um owns one set of these bronze figures
(88.SB.113). Th ey were sold at auction by Sotheby's, Mon
aco, February 5, 1 9 7 8 , lo t 2 0 . T he bronzes were also used
to decorate clocks. Many o f these have passed through the
art market. A pair were sold at the Hotel Drouot, Paris,
June
28 ,
1 9 8 9 ,
lo t
1 1 1 .
6. Musee des Ar ts Decoratifs, Paris
(dial
signed by Robert
Robin), Verlet, Les Bronzes, p. 3 2 6 , fig. 360.
7 . See Verlet, Les Bronzes, pp . 4 1 , 47, i l l .
8 . I b i d . , pp. 214, 215, figs. 2 4 1 , 2 4 2 . The firedogs were cre
ated under the direction o f Jean Haure. Louis-Simon B o i -
zot was responsible f or the sphin x models; the fondeur was
probably Pierre-Auguste Forestier; the gilding was done
by Claude Galle; Boivin supplied the model for the cornu-
copiae frieze across the front; and Coutelle supplied the
frise enposte for the semicircular ends.
9. Inv. V . 3 3 2 9 , Chateau de Versailles, Verlet, Les Bronzes,
p . 3 6 9 , f i g . 3 8 0 . Some of the same artists worked under
Haure in the making of these firedogs as for the ones pre
viously discussed.
1 0 . Inv. Vmb. 1 3 8 9 ,
Chateau
de Versailles.
1 1 . See Verlet , Les Bronzes, p. 80.
1 2 . I t has bee n suggested withou t documen tation that the
designer o f the clock was Loui s-Sim on Boizot. See Th e Age
of Neo-Classicism
(The Royal Academy, Lond on, 1 9 7 2 ) ,
p . 7 5 9 , no . 1 6 2 0 .
1 3.
Inv.
1 8 7 1 . 4 5 1 , 8 .
Howard , ed., Classical Narratives in Master
Drawings Selected from the Collection of th e E. B. Crocker Art
Gallery (Davis and Sacramento,
1 9 7 2 ) ,
p. 25, no.
2 1 ,
where
it
was renamed "Ritual Marriage Preparation." Moitte's
drawing
might have been ins pire d by the so-called Aldo-
brandini
We dding fresco. T he frieze-like format of the
fresco was a great inspi ratio n to many of the
students
and
artists who studied in Rome at this time. Moitte could have
seen
the fresco
while
he was
a
pensionnaire
at the French
Academy in Rome from
1 7 7 1
to
1 7 7 3 .
His subsequent
designs
demonstrate his affinity for this type of pictorial
structure. T he processional frieze aroun d the altar of the
clock
conforms
well
to this prototype.
1 4. R.J. Campbell,Jean-GuillaumeMoitte: The Sculpture and
Graphic
Arts 1785—1799 (University
Microfilms
Interna
tional, An n Arbor, Mich., 1 9 8 4 ) , p . 12.
15 . A . Gonzalez-Palacios, The Adjectives of History: Furniture and
W orks of Ar t 1550—1870, exh. cat. (P. & D. Colna ghi and
Co., London, 1 9 8 3 ) , pp . 4 4 - 4 5 .
1 6. Inv. 4 0 8 ; S. Howard, Sacrif ice
of
a Hero: The Roman Years—
A Classical Frieze by
Jacques
Louis Dav id , E. B . Crocker Art
Gallery
Monograph
Series
(Sacramento, 1 9 7 5 ) .
1 7. S t i l l i n situ. See A . Guerinet, Monographie du Palais de la
Legion
dHonneur—Style Louis XVI
(n.d.),
p i .
1 1 .
See also
H . Thi r ion and
L .
Bernard, Le Palais de la Legion dHon
neur—Ancien Hotel de Salm—D epenses et Memoires Relatifs a
sa
Construction et a sa Decoration (Versailles, 1 8 8 3 ) , pp . 76—
7 8 (f or the original expenses submitted by Moitte).
1 8.
Guerinet (note
1 7 ) ,
pis. 5 and 6. Bot h friezes are
stil l
in
situ.
See Thir ion and Bernard (note
1 7 ) ,
p. 78 (for the
related
expenses
submitted by Roland).
1 9. See Th e Age
o f
Neo-Classicism (note 1 2 ) . Also illustrated in
Connaissance des Arts 29 5 (September 1 9 7 6 ) , p. 13.
2 0 . May 27, 1 9 8 0 , lo t 6 5 6 . It is now in a Parisian pri vate collec
tion. I n 1 9 9 4 a "jardiniere"
made
o f bleu turquin and
mounted on one side
w i t h
a gilt-bronze sacrificial proces
sion similarly
cast
and
chased
to the frieze on the Getty
clock sold at Christie's, New
York,
March 2 4 , lot 13. I t is
possible that the frieze was once attached to the afor emen
tioned
clock, and that the gilt-bronze
swags
and ribbons
are later replacements. The
bases
of a pair of candelabra
i n
the Musee municipal
Massena,
Nice, are also decorated
w i t h this gilt-bronze procession. They are i n the Em pire
style and are u npu blis hed (see photo by D. Cohen, Photo
Archive, J. Paul Getty Center f or the Art s and
Humanities).
2 1 . See J. Bourn e, "Many Questions,
Some
Answers: French
Furniture
i n
British
Collections," Country Life (October 24,
1 9 8 5 ) , p. 1 2 6 1 , f i g . 1 .
2
2. Illustrated in A. Guerinet, Le Mobilie r, style du premier
empire, au Musee municipal Massena a Nice (Paris, 1 9 2 2 ) ,
p i . 28.
2 3 .
These trophies also appear on the plinth o f a mante l clock
signed by Tho mi re in the
British
Embassy in Paris, J. Vac-
quier, Le Style Empire, v o l . 1 (Paris, 1 9 2 0 ) .
M A N T E L
CLOCK
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X V
Long-case
M u s i c a l
Clock
Ger ma n (Neu wied ); circa 1786
Case
by D a v i d Roentgen (1743—
1 8 0 7 ) ; gil t-bron ze mou nts by
Francois Remond (1747—1812;
master 1774); mov emen t by Peter
K i n z i n g (1745—1816); musi cal
mechanism by Johan n W i l h e l m
[Jean Guillaume] W e y l (1756—
1813)
H E I G H T : 6 f t. 3 i n. (190.5 cm)
W I D T H : 2 ft. 1 Va in . (64 cm)
D E P T H :
1 ft . 11V
2
in . (54.5 cm)
8 5 . D A . 1 1 6
D E S C R I P T I O N
Th e clock is made up o f two parts, both of rec tangu
l a r f o r m , and is veneered
w i t h
burr maple over a carcass
o f
oak. The upper section contains the movement. The
d i a l is set
w i t h i n
a recessed rectangul ar panel of stip pled
g i l t
bronze and is sup port ed by a figu re o f Ti me who
kneels on his l e f t knee and steadies th e d i a l on his l e f t
shoulder w i t h his outstretched l e f t arm and his le f t w i n g .
He holds a scythe in his r i g h t hand ( f i g . 18b). Abo ve the
d i a l a ribbon ties the ends of two garlands composed of
f l o w e r s ,
wheat, grapes, and
h o l l y ,
w h i c h symbolize the
Four Seasons.
A b o v e is a wide frieze set
w i t h
gilt-bronze triglyph s
and guttae, alternating
w i t h
four metopes
w i t h
g i l t -
bronze disks decorated w i t h the heads of Day and
N i g h t
( f i g .
18a). Th e ped im ent is inset
w i t h
a gilt-bronze plaque
decorated
w i t h
a
l y r e
and cupids ( f i g . 18c).
1
A gilt-bronze
balustrade,
w i t h
an u r n set on the pier at each corner, sur
rounds the top.
The remaini ng three sides of the upp er secti on are
a r c h i t e c t u r a l l y consistent
w i t h
th e f r o n t , though deco
ra ted
w i t h
simpler gilt-bronze mounts ( f i g . i8 d) . The two
sides are f i t t e d
w i t h
do ors, cont ain ing panels o f fabric,
that a l l o w access to the movement. A door at the back is
inset
w i t h
a shallow brass d r u m
w i t h
a glass disk thr oug h
w h i c h the mov emen t and part of the musical mechanism
can be
seen.
T h e base of this upp er section consists o f a
stepped
p l i n t h
veneered
w i t h
mahogany above a single
g i l t - b r o n z e m o l d i n g .
132
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I 8 A
I 8 B
1 34 L O N G - C A S E M U S I C A L C L O C K
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i 8 c
T h e f r o n t a n d t h e tw o
sides
o f t h e l o w e r s e c t i o n
have
recessed panels f r a m e d , a t t h e f r o n t ,
w i t h
t w o g i l t - b r o n z e
m o l d i n g s , a n d a t t h e
sides,
w i t h a p la i n w o o d e n m o l d i n g .
T h e w h o l e rests o n a stepped p l i n t h t o p p e d w i t h a s i m p l e
w i d e
g i l t - b ro n z e m o l d i n g .
M A R K S
T h e b r a c k e t h o l d i n g t h e p i n n e d b a r r e l c y l i n d e r is
i n s c r i b e d Roentge n et Kinzing à Neuwied ( f i g . 1 8e ) . T h e r e
a r e t w o p e n c i l e d i n s c r i p t i o n s . T h e first, f o u n d o n t h e b e l
l o w s , reads Jean Gui l laume Weyl . Fait a Neuwied I le 16 May
ij86l
No. 18
( f i g .
i 8 f ) .
2
T h e
second,
f o u n d o n t h e w i n d
chest,
r e a ds /
W Weyl ait i y 86
N°i8.
s
C O M M E N T A R Y
A
la r g e g i l t - b r o n z e f ig u re o f A p o l l o p l a y i n g h is l y r e
w o u l d a l m o s t c e r t a i n l y have been p l a c e d o n t o p o f t h e
c l o c k
w h e r e t h e
holes
f o r a n a t ta c h m e n t c a n
s t i l l
b e seen.
I n 1 7 84 R o e n t g e n d e l i v e r e d to C a t h e r i n e t h e G r e a t a
c l o c k o f t h e same m o d e l ( b ut o f
d i f f e r e n t
w o o d ) w i t h a fig
u r e o f
A p o l l o
o n t o p . I t i s d e s c r i b e d i n a n i n v o i c e s u b m i t
t e d i n t h a t year, e n t i t l e d L ' E t a t d e s meubles a c h e t é s a u
M a i t r e R o e n t g e n [ D a v i d ] , as n u m b e r t h r e e :
Grande
pendule avec [jeux de ]
flûtes
et [de] clavecins dans
une boîte de bois
gris
ondé. Ornements de bronze doré ,
consistant en un fronton, une galerie, des corniches, quatre
vases, des guirlandes [autour du cadran] et une figure
représentant le Temps . Au haut de la boîte , la figure assise
sur un rocher représente Apollon jouant de la lyre; i l est sur
un socle de bronze doré (1784).
4
M a n y o f t h e c o m p a r a b l e
examples
m e n t i o n e d b e l o w
also i n c l u d e t h e f ig u re o f A p o l l o , as does a s l a n t - f r o n t
desk, w h i c h w a s o n e o f t h e e a r l i e s t
pieces
o f f u r n i t u r e
d e l i v e r e d b y R o e n t g e n t o C a t h e r i n e t h e G r e a t i n 1 7 8 3 .
5
T w o a n o n y m o u s w a t e r c o l o r d r a w i n g s o f a c lo s e ly c o m
parable
long-case c l o c k s h o w t h e same f i gu re o f A p o l l o
w i t h h i s l y re .
6
T h e f i g u r e o f A p o l l o , t o g e t h e r w i t h t h e m o u n t o n t h e
p e d i m e n t o f t h e c l o c k o f t w o c h i l d r e n w i t h a l y r e , a n d t h e
e n t i r e face
w i t h
t h e f ig u re o f T i m e w e r e a m o n g t h e
m o u n t s t h a t w e r e s u p p l i e d t o R o e n t g e n b y F r a nc o i s
R e m o n d b e t w e e n t h e years 1 7 85 a n d 1 7 8 7 . T h e f i g u re o f
T i m e w as m o d e l l e d b y S i m o n - L o u i s B o i z o t .
7
Roentgen's j o u r n e y m a n , D a v i d H a c k e r ( a c t iv e c ir c a
1 7 7 0 — 1 8 0 2 ) ,
seems
t o have c o p i e d t h e d e s i g n
o f
t h i s c l o c k .
A f t e r
R o e n t g e n c l o s e d h i s N e u w i e d w o r k s h o p i n 1 7 9 1 , h e
requested p e r m i s s i o n f r o m t h e
Prussian
g o v e r n m e n t t o
a l l o w H a c k e r t o e s t ab l i sh a w o r k s h o p i n B e r l i n . T h i s w a s
g r a n t e d a n d b y 1 7 9 4 a t t h e
latest,
H a c k e r w a s w o r k i n g i n
t h a t c i ty . A year l a t e r , i n 1 7 9 5 , t h e p e r i o d i c a l Berliner
Damenzei tung p u b l i s h e d a n e n g r a v i n g o f a v e r y s i m i l a r
long-case c lo c k d e s i g n b y H a c k e r .
8
O T H E R E X A M P L E S
J u d g i n g b y t h e n u m b e r o f e x t a n t e x a m p l e s , t h i s
m o d e l seems t o
have been
t h e m o s t p o p u l a r o n e
made
b y
R o e n t g e n . T h e H e r m i t a g e i n S t. Petersburg o w n s t w o
e x a m p l e s , b o t h
w i t h
t h e same m o d e l o f T i m e ( b o t h la c k
i n g
s c yt h e s ) , t h o u g h o n l y o n e h a s t h e c r o w n i n g f i g ur e o f
A p o l l o
w i t h
h i s l y r e .
9
A n o t h e r e x a m p l e,
w i t h
t h e v a r i a n t
figure
o f
T i m e a n d n o c r o w n i n g A p o l l o , w a s also i n t h e
H e r m i t a g e u n t i l 1 9 2 7 , w h e n i t w a s t r a n s f e r r e d t o t h e
K r e m l i n i n M o s c o w .
1 0
L O N G - C A S E
M U S I C A L C L O C K
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I 8 D
136 LONG-CASE M U S I C A L C L O C K
I 8 F The signature
o f
Jean-Gui l l aume W e y l , found on the
bellows of the musical move ment .
T w o
others
were sold by the Soviet government in
1928.
11
T h e first, lot 80, came f r o m Pavlovsk, had the v a r i
ant Time figure, and retained the A p o l l o figure on top. A
g i l t - b r o n z e amator y tro ph y of doves, arrows, and musical
instrumen ts was mount ed o n the fro nt of the base. This
appears
to be uniq ue to this clock. Th e clock bro ug ht
24,000 marks and was bou gh t by the Kreis mus eum, Neu
w i e d ,
where it remain s toda y.
12
T h e
second
clock, lot 81, also had the variant Ti me
figure, th ou gh it di d not retai n the A p o l l o figure on top.
I t brought 16,000 marks
1 3
an d was possibly pur chas ed at
the auction by the B e r l i n dealer M a r g r a f 8c Company,
w h o
own ed it a year late r.
14
Denis Roche illustrates another example at Pavlovsk
w i t h
th e
same
figure o f Ti me as on the Gett y clock an d
also
w i t h
th e figure o f A p o l l o on top .
1 5
I n his descripti on,
he states that
there
was yet ano the r i n the Pachke vitch
C o l l e c t i o n
in St. Petersburg . Th e present whereabouts of
this clock is un kn ow n, th ou gh i t is possibly the clock me n
t i o n e d in 1928 as being in the
Pourtales
Collection, St.
Petersburg, and destroyed in 1914 .
1 6
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T w o
other clocks
w i t h
the Gett y figure o f Ti me an d
w i t h
no crowning A p o l l o are k n o w n , th e first in the
Kunstgewerbemuseum at
K o p e n i k
i n
B e r l i n ,
1 7
the second
i n
a German private collection.
1 8
An ot he r example has
been reported at Schloss Ludwigslust,
1 9
tho ugh more
recent scholarship has not been able to c o n f i r m th is.
2 0
Several examples have
passed
through the art mar
k e t . One is described in a Paris auction in 1886
21
and
was later apparently in the Oppenh eime r
C o l l e c t i o n .
2 2
T h o u g h
it is a distinct p o s s i b i l i t y , it is impossible to say
w i t h certain ty that thi s clock is the Getty clock. Ano the r,
w i t h
the var ian t T i m e figure and no A p o l l o on top was
s o l d by Sotheby's, London, f r o m th e estate of the late Sir
E . H . Scott in 1940.
23
Another example, ascribed to the
Roen tgen wo rksh op and dated 1790-1 795, was sold in
Ger man y i n 1956. I n this clock a pane l of gray m arb le
replaces the panel o f bronze i n t o w h i c h th e d i a l is set. T he
same
gray marble also replaces the f r o n t panel of the bot
t o m section. Fur the rmo re, the figure of Ti me up ho ld in g
th e d i a l is made o f alabaster, and ther e is no b ronz e
plaque inset i n t o the pediment.
2 4
I n 1993 a clock o f s i m i
l a r f o r m
was
w i t h
a M u n i c h dealer.
25
I n that example, the
d i a l was not set
w i t h i n
a panel of stippled g i l t bronze but
was su rro un ded by veneered w ood . Th e ribbo n-t ied gar
lands were compos ed o f be rr ie d la ure l, and the figure o f
T i m e was replaced by a large gilt- bronze pierced mou nt,
centered by a
l y r e
and set on a panel of g i l t bronze.
M O V E M E N T
Brass a nd
i r o n ,
partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
The movement ( f ig s . i 8 g an d h) consists of thre e
t r a i n s , all of
w h i c h
are dr iv en by weights. Each t r a i n runs
f o r one week. The going
t r a i n
provides power for the
hands,
w h i c h
indicate the hours in ro ma n numerals and
the minutes and
seconds
in arabic numerals on the main
d i a l . The clock strikes every hour and h a l f hour on the
same b e l l .
A t every
f u l l
hour a melody is played on several
f l u t e s
and a dulc ime r (the latter is now missing).
The going
t r a i n
has three wheels/pinions (88—8/88—
8/60) and one wheel for the
deadbeat
escapement (8/30);
the arbor of the
escape
wheel holds the second hand. Th e
t r a i n
is regulated by an
seconds
p e n d u lu m
w i t h
no tem
pera ture compen satio n. Wh en the clock is wo un d, i.e.,
the weight is raised by a crank handle, the power to the
g o i n g t r a i n is maintained by a mechanism called a main
t a i n i n g
power. The p i n i o n (8) o f the
t h i r d
wheel (8/60)
drives the wheel (64) of the m o t i o n
w o r k
(64 /24-48/10-
6 0 ) .
The cannon p i n i o n (64/24) holds the minute hand;
L O N G - C A S E
M U S I C A L C L O C K 137
G o i n g
t ra in
S t r i k i n g trai n for the h ours
M u s i c a l t ra in
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I 8 G Three- quarter view of the movement .
the hou r wheel (60) holds the ho ur hand . The mi nut e
w h e e l
w i t h
p i n i o n
(48/10) has two pins that release the
s t r i k i n g
t r a i n
every hour. The cannon p i n i o n (24) also
drives
a wheel (72)
w i t h
three pins that
release
the musical
movement every hour.
T h e
s t r i k i n g
t r a i n
is to the
l e f t
o f
the going
t r a i n .
This
type of
s t r i k i n g
t r a i n is called a rack
s t r i k i n g w o r k .
The
s t r i k i n g
t r a i n
has f o u r wheels/pinions (80-8/77-7/56-
8/56) and a fly vane (7). Th e second whee l (8/77) hold s
eleven pins that move the
s t r i k i n g
hammer. This t r a i n is
released by the going
t r a i n
every hour. The number of
b l o w s
struck on the
b e l l
is contr oll ed by the posi tion of a
s n a il . M i s c o u n t i n g cannot occur.
Th e musical mov emen t consists of f o r t y flutes that
p l a y
the ma in melody, in piano and fort e, accompanie d by
a dulcimer. A pin cylinder determines the melody. This
c y l i n d e r can be replaced by others. Every cylinder has
f o u r
melodies.
A l t h o u g h
the clock norm ally
o n l y
plays
one piece ever y hou r or every three h our s, it can be set to
p l a y
a ll
t he pieces on a cylinder at ran dom . Unfor tuna tely
o n l y o ne c y l i n d e r , w h i c h has the engraved i n s c r i p t i o n Par-
ti e
2, has survived for this clock. For another clock of the
same type (i n Schloss B ur gk
near
Magdeburg, Germany)
seven cylinder s have sur vived ; the ir melodies, however,
have not yet been deciphered. O n l y one piece on the
138
L O N G - C A S E
M U S I C A L C L O C K
I 8 H
Side view of the move ment .
many musical clocks by Roent gen,
K i n z i n g ,
and
W e i l
has
been i d e n t i f i e d : "Reigen seliger Geister" f r o m the opera
Orfeo
edEuridice
by Christop h
W i l l i b a l d
Gluck. Th e musi
c a l movement has f o u r wheels in a direct
l i n e
f r o m the
b a r r e l
to the fly vane
( 7 2 — i 2 / 7 o / [ i o ] — 7 0 — 7 / 4 o / [ 3 2 ] - 8 / f l y
vane). The second wheel
( i 2 / 7 o / [ i o ] )
together
w i t h
the
t e n - t o o t h wheel moves another wheel (80) that slides the
p i n cylinder
w i t h
the musical pro gra m horizontall y—one
r e v o l u t i o n of the cylinder,
w h i c h
takes about h a l f a m i n
ute, corresponds to one melody. Th e pins of the cylinder
t o u c h fifty-one soun d levers, twent y o f
w h i c h
control the
f o r t y flutes, and t h i r t y o f w h i c h cont rolled the hammers
o f the now missing dulcimer. The dul cimer had
s i x t y
strings; consequently, one hammer struck two strings.
T h e fifty-first lever operat ed the piano /fort e switch,
w h i c h shifted the register by
b l o c k i n g
the air current to
the forte flutes and at the same time opening the air cur
ren t to the pian o flutes. I n add it ion this lever
pressed
a
f e l t - c o v e r e d
ro d against the strings of the dulc ime r to
soften its volume. The frequency of play can be set by
means
o f a lever tha t can be placed i n thre e pos ition s: (a)
music mechanism off, (b) one melody to be played every
hour, and (c) one melody to be played every
t h i r d
hour.
The musical mechanism can also be released by hand, in
w h i c h
case
the melody is chosen by
means
o f a
t u r n -
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t ab le . T he
t h i r d
wheel (70) drives another t r a i n (78-156)
that causes the rot a t io n of the pi n cyl inder. Th e f o u r t h
whee l (7/40/(3
2])
together w i t h th e th i r ty - two- too th wheel
drives anothe r wh eel (16) that pu mp s the bellows.
P U B L I C A T I O N S
"Acquisit ions 1985,"
GettyMusJ
14 (198 6), p. 249,
no. 208,
i l l . ;
B r e m e r
Da v i d
et al., Decorative
Arts,
p. 233,
no. 404.
P ROVE NANCE
E d w a r d
Joseph,
London, sold, Chris t ie 's , London,
May 8, 1890, lot 374 (fo r £400 to "Payne"). Fren ch p rivat e
collection. Aveline [d ealer ], Paris, 1984. Ac qu ir ed by the
J. Paul Getty Museum in 1985.
NOTES
1. A gilt-bronze moun t of the same model, with a pierced
grou nd, is in the collection of the Musee des Arts Decora-
tifs, Paris, L. Metm an and J.-L. Vandoyer, Le Metal. Deux-
ieme
partie:
Le
Bronze,
Le
Cuivre,
LEtain, Le
Plomb
(Paris,
1 9 1 0 - 1 2 ) ,
p i . CIV, no. 1017.
2 . Tho ugh born in Germany,
Weyl
frequently gallicized his
name.
3. Th e
first
inscription was discovered by Robert Marsh dur
in g conservation of the musical mechanism, the second by
Peter
Friess.
4 . D. Roche, Le mobilier frangais en
Russie, meubles
de s
XVIIe
et
XVIHe
siecles
et du commencement du
XIXe,
conserves
dans
les
palais et les musees
imperiaux
et
dans
les collections privees
(Paris,
1 9 1 3 ) , v o l .
2, p i . 77.
5. Hermitage, inv.
5 0 8 9 ,
MebeV Davida Rentgena v Ermitazhe:
katalog vystavki (The Furn iture of David Roentgen in the Her
mitage), exh. cat. (The State Hermit age, St. Petersburg,
1 9 8 0 ) ,
n o. 1, illustra ted opposite p.
2 9 ,
and H. Huth,
Roentgen Furniture (London and New York,
1 9 7 4 ) ,
f i g . 63.
6.
Both watercolo r drawings are in the Kunstbibliothek, Ber
l i n .
For further information on Johann Wilhelm
Weyl,
see
D .
Fabian,
Kinzing
und Roentgen
Uhren
aus Neuwied (Bad
Neustadt, 1 9 8 4 ) , pp. 6 6, 77, 130, 147, 155, fig.
1 4 0 .
The
designs of the two clocks differ slightly and bot h are shown
from the front and the side.
7. From 1780 Roentgen's name appears frequently in Fran-
gois Remo nd's Journal de Commerce. For the figure of
Apollo
Remo nd charged between 1,500 and
2,000
livres. See Ver-
let, L es
Bronzes,
pp . 2 1 6 , 2 3 6 . I n 1786 Remond charged
384 livres for " . . . 2 bas-reliefs de frontons, composes de
deux enfants, une lyre et couronne de laurier a fond tres
r iche . . . " A
third
exam ple was delivered in
1 7 8 7 .
I n 1785
Remond delivered " . . . 3
cadrans
portes po ur une figure
du temps et entoures de guirlande composee de fleurs
analogue aux quatre
saisons, avec
couronne de
roses."
Two
more were
sent
in
1 7 8 6 ,
and a sixth i n
1787—which
noted
further that the garlands consisted of "fleur, vigne, houx
et ble." Each clock face cost between 1,200 and
2,000
livres.
See Chris tian Baulez, "Toute 1 Europe tire des bronzes de
Paris," i n Bernard Molitor , exh. cat. (Luxe mbo urg , 1 9 9 5 ) ,
pp .
8 2 - 8 3 .
8. Huth (note 5 ) , p. 8 1 ,
f i g .
2 5 7 , n o. 2 5 7 . T he clock was
described as being of "grey maple wood, stained silver to
resemble marble," and decorated with various bronze
mounts. "The empty
areas
to be decorated with suitable
paintings." It is interest ing that the color o f the clock deliv
ered to Catherine the Great in 1784 was described as "gris
onde" and t hat the H acker clock was "grey maple wood,
stained silver to resemble marb le." Only one o f the known
clocks of the G etty mo del displays this silver or gray color
ation
(see note 24 below). Also, one o f the already men
tioned
drawings i n the
Kunstbibliothek,
Berlin (inv. Hdz
4 3 5 3 ) ,
appears
to
have
a silver/gray wash. Hacker, as one
o f Roentgen's more skilled journeymen, would certainly
have been aware of the mod el produced in Neuwi ed
and must have used Roentgen's clock as ins pirati on for
his own.
This author has been unable to locate a copy o f Ber
liner
Damenze i tung of
1795
to confirm this information.
9. Inv. E-3030 a nd E-6198, Fabian (note 6 ) , p.
3 2 4 ,
f i g . 50,
and p.
3 2 5 ,
fig. 53.
1 0 . In the
Kremlin Armory
Museum. See Fabian (note 6 ) ,
P-325>
fig-52-
1 1 . Rud olp h Lepke's Kunst-A uktions-H aus, Berlin, Novem
ber 6-7 ,
1 9 2 8 ,
lots 80 and 8 1 .
1 2 . H . Huth , Abraham und David Roentgen und Ihre Neuwieder
Mobelwerkstatt (Berlin,
1 9 2 8 ) ,
p . 6 9 , no. 58 (left). See also
C. Cornet,
"A
Long-Case Musica l Clock by David Roent
gen and Peter Kinzing, N euwie d, Germany," Studies in the
Decorative
Arts
(The Bar d Graduate Center for Studies in
the Decorative Arts) 3, 1 (Fall-Winter
1 9 9 6 ) ,
p p.
5 1 - 6 8 .
1 3 . Huth (note 1 2 ) , p . 69, no. 58 (left).
1 4. Information from Theodore D e l l .
1 5 .
Th e Pavlovsk clock is s t i l l i n that collection. See
D .
Roche,
Tresors d'art en
Russie
(St. Petersbur g, 1 9 0 2 ) , p i . L X X V I I .
See also Fabian (note 6 ) , p.
3 2 4 ,
f i g . 4 9 , and A . N . Kuchu-
mov,
Pavlovsk
Palace
& Park (Leningrad, 1 9 7 5 ) , f i g . 189
(where the clock is placed i n the Crim son Room).
1 6. Huth (note 1 2 ) , p . 69, no. 58 (left).
1 7 . See Fabian (note 6 ) , p.
3 2 6 ,
n o. 5 4 . The movement
and musical mechanism were apparently stolen du rin g
the war.
1 8 .
See Fabian (note 6 ) , p.
3 2 5 ,
n o. 5 1 .
1 9 . See
Huth
(note
1 2 ) ,
p . 6 9 , no. 58 (left).
2 0 . Letter
from Dietrich
Fabian, dated July 2 5 , 1986.
2 1 . Sold
from
the collection o f M . Auguste Sichel, Paris, Hotel
Drouot, March 2-5 , 1 8 8 6 , lot 6. It did not have the figure
o f
Apollo
on top.
2 2 . See Huth (note 1 2 ) , p. 69, no. 58 (left).
2 3 .
May 3,
1 9 4 0 ,
l ot
1 1 2 .
I t brought £46.00.
2 4 .
Sold at
Weinmuller,
Munich, M ay
2—4, 1 956 ,
l ot
1 1 1 4 .
See note 6 for further information on models with wood
stained the color of gray marbl e.
2 5 .
With Daxer & Marschall, Munich. Illustrated in Kunst und
Antiquitaten
(June
1 9 9 3 ) ,
p . 80 .
L ONG-CAS E MUSICAL CLOCK
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X I X
M a n t e l C l o c k
(Pendule squelette)
F r e n c h ( P a r i s ) ; c i r c a 1 7 9 0 - 1 8 0 0
M o v e m e n t b y N i c o l a s -A l e x a n d r e
F o l i n ( c i r c a 1 7 5 0 — a f t er 1 8 1 5 ;
master 1789) ( se e B i o g . , p . 1 7 1 ) ;
case enameled
by G e o r g e s - A d r i e n
M e r l e t ( b o r n 1 7 5 4 , date o f death
u n k n o w n ) ( s e e
B i o g . ,
p . 1 9 2 )
H E I G H T
( W I T H
GLAS S C OV ER ) :
1 f t . 73 /8 i n . ( 4 9 . 2 c m ) ; ( W I T H O U T
GLASS COVER):
1 f t . 6 i n . ( 4 5 . 7 c m )
W I D T H :
I O
3
4 i n . (2 7 . 3 c m )
D E P T H : 2V 2 i n . ( 6 2 . 2 c m )
72.DB.57
D E S C R I P T I O N
T h e g i l t - b r o n z e s k e l e t o n c l o c k h a s f o u r w h i t e e n a m e l
d i a l s . T h e u p p e r m o s t d i a l i n d i c a t e s th e phases o f t h e
m o o n ( f i g . 1 9 a) . T h e m a i n d i a l is f o r m e d b y a w h i t e
e n a m e l
chapter
r i n g . W i t h i n
t h e c e n t r a l
area
o f t h i s r i n g
i s a f iv e -p o in t ed o p e n w o r k g i l t - b r o n z e star t h o u g h w h i c h
t h e m o v e m e n t c a n b e
seen.
O n e i t h er
side o f
t h e m a i n d i a l
a r e t w o s m a l l e r d i a l s , each c o n t a i n i n g a f iv e -p o in t ed
o p e n w o r k g i l t - b r o n z e star i n t h e
center.
T h e
l e f t
d i a l
i n d i
cates t h e days o f t h e m o n t h , t h e r i g h t t h e days o f th e w e e k
( f i g .
1 9 b ) .
T h e w h o l e i s s u p p o r t e d o n d o u b l e a r c h e d l e g s ; t h e
o u t e r
surface
o f t h i s s u p p o r t i s s e t
w i t h
a s t r i p
o f
d a r k b l u e
e n a m e l s t r e w n
w i t h
f low e rs . Th e legs s t a n d o n r e c t a n g u
l a r p l i n t h s o f
g i l t
b r o n z e w h i c h a r e f a c ed
w i t h
d a r k b l u e
e n a m e l plaques p a i n t e d
w i t h
v i o l e t s i n n a t u r a l c o l o r s . T h e
b a c k i s u n d e c o r a t e d
( f i g .
19c ) .
T h e sides o f t h e w h i t e m a r b l e
base
are se t
w i t h
recessed panels
o f g i l t - b r o n z e
cast w i t h
a fine
basket-
weave m o t i f , a n d t h e f r o n t is s et
w i t h
a g i l t - b r o n z e p l a q u e
d e c o r a t e d i n
r e l i e f w i t h
a p a i r
o f
b i l l i n g
doves
a n d c u p i d s
c a v o r t i n g o n c l o u d s . A t e i t h e r e n d i s a f la m in g t o r c h a n d
a b o w
w i t h
a q u i v e r o f a r r o w s
( f i g .
l g d ) .
T h e m o d e r n g i l t -b r o n z e p e n d u l u m b o b is f o r m e d b y
t w o branches o f l a u r e l t i e d
w i t h
a r i b b o n o n w h i c h a r e
p e r c h e d t w o
b i l l i n g doves.
T h e c l o c k is p r o t e c t e d b y a
r e c t a n g u l a r glass c o v e r
w i t h
a n a r c h e d t o p .
1 4 0
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i g A
1 9B
142 MANTEL CLOCK
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ige
M A R K S
The signature
Folin Laine
A PARIS
appears
below the
m a i n d i a l and the signature G. Merlet
( f i g .
19e)
appears
on
the smaller d i a l indicating the days of the week
( f i g .
19e).
O n the back of the d i a l pl ate is the g r a f f i t o :
A
J Noordanusl
21 July 1975.
C O M M E N T A R Y
T h i s clock
w i t h
its exposed movement is of a type
k n o w n
as a pendule squelette. I t became a popular f o r m
d u r i n g
the last
decade
of the anci en régim e. Th e move
ment i t s e l f is seen as an object o f beauty , to be enjoye d as
m u c h
as the
case
w h i c h w o u l d have f o r m e r l y concealed it.
T a r d y
lists f o u r clock-makers by the name of F o l i n
w o r k i n g in Paris in the late eighteenth and early nine
teen th centuries . Th e one responsible fo r the Getty clock
is Nicolas-Alexandre F o l i n , w ho
became
a master in 1784.
Several known pendules squelettes are sign ed by this F o l i n .
1
O n l y
two other pendules squelettes by the enamel er
Georges-Adrien
M e r l e t
of approximately the
same
date
as the Getty example are k n o w n . One had three enamel
dials by Merlet, a movement signed by the clock-maker
E . Mu gn ier , and a splayed suppor t. I t was sold i n Lo nd on
i n
1989.
2
The other,
w i t h
a single d i a l signed by
M e r l e t
and a movement by R i d e l , was sold in London in 1994.
3
M e r l e t
also signed the enamel d i a l o f a long-case cl ock i n
the B r i t i s h Royal C o l l e c t io n
w i t h
a movement by Lepaute
(Jean-Baptiste?) and a
case
by Nicolas Petit. This clock
can be precisely dated as the f r o n t plate is punched juin
1780 and also has repai rer' s marks for June 1784.
4
M A N T E L C L O C K
I43
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A n o t h e r clock w i t h an enamel d i a l signed by Merlet
includes, l i k e the Getty clock, the
phases
of the moon. I t
dates f r o m t he last quar ter o f the eightee nth centu ry and
was sold f r o m the B ens imo n colle ction in Paris in 1981.
The gi l t -bronze case represents Venus in a char iot pull ed
by doves.
5
Merlet's name is also found on the d i a l of a
c l o c k
sup pli ed to the comte d 'Ar toi s by the
bronzier
Fran
cois Ré mo nd o n December 31 , 1781, for a salon ture, and
w h i c h
cost the large sum of 5,500
livres.
The modern pendulum bob is a copy of one
w h i c h
was on the clock at the time of purchase by the Getty
Museum but
w h i c h
was subsequently lost
w h i l e
the clock
was on loan to another
i n s t i t u t i o n .
It is possible that this
bob was not the
o r i g i n a l
one since the
m a j o r i t y
of other
skeleton clocks of compa rabl e design have pe nd ul um
bobs formed by a sunburst centered by an
A p o l l o
mask.
T h e glass cover is possibly o r i g i n a l . I t was the cu stom to
use covers of this type, especially for clocks
w i t h
exposed
moveme nts. Geor ge I V is kn ow n to have used such glass
boxes t o cover his clocks.
A l s o ,
the Parisian bronzier Pierre-
Phi l ippe Thomire supplied a
f a i r l y
large number to the
i m p e r i a l
household for use on clocks.
O T H E R
E X A M P L E S
M a n y pendules squelettes
sim ila r to the Get ty clock have
s u r v i v e d , but all d i f f e r i n some way, eithe r in the nu mbe r
o f dials, the type of su ppo rt in g arch, or the enamel deco
r a t i o n used. On e o f the most similar, in addit ion to the
one sig ned by Me rl et already men ti one d above, is a late
eighteenth-century
f o u r - d i a l
example sold in Geneva in
1981 , on
w h i c h
an enameled rectangular plaque w i t h
i n c u r v e d sides
below the main
d i a l
is signed
R i d e l
á
Paris."
6
The subsidiary d i a l ma rki ng the days of the week
( w h i c h
are included on the main
d i a l )
was replaced
w i t h
on e i n d i c a t i n g the months of the year. There are also d i f
ferences i n the bases o f the arches and the decoration of
the white marble plinths.
A n o t h e r v ery simila r clock w i t h four dials supposedly
by
H o u d i n
fils
was recently re-published by the Spanish
Patr imonio Nac iona l .
7
Th e enameled rectangular plaque
w i t h
incu rved
sides
below the main
d i a l
of this clock is
decorated w i t h an unsigned white shield. It has consid
erably more gilt-bronz e open wor k aroun d the dials, and,
rather than being strewn w i t h
g o l d
flowers, the suppor t
i n g
arch is decorated
w i t h
garlands of
g o l d
flowers on
dark
blu e enamel. I t is also decorat ed w i t h
navette-shaped
reserves
decorated
w i t h
figures inst ead o f violets on the
p l i n t h s at the base o f the supporting arch. The white mar
b le p l i n t h is set w i t h a gilt -bron ze plaque s imila r to the one
o n
the Getty example. This plaque
seems
to be f a i r l y com
m o n on pendules squelettes of this period.
8
Holes for the
attachment of a missing strip of g i l t bronze around the
t o p
edge
of the marble as on the Getty example can be
seen
in the published photograph. A clock
w i t h
th e
same
frieze o f cupids is illustrated by Emile M o l i n i e r i n Le Mobi
lier
royal
français aux XVII et XVIII siècles,
vol. 2 (Paris,
1902), no. 8, pl. 113. It was
f o r m e r l y
i n the Bi bliothè que
de Versailles.
9
M O V E M E N T
Brass and i r o n , partly blued
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings of the movement.
The movement
( f i g . i q f )
consists of
t w o
trains dri ven
b y mainsprings, each of
w h i c h
runs for one week. The
g o i n g t r a i n
provides power for the
hands w h i c h
indicate
the hours in ro ma n nume rals a nd the minut es in arabic
numerals on the main d i a l . Belo w the main
d i a l
are two
19D
19E
144
M A N T E L C L O C K
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1QF
M A N T E L
C L O C K
145
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G o i n g
t ra in
S t r i k i n g t ra in
146
M A N T E L C L O C K
subsidiary dials w h i c h indi cate the days
o f
the week on the
r i g h t
side (using abbreviations that begin w i t h
Jeud
and
end
w i t h
Merc, as
w e l l
as the symbols for the days, for
instance a sun for dimanche [Sunday]) and the days of the
m o n t h on the
l e f t
side. A
t h i r d
subsidiary d i a l above the
m a i n d i a l indicates the age (1 to 2 9 ' A days) and phases o f
the mo on . Th e clock strikes the hours an d
h a l f
hours on
th e
same
be l l .
The going
t r a i n
has one rot ati ng barr el (80), w h i c h
holds the main spr ing and f o u r
p i n i o n
wheels (12/80-
8/72—6/66—6/29), the last being the escape wheel. The
g o i n g t r a i n is regulated by an anchor escapement
( r e c o i l
escapement) in connection
w i t h
a pendulum. W h i l e the
c l o c k is ru nn in g the pen du lu m can be adjusted by l i f t i n g
o r l o w e r i n g
it via its
s i l k
suspension. The arbor of the
t h i r d wheel holds the cannon p i n i o n (30), a part o f the
m o t i o n
w o r k (30—30/6-72), and the mi nut e han d. Th e
ho ur wheel (72) holds the hour han d. Th e cannon p i n i o n
( 3 0 )
rotates once eve ry hou r; i t has two pins that
release
th e
s t r i k i n g
t r a i n
every
h a l f
an d
f u l l
hour.
T h e s t r i k i n g t r a i n is to the l e f t o f the going
t r a i n .
This
type of s t r i k i n g
t r a i n
has a l o c k i n g plate (count wheel).
T h i s t r a i n has one rotat in g bar rel (80), w h i c h holds the
m a i n s p r i n g , f o u r
p i n i o n wheels (12/63—7/60—6/54—6/48),
and a fl y vane ( 6 ) . T h e t h i r d wheel (7/60) has ten pins that
move the s t r i k i n g hammer.
1 Q G
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Th e ho ur wheel of the going tra in also drives a gear
(72/36-72/1-59) that indicates the age and phases of the
moon . The calendar for the days o f the week and the days
o f
the m on th is dri ven by the barr el of the strikin g tra in
(24—24—24/1—31 an d 14). A t m id n i g h t the
hands
of both
dials j u m p into the posi tion for the next day. For those
months that have less then th i r ty-one
days
the hand for
th e days of the m on th has to be moved fo rwa rd manually.
E X H I B I T I O N S
Det ro i t
Inst i tu te of
A r t s ,
1972-1973.
P U B L I C A T I O N S
B . Fredericksen, H . Latt i mor e, and G. W i l s o n , The
J . Pau l Getty Museum (Lon don , 1975), p. 80, i l l . ; G.
W i l s o n ,
"Th e J. Paul Getty Museu m, 7
6 m e
par t i e , Le M o b i l ie r Louis
X V I , " Connaissance des Arts ( June 1975), p. 96, i l l . ;
W i l s o n ,
Clocks,
pp. 68- 71 , no. 14, i l l . ;
W i l s o n ,
Decorative Arts
(1977), p. 99, no. 129,
i l l . ; Sassoon
and W i l s o n , Decorative
Arts: A Handbook, p. 42, no. 92, i l l . ; Bremer
D a v i d
et al.,
Decorative
Arts,
p. 92, no. 145, i l l .
PROVENANCE
Sold anonymously, Palais Gallie ra, Dece mber 10,
1 9 7 1 ,
lot 35. French a nd Compa ny, Ne w Y o r k , 1971. Pur
chased
by J. Pau l Gett y in 19 72.
pp . 96—97, no. 4 0 , i l l . See also Hote l Drou ot, Paris, Decem
ber
6 ,
1 9 8 9 , l ot 5 5
bis.
9.
Many other examples have been found. One of the more
interesting is a clock now at the
Palace
of Pavlovsk
near
St.
Petersburg. It has three dials, much more elaborate enam
e l i n g , and a splayed support. It is not known whether the
clock is signed. Th e f ront o f the white marble base is inset
w i t h a long rectangular bronze plaque w i t h p u t t i cavorting
on
clouds. The p u t t i to the extreme right and lef t seem to
be identic al to the
ones
decorating the Getty example.
Ano ther clock of this same type w i t h only two dials is in the
Musee des Arts Decoratifs, Paris,
w i t h
enameling signed by
Coteau. Tardy,
French Clocks the
World Over (Paris,
1 9 8 1 ) ,
pis.
4 7 - 5 1 ,
illustrates a
t h i r d ,
in the Ecole d'Horlogerie de
Dreux, w i t h a splayed supp ort, tw o dials, and enameling
signed by Coteau. The Musee Carnavalet, Paris, owns
another three-dial example w i t h splayed feet, a movement
signed by "Laurent ^aris," and enameling by Coteau. Two
pendules squelettes were sold by Sotheby's at Mentmore on
May 18 , 1 9 7 7 . T he f i r s t , lot 6, was signed by Coteau, had a
splayed su pport, two dials, and a later enamel m iniatu re
w h i c h
might have
o r i g i n a l l y
been the replacement for
another d i a l . T he second, lo t
3 0 ,
had two dials and was
signed "Laurent ^Paris"
w i t h
enameling attributed to
Coteau.
NOTES
1. Sotheby Parke Bernet, Monaco, November 2 2 , 1 9 7 9 , lot
2 0 1 (a three-dial
c l ock ) ;
Christie's, Amsterdam,
June
22,
1 9 9 0 , lo t 127 (a single-dial
c l ock ) ;
Gazette de VHotelDrouot
18 (May 4, 1 9 9 0 ) , p . L I (a three-dial example sold on May
2 0 ,
1 9 9 0 , at the H ote l des Ventes, Bayeux) ; and Sotheby's,
London,
June
2 , 1 9 9 3 , lot 98 (another three-dial
example).
2. Christie's, Lond on, Mar ch 2 2 , 1 9 8 9 , lot
3 5 .
T he d i a l is
signed Mugnier JParis , w hich probably refers to Mugn ier
Vaine.
See Tardy 1 9 8 0 ,
v o l .
2 , p.
4 8 2 .
3.
Sotheby's, Lond on, Mar ch 3, 1 9 9 4 , lot 2 1 5 .
4 . I
w o u l d
l ike to thank Geoffrey de Bellaigue for this
information.
5 . Paris, Hot el Dro uot, November 1 8 - 1 9 ,
1 9 8 1 ,
lot 33.
6 . Antiquorum, Galerie d'Horlogerie Ancienne, Geneva,
Connoisseur v o l . 2 0 7 , no. 8 3 1 (May 1 9 8 1 ) , p . 6 4 . 1
w o u l d
l ike to thank Winthrop Edey for this information. The
clock-maker Rid el is listed in Tardy, Dictionnaire des Hor lo-
gers Franca is , v o l . 1 (Paris, 1 9 7 2 ) , as
w o r k i n g
in the rue aux
Ours in 1800.
7 . See J. Ramon Colon de Carvajal, Catdlogo de Relojes del
Patrimonio Nacional ( M a d r id , 1 9 8 7 ) , p . 9 5 , no. 78
(w h i ch
states that the clock-maker is unkno wn). Thi s clock was
first published in El Palacio Real de Madrid
(E d i t o r i a l
Patri
monio Nacional,
M a d r i d,
1 9 7 5 ) , p. 196 (where the cap tion
says the clock is the work of Hou di n fils).
8 .
For a few
examples
w i t h the iden tica l bronze p laque, see
Partridge Fine A r t s , London, Summer
Exhibition
1990,
M A N T E L
C L O C K
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X X
Clock in a
Secretaire
German ( B e r l i n ) ; circa 1798
Secretaire b y Johan n Andreas
B e o ;
1
movem ent by Christ ian
M o l l i n g e r (1754—1826)
D I A M E T E R (OF
D I A L ) :
4
i n .
(10 cm)
W I D T H
(OF
D I A L ,
W I T H
H I N G E
AND
F L A N G E ) :
4V16 i n .
(11 cm)
8 4 . D A . 8 7
D E S C R I P T I O N
Th e c lock is set
i n t o
the upp er section of the secretaire
( f i g .
20a). The d i a l consists of a white enameled r i n g
t h r o u g h
the open center of w h i c h can be
seen
various
wheels of the movement, making this a type of pendule
squelette. T h e d i a l is protected by a convex glass cover held
b y a gilt- bronze frame compose d o f a single row of pea rl
bead ing and t wo rows o f bra ided m o l d i n g . I t has a th um b
f l a n g e on the r i g h t and a hinge on the l e f t .
M A R K S
T h e
d i a l
is sign ed
Mollinger
a Berlin. The spr ing
o f
the
g o i n g
t r a i n
bears th e i n s c r i p t i o n Habernig Fritz IJuly
19 75 .
O n the back plate
appear
th e
f o l l o w i n g
g r a f f i t i :
L
856/Lu.y.12/Bell.
C O M M E N T A R Y
A l t h o u g h
simple in appearance, this clock was pro
duce d by one o f the most accomplish ed makers in
B e r l i n ,
C h r i s t i a n M o l l i n g e r . I t was once att ached to a musi cal
movement w h i c h was probably activated by a lever
t r i p p e d
by the s t r i k i n g t r a i n . Physical evidence
w i t h i n
the
secretaire shows that a ro d exten ded d ow n the l e f t side of
the back to the musical movement, w h i c h was housed in
the bottom section. Two side panels
w h i c h
are now inset
w i t h
wood o r i g i n a l l y held fabric to a l l o w the sound to be
heard . Th e lower back of the secretaire
s t i l l
retains a fabric
panel for this purpose.
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2 0 A Secrétaire, circa 1798, by Joh an n A ndre as Beo. Bou ght by
F r e d e r i c k W i l l i a m I I I
circa 1802 for Schloss Potsdam, B e r l i n .
M O V E M E N T
Brass a nd i r o n , p artly blue d
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
The movement
( f i g .
20b) consists o f t w o trains drive n
b y mainspr ings, each o f w h i c h runs for one week. The
g o i n g t r a i n provides power for the hands
w h i c h
indicate
the hours i n ro ma n numerals an d the minut es in arabic
numerals on the main
d i a l .
Th e clock strikes the hou rs
and h a l f hours on one be l l .
The going
t r a i n
has one rot ati ng barr el (72), w h i c h
holds the mainspring and
f o u r
p i n i o n wheels (12/72—
8/72—6/66-6/33), the last being the escape wheel. The
g o i n g
t r a i n
is regulated by an anchor escapement i n con
n e c t i o n w i t h
a pend ulu m. The arbor of the
t h i r d
wheel
holds the cannon p i n i o n (32), a part o f the m o t i o n w o r k
(32—32/6—72) ,
and the minute hand. The hour wheel
( 7 2 )
holds the hou r hand. Th e cannon p i n i o n (32) rotates
once every hour; it has two pins that release th e s t r i k i n g
t r a i n
every
h a l f
an d
f u l l
hour.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
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T h e s t r i k i n g t r a i n is t o t h e l e f t o f t h e g o i n g t r a i n . T h i s
t y p e o f s t r i k i n g t r a i n i s c a l l e d a r a c k s t r i k i n g w o r k . T h i s
t r a i n h as a r o t a t i n g b a r r e l ( 7 2 ) , w h i c h h o l d s t h e m a i n s p r
i n g ,
f o u r p i n i o n
wheels
( 1 2 / 7 2 — 8 / 6 0 - 6 /5 4 - 6 / 4 8 ) , a n d a
f ly vane ( 6 ) . T h e t h i r d w h e e l ( 8 - 6 0 ) h a s t e n p i n s t h a t
m o v e t h e s t r i k i n g
hammer.
T h e n u m b e r o f b l o w s s tr u c k
o n t h e b e l l i s c o n t r o l l e d b y t h e p o s i t i o n o f a s n a i l . M i s
c o u n t i n g
cannot
o c c u r .
P U B L I C A T I O N S
H . K r e i s e l a n d G . H i m m e l h e b e r , Die Kunst des
deutschen Möbels, v o l . 3 ( M u n i c h , 1 9 7 3 ) , f ig . 2 6 2 ;
Art-Price
Annual 1974—1975 3 0 ( M u n i c h , 1 9 7 5) , p . 9 1 ; C . F r e y t a g ,
Bruckmanns Mob el-Lexicon
( M u n i c h , n . d . [ i 9 7 8 ? ] ) , p . 1 80 ,
n o . 8 6; M . Stürmer, Handw erk und höfische Kultur Euro
päische Möbelkunst im 18. Jah rhundert ( M u n i c h , 1 9 82 ) , p i .
1 0 2 , p . 1 9 3 ; D . F a b i a n , Die Entwicklung der Roentgen-
Schreibmöbel ( B a d
Neustadt,
1 9 8 2 ) , p p . 5 4 - 5 5 , f i g - 7 7 < l - g ;
East
Side
House Settlement, N e w Y o r k , Winter Antiques
Show,
e x h . c a t .
(January
2 1 - 2 9 , 1 9 8 4 ) , p . 2 5 4 ; D . F a b i a n ,
Kinzing £s? Roentgen Uhren aus Neuwied ( B a d
Neustadt,
1 9 8 4 ) , p . 1 4 7 ; G . W i l s o n , "Selected A c q u i s i t i o n s M a d e b y
t h e D e p a r t m e n t o f D e c o r a t i v e A r t s , GettyMusJ 13 ( 19 85 ) ,
p p . 8 3 — 88 ; A c q u i s i t i o n s / 1 9 8 4 , GettyMusJ 13 ( 198 5 ) , p .
1 8 4 , n o . 6 8 ; Sassoon a n d W i l s on , Decorat ive Arts : A Hand
book, p . 1 1 4 , n o . 2 4 0 ; D . F a b i a n , Roentgenmöbel aus Neuwied
( B a d
Neustadt,
1 9 8 6 ) , p p . 3 0 5 , 3 1 2 , f i g s . 7 2 4 - 7 2 7 ; B r e
m e r D a v i d e t a l . , Decorative Arts, p . 2 3 0 , n o . 3 9 8 ,
i l l .
P R O V E N A N C E
F r i e d r i c h
W i l h e l m I I I o f Prussia
(purchased
c i r ca
1 8 0 2 f o r
Schloss
Potsdam).
P r i v a t e c o l l e c t i o n , B e r l i n .
R a g a l l e r [ d e a l e r ] , B e r l i n . S o l d W e i n m ü l l e r [ a u c t i o n
h o u s e ] , M u n i c h , M a y 2 —4, 1 95 6 , l o t 1 1 1 1 . S o l d t o N e u -
meister
[ a u c t i o n
house,
f o r m e r l y W e i n m ü ll e r] , M u n i c h ,
O c t o b e r 2 3 — 2 4, 1 9 7 4, l o t 8 6 1 . F . T a m m s , M u n i c h . Juan
P o r t e l a [ d e a l e r ] , N e w Y o r k . A c q u i r e d b y t h e J . P a u l G e t t y
M u s e u m i n 1 9 8 4 .
N O T E
1 . B u r k h a r d t G ö r e s h a s i d e n t i f i e d Johann Andreas B e o a s
t h e
maker
o f t h i s secrétaire. H e h a s also k i n d l y p r o v i d e d i t s
e a r l y
provenance.
C L O C K I N A S E C R ÉT A I R E 5
2 0 B
Three-quar ter
v i e w o f t h e m o v e m e n t .
G o i n g t r a i n
S t r i k i n g t r a i n
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X X
Pedestal
Clock
French (Paris); late nineteenth cen
t u r y (copy of an exampl e made
c i r c a
1725, probably in the Boulle
w o r k s h o p ,
after a design by G i l l e s -
M a r i e
Oppenord)
Makers of
case
and movement
u n k n o w n
H E I G H T : 9 f t. 4
i n .
(223.5
c m
)
W I D T H :
2 ft.
3 V2
in . (68.6 cm)
D E P T H : 1 ft . 1 i n . (33 cm)
7 4 . D B . 1
D E S C R I P T I O N
T h e pedest al clo ck is mad e i n two parts: the clock
case
and its supp ort ing tapering pedestal. The d omed t op of
the clock
case
supports a gilt-bro nze win ged cupi d (fig.
2 i f ) .
T h e
f o u r
corners below are
fitted w i t h
gilt-bronze
figures
o f
the Four Continents: A f r i c a , Europe, Asia, and
the Ame ricas ( fig. 2
l a - d ) .
T h e
o v a l d i a l
is o f
g i l t
bronze,
set
w i t h
enamel plaques painted
w i t h
numerals. The
r e m a i n i n g surfaces o f the
f r o n t
and the
sides
o f the case
are veneered
w i t h
tort oiseshell, that on the f r o n t is f u r
ther decorated
w i t h
a
t r e l l i s
pattern in brass. The interior
o f
the door at the back
o f
th e
case
is veneered
w i t h
a panel
o f marquetry o f t o r t o i s e s h e l l a nd brass composed o f large
s c r o l l s ,
acanthus leaves, vines, and t endri ls (fig. 2i g) . A
g i l t - b r o n z e
mount in the f o r m of a smokin g cassolette is
attached to the
base
of this panel. The interior f l o o r is
veneered
w i t h
a geometric marquetry of diamonds
d i m i n i s h i n g
i n size to wa rd a cent ral rosette.
T h e d i a l is covered
w i t h
a convex glass,
w i t h
a frame
w h i c h is hinged and
snaps
shut. A gilt-bronze cartouche
b e l o w
is set
w i t h
an enamel plaque painted
w i t h
the name
" J U L I E N
LE R O Y . " The clock
stands
on scrolled feet w h i c h
are overlaid
w i t h
auricular mounts.
T h e f o u r c orner s o f the pedestal are set at the
t o p w i t h
large doubl e-scrol led foliate moun ts. The y are
l i n k e d to lion's paw feet by f l a t moldings cast at the center
w i t h
a vertical rib bon- boun d rod . Th e top of the f r o n t o f
the pedestal is set
w i t h
a circular plaque cast
w i t h
Her
cules
r e l i e v i n g
Atl as of the weight of the Heavens. Th e
plaque is suspended f r o m a gilt-br onze ri bbo n bow (fig.
2 i h ) .
T h e sides are mounted
w i t h
pendants of flowers
above, and
w i t h
r i s i n g acanthus spikes below, at the
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21 E Figure representing Europe,
Paris, circa 1720, f r o m a
clock
of the
same
model in
the Wallace Collection, L o n
don, i n v .
F42.
21 D Europe
T h e first three clocks
have provenances w h i c h
extend
back to the eigh teen th centu ry. Th at o f the Arse nal clock
is
the most w e l l documented . I t appears in an inventory
taken at the death of
G i ll e s M a r t i n o t
in 1726:
Item. Une grande pendulle dans sa boete de marqueterie
garnye
de bronzes sur scabelon, le tout de douze a quinze
pieds de haut ou environs, le cadran de lad. pendulle
ovalle, le mouvement de la lad. pendulle sonnant heures,
demies et quarts lad. pendulle garnye de toutes se s glaces et
le s
bronzes non dorez ny en couleur, prisees et estimee a sa
juste valeur et sans
crile
la somme de cinq mille livres.
6
Th e fact that the mo un ts on this clock are described
as neither gil ded no r lacquered may indicate that the
piece was no t yet finished, an d one co ul d th er efo re date
it s co nstru ction to sh ortly before its inclusion in this
i n v e n t o r y , circ a 1725. Th e clock was given in 1761 to the
Abbaye Saint-Victo r by Margu erite -Cath erine Bouch er
Duplessis, the
w i d o w
o f Francois-Louis
M a r t in o t ,
the son
o f
Gilles
M a r t i n o t .
A t the time of the French Revolu tion,
i n 179 1, it was fo un d in the chamb er o f Father Lagrene e
and was the n transfer red to the Arsen al.
7
Th e clock i n the Wallace c o l l e c t i o n was giv en i n 1770
to the
m u n i c i p a l i t y
o f
Y v e r do n ,
Switzerland, by M . Perri-
net de Faugnes, th e
manager
of the A d m i n i s t r a t i o n des
Sels de Franche-Comte. It rema ined i n the H o t e l de V i l l e
at Yverdo n u n t i l 1866, whe n it was sold to the deale r Bar
r i e r
and r emov ed to Lyons. Th e f o l l o w i n g year it was
taken to Paris and was probably sold to
L o r d
H e r t f o r d
soon after.
The enamel plaque
beneath
th e d i a l o f the c lock at
Wadde sdon Ma no r has been replaced
w i t h
the cipher of
P h i l i p
Do rm er Stanhope, 4 th Earl of Chesterfield. Th e
cipher contains the Order o f the Garter, gra nted to hi m in
1730. The o r i g i n a l French movement has
been
replaced
w i t h one made by George Graham, who was active
betwe en 1711 an d 1751.
I t is very probable that this model of clock case was
designed by Gilles-Marie Op pe no rd ( 1672-17 42). It
incorporates the same moun ts representin g the Four
P E D E S T A L C L O C K
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2 1 F
Continents that were used on the earlier long-case clock
i n the Getty
c o l l e c t i o n
(cat. no. 5), w h i c h has been shown
to
have been designed by G i l l e s - M a r i e Oppeno rd and
almost certai nly execute d by his father, Alexan dre-Jean
Oppenordt (circa 1639-1715). As his father's sole heir,
G i l l e s - M a r i e
Oppen ord had
c o n t r o l
and ownership of the
models o f the Fou r Contin ents and was able to have th em
m o d i f i e d for reuse. A close ins pect ion of the figures on
the Wallace clock shows that the mounts were cast
f r o m
models whose pilasters had been p a r t i a l l y cut through
h o r i z o n t a l l y
in num ero us places to
a l l o w
them to be bent
i n t o th e s l i g h t l y curved
shape
necessary to fit the curved
p r o f i l e of the clock case.
A
shorter version of the l o n g corner mounts of the
pedestal had o r i g i n a l l y been used, reversed, as corner
mou nts an d contig uous feet on a com mod e in the
L o n
don ma rket in 1 9 9 1 .
8
The commode bore a top veneered
w i t h brass and tortoiseshell w h i c h incorporated much of
the design that is
f o u n d
decorati ng the top of a bureau
made for Louis X I V in 1685, w h i c h has been shown to
have been made by Op pen or dt pe re.
9
21 G Th e i n t e r i o r of the back door of the clock
case.
A t
t he death o f his father i n 1715,
G i l l e s - M a r i e
O p p e n o r d seems to have tu rn ed to Andre-Ch arles B o u l l e
and his
sons
for the construction of the cases and their
marquetry. T he design of the marque try on the i n t e r i o r
surface o f t he clock-case do or o f the Wallace examp le is o f
th e same design as that f o u n d on the r i g h t f r o n t door of
an armoire a regulateur also i n the Wallace C o l l e c t i o n .
1 0
T h i s
piece is described as being und er c onst ruct ion in
Boulle's Acte de Delaissement of 1715.
1 1
Th er e is, however,
a difference i n size between the tw o panels, sho wing that
the one i nt end ed for the clock doo r had been especially
adapted to fit.
S m a l l
panels of marquet ry on the sides o f the ho od of
the Arsenal clock are closely related to the design of those
f o u n d on the chapter r i n g o f the so-called Father Ti me
c l o c k ,
w h i c h again is documented as being by
B o u l l e
(see
cat. no. 4).
I t is appa rent that the bronzes on the
cases
and the
pedestal, i n add it io n to those o f the Fou r Continen ts as
w e l l as the corn er mo unt s, were not made in Boulle's
workshop. N o such mou nts are described in the i n v e n t o r y
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2 1 1
taken after the fire in his wor ksho p in 1720 or in any o ther
documents relat ing to B o u l l e , nor do they
appear
on any
o f his know n or att ribu ted works. The y were probably
designed by
G i l l e s - M a r i e
Op pen ord , but the name o f his
bronzier
is not
k n o w n .
B y
1720—1725, wh en the A rs ena l clock was com
p l e t e d ,
t he e v o l u t i o n
o f taste
was tu rn in g away f r o m metal
r inceaux and arabesques,
w h i c h
ma y w e l l account for the
use of p l a i n tortoi seshell on the pedestal.
W h e n the Gett y clock was disma ntl ed for inspection
i n
1992 it became apparent that the clock
case
is o f late
nine teen th-c entu ry date. I t was fo un d that a ban d saw
had been used i n the course o f its manu factu re, w h i l e a
screw-ti pped auger bi t had been used to d r i l l holes for the
dowels used in the
case's
construction.
1 2
X-rays revealed
that the i nt eri or screws, beneath the tortoiseshel l veneer,
are machine cut, and
w i r e
nails had been employed
t h r o u g h o u t . T h e sides and the f r o n t o f the pedestal are
h e l d
together merely by the
means
of screws, and the
corner blocks were m i l l e d to dimen sio n on a joi ner , a
machine
w h i c h
was not invented u n t i l the second h a l f o f
the nine tee nth cent ury. Th e bot to m of the pedestal is
modern and attached
w i t h
m od ern nails.
A n insp ecti on of the back of the upp er surface o f the
base,
w h i c h
is two inches
t h i c k ,
shows that the tortoise-
2 1 J
s h e l l is backed by an oak substratum three-eighths of an
i n c h
t h i c k , g lue d to a frame of cherr y one and a
h a l f
inches t h i c k , as
w e l l
as a layer of po pl ar veneer one-
sixteent h of an
i n c h
t h i c k , the latt er sawn
w i t h
a band saw.
Th e back door
o f
the clock
case
is
o f
board and batten
c o n s t r u c t i o n , rather than frame and panel. The bottom
o f
th e
case
and the side upr igh ts are of alder faced
w i t h
oak; the upper part
o f
the clock is also made
o f
alder. The
brass
stops for the back doo r and the glass panel s are also
o f
recent m anuf actu re, as are the clock-door hinges, an d
a ll
are h eld i n place w i t h m od ern nails.
Fu rt he r evidence tha t the clo ck is a copy is the fact
that the heavily g i l d e d bronze mounts are very finely
chased, an d the bodies o f the figures rep res ent ing the
Four Cont inent s are smoo th and lack muscul ar d e f i n i t i o n
i n
com par is on to the figures fo un d on the
f o u r
other
c l o c k s
of the
same
model . Th re e moun ts, the figure of
Europe, the large mo un t
o f
a cup id on the top, and one of
th e f l o r a l side moun ts on the pedestal, were remov ed an d
taken to Europe. They were closely compared
w i t h
those
moun ts o n the Wallace, Waddes don, and A rsena l clocks.
I t
was imm edi ate ly appar ent that the figure o f Europ e
f r o m the Ge tty clock is
less
vigorou sly mod eled an d was
n o t cast f r o m th e same
m o l d .
The features o f the face d i f
f e r , as
does
the arra ngem ent of the folds of the drap ery
( f i g .
2ie) .
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I n
co mpa ri son to those on the othe r clocks, the side
m o u n t
o f the pedestal—consisting in the main of a pen
dan t of flowers—is ove rchased to the po in t o f sharpness
( f i g . 2
l j )
an d l i k e al l the m ou nt s o f the Get ty clock has a
smoo th back, characteristic of late ni neteen th-cen tury
bronze mounts.
Th e uppermo st m ou nt of a winge d cup id
seated
on
clouds is found
o n l y
o n the Arsen al clock and o n t he
D e t r o i t
model, but on the latter the wings are
absent.
Her e again a comp aris on revealed a certai n smoothness
and overchasin g on the Getty example, the wings of
w h i c h are carefully
cast w i t h
feathers, above and below.
The wings on the Arsenal model are however quite
smooth and unfeather ed on their uppe r surface w h i c h
cannot be
seen
by the viewer.
The Arsenal clock
case
differs in a number of small
ways f r o m the Wallace and Waddes don cl ocks,
13
an d t he
G e t t y
clock shows
these same
variances in design. Clearly
the Ar sen al clock was the source f or the Getty exa mple .
D i f f e r e n c e s
between the Arsenal and Getty clocks are
p r o b a b l y the result of the copier not having
access
to the
back of the o r i g i n a l clo ck, fo r the copy lacks a do or at the
back
o f
th e pedestal. He was also una ware that th e back of
the Arsenal movement is signed by Gilles
M a r t i n o t
and
n o t
by Jul ien Le Roy, whose name, however, inexpl icably
appears
on the enamel plaque beneath the
d i a l .
There
f o r e the copier has signed the movement " j u l i e n Leroy
Paris." This s ignature is inco rrect ly inscri bed, for Le Roy
consistently used th e f o r m "Julien Le Roy Pari s'' on
a ll
his
k n o w n movements (see cat. nos. 9 and 12).
Th e ma ker o f the Get ty clock obviously cou ld not see
that the wings of the Arsenal
C u p i d
are unfeathered on
t h e i r upper surfaces, and the brass cartouche on the l o w
est
m o l d i n g
of the clock
case,
w h i c h is inscribed Ex Bono
Dominice
Boucher Viduae Duplessis Anno 1765, is here l e f t
b l a n k . T h e same area on the Wallace, Waddesdo n, and
D e t r o i t
examples is
filled w i t h
a small
o v a l
o f tortoiseshell
and brass marquetr y.
I n
many
cases,
the small panels of marquetry on the
c l o c k case, thou gh they f o l l o w the desi gn of those on t he
A r s e n a l
example, have been s l i g h t l y s i m p l i f i e d and are
n o t as w e l l dra wn.
Oth er nine teent h-cen tury copies of the clock and
pedestal exist. One, s tamp ed "J. Zwien er," is in Schloss
C h a r l o t t e n b u r g , B e r l i n .
1 4
It is
o f
i n f e r i o r qu alit y and very
o b v i o u s l y a late nineteenth-century pastiche. Two other
c l o c k s
o f this mode l made by Zwiene r
passed
through the
A m s t e r d a m and Paris art markets in 1988 and 1990.
15
A
f o u r t h clock, of the
same
design but
w i t h
a round
d i a l
and
veneered
w i t h
wood , was sold in Lond on in 1995.
1 6
A
fu rth er model, presumably of nineteenth-century
date, once belonged to the bronzier V i a n
(dates
unknow n)
and st ood in the vestibule
o f
th e
H o t e l
Salle, Paris.
17
N o t h
i n g
is kn ow n of its present whereabouts.
M O V E M E N T
Brass and
i r o n ,
p artly blue d
Note: The number in parentheses represents the number of
teeth on each wheel. These numbers are repeated again in the
drawings
of the movement.
The movement ( f ig s . 2 1k an d 1) consists o f th ree
trains dri ve n by mains prin gs, each of w h i c h runs for one
week. The going
t r a i n
provides power for the
hands
w h i c h indica te the hours i n ro ma n numerals and the m i n
utes
in arabic numerals o n the mai n
d i a l .
T he cloc k strikes
every
f u l l
hour on one large b e l l and each quarter hour
o n two smaller bells. Th e d i a l o f this clock is
o v a l ,
and the
G o i n g t ra in
S t r i k i n g trai n for the ho urs
S t r i k i n g trai n for the quarters of an h our
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hour hand
changes
its le ng th as it rotates, b ei ng short at
three and nin e o'clock and e xpan ded at six and twelve.
The going t r a i n has one rot ati ng barr el (88), w h i c h
holds the mains pri ng and fou r p i n i o n wheels (12/80—
8/84—7/70—7/23), the last being the escape wheel. This
t r a i n is regulated by a deadbeat Brocot escapement i n
connect ion
w i t h
a pendulum. O r i g i n a l l y the pendulum
c o u l d
be adjusted
w h i l e
th e clock was ru nn in g by
l i f t i n g
or
l o w e r i n g
i t via its Brocot suspension. However, this mech
anism
does
no t f u n c t i o n ; the teet h of the wheels for the
suspension m echan ism have been gr ou nd off. Th e arbo r
o f
th e
t h i r d
wheel holds the cannon p i n i o n (36), a part o f
the motion w o r k (36 -36/7 -84) , and the minu te hand.
Th e hou r wheel (84) holds the ho ur hand . The canno n
p i n i o n (36) rotates once every hou r; it has fou r pins that
release
t he
s t r i k i n g
trains every quar ter o f an ho ur.
T h i s clo ck has tw o s t r i k i n g trains. The s t r i k i n g t r a i n
f o r the quarter hours is to the r i g h t o f the going t r a i n . To
the
l e f t
o f the going t r a i n is the s t r i k i n g t r a i n for the
hours. They are both arranged upside down.
B o t h s t r ik
i n g trains use l o c k i n g plates (co unt wheels). The s t r i k i n g
t r a i n fo r the quar ter h ours has a rot ati ng barr el (88),
w h i c h holds the main spri ng, four p i n i o n wheels (14/72—
8/70 -7/8 4-7/ 77), and a fly vane (7). Th e t h i r d wheel
( 8 / 7 0 )
has ten pins that move the
s t r i k i n g
hammer. Every
f u l l hour the l o c k i n g plate of this t r a i n releases t he s t r i k
i n g
t r a i n
for the hours. This
t r a i n
also has a rotating bar
r e l (88), w h i c h holds the mainsprin g, four p i n i o n wheels
(14/7 2-8/7 0-7/8 4-7/7 7), and a fly vane (7). Th e t h i r d
w h e e l (8/70) has ten pins that move the s t r i k i n g hammer.
There are several
reasons
why the movement is prob
a b l y
a pr od uct of the nine teen th centu ry: (1) Th e signa
tu re on the back plate is po or ly eng rav ed an d may have
been made
w i t h
a ro tat in g cutter. (2) Th e type of escape
men t in this clock was inven ted in the nineteen th centu ry
b y A c h i l l e B rocot. There is no h i n t that this escapement is
a later a d d i t i o n ; al l the part s are mad e i n the same style as
the rest o f the clock, an d the re are n o holes w h i c h w o u l d
indicate that there had once been a different
escapement.
(3 ) Th e fo ur pillars are not of early ei ghteent h-centu ry
date. (4) A l l the wheels of this clock
appear
to be machine
cut, tha t is, they are to o regul ar to have been m ade i n the
eighteenth century, and the spokes are of nineteenth-
century
shape.
(5)
F i n a l l y ,
the hamme rs and all three bells
date to the nineteenth century. They are not mounted to
the move ment i n the nor ma l way (one mo un t for the h ou r
b e l l and one m ou nt fo r the two quar ter bells), but are
mounted one above the other.
21 L Side v iew of the movement.
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E X H I B I T I O N S
M a d r i d ,
Sociedad Espanola de Amigos del Arte, "El
Reloj en el Arte,"
May-June
1965, no. 10.
P U B L I C A T I O N S
L . Montafies, "Un
pend ulo desconocido
de Jul ien Le
Roy," Dersa (July 1967), pp. 8—16, no. 34,
i l l .
p. 1; G. de
Bellaigue, The James A. de Rothschild Collection at Waddesdon
Manor: Furniture, Clocks and
Gi l t
Bronzes, vol. 1 (Lon don ,
1974), p. 54; Wilson, Clocks, pp. 12-17, no. 2, il l . ;
A . Smith, ed. , The Country Life International Dictionary of
Clocks
(Ne w York, 1979), p. 87, fig. 7; L. Mont afie s, Relojes
en ABC (M ad ri d, 1983), pp. 96—99; G. Wil son , Selections
from the Decorative Arts in the
J .
Paul Getty Museum (Malibu,
1983), pp. 18—19, no. 9; The
J .
Paul Getty Museum Handbook
of the Collections (M ali bu , 1986), p. 150; R Verlet, Les
Bronzes, p. 114, fig. 141 (cap tio n); Bre me r Da vi d et al.,
Decorative Arts, pp. 84-85, no. 131.
PROVENANCE
English collection,
n ine teenth
century. (?) Du ke of
Medinaceli, Spain .
18
Smolen [dealer], Paris, circa 1962.
Manue l
Gonzales,
Galeria Velazquez, Ma dr id , circa 1965.
Frenc h an d Co., New York, 1972. Boug ht by J. Paul Getty
i n 1974.
NOTES
1. Th e name Karel Solle is also found inscribed on the move
ment
of the long-case musical clock (cat. no. 5 ) , along w i t h
the date 1 8 8 8 . I n
June
o f
that
year
that
clock was sold
f r o m the collection of the Marquess of
Exeter
to the Lon
do n dealer Charles Davis. It is
therefore
known
that
Solle
was working in England at
that
time. I f the
movement
of
the clock needed repair in 1 8 4 6 , one could assume
that
it
had been made at least a few years earlier. I t is
possible
that
at
that
time Solle was worki ng in
Paris.
I t is apparent
that
the
movement
was not made at the same time as the
case, which is considerably later i n date.
2 .
F. J. B. Watson,
Wallace
Collection
Catalogues, Furniture
(London,
1 9 5 6 ) ,
pp .
1 9 - 2 0 ,
no. F4 2, pi. 48
( le f t ) ,
and
P.
Hughes, French Eighteenth-Century Clocks
and
Barometers
in the
Wallace
Collection (London,
1 9 9 4 ) ,
p p.
28—29.
3 .
G. de Bellaigue,
The James
A.
de
Rothschild Collection at
Waddesdon Manor: Furniture, Clocks
and
Gilt
Bronzes, vol. 1
(London,
1 9 7 4 ) ,
p p.
5 1 - 5 5 ,
no. 3.
4 .
Illustrated in Les
Vieux
Hotels
de Paris, v o l .
10
(Paris, 1 9 2 0 ) ,
p.
2 2 , p i .
37.
5. "European
Sculpture and Decorative Art s Acqu ired by the
Detroit
Institute of
A r t s , 1 9 7 8 - 8 7 , "
The
Burlington
Maga
zine 1 3 0 ,
no. 1023 ( J
u n e x
9 8 8 ) , p.
4 9 7 ,
figs. 106, 107.
6 . A . N . ,
M i n . ,
X C V I I - 2 0 6 , February
13,
1 7 2 6 ,
inventory
after the
death
of Gilles Martinot.
7 . I am gratef ul to Daniel Alcouffe for this inf orma tion .
8 .
Christie's, Lond on, June 13, 1 9 9 1 , l ot 8 8 . Another com
mode, veneered w i t h f lo r a l
marquetry on an
ebony
ground, which
bore
the
same corner mounts
at its forecor-
ners,
was sold at
Sotheby's,
New
Y o r k ,
May 20,
1 9 9 2 ,
lot
5 5 ; another example,
veneered w i t h contre-partie
marque
t r y
was sold at Christie's, London, June 15, 1 9 9 5 , lot 50.
9.
New York, Metropoli tan Museum of A r t
( i n v . 1 9 8 5 . 6 1 ) :
J.N . Ronfort, "Le mobilier royal al'epoque de Louis X I V ,
1 6 8 5 , Versailles et le Bureau du
R o i , "
LEstampille ( A p r i l
1 9 8 6 ) ,
p p. 4 4 - 5 1 .
1 0. Watson
(note
2 ) , p p.
2 2 7 — 2 2 9 ,
F. 429, pi.
1 1 7 ,
and
P.
Hughes, French Eighteenth-Century
Clocks and
Barometers
in
the
Wallace
Collection
(London,
1 9 9 4 ) ,
p p.
24—25.
1 1 . J .-P.
Samoyault,
Andre-Charles Boulle
et
sa Famille
(Geneva,
1
9 7 9 ) > P -
6
5 >
n
-
i o n p. 79.
1 2. Th e
band
saw was introduced circa 1830.
1 3. The cupid and
clouds
on the top of the clock are of a
di f
ferent mod el, as is the
arched
mount below it . On the
Waddesdon
and Wallace examples, gilt-bronze medallions,
containing a rearing horse and a salamander, have been
added
to the sides of the
case.
These are
suspended
from
elaborate
ribbon bows, while pendants of leaves
hang
below. The smoking cassolette
attached
to the inner
surface
o f the
back
door on the two latter examples is of dif ferent
f o r m and is decorated w i t h swags of flowers and acanthus
scrolls. Flames issue from the mouth o f the ur n.
Th e
design
o f
a ll
the small
panels
of marquetry
di f
fers
from the Arsenal
example,
w i t h the exception of the
large panel
on the inter ior of the
back
door on the
Waddes
don clock, which is the contre partie of
that
found on the
Arsenal model.
1 4 .
A. Geyer, Geschichte des
Schlosses
zu Berlin: Vo m
Konigsschloss
zu m
Schloss
de s Kaisers
(1698—1918) (Berlin,
1 9 9 2 ) ,
p. 171,
p i. 2 7 0 . 1
am grateful to Winfried
Baer
for pointing this
out to me.
1 5. Sotheby's,
Amsterdam, May 3 1 , 1 9 8 8 , lot
2 3 7 ;
Drouot
Richelieu,
Paris,
December 5, 1 9 9 0 , lot 1 1 1 .
1 6.
Christie's, Lond on,
June
2 , 1 9 9 5 , lot 190.
1 7 . J.-P. Babelon, "La Maison du Bourgeois gentilhomm e
l ' H o t e l
Salle, rue de Thorigny, a
Paris," Revue
de VArt 68
( 1 9 8 5 ) , p. 34, pi. 45.
1 8 .
Info rmati on supplied by Manuel
Gonzales.
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I N T R O D U C T I O N T O T H E B I O G R A P H I E S
T H E
J . P A U L G E T T Y M U S E U M ' S c o l l e c t i o n o f c l o ck s
a f f o r d s h i s t o r i a n s o f P a r i s ia n c l o c k - m a k i n g a b r o a d
field
o f i n q u i r y . A l t h o u g h f e w i n n u m b e r , t h e m a k e r s o r
r e p a i r e r s o f t h e c l o c k s l i s t e d i n t h e c a t a l o g u e a r e r e p r e
s e n t a ti v e b o t h o f t h e c i r c l e o f e i g h t e e n t h - c e n t u r y P a r i si a n
c l o c k - m a k e r s a n d o f i ts s o c i a l s t r u c t u r e .
I n
t h i s b i o g r a p h i c a l s e c ti o n , w e have t a k e n a s o u r
basis t h e
d e f i n i t i o n
o f t h e w o r d horloger ( c l o c k - m a k e r )
g i v e n
b y F e r d i n a n d B e r t h o u d i n t h e Encyclopédie:
those whose profess ion is c lock-making are commonly called
clock-makers. B ut o ne should mak e a distinction between
the clock-maker, as intended here, and the artist who is
familiar
with the principles of the art: these are two quite
different individuals.
Th e
former practices clock-making in
general
withou t having mastered its basic philosoph y and
calls himself
a clock-maker because he devotes
himself
to
one aspect of this art. The latter, on the contrary, embraces
th e full scope o f this science: he might be referred to as an
architect-mechanic; such an artist is not concerned with
on e
field
alone but rather with creating the overall design
fo r watches and clocks, or or any other machine he might
wish
to build. H e determ ines the position of each part, its
direction, th e forces requ ired and all the dimensions; in
short , he devises the entire structure. As for the assembly
itself, he chooses workmen capab le of making each part .
L a t e r B e r t h o u d adds, C l o c k - m a k i n g b e i n g t h e science o f
m o v e m e n t . . . t h e t as k o f t h e s u p e r i o r m i n d is t o i n v e n t a
m a c h i n e a c c o r d i n g t o t h e p r i n c i p l e s a n d l a w s o f m o v e
m e n t b y t h e s i m p l e s t a n d m o s t assured means."
U s i n g B e r t h o u d ' s
d e f i n i t i o n ,
i t i s a p p r o p r i a t e t o
i n c l u d e
here
t h e name o f A l e x a n d r e F o r t i e r w h o , t h o u g h
a n o t a r y , nonetheless e x e m p l i f i e s t h e a r c h i t e c t -m e c h a n i c .
F o r t i e r is c o n s i d e r e d a n a r c h e t y p e o f t h e l e a r n e d m a n o f
t h e e i g h t e e n t h c e n t u r y , w h o p u r s u e d
serious
research i n
t h e r e a l m o f science w h i l e a t t h e same t im e a s s u m i n g a
m o r e t r a d i t i o n a l f u n c t i o n w i t h i n so c i e t y .
I t
s h o u l d , h o w e v e r , b e
stressed
t h a t P a r i s i a n c l o c k -
m a k e r s o f t h i s p e r i o d w e r e , o n t h e w h o l e , s k i l l e d c r a f t s
m e n , e v e n w h e n t h e y w e r e n o t l e a r n e d m e n , a n d t h a t
f r o m
t h e o u t s e t o f th e r e i g n o f L o u i s X V , F r e n c h c l o c k -
a n d w a t c h - m a k i n g became p r e e m i n e n t i n E u r o p e , a
s i t u a t i o n
w h i c h w a s t o r e m a i n u n c h a n g e d f o r s e v e ra l
decades. E n g l i s h c r a f t s m e n came t o s p e n d t i m e i n F r e n c h
w o r k s h o p s ; f o r e x a m p l e , t h e c l o c k - m a k e r k n o w n o n l y as
D a v e n p o r t , w h o w as a p p r e n t i c e d t o J e a n - F ra n ç o i s D o -
m i n i c é i n 1 74 7 . A n d e v e n t h o u g h c l o c k -m a k e r s s u c h as
t h e L e N o i r s , C h a r l e s L e R o y,
Jean-Jacques
F ie f f é , a n d
C h a r l e s
V o i s i n
w e r e h a r d l y t e c h n i c a l ly i n v e n t i v e , t h e i r a r t
w a s nonetheless h i g h l y d e v e l o p e d a n d t h e q u a l i t y o f t h e i r
w o r k
b e y o n d r e p r o a c h .
A
s y s t e m a t i c s t u d y o f t h e m o v e m e n t s o f t h e G e t t y
M u s e u m ' s c lo c k s h a s r e v e a l e d t h e
names
o f o t h e r
i n d i v i d
uals i n v o l v e d i n t h e c l oc k s ' m a n u f a c t u r e , s u c h as e n a m -
elers a n d s p r i n g - m a k e r s , a n d h a s l e d u s t o t a k e a n i n t e r e s t
i n these
s o m e w h a t n e g l e c t e d c r a f t s m e n . W e have
also
d i s c o v e r e d f a c t s a b o u t A n t o i n e - N i c o l a s M a r t i n i è r e ,
G e o r g e s - A d r i e n M e r l e t , a n d H . F r. D u b u i s s o n t h a t h a d
n o t
been
k n o w n
u n t i l
n o w , a s
w e l l
as i n f o r m a t i o n a b o u t a
m o s t i n t e r e s t i n g p e r s o n a l i t y ,
W i l l i a m
( I I ) B l a k e y , c l o c k -
m a k e r a n d s p r i n g - m a k e r .
T h e c l o c k -m a k e r s
represented
i n t h e c o l l e c t i o n
o f
t h e
G e t t y M u s e u m a r e s i g n i f i c a n t i n t h a t t h e y span a f a i r l y
b r o a d range i n t e r m s o f s o c i a l c i r c u m s t a n c e s a n d l e v e ls o f
financial success; th u s t h e i r careers i l l u s t r a t e t h e v a r i e d
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paths
that led to a mastership in c l o c k - m a k i n g . The dis
p a r i t y amo ng the fortunes o f eighte enth-ce ntury clock-
makers i n Paris was great and qui te unre lat ed to their t a l
ent, depending rather on their commercial s k i l l s . There
is ,
for instance, no comparison between the few thousand
livres tha t represent t he estates
o f
Jean-Francois D omi nic e
o r Jean-Jacques Fieffe and the 200,000 livres, 204,000
livres, and 320,000 livres that represent, respectively, the
estates
o f J u l i e n
Le Roy, Charles V o i s i n , an d Etienne (I I)
L e
N o i r .
There can be no doubt that the social connections
e n j o y e d
by Ju li en Le Roy and the Lepautes and likewise
Jean R o m i l l y ' s
friendships
w i t h
Jean-Jacques Rousseau,
D i d e r o t , and d 'Alembert l i f t e d these clock-makers above
th e
status
o f craftsman, w h i c h in such a hier archica l soci
ety w o u l d n or ma ll y have been assigned to the m as a resul t
o f
their manual activities.
Regarding the general organization of the clock-
maker's pro fess ion i n Paris, we have been able to establish
tha t betw een Jan uar y 7, 1744, an d Janu ary 30, 1776, the
Parisian clock-makers' g u i l d adm it te d 438 masters, 43
percent of whom (189) were accepted hors statuts, i.e.,
i n
exception to the rules.
1
Such exceptions were made
because
the clock-m akers coul d no t satisfy the dema nds
o f
g u i l d regulations, in particular the requirement that
they must have f o l l o w e d a regul ar apprenti ceship. Thu s
83 individuals,
i n c l u d i n g
M i c h e l Stollenwerck, were
gran ted e xcepti onal masterships i n 1746, 1767, and
1770, at the i n i t i a t i v e o f the
C r o w n ,
and 106, one q uar ter
o f th e
t o t a l ,
i n c l u d i n g W i l l i a m (I I) Blakey and Jean
R o m i l l y , benefited f r o m a special
decree
of the Conseil
d'Etat d u Roi, thanks to
w h i c h
the requirement of hav
i n g f o l l o w e d a regular apprenticeship was waived. The
decree
i n favor o f Jean R o m i l l y also shows that the matter
o f
r e l i g i o n , i n his
case
the fact that he was a
C a l v i n i s t ,
had
ceased to be an obstacle to the exercise of the clock-
maker's prof ession i n the sight of the Parisian
g u i l d
at the
t u r n of the eighteenth century. F i n a l l y , a certain number
o f
clock-makers were never admitted as masters and
exercised the ir craft in premises outside those st ipulated
b y the corpo rate regulat ions; they were kno wn as ouvriers
libres (independent craftsmen).
2
This was the
case w i t h
Jean-Francois Dom ini ce and Di gue, as w e l l as Stollen
w e r c k
( u n t i l
1746).
W h i l e i t w o u l d be impossible here to go i n t o all the
i m p l i c a t i o n s and situations covered by the
t i t l e
Horloger du
Roi, a b r i e f discussion may help c l a r i f y the use o f t h i s ter m
t h r o u g h o u t
th e
f o l l o w i n g
biographies. The
t i t l e
Marchand
Horloger
Privi legie
du Roi . . . was ofte n sho rte ned by its
bearers
to
Horloger
du Roi suivant la Cour,
Horloger Privile
gi e
du Roi, and even, i m p r o p e r l y , to Horloger duRoi.
T h e
t i t l e Horloger
du Roi meant that the bearer
belonged to an old and
o r i g i n a l i n s t i t u t i o n
o f the Fr ench
monarchy, w h i c h assembled the various professions
i n t o
a
single body,
w i t h
a single legal structure: the Marchands
Privileges
suivant la Cour. Thi s body was fou nde d in 1485,
d u r i n g the reign of Charles V I I I , by the regent A nn e de
Beaujeu.
3
I t o r i g i n a l l y included
o n l y
tradesm en whose
business it was "to provi de foodstuff, wares and com mod
i t i e s re quir ed by followers
o f
th e Court ," in other words to
ensure
a regular supply to the king's table and that of his
escort dur in g the ir constant moves about the country. Its
members were required to open shop wherever the ruler
happ ened to be and to close down w i t h i n three days after
his dep artu re. Tw o clock-makers were added to the
group under H e n r i I I I .
4
I n 1672 the num be r of clock-
makers was d e f i n i t i v e l y set at four.
5
This body survived
u n t i l
th e R e v o l u t i o n , although once the court had settled
i n
Versailles this arr ang eme nt lost what ever usefulness it
had once possessed.
I n
exchange for
f u l f i l l i n g
the ir obligati ons, the
p r i v i
leged merchants enjoyed legal and f i sca l advantages,
w h i c h were subject to the special j u r i s d i c t i o n o f the Con
se i l d'Etat du Roi . I n p r i n c i p l e , they were requ ire d to dis
p l a y the arms o f the Prevote de VHotel, a c l o t h decorated
w i t h
fleur-de-lys, in f r o n t of their
shops
and on their
workbenches.
6
T h e marchands privileges were in theo ry req uir ed to
be bo th French an d Ro man Catho lic, those who were nat
u r a l i z e d citizens being at one time excluded.
7
They were
also required to have f o l l o w e d an apprenticeship accord
i n g to the rules
o f
th e g u i l d
o f
t h e i r trade. I f their appren
ticeship had been ir regu lar, they had to und erg o an
e x a m i n a t i o n
before a commissi on composed of two "pri
vileges and two masters exercising their profession." Even
t h i s
examination did not a l l o w such in divi dual s to be
conside red members of a g u i l d , and therefore appren
ticeships served under them were not accepted by the
t r a d i t i o n - b o u n d guilds.
T h e marchands
privilegies,
in fact, owne d the ir
t i t l e s ,
the value of w h i c h exceeded that of the fees imposed
u p o n
oth ers fo r the acquisit ion of the mastership
r e q u i r e d
by the same g u i l d . This value was j u s t i f i e d to the
extent that the pot ent ial purchasers of this patent i n the
eigh teent h cent ury had usually not und ergo ne a regular
apprenticeship. Because the priv ileg e was prope rty, it
c o u l d be
passed
on f r o m father to son or to some other
h e i r ; thus the existence of families of clock-makers, bron-
ziers, etc.
C o n c e r n i n g
the clock-makers discussed below, we
note that Julie n Le Roy and t he Lepaute brot hers were
o n l y
awarded this
t i t l e
after h avin g obtai ned lodging s in a
r o y a l residence, Le Roy in the Galleri es o f the Lou vr e and
the Lepautes
f i r s t
at the Palais de Luxe mb ou rg , the n in
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the Galleries of the Louv re. Neith er the
Lepautes
nor Le
Roy had obtained a
patent
actually granting them any
such
t i t l e ,
nor ha d they acqui red on e of the fo ur offices o f
Valet
de ChambrelHorloger du Roi. Etienne-Augustin Le
R o y , son and
successor
o f Charles,
became
enti tled to this
design ation onl y th ro ug h direct and regu lar deliveries to
L o u i s
XVI —al tho ugh aga in no
patent
had actually
awarded hi m this distinction. Finally,
W i l l i a m
(I I) Blakey
i m p r o p e r l y
assumed this t i t l e i n certain
deeds,
combini ng
his position of
master
clock-maker and the
patent
he had
been
grante d to exploit an inve ntio n.
8
We
hope
that the
above
discussion and the biogra
phies
that
f o l l o w
w i l l
serve to define for the reader the
charact eristic trait s o f the circle of Parisian clock-makers
i n eighte enth- centu ry France.
A C K N O W L E D G M E N T S
We owe our thanks to Christian Baulez, Chief Cura
t o r
at the Musee Na tio nal du
Chateau
de Versailles et des
Tria nons ; Cather ine Car din al, Dire cto r of the Musee
Inte rnati onal d'Ho rlog erie de La Chaux-de-Fonds; Eve-
l y n e Chevalier, Curat or o f the Bibli othe que des
Musees
Nationaux de Paris;
Professor
Lise Moor;
Jean-Etienne
Genequand,
Archiviste d'Etat A d j o i n t de la Republique
et Canton de
Geneve;
Julie n and
Jean-Claude
Gendrot;
M i c h e l Henry-Lepaute;
B i l l
B .G . Pallot; Laure nt
Prevost-Marcilhacy;
Jean-Claude
Sabrier; and Jacques
V a n Damme.
N O T E S
1.
Augarde 1996.
2.
I b i d .
3.
Lespinasse 1 8 8 8 ,
p p.
i 0 2 f f .
4 . I b i d .
5 . I n application of a don
de
nomination Louis
X I V
granted to
the Marechal de Plessis-Praslin,
o n January 2 0 ,
1658
( B i b l i o t h e qu e
Nationale F 2 1 0 4 3
[ 4 7 ] ) .
In effect, the
k i n g
sold
a certain number of offices to the Marshal who, in
t u r n ,
sold them at a somewhat higher price to the parties
concerned.
6 . Lespinasse 1 8 8 8 ,
decree
of the Conseil d'Etat du Roi of
January 3 0 ,
1625.
7. Mentioned in a decision of the
Prevbte de VHotel
taken on
September 2 0 ,
1 7 6 0
( A . N . ,
V
3
7 8 A ) .
8. Augarde 1995 and Beliard 1767.
W I L L I A M
( I I ) B L A K E Y
W i l l i a m ( I I ) Bla key was bor n in Lo nd on in the parish
o f
Saint-Ma rtin- in-th e-Field s in Westminster, shortly
before 1714
1
and died after 1788.
2
H e was the son of W i l
l i a m (I) Blakey, a clock- and sprin g-maker (fabricant de res-
sort)
(ca. 1688-1748),
3
and Elisabeth
Slade.
In 1746 he
married Margueri te-El isabeth Aumerle ,
4
who became
marchande quincailliere privilegiee du Roi suivant la Cour et
Conseils
de Sa Majeste. He was nat ura liz ed as a Fren ch c i t i
zen in May 1758.
5
A l t h o u g h
k no wn as Guil laum e in France, Blakey
h i m s e l f
always
used
th e name W i l l i a m . He was trained by
his father bo th "i n the
science
o f
c l o c k -
and watch -making
w h i c h he made his chief study, and in his
second
study
w h i c h
concerned springs."
6
H i s father, described in his son's death certificate
7
as
a spring -maker, was appr enti ced to Samuel (I I) Ver no n
i n
London in 1701.
8
H e
came
to
Paris
at the beginning of
th e Regence and intr odu ced Hen ry Sully to Julien Le
R o y .
The la tter described h im as "a mu tu al frie nd" and "a
g i f t e d maker o f springs"
9
and was later instrumental in
his admission to the Societe des
A r t s .
Blakey's father
set
t l e d i n
Paris
and introduced a special technique of spring-
m a k i n g
that had
been
developed in England by Verno n.
H i s customers
included Pierre Gaudron, Julien Le Roy,
and
Jean-Baptiste
Masson. I n 1719, than ks to the protec
t i o n of the regent, Philipp e
d 'Orleans
(167 4-172 3), he
fou nded the Manufac ture Royale de
Ressorts
de Mo ntre s
a l'Anglaise at Charle val in Nor man dy . Th e ventu re
declined after the regent's death.
1 0
I n 1727 the e lder
B l a k e y
established a
second
manufactory of watch-
springs, wh ic h in 1729
also began
to produce clock-
springs. Success enabled hi m to b u i l d water m i l l s at
Crecy-e n-Brie i n 1733 in ord er to forge an d polis h his
springs. A f t e r 1733
W i l l i a m
( I I ) Blakey was closely
i n v o l v e d in his father's activities. Th e latter's
second
son,
Nicolas (died 1758), was a pai nte r and engrav er a nd the
author , am on g oth er thin gs, of a very fine portr ait of
L o u i s X V .
1 1
I n a dd iti on to makin g springs fo r clocks and watches,
B l a k e y was equal ly compe ten t as a
tradesman
and
hydraul ic
engineer,
as witnessed by his publication
LArt
de faire les ressorts de montres . . . (Ams ter dam , 1775). He
designed various
types
o f m i l l s for making steel and i r o n
blades,
as w e l l as for wir e-d raw ing . A num ber of descrip
tions of the latter are fo un d in his book on springs, inc lud
i n g one for a
trai-fillerie
( d r a w i n g - m i l l )
used
to make a type
o f
w ire know n as fil a pignon, whi ch was submi tted to the
Academie Royale des Sciences and granted approval
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up on the re po rt of its commission ers o n July 15, 17 44.
12
Th e text of the approv al states that "the discovery of
[ M . ]
B l a k e y
deserves
to be rewarded by granting him the
exclusive privil ege for w h i c h he has appli ed," and on this
basis
the priv ileg e was ind eed a warde d to Blakey on July
17.
Blakey also develop ed vario us other machines, the
designs for
w h i c h
were publish ed in his Observations sur
le s
Pompes a Feu, a Balancier, £sf sur les Nouvelles Machines
a
Feu.
13
T h e date 1758 inscribed on the spring of
Jean
Ro-
m i l l y ' s clock i n the J. Paul Getty Mu se um (cat. no. 7) a nd
the men tio n of Blakey in the bankruptcy proceedings of
the clock-maker Joach im B a i l l y in 1759 establish that he
produced springs at
least
u n t i l that
da te .
1 4
B l a k e y was admitted to the Parisian g u i l d as a master
clock-maker on A p r i l 11, 1750,
1 5
f o l l o w i n g
a decree by
the Conseil d'Etat d u Roi on Ma rc h 24, 1750, w h i c h
w a i v e d
the requirement that he undertake a regular
apprent iceship.
1 6
A t that time, he somewhat imp rop erl y
assumed,
in notarized
deeds,
th e t i t l e
Horloger Privi legie
du Roi. His pro du ct io n o f clocks and watches
appears
to
have been
l i m i t e d . Th e only items
w h i c h
can def initel y be
attributed to him include a w a l l clock veneered w i t h tor-
toiseshell marquetry,
1 7
a gilt-bronze
w a l l
clock, the so-
called
Venus mode l, by Edm e Roy,
1 8
and a clock w i t h a
r h i
noceros
b y J.-J. de Saint- Germa in.
1 9
He also
used
Nicolas-
Pierre Severin for marquetry cases.
20
I n
1759 Blakey
became
the director of the Manufac
ture Royale de Limes de toutes
Especes
facon d ' A l l e -
magne
et fagon d'Angleterre et
autres
ouvrag es de fer et
d'acier (Ro yal Man uf act ory o f Files of every K i n d , in the
Ger man and E nglis h fashion, and of other works in i r o n
and steel),
21
the workshops of w h i c h were established in
Essonnes
w h i l e the offices were i n Paris in the r ue des
Prouvaires .
2 2
He acqui red ten percent o f the capital and
then imm ediately resold h a l f hi s
shares .
23
By 1761, after
disagreements w i t h
hi s
associates,
he had resigned f r o m
his posi t ion.
2 4
I n
1760 he
became
directo r of the Burea u des Ban
dages Elastiques, w h i c h was also locat ed in the rue des
Prouva ires bef ore it was tran sfer red to the rue Saint-
Thomas -du-Louvre .
2 5
He was probably the founder of
this ventur e,
w h i c h
specialized c h i e f l y in the manufactu re
o f bandages for hernias according to a method that
B l a k e y
appears
to
have
elaborated himsel f.
2 6
This
endeavor len t an inte rnat iona l scope to his activit ies.
27
B l a k e y traveled to purchase goods for his w i f e to sell
at their Magasin Anglais,
w h i c h
beginning in 1746 was
located in the cul-de-sac de Rouen a nd then , starting in
1767, in the rue des Prou vai res.
28
The establishment was
what is now generally termed a bazaar. The re cord of the
Magasin's b i l l s shows tha t its consi derab le tr ade was
m a i n l y
devoted to metal objects: vises, various
sorts
o f
tools, knives, compasses, clock hamm ers, scientific ins tru
ments, and corkscrews, but also included gauze,
f ishing
rods, saddlery, small pieces of furn i ture (tr ic-trac tables),
marcasite
j e w e l r y ,
fans, s i l v e r - g i l t snuffboxes, etc. Among
Blakey's supplie rs were Hun ts ma nn an d Asline o f Shef
field;
Jacob
Levy (pencils); DoMond pere; P.J. G. Gregory
"at the D i a l and Fish"; Handscombe; Edw ard Ford of
L o n d o n ;
Op pen heim of Bir min gha m; and Glover and
Charro t of the same
c i t y .
2 9
L i t t l e is kn ow n of Blakey's activities du ri ng the 1770s
and after. He presumably pu rsue d his commerc ial a c t i v i
ties for a w h i l e . He mentions a num ber o f business trips to
England and Ho lla nd after 1772.
30
I n 1778 he was l i v i n g
i n
the rue Beaubourg;
3 1
two
years
later (1780) he was
l i v
i n g in Liege.
3 2
F i n a l l y , the terms of a docu ment concern
i n g
a
change
o f
lease,
signed in Paris by his w i f e on his
b e h a l f in 1788, lead one to
assume
that he was s t i l l alive at
that t ime.
3 3
One can har dly resist men tio nin g one particu lar trait
o f his charact er. I n 1760 an advert isem ent fo r his elastic
bandages, concludes thus: "the poor can come to his shop
every morning
u n t i l
noon; he
w i l l
give them all
necessary
assistance."
34
N O T E S
1.
His letter of natural ization merely indicates that he had
been
"brought to France in his earliest
y o u t h . "
His father's
a r r i v a l
in Paris can be dated to late
1 7 1 4
or early 1 7 1 5 .
2 . A . N . , M i n . , L X X X I X , 8 4 0 , A p r i l 2 7 , 1 7 8 8 , transfer of a
lease by W i l l i a m Blakey's
wife .
3. Bibliothe que Nationale, Manuscrit Francais, Fichier
Laborde, certificate copied f r o m the register
o f
burials at
the Church of Saint Andre-des-Arts, in
w h i c h
he is
referred to as "aged about
sixty."
4 . A . N . , M i n . , L X X I I I ,
7 4 4 , December 5, 1746.
5 . A . N . , O
1
* 2 3 2 , letter o f natural ization dated simply "May
1 7 5 8 . " I t specifies that Blakey "professes the Catholic,
apostolic, and Rom an fa i th . "
6 .
Quoted in his petit ion to the k i n g . See note 16.
7. See note 3.
8. Bai l l ie 1 9 2 9 and Blakey 1 7 8 0 .
9.
J. Le Roy, "Memoires pour servir a
l ' H is to i r e
de l ' H o r l o -
gerie depuis 1 7 1 5 jusqu'en 1 7 2 9 , " i n Le Roy 1 7 3 7 .
1 0 . Blakey 1 7 8 0 .
1 1 . Engraved in color, in 1 7 3 9 , b y J. C. Leblond (1661—1741) .
See
Louis
XV, un moment de perfection de VartFranqais, exh.
cat. (Paris, Hotel de la Monnaie, 1 9 7 4 ) , no. 204.
1 2 .
Histoire 1 7 4 8 , Gallon 1 7 7 6 , and Blakey 1 7 8 0 .
1 3.
This
p u b l i c a t i o n ,
along
w i t h Remarques
sur la
situation de
la
Hollande,
£sf
le s machines propres
a epuiser
les
eaux
de s
marais,
was published in Amsterdam by
M a r c - M i c h e l
Rey in 1780 .
1 4. Paris, Archives de la Seine, D4 B
6
, cart. 1 7, July 2 4, 1759,
Joachim Bailly's
balance
sheet. His prod ucti on was consid
erable and was not restricted to clock-springs. Between
1 7 5 3
and 1 7 5 8 , he shipped over 1 2 , 0 0 0 livres w o r t h of
merchandise to San Domingo, incl udin g
2 , 0 0 0
springs at
3 0 5 0 / 5 apiece (one livre = 2 0 sols). See A . N . , Y 1 3 7 0 2 .
166
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1 5 - A . N . , Y
9
3 2 7 -
1 6 . A . N . ,
E*
1 2 6 1 .
When a candidate to the mastership did
n ot
fu l f i l l the requir ed conditions in regard to his appren
ticeship (by havin g begun, before the age of twenty, an
eight-year apprenticeship to a master o f the Parisian
g u i l d ) , he could, w i t h the tacit agreement of the j u r y , sub
m i t
a petition to the king w i t h the aim of obtaining a
decree f r o m the Conseil d'Etat du Roi e x p l i c i t ly
allowing
the Gar des Visiteurs to receive
h i m ,
in spite of the statutes,
o n
th e condi tion that he produc e a masterpiece and pay
higher fees. On this subject, see
J . -D .
Augarde
1 9 9 6 ,
pp.
2 0 - 2 7 .
1 7. David
Falcke sale, Christie's, London ,
A p r i l
19,
1 8 5 8 ,
lot
2 0 6 8 .
1 8.
Paris, private collection.
1 9. Partridg e Fine Arts, London, 1990.
2 0 . A . N . , M i n , L X X X V , 5 5 6 , A p r i l 28 , 1 7 5 9,
inventory after
the death of the w i f e o f the fondeur Charles Bena rd. Th e
papers include a note for
1 90
limes owed by Blakey to
Severin, dated December 18, 1758.
2 1 .
This manufactory was founded in 1 7 5 1 to exploit patents,
obtained by Pierre Cherpitel and extending over ten and
twenty years, for a machine that produced twelve files at a
time i n less than h a l f an hour ( A . N . , E* 1 2 6 6 A , September
1, 1 7 5 0 )
and for a water wheel-activated
r o l l i n g
m i l l
and
drawing plate that produced molded metal strips for ban
isters and balconies ( A . N . , E* 1 2 7 1 B , June 29 , 1 7 5 1 ) .
2 2 . A . N . , M i n . ,
L X X I I I ,
8 1 8 ,
May
2 5 ,
1758.
2 3 . A . N . , M i n . ,
L X X I I I ,
8 1 8 ,
May 25 and
2 8 , 1 7 6 1 .
2 4 . A . N . , X 2 B 1 02 5 ,
judgment °f the Parlement de Paris, May
2 0 , 1 7 6 1 .
2 5 .
The
address
of the Bureau des Bandages Elastiques in
1 7 7 1 (Annonces, Affiches et Avis divers,
November 16,
1 7 7 1 ,
p p.
179,
1 8 0 , andListe 1 7 7 2 ) .
2 6 . A . N . , Y 1 3 7 0 1 , papers
of
Blakey,
mercha nt o f Paris
( 1 7 6 3 -
1 7 7 1 ) ,
and
Affiches, Annonces etAvis divers,
dated January
2 1 ,
1 7 6 0 .
He had no doubt earlier been admitted to the
College of Surgery as an expert . Roze de Chantoiseau in
Tablettes 1 7 9 1 ,
under the article "College de Chirurgie,"
states
that the
statutes
require "those who
would wish
to
manufacture hernial
bandages
. . . to undertake this and
be adm itte d to the College of Surgery in the capacity of
expert." See also
LAvant-Coureur,
no. 49
( 1 7 6 3 ) ,
and
Blakey 1 7 8 0 .
Blakey also assumed the titles
Expert etAuteur
des Banda ges Elastiques
and
Entrepreneur Genera l de la F ourni-
ture des Bandag es Militaires
(see
LAvant Coureur, 1 7 5 8 ) .
He
was active in this
area
for
t h i r t y
years.
2 7 .
On February 15,
1 7 6 4 ,
Count von Kaunitz-Rietberg, chan
cellor o f Empress Maria-Theresa of Austria, ordered
some "bandages pou r la chute de l'anus."
A . N . ,
Y
1 3 7 0 1 .
2 8.
Affiches, Annonces et Avis Divers, February 5,
1 7 6 7 ,
gives the
new address. I t is not certa in that Blakey actually resided
i n
the rue des Prouvaires. He may simply have had his var
ious
businesses,
and tha t of his
w i f e ,
at that
address.
The
latter subsequently rented a large house b u i l t against the
walls o f the Bastille (see note 2).
2 9 . A . N . ,
Y
1 3 7 0 2 ,
Registre de Factures des marcha ndises tirees
dAngleterre, commence le 27 ma y J6 6
etfiny
le
.
. . The
advertisem ent men tione d in note 28 is very detailed in
respect to the merc handise sold by Madame Blakey.
3 0 .
Blakey
1 7 8 0 .
The lists of master clock-makers in Paris in
1 7 8 1 , 1 7 8 3 ,
an d
1 7 8 9
no longer mention him.
3 1 . Liste
1 7 7 8 .
3 2 . A . N . ,
Marine, G
1 1 7 ,
dos.
1 , fo l .
8, letter dated May 7,
1 7 8 1 .
3 3 .
See note 2.
3 4 . See note 26 .
C H A R L E S B U Z O T
Charles Buz ot was alrea dy active as a sp ring -ma ker
(fabricant de
ressort)
in Paris in 1740 an d die d befor e 1772.
He was ma rr ie d to Catherine-Genevieve Feret, who bore
h i m
two sons, Jean-Charles (1740—after 178 4), a sp ri ng -
maker ,
1
a nd
Joseph,
admitted to the
g u i l d
i n Paris as a
master clock-maker on August 21, 1770.
2
Charles Buzot
himself was never admi tte d to the
g u i l d
as a master clock-
maker . He was established in the rue d u Chat qui Perche
i n
1740 an d the n in the rue de la Huc het te "A VEnseigne de
VAnge in 1754.
3
N o t h i n g
is kn ow n of the details o f Buzot's activities.
T h e only clock-makers w i t h w ho m it is cert ain he collab
orated are Etienne Le No i r (after 1741), Jacques-Mathieu
Leper s, Jean- Philip pes Gosselin, and in all
l ikelihood
Fer
d inand
Ber thoud, to whom his son Jean-Charles was
apprent iced in 1754.
4
Th e latte r too k over his father's
wor ksho p in the rue de la Huch ette, at which address he
is
ment ioned under the na m e of "Buzot
fils"
in the
Tablettes Ro y ales de la Renommee o f 1772 an d 1773.
NOTES
1.
A . N . , M i n . , X X X I V , 5 9 4,
February 7,
1 7 5 4 ,
record of
Jean-Charles
Buzot's apprenticeship to Ferdinand Ber
thoud,
and the Arc hives Brateau (Musee Natio nal des
Techniques),
which
mention a spring signed "Buzot,
1 78 4 . "
2 . A . N . ,
Y
4 5 4 ,
no.
1 0 5 ,
December 19,
1 7 7 8 ,
registration of
Joseph Buzot's marriage contract.
3. See note 1.
4 . See note 1.
D E B R U G E
Deb ruge was an enameler active in Paris du ri ng the
f i r s t h a l f
o f the nine teen th century. I n add it io n to works
i n
the Classical style,
wh i ch
he produced for contempo
ra ry
clock-makers, he executed a certain num ber of dials
i n
the style of the eighteenth century, of
wh i ch
the one in
the J. Paul Getty M us eu m (cat. no. 14) is a fine example.
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JACQUES D E C L A
Jacques Decla was admitted as a painter to the Aca
demie de Saint- Luc on Januar y 30, 1746.
1
He was
s t i l l
a l i v e in 1764, when he was l i v i n g in the rue du Chevet-
Saint-Landry.
2
O n
August 6, 1746, the
j u r y
of the
g u i l d
of master
fayanciers ha d par t of his stock seized. It was re tu rn ed to
h i m by a r u l i n g o f the Lieu ten ant Gener al de Police
dated A p r i l 21 , 1747- Thi s r u l i n g also co nfi rm ed that the
ename l-pa inter s o f the Acade mie de Saint-Luc , as w e l l as
th e fayanciers, were entitle d to make enamel dials.
3
Th e ins criptio ns on a clock in the Getty Mus eum
(cat. no. 11) show that Jacques Decla wo rked for Etienne
L e
N o i r .
T h e o n l y o ther d i a l by Decla kn ow n today belongs
to
a w a l l clock by Al ex an dr e Le Faucheur. I t is signed on
the back and dated 1742.
4
Made p r i o r to his reception
as a master b y the Ac ade mie de S aint-Luc , the dial's in
s c r i p t i o n
reveals that Decla first exercised his craft as an
ouvrier
libre.
N O T E S
1.
G u i f f r ey 1 9 1 5 .
2 . Guiffrey refers to the Liste Generate
de tons
le s noms et sur-
noms
de tous le s maitres peintres etc. . . . o f the Academie de
Saint-Luc,
published in 1764.
3 . R a i l l a r d
1 7 5 2 , p p. 19—20. I t
appears l ikely
that this docu
ment was known to Emile M o l i n i e r, who mentions Decla
w i t h the single date of 1 7 4 7 . See M o l i n i er 1 8 8 5 .
4 . Sotheby's, Lon don, May 19, 1 9 7 2 , lot 15.
J E A N - F R A N C O I S
D O M I N I C E
Jean-Francois Do min ic e was bo rn in Geneva o n
August 23, 1694
1
and died after 17 54.
2
H e was the son o f
Denis Domi ni ce (1661—1721) an d Pernette T er ro ux (died
1734). He was ma rri ed, before 1729, to Ann e-M arg uer ite
L a Fosse, wh o bor e hi m a single daug hter, also n ame d
Anne-Marguer i t e .
3
D o m i n i c e
en joyed the pr ivilege s associated
w i t h
the
Enclos de Y abbaye de Saint-Germain-des- Pres an d never
applied for admission to the g u i l d as a master.
4
H e first
resid ed i n the cou r des Moin es, the n, after 1732, in the
cour Abb atiale (Abbey Cou rt) . Several notarized
deeds
o f
the 1750s show that he was i n v o l v e d , as a t h i r d party, in
various trades outside his own specialty.
5
D o m i n i c e belonged to a prominent dynasty of g o l d
smiths and clock-makers
f r o m
Geneva w h i c h , between
1670 and 1770, counted ten masters, i n c l u d i n g his father,
his uncle Be rn ar d (1651—1727) and two of his first cous
i n s , Francois (1683—1758) and Etienne (1690—1761). He
und oub ted ly received his tra ini ng in the wor kshop of his
father, who , in his sister's marriage contract, prom ised to
g i v e h im all his tools after his ow n dea th.
6
Appar ent ly his
parents
were wealthy, since his sister received a dowry
o f 1,000 f l o r i n s .
7
He inher i ted one t h i r d o f his fa ther's
w e a l t h , amounting to at least 1,000 f l o r i n s , in addition to
the su m o f 50 silver ecus bequeathed "par preci put et hors
part" (before
d i s t r i b u t i o n
o f the
shares,
inheri tance taxes
bei ng paid by the estate).
8
D o m i n i c e in all l i k e l i h o o d moved to Paris before
1 7 2 1 ,
since he did not sign his sister's wedding contract,
and she was ma rr ied in Geneva on M ar ch 10, 1 7 2 1 .
9
H e
ha d in any even t settled i n Paris bef or e 1724, as can be
seen
f r o m
promissory notes made out to his order but not
collected, w h i c h giv e his residence as bein g in that c i t y .
1 0
O n A p r i l 17, 1732, he bought up the stock and took
over the lease of Nestor H elms, clock-maker to James I I
o f England and later to the prince de Conde.
1 1
A 1747
i n v e n t o r y o f his belo ngin gs shows that he possessed a
c l o c k by Helms and also one by Edward East (perhaps the
most famous Engli sh clock-maker of the end of the sev
enteent h c entur y), the values of w h i c h were estimated at
th e
r e l a t i v e l y
h i g h sum of 100 livres each (con side ring that
they had been made quite a nu mbe r of
years
earlier).
T h e same document shows other l i n k s w i t h England
and E nglish clock-making, me nti on ing that he had an
apprent ice f r o m Lon do n, named Davenpor t , the costs o f
whose appr enti cesh ip were bein g pa id fo r by the due
d'Orleans .
1 2
T h i s same apprentice is men tio ned in othe r
records as hav ing repair ed t wo English clocks for private
customers .
13
Dominice's dials d e f i n i t e l y show a
B r i t i s h
influence, possibly resulti ng f r o m an early collabo ration
w i t h Nestor Hel ms. Some are made o f paint ed c ardbo ard
rather than enam el .
1 4
Dominice's mechanical talent extended beyond
s i m
ple clock-m aking to the ma kin g of complicated move
ments. I n 1747 he repa ir ed a late Renaissance clock
showing
the planets a nd the Zodi ac and i n the same
p e r i o d created an equation clock (une pendule a seconde a
grande
equation) f or Monseigneur D u r i n i , archbishop in
partibus
of Rhodes, and papal nunc io,
w h i c h
was
b i l l e d
at
1,400 livres, a pric e indi cativ e o f the object's imp ort anc e.
Th e in ven tory of his works hop in 1747 indicates th at
w h i l e his fortune was modest, his business was healthy.
H i s stock was valued at 450 livres by his colleague Jean-
Isaac
Godde. H is credits amo unt ed to 4,829
l ivres
and his
debts to 1,405 livres. I n add iti on to the papal nunci o, the
com te de Schomb erg, an d certainl y the due d'Orleans, he
nu mb ere d am ong his clients the dues d e
B o u i l l o n
and de
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Montmorency, the comtesse de Bercy, an d the mar quis
d'Arancourt. He was on good terms
w i t h
his colleagues:
he len t mon ey to Pier re de Rivaz, the famous cloc k-maker
and mechanic, a nd repa ire d clocks bel ong ing to An toi ne
( I I ) G a ud r on .
1 5
H i s signatu re on a clock bel ong ing to the Getty
Museum (cat. no. 5)
shows
that he collaborated o n musi
c a l
mechanisms
w i t h M i c h e l Stollenwerck, who then
resided, as he di d himself, i n the
abbey
of Saint-Germain
des
Pres.
His cases were
made
by Louis Reinders, Ad ri en
Dubois ,
1 6
Antoine Foul let ,
17
Jean-Pierre Latz,
1 8
Jean-
Joseph
de Saint-Germain,
1 9
and Balthazar Lieutaud.
2 0
H e
also
provide d movements fo r bronze cases decorated
w i t h
Meissen porcelain figures.
2 1
T hi s type of work may
conceivably
have been
made for Lazare Duvaux, whose
name appears
in connection
w i t h
a note for 240
livres
(dated 1747) for the purchase of a watch.
2 2
Some
of his
watchcases
were provi ded by Jean-Isaac Godde.
N O T E S
1.
Receuil Genealogique Suisse, premiere serie (Geneva,
1 9 0 7 ) ,
v o l . 2, s.v. "Dominice."
2.
He is last mentioned in the posthumous inventory
o f
J.-P.
L a tz ,
see H . H . Hawley, "Jean-Pierre Latz Cabinetmaker,"
Bulletin of
the
Cleveland Museum of A rt
(September-October
i 9 7 o ) -
3.
A . N . , Y 4 4 4 1 , document dated March 3 1 , 1 7 2 9 , designat
i n g Dominice as the tuto r of Louis-Alexandre Blondeau,
his wife's nephew.
4 . A . N . , Y 9 3 7 9 ,
January 2 0 ,
1 7 3 9 , notice of the Procureur du
Roi
ref er ring to Dominice as a "self-styled clock-maker."
He
does
not appear in the print ed l is t of clock-makers who
were
members
of the
Paris
g u i l d in 1748.
5 . A . N . , M i n . , X C V I I , 5 2 2 , May 4, 1 7 5 3 ; A . N . , M i n . , V I I I ,
1 1 0 5 ,
June
29 ,
1 7 5 3 ;
A . N . , M i n . , X C I ,
9 0 5 ,
May 7, 1754,
etc.
6 . Archives d'Etat de
Geneve,
Pierre V i g n i e t , notary, v o l . 8,
wedding contract, March 10,
1 7 2 1 .
7.
I b i d .
8. Archives d'Etat de
Geneve, Jean
Anne Comparet, notary,
v o l .
7 0 , testament
of Denis Dominice and his
wife ,
Novem
ber
9,
1 7 2 1 .
9.
See note 6.
1 0.
A . N . , Z
2
3 5 2 8 , February 2 1 , 1 7 4 7 , inventory after the
death of Dominice's w i fe (a note dated
June
3, 1 7 2 4 , f r o m
the ebeniste Louis Reinders and
another,
dated November
1 3,
1 7 2 4 , f r o m a Sieur Hubert in Rouen).
1 1 . A . N . , M i n . , X C I I , 6 7 1 . Nestor Helms was a Catholic clock-
maker, an apprentice o f the Clock-makers' Company in
L o n d o n
i n
1 6 7 4 ,
who
fo l l ow e d
James
I I
into exile in
France. Described in 1 7 0 2 as clock-maker to the k i n g of
England, he was a protege o f James's
wife ,
Mary of M o -
dena. He then became the object of
attacks
by the g u i l d
( A . N . , O
1
* 3 6 3 , fol s . 1 8 7 , 2 1 2 ) . He nonetheless worked in
Paris; "a small clock made by Nestor Helms in Paris" is
mentioned as being in the roo m of the due de Bourbon in
the Ho tel du G rand Maitre in Versailles ( A . N . , M i n . ,
X C I I , 5 0 4 , February 17, 1 7 4 0 ,
fo l .
i o 8 r ) .
1 2. See note 10.
1 3 . A . N . ,
Z
2
3 5 2 8 ,
February 2 1 ,
1 7 4 7 , scelle
(preliminary
i n v e n t o r y ) o f
J.-F. Dominice's wife .
1 4. Sale,
Nicolay, Paris, July 1 1 , 1 9 8 4 , lot 86.
15 . See note 13.
1 6.
Sale,
Sotheby's, Monaco, December 9,
1 9 8 4 ,
lot
1 0 8 4
(a
mantel clock
by
J.-F. Domin ice; while the
case
is stamped
A . Dubois
and F
Goyer,
it is probably
by
J.-P. Latz).
1 7.
See note 10.
1 8.
See note 6.
1 9.
H . Gobel, "Ein Cartel aus der Manufa ktur des
Jean-
Joseph
de Saint-Germain und
seine
Varianten,"
Sonder-
druck
aus
de m Cicerone
22 ( 1 9 3 0 ) (a clock marked
w i t h
a
crowned G).
2 0 . Sale,
Sotheby's, Florence, May
2 4,
1 9 8 3 , lot 1515 .
2 1 .
Sale,
Ader, Picard, Tajan, Paris, November
2 2 ,
1 9 8 7 , lot
2 2 4 .
2
2.
Unfor tunat ely this cannot be confirmed by
reference
to
the daybooks of Lazare Duvaux, of
w h i c h
only the
parts
after
September
17, 1 7 4 8 ,
have been
preserved.
D U B U I S S O N
Henri-Francois Dubuisson (active 1769-1823) was
admitted as a
master
to the Cor por ati on des Verri ers, Fay-
anciers, Emailleu rs et Patenotriers de
Paris
on Jul y 16,
1769.
1
H e resided i n the rue d u Roule (1772), the rue de
la Huch ett e ( 1795), the rue de la Bari ller ie (1799), and
f i n a l l y at 17, ru e de la Cala ndr e, in a
house
belonging to
the old B arnabite conven t (1812).
The earliest
d i a l
dated by Dubuis son
appears
to be
that o f a skeleton clock by Die udo nne Kinabl e, whi ch
is ins cri bed 1787 an d
reveals
an already mature talent.
2
Dubuisson may
also have
created the enamel
plaques
r e l a t i n g
th e
adventures
of Telemachus that
decorate
this
c l o c k .
The last items he is known to
have
pro duc ed are the
dials of the clocks exhibi ted by An ti de Janvier at the
E x p o s i t i o n
des Produits Industriels in 1823.
Dubui sson belong ed to the
same
gen erat ion as
Joseph Coteau (1740—1801) and was among the most
g i f t e d
enamelers of his day. The dials of f i v e clocks by
Louis-Francois Go do n and of a
long-case
clock by Jean-
S i m o n Boudier exhibited in Spain in 1987 display the
d i v e r s i t y
of his compositions and the
scope
of his talent.
3
He was the equa l of Cote au, w i t h whom he
shared
a cer
t a i n
n umb er of clients, includ ing Kinable, Janvier,
Godon, Bourdier , Robert
R o b i n , Jacques-Pierre-Thomas
Breant, and Francois Drouot.
He worked extensively for the fondeurs-ciseleurs
Claude Galle
4
and Pierre-Etienne Romai n,
5
as
w e l l
as for
the clock-makers Louis Bregu et, Ed me Coeur, C. C a i l -
l a u d , Jacques-Francois Vaillant, Jean-Francois de Belle,
Joseph Revel, Felix Thi aff et (in L y o n ) , the Baillys (father
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and son), the Berthouds (uncle and nephew), the firm o f
B e r t h o u d
Freres,
and for various
members
of the
Lepaute dynasty.
L o u i s Berthoud often solicited the talent of Dubuis
son and in
w r i t i n g
about an enameled dial Dubui sson had
made
for a decimal clock, he declared "his clock-face,
w h i c h
displays bot h the old and th e new time [the new
decimal t ime
b r i e f l y
imp ose d by the Rev olut ion] may be
r ega rded as a masterpiece of outsta nding craftsman
ship."
6
Janvier
also
pai d hi m a touc hing complime nt, add
i n g
the
f o l l o w i n g
note to the manuscript of his
Description
d une Sphere Mouvante
(Descript ion of an Orrer y Clock),
w r i t t e n in 1800: "The dials were executed by the citoyen
Dubuisson who, in add iti on to having the
greatest s k i l l
i n
his art, is
possessed w i t h
a knowledge which
assures
the
success of the most d i f f i c u l t pieces; it is a tru e service to all
amateurs
to
i n f o r m
th em of this mod ern and hard
w o r k i n g artist."
7
W h e n
Janvier 's
text was published by
Ferd inand B er thoud in
Lhistoire de la Mesure du Temps par
le s
Horloges
in 1802, Berthoud
suppressed
th e
note about
Dubuisson. I n 1813 Janvier complet ed his manusc ript,
w r i t i n g
of the cut effected by Berthoud, "this s uppression
pai ned m e. I love d Mr . Dubui sson as an artist, before hav
i n g learned to appreciate him as a good father, a good
f r i e n d ,
a nd a good citize n. He is deserv ing o f
respect
i n
every way."
8
N O T E S
1.
Catalogue des
Maistres
et Marchands Verriers-Fayanciers-
Emailleurs-Paternostriers
de la Ville et
F auxbourgs de Paris,
sui-
vant
VOrdre de leur
reception, pour Vannee mil sept soixante-
douze
(Paris, n.d.). Rather curiously his admission to the
rank of
master
is not mentioned in the
registers
kept in the
Archives Nationales.
2.
Sale, Christie's, Monaco, June 19,
1 9 8 8 ,
lot 36.
3.
J. Ramon Colon de Carvajal,
Catdlogo
de Relojes dePatri-
monio Nacional,
exh. cat. (Ma dri d, 1 9 8 7 ) , nos. 57, 59, 64,
8 9 , 9 1 , 1 1 7 .
4 . D. Ledoux -Leba rd, "Bronziers de l'Empir e," in Ottomeyer
and Proschel,
Vergoldete Bronzen, v o l .
2, p. 720 .
5.
Sale of the collecti on of the comte de Vill afranca, Paris,
M a r c h 19 ,
1 8 7 3 ,
l ot
1 7 5 ;
also a clock kept in the Elysee Pal
ace in Paris.
6 .
C. Cardinal,
La Revolution
dans
la
Mesure
du
Temps, Calen-
drier Republicain,
HeureDecimate, 1793—1805,
exh. cat. (La
Chaux-de-Fonds, Musee International d'Horlogerie,
1 9 8 9 ) , pp .
3 0 , 3 2 , 7 6 .
7.
A .
Janvier,
Description
d 'une
Sphere Mouvante
. . ., 1800—An
V I I I , augmentee
en 1813/1814 deplusieurs notes
inter-essantes,
de
nouveaux
calculs de
rouages, & f
etc.
. . .
(manuscript,
Jacques
van Damme Collection, Antwerp).
8. I b i d .
JEAN-JAC QUES FIEFFE
Jean-Jacques
Fieffe was born about 1700 and died in
Paris on August 14, 1770.
1
He was the son of Nicolas
F i e f f e ,
bourgeois de
Paris and Marie-Madele ine Roussel.
2
I n 1728 he married Jeanne-Francois Lere ,
3
who died on
A p r i l 13, 1758, after having given
b i r t h
to
five
sons and a
daughter . Four of his sons, Jean-Nicolas (died 1762),
Nicolas (died before 1778), Jean-Alexandre (died before
1781), and Jean-Claude (die d after 1789), were master
clock-make rs i n Paris,
4
and his daughter , Marie-Louise,
marr ied Jean-Adrien Jean, also a master clock-maker.
5
F i e f f e was admitted to the Paris
g u i l d
as a
master
cloc k-make r on Octo ber 1, 1725.
6
He served as
Garde Vi-
siteur
f r o m
1747 to 1749,
7
and
Garde Visiteur Comptable
f r o m
1750 to 1752.
8
He
l i v e d f i rs t
on the quai de l 'Hor-
loge, also known as the quai des Morfondus (1728), then
i n the rue de la
V i e i l l e
Draper ie
( f r o m
at least 1741 u n t i l
his death).
F i e f f e used th e
t i t l e
"Clock- make r of the [Paris]
Observatoire," whi ch probably simply meant that he was
responsible for maintain ing that establishment's clocks.
9
Thi s activity gained h im a numb er of
scholars
such as the
due de Chaulnes as customers.
1 0
U n l i k e
many of his colleagues, Fieffe did not become
wealthy. His fortune was modest, amounting to no more
than
about
10,000
livres,
in cl ud in g the value of a small
house and a few acres of agricultural land he owned in
Noisy-le-Sec
near
Paris.
1 1
Th e fact that he reti re d early, proba bly after the
death of his
w i f e
in 1758,
makes
i t
d i f f i c u l t
to gather facts
about his activities. The contents of his workshop,
appraised six
years
later by his colleagues Thomas
Lefebvre and Toussaint-Marie Le Noir , amoun ted to no
more than three clocks, the wo rt h of whi ch was estimated
at 355 livres, and 36 livres wor th of tools, His only know n
collaborators are the spring-maker
V i d a l
1 2
and a
compag-
non,
Pierre-Henry de La Chaussee.
13
F i e f f e installed his movements in
cases
of very high
q u a l i t y , such as the imposing w a l l clock i n the Getty
Museum (cat. no. 8). Some of his
cases
were
made
by
Nicolas-Pierre Severin,
1 4
others by the Caffieris
1 5
and
Jean-Joseph de Saint-Germain. The reputation of these
artists and the imp or ta nt posi tio n Fieffe hel d in his
g u i l d
suggest that his work was held in high esteem.
N O T E S
1.
A . N . , M i n . , X X I V ,
6 1 7 ,
August 2 0 ,
1 7 7 0 ,
inventory after
the death o f Jean-Jacques Fieffe.
2 . A . N . , M i n . , C X I X , 2 1 3, A p r i l 1 1 , 1 7 2 8 , Jean-Jacques
Fieffe's marriage contract.
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3.
I b i d .
4 . A . N . , Y 9 3 2 7 and 9 3 2 8 , admitted on A p r i l 5, 1752,
December 3 0 , 1 7 5 4 , and December 2 2 , 1 7 5 7 , respectively.
5. A . N . , M i n . , X X I V , 5 8 2 , May 2 7 ,
1 7 5 1 ,
Jean-Adrien Jean's
marriage contract.
6 .
Liste
1 7 4 8 .
7.
A . N . , Y 9 3 2 6 .
8.
A . N . , Y 9 3 2 7 .
9.
Th e archives of the Paris Observatoire contain no trace of
a f o r m a l nomination.
1 0 .
A . N . , M i n . ,
X X I I I ,
7 0 4 , October
1 0,
1 7 6 9 , inventory after
the death o f Michel-Ferdinand, due de Chaulnes.
1 1 . A . N . ,
M i n . ,
X X X I V , 6 4 2 , February 1, 1 7 6 4 , inventory
after the death
o f
Jean-Jacques Fieffe's wife ; A . N . ,
M i n . ,
X X X I V , 6 4 8 , February 7, 1 7 6 5 ,
p a r t i t i o n
of property
between Jean-Jacques Fieffe and his
c h i l d r e n ;
A . N . ,
M i n . ,
X X X I V , 6 7 7 , August
2 0 ,
1 7 7 0 , inven tory after the death
o f
Jean-Jacques
Fieffe;
A . N . ,
M i n . ,
X X X I V , 6 7 8 , Novem
ber 15, 1 7 7 0 ,
p a r t i t i o n
of the inheritance
o f
Jean-Jacques
Fieffe.
1 2 .
London , Wallace
C o l l ec t io n
( i n v .
F 9 1 ) ,
and P. Hughes,
French
Eighteenth-Century
Clocks
and Barometers in th e Wallace
Collection ( L o n d o n , 1 9 9 4 ) ,
p p. 3 8 - 3 9 .
1 3 . A . N . ,
E*
1 4 1 8
B ,
decree
of the Conseil d'Etat du Ro i in
f a v o r of Pierre-Henry de La Chaussee.
1 4.
Anonymous sale, Paris, February 13,
1 7 7 1 ,
l ot
83.
15 . A clock w i t h an elephant by Caff ier i and a movement by
Jean-Jacques
F ief fe .
Fulda, Schloss La Fasanerie,
col lec t ion
o f
the Landgrave of Hesse-Kassel.
N I C O L A S - A L E X A N D R E F O L I N , C A L L E D
F O L I N
L'AINE
1
Nicolas-Alexandre
F o l i n
was born about 1750 and
d i e d after 1815. He was marr ied to Marg uer ite Mer let
2
and assumed the designation Vaine to distingui sh
h i m s e l f
f r o m his bro the r Silvestre-Francois (1755 -1795 ), who
was also a clock-maker.
3
F o l i n resided first i n the rue Salle-
au-Comte in 1784,
4
the n in the rue S a i n t - M a r t i n ,
f r o m
at
least 1793
5
to 1815, at w h i c h date he was succeeded by a
clock-maker nam ed Sarazin.
6
A s
shown by his accession to mastership as a
Trinitaire
i n 1789, F o l i n was active lo ng befo re be ing adm itt ed to
th e
g u i l d
as a master. The term Trinitaire was app lie d to
th e
ouvriers l ibres
who worked
w i t h i n
the Enclos de l'Ho-
p i t a l
de la
T r i n i t e .
T he hos pital was under an
o b l i g a t i o n
to
teach, free o f charge , a craft to the ch ild re n accepted
there, for a lengt h of time equal to that prescribed for an
appre ntices hip—ei ght years. At the end o f this per iod ,
the youn g craftsmen ac quired the
r i g h t ,
by priv ileg e, to
be received as masters w i t h no fur ther formali t ies .
7
Folin's
a c t i v i t y was cons ider able . I n 1783 he was
already w o r k i n g f o r Jean-Gabriel Imb ert .
8
Bu t it was du r
i n g the Revo luti on and the years of the Em pi re that his
business
f lourished, producing i tems w i t h movements
o f good qual i ty in
cases
o f o r i g i n a l design. He worked
closely w i t h the enameler Georg es-Adr ien Merlet, possi
b l y
an i n - l a w o f his, especially on skelet on clocks w h i c h
were decorated w i t h bronzes by Etie nne
M a r t i n c o u r t .
H e
also used ebenisterie
cases
by Ferd inan d Schwerdfeger and
bronze cases by Francois V i o n .
H e
q u i c k l y
established a
secure
f inancial
position. He
acquired two bui ldings du ri ng the Terror, the
first
i n
Paris, in the rue d u Che mi n V e r t , on approximately Feb
ruary
20, 1794, for 14,500 livres,
9
the second in G e n t i l l y ,
o n
Decem ber 14, 1794, fo r 7,725 livres.
10
N O T E S
1.
A . N . , M i n . , X, 8 1 0 , June 2 6, 1 7 9 3 , deed signed " N . A.
F ol i n Laine."
2. His w i fe was no doubt a relative of the enameler of the
same
name.
3.
A . N . , Y
9
3 3
4
.
4.
Archives de la Seine, D 4
B 6 ,
cart.
6 4 ,
dos. 4 1 3 2 , balance
sheet
o f
Jean-Gabriel Imb ert, 1784 .
5 .
A . N . , M i n . , X,
8 1 0 ,
June 8, 1793.
6 .
Th e Almanack Azur of
1 8 1 5
shows "Sarazin, successor of
F ol i n , "
at that same address.
7. Privil ege con fir med by an act of the Parlement de Paris on
M ay
3, 1 7 1 2 . T he H o p i t a l de la T r i n i t e was founded by
Francois I in 1 5 4 5 . See E. Levasseur, Histoire de s
classes
ouvrieres
et
de
Vlndustrie avant 1789 (Paris,
1 9 0 0 ) .
8. See note 4.
9.
A . N . , M i n . ,
X X I I ,
1 0 3 , 2 Ventose A n
I I .
1 0.
A . N . ,
M i n . , X V I ,
9 1 6 , 24 Frimaire An
I I I .
A L E X A N D R E
F O R T I E R
Alexandre
Fo rti er was bo rn in Paris about 1700 and
d i e d there o n Januar y 26, 1770.
1
He was the son o f
Jean
Fortier
(die d before 1744), marchand bourgeois o f Paris and
o f Mar ie Fressant (died before 1729). I n 1729 he mar rie d
Jeanne-Madeleine
Cressat
(died 1737X
2
the daught er
o f
a
Syndic des rentes o f the Paris T o w n H a l l , who bore him four
c h i l d r e n :
Michelle-Jeanne (1731—1757), w i f e of Prosper
Cavalier, counselor to the k i n g and
Maitre particulier
des
eaux et forets de Paris; Nicolas-A lexandr e (1735-17 52);
Cath erin e; an d Francois (the last two die d you ng) .
I n
1744 he was rem arr ied to Therese, daught er o f
Pierre (I I ) Le Roy and w i d o w of Denis ( II ) Gaul t .
3
They
had two
c h i l d r e n :
P i e r r e - M i c h e l and A l e x a n d r i n e - M a r i e ,
b o t h of wh om were s t i l l
l i v i n g
in 1770.
4
He
l i v e d
his entire
l i f e i n the
same
house located on the corne r of the rue de
R i c h e l i e u
and the rue Neuve des Petits Champs.
Fortier was the
o f f s p r i n g
of a Parisian mercha nt
f a m
i ly , whose members hel d various r o y a l offices. On e o f his
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d u c t i o n .
2 0
T h e sphere mouvante ma y
have
belo nged to
M a g n y after the Bonnier de La Mosson
sale;
it then
passed into the collecti on of the baro n de Thi ers , wher e it
c o u l d
be
seen
in 1770.
2 1
O n l y after 1744 di d Fort ier und ert ake the concep
t i o n and con stru ctio n o f "planispheres," a projec t he
ann oun ced in his treatise on di ur na l move ment : "a Pla
nisph ere o f the planets
f o l l o w i n g
the System of Cop ern i
cus & i n w h i c h the earth w o u l d be represen ted only by a
simple d i a l d ivi ded into 24 hours." Three of his p l a n i
spheres
have
survived, and the perfection o f their mech
anisms is equaled onl y by the refi neme nt o f the ir cases.
22
The earliest of
these
belongs to the Getty Museum (cat.
no. 13). I t can be date d to war d the end o f the 1740s a nd
reasonably
i d e n t i f i e d
as the one
w h i c h
belonged to the
prince de C o n t i .
2 3
The next in
date,
now in the Wallace
C o l l e c t i o n
in Lo nd on , is certai nly the one that belo nged
to Jean Paris de Mon tma rte l, who had it
f i t t e d
w i t h an
exceptionally luxurious case.
24
T h e last, dat ed 1760,
w h i c h
we believe belonged to Fortier personally, was
f o r
m e r l y
in the collection of Barbara Piasecka Johnson.
2 5
These last two planisphere s, on w h i c h the dials are set in
th e
same
way and the astronomical indications couched in
th e
same
terms, also
bear
the signature of M i c h el Stollen-
werck, wh o displa yed the 1760 plani spher e i n his s hop .
2 6
T h e presence o f this last signatur e raises the qu estion
o f
the collaborators to whom our scholarly inventor may
have
turned. Fortier's f i r s t workshop was on the f o u r t h
f l o o r of his
house
in the rue de Riche lieu. He the n mo ved
to
a small lodge in the garden of a country house in the
faubour g du Roule,
w h i c h
he had acquired on
September
24, 1744.
I t appears
l i k e l y that F orti er him sel f too k a ha nd i n
m a k i n g some of the mechanical
parts
for his orreries.
However, our knowledge o f the tools he possessed, even
i f
we incl ude the famous mac hine f or cu tti ng the teeth in
watch wheels created by He nr i End erl in, w h i c h he pur
chased
at the
sale
of Bonn ie r de La Mosson's cabinet,
does
not allow the assum ption that he executed the works in
their ent i rety.
2 7
We can be f a i r l y sure that M i c h el Stollenwerck
w o r k e d
o n the last two planispher es, bo th of
w h i c h bear
his signature, but the name of the mechanic w ho assisted
Fortier
w i t h
th e
f i r s t
on e
does
not
appear
on any docu
ment. On e must theref ore be very cautious in men tio nin g
Stollenwerck's coll abor atio n in this conn ectio n h owever
plausible i t may
seem.
T h e
i d e n t i f i c a t i o n
of Fortier's
assis
tants in the creation of the spheres mouvantes raises much
th e
same
problem. Only the
names
o f Denis (I I) Gault
and o f Ende rl in are fo und in documentary sources con
ce rn ing
these
items.
E n d e r l i n ,
who belonged to a famous f a m i l y o f clock-
makers
f r o m
Basel, settled in Paris du ri ng the Regence.
A l t h o u g h he was never admitted to the g u i l d as a master,
he contributed substantially, by his innovations, to the
progress of chr ono met ry. Several of his inven tions we re
described by Antoine Thiout in his 1741
Traite d'Horlo-
gerie Mecanique. En de rl in was prob ably Stollenwerck's
master.
Th e character of his
w o r k ,
his connections
w i t h
Stollenwerck, and the fact that Fortier acquired one of his
machines show an obvious connection w i t h the latter.
Con cer ni ng Gault, one shoul d note that Fortie r was his
notary and that he married his w i d o w . A n d lastly, the fact
that Gau lt signed one of the spheres mouvantes, dated 1741
and today in the colle ction of P. P. D. Palmer at D orn ey
C our t ,
2 9
points to him as another
l i k e l y
collaborator.
N O T E S
1.
A . N . , Y 1 0 8 9 9 ,
January
2 6, 1 7 7 0 , scelle ( p r e l i m i n a r y inven
to r y ) of Alexandre Fortier.
2 . A . N . , M i n . , C X V I I , 3 6 6 , March
2 7 ,
1 7 2 9 . The bride's
d o w r y
amounted to
4 , 0 0 0
livres.
3. A . N . ,
M i n . ,
X X , 5 8 4 , A p r i l 18, 1744.
4 .
See note 1.
5. J. Bedier and P. Hazard ,
Histoire de
la litteraturefrangaise
(Paris, 1923—24) and J.-F.
M i c h a u d , Biographie Universelle
Ancienne
etModerne (Paris,
1 8 4 3 ) .
He was the nephew of
the fermier-general and banker Pierre N ive l l e de la Chaus-
see (died
1 7 1 2 ) .
6. A . N . ,
M i n . ,
C X V I I , 3 6 5 . T he notaires of the Chatelet in
Paris coul d draw up deeds in any par t of France. I n
August 1 6 7 3 , Louis X I V decreed that the n ob i l i t y di d not
lose their rank by exercising such an office.
7. Ronfort 1989.
8. A . N . , M i n . , C X V I , 3 2 4 ,
September 2 8,
1 7 4 4 , inventory
after the death of Fortier's f i rs t wife ; A . N . , M i n . , L I I I ,
4 6 1 , February 14, 1 7 7 0 , Ale xandr e Fortier's inventory.
9. Alexa ndre Fortier's inven tory (see note 8) and Fortier sale,
Paris,
A p r i l
2, 1770.
1 0 .
P. Ananoff ,
Frangois Boucher
(Paris,
1 9 7 6 ) ,
nos.
6 0 ,
6 1 .
1 1 . P. Rosenberg, Chardin (Paris, 1 9 7 9 ) , p. 268.
1 2. Mention should be made of several paintings " in the man
ner" of Raphael, or copies of his works, i n c l u d i n g one of
his School of Athens.
1 3. New Y o r k ,
M e t r o p o li t a n
Museum ( i n v . 1 7 . 1 9 0 . 6 9 6 ) . M e n
t i o n e d i n the inventory of 1 7 7 0 , the globe was listed as no.
16 2 i n the sale of Fortier's belongings in Paris on A p r i l 2 ,
1 7 7 0 . Bosset bought i t for 3 8 4
livres.
See also
Prag
urn
1660: Kunst und Kultur am
H of Rudolfs
I I , exh. cat. (Vienna,
1 9 8 8 ) , v o l . 2, no. 445.
1 4.
Bibliothe que Nationale (R
2 5 8 4 5
and
V 3 9 4 6 9 ) .
A small
p u b l i c a t i o n
i n sixteen fol ios , it contained sixty-four pages
and an i l l u s t r a t io n and was dedicated to the financier and
amateur scientist Le Riche de La Popeliniere. It s contents
were analyzed in the Journal des Savants ( 1 7 4 5 ) , pp . 534f f .
1 5. Bibliotheque Nationale (Rp
2 0 5 0 ) .
Published by Babuty
(Paris,
1 7 4 6 ) ;
twelve fol ios , twenty-one
pages,
and an
i l l u s t r a t io n .
1 6.
A. Fortier,
Traite
du
mouvement.
. . (Paris,
1 7 4 5 ) .
1 7 .
Mentioned in the f i rs t inventory (see note
8) ,
i t
does
not
appear
in the second.
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1 8.
Bonn ier de la Mosson sale, Paris, March 8, 1 7 4 5 , and
fo l
l o w i n g days, lot 599.
1 9. Paris, Bibliot heque d ' A r t et d'Archeologie.
2 0 .
I n v .
Hdz 5 0 9 .
2 1 . A . N . , M i n . , L X X I I I , 9 2 5 , December 2 2 , 1 7 7 0 , inventory
after the death of
L o u i s
Crozat, baron de Thiers.
2 2 .
I n view of the complex ity of the
parts
it seems un l ik e l y that
he b u i l t any others.
2 3 . The two other planispheres do not indicate the time of the
tides.
2 4 . Inv. F 9 8 . F. J. B . Watson, Wallace Collection Catalogues, Furni
ture (London, 1 9 5 6 ) , pp . 65—67, and P. Hughes,
French
Eighteenth-Century Clocks and Barometers in t he Wallace Collec
tion (London, 1 9 9 4 ) , pp . 44—45.
2 5 . Mentione d in the
1 7 7 0
inventory (see note
8) ,
i t
appears
in
the Fortier
sale
as lo t 1 61 (see note
9) .
It was bought by his
son Pierre-Michel for 3 2 7 3
livres,
2 sob.
2 6. See Stollenwerck biogr aphy in this volume.
2 7 . See note 1 8, lot 5 4 1 .
2 8 . He was never adm itt ed as a master.
2 9 . Sotheby's, London, "Treasured
Possessions
at Sotheby's,"
December 2 1 , 1983-January 2 0 , 1984.
A N T O I N E
( I ) G A U D R O N
Th e signature "Ga udr on a Paris" appeared as early as
1660. From then
u n t i l
1710, it was
used
by the workshop
o f A nto ine (I) Gau dr on and after 1710 by that of his sons
Pierre and Antoi ne (I I) Gaudr on. Th e pendule a secondes
at the Gett y Mu se um (cat. no. 1) is, on the basis o f i ts
date,
the exclusive creation of Anto ine (I) , to wh om this study
w i l l
be restricted.
A n t o i n e
( I) Gau dr on was bo rn about 1640 and died
i n Paris on August 3, 1714.
1
I n 1671 he mar rie d Ann e
Baign oux, the daug hter of a f a m i l y o f goldsmiths f r o m
B l o i s , who died on A p r i l 6, 1713.
2
Th e couple had three
c h i l d r e n .
Pierre Gaudron (died May 19, 1745) was admit
ted to the Paris
g u i l d
as a master clock-maker on March 7,
1 6 9 1 .
3
He was clock-maker to the due d'Orleans f r o m
December 29, 1717, to Augu st 24, i7 39 ,
4
and a member
o f
the Societe des A r t s . Anto ine ( I I ) Gaudron (1675-
1748) was admitted as a master clock-maker on March 7,
1 6 9 1 .
5
H e is cit ed in the re cor ds as a marchand-mercier-
joaillier-grossier
befo re 1704, and on
June
26, 1741, was
appoin ted
Conseil ler ,
Secretaire du Roi, Maisons et Couronne
de
France
at the Chance ry o f the Parlemen t de Metz on
June 26, 1741 . Mar ie- Ann e (died after 1754) marri ed
Gui lla ume Hu be rt , a go lds mit h in Paris, wh o was later
g o l d s m i t h by app oin tme nt to the queen of England .
Ga ud ro n was a mem be r o f the clock-makers' g u i l d o f
the faubourg Saint-Germain circa 1660-1665. When the
g u i l d was
u n i f i e d w i t h
the Paris g u i l d he then automati
c a l l y became a master of the Corp ora tion de la V i l l e et
Faubourgs de Paris on
June
5, 1675.
6
He served as
jure
o f
th e g u i l d f r o m
June
27, 1690, to
June
26, 1692.
7
I n
1698 he l i v e d in the place Daup hin e "A l'Enseigne
de la Perle," then, in 1706, he moved to another b u i l d i n g ,
" A l'Enseigne de la Renom mee," on the
same square.
N o t h i n g
is kno wn of the origin s of Gaudron's f a m i l y ,
no r o f the be gi nn in g o f his activities, nor, finally, of the
date and circumstances of the transfer o f his worksh op
f r o m
the fau bo ur g Saint -Ger main to the He de la Cite. He
seems t o
have
become pr osper ous in a short tim e, as i n d i
cated by the dowries he
gave
his children. A f t e r his death
hi s estate amoun ted to over 174,000 livres* including,
among other things, the
b u i l d i n g
on the place Dauphine
purchased f r o m Isaac Th ur et in 1706. Th e apartment he
l i v e d i n at the tim e was pleasantly fur nis hed a nd co n
tained numerous pieces of Chinese p orce lain , mostly blue
and white ware.
I n
1698 Gaudron brought his
sons
int o his business.
T h e firm thus created tra ded in "ouvrages d'or loger ie,
pierreries, tableaux, glaces, porcelaines, bronzes, b i j o u x "
( c l o c k - w o r k s , precious stones, paintings, mirrors, porce
l a i n , bronze, jewels). Th e elder Gau dro n retir ed on
Dec emb er 2 8, 171 o, at
w h i c h
ti me his
share
was esti mate d
at 36,000 livres.
9
Together his
sons
continue d to ru n the
firm. T o
the dismay of historians, the inventorie s of the
wares
at that time were established by private treatise
rather than by a notary and thus
have
not come down to
us. Th e on ly knowledge we
have
concerning his stock is
f o u n d
i n a
statement
he signed after the prom ulg ati on of
the "Edit Somptu aire" o f Mar ch 20, 1700,
10
and by an
investig ation of the premises o f the clock-makers of the
He de la Cite, un de rta ken in December of the same year
b y
Commissaire Delamare.
1 1
I n a
statement
registe red o n
A p r i l 20, 1700,
1 2
Gaud ron lists t h i r t y - f o u r clocks, both
large an d small, the gilt -bro nze orna ment s for ten clock
cases,
six ma rqu etr y consoles, togeth er
w i t h
eleven con
soles as w e l l as t h i r t y g i l t - w o o d stands for displaying
porce lain. O n the occasion of his v i s i t , Commissaire Dela
mar e confiscated ni ne clocks and f ive consoles. A compar
ison between
these
figures and those concerning the
other clock-makers l i v i n g i n the He de la Cite shows t hat
Gau dr on was, in 1700, in t h i r d pos ition beh ind Balthazar
( I I ) M art in ot and Gilles ( I I ) Mart inot .
F o l l o w i n g the example of Nicolas Hanet, Gau dro n
was, along w i t h Isaac Thu ret , one of the
first
Parisian
clock-makers o f the faubo urg Saint-Germa in to adopt the
pendulum invented by Chris t iaan Huygens .
1 3
He also
invented some interesting clocks w i t h both simple and
complicated astronomical indications.
1 4
Acc ord ing to his
son Pierre, in 1688 Gaudron executed "a clock whose
pendulum marked the
seconds
. . . , f o l l o w i n g th e
equa
tions according to a curve w h i c h causes the pend ulu m to
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P A U L G U D I N , C A L L E D G U D I N LE JEU NE
Paul Gudin , kno wn as Gud in
le
jeune,
was the son o f
Claude Gud in, a merchant in Saint-Cyr-en-Bourgogne,
1
and Jeanne Brezard .
2
He was the brother of
Jacques
G u d i n
( 170 6-1 74 3), a master cl ock-ma ker in Paris. H e
marr i ed Elisabeth Durand.
3
H e was at first an ouvrier libre, then became Marchand-
Horloger Privi legie
du Roi suivant la
Cour
et
Conseils
de Sa
Majeste (Clock-ma ker by app oin tme nt to the
K i n g f o l lo w
i n g his Cour t and Councils) on
June
1, 1739, up on the
resigna tion of Charles Le B o n .
4
He resigned his patent in
f a v o r o f Francois Du fo ur on December 1, 1755.
5
I n 1743
he resi ded o n the quai de l'Ho rl og e (also kno wn as the
quai des
M o r f o n d u s ) ,
b ut by the f o l l o w i n g year had prem
ises on the quai des Orfe vres.
6
O n l y
three clock-makers named Gu di n wor ked in
Paris du ri ng the eighteenth centur y: Jacques, who was
admi tted as a master i n 1725 th ro ug h the acquisition of
one o f the twelve special offices established by Loui s X V
o n
the occasion o f his wed din g, and whose worksho p con
t i n u e d
to be ru n by his w i d o w , under her husband's name,
f o r about t h i r t y years; Paul, who was Jacques's brother;
and Jacques's son,
Jacques-Jerome,
w ho
became
a master
i n 1762.
7
A l l
the works signed "Gu di n le jeune are in the
rococo style, and some bear the mark of a crowned C.
Consequent ly they cannot be b y
Jacques-Jerome,
wh o was
b o r n i n 1732 and d id not set up shop u n t i l 1754.
8
The
q u a l i f i e r
"le jeu ne" can
o n l y
app ly to Paul Gudi n. Th ere is
no instance in eightee nth-cen tury France, no matter the
l i n e o f a c t i v i t y , of a son assuming this
q u a l i f i e r
to d i s t i n
guish
h i m s e l f
f r o m
his father.
H a v i n g in all l i k e l i h o o d worked as an ouvrier libre
u n t i l the day he bought his
r o y a l
patent, Gud in then had
to
choose a signature th at w o u l d dis t inguish hi m
f r o m
his
bro the r. I t sho uld also be observed that cl ock-makers
e n t i t l e d to the designatio n Marchand-Horloger Privi legie du
Ro i suivant la
Cour
et
Conseils
de Sa Majeste d id not make any
mention o f their t i t l e on the dials of their clocks
u n t i l
the
second
h a l f
o f the eighteenth century. M y n i i e l, Ducorroy ,
and Le Bon always signed w i t h their surnames alone. It is
therefore n ot surpris ing, in v i e w of the custom o f the
p e r i o d , that Gudin should have assumed the surna me
" G u d i n
le
jeune," w i t h o u t adding his t i t l e , to distinguish
h i m s e l f
f r o m his brother.
9
T h e a c t i v i t y o f G ud i n
le
jeune appears to have been
considerable, since the quarters he rented on the quai des
Orfevr es inclu ded a shop on the gro un d f l o o r , a mezza
nine and first floor consisting of two rooms, the t h i r d and
f o ur th f l o o r s , each con tai nin g three small room s, and a n
a t t i c .
1 0
G u d i n
le jeune's pr od uct ion consisted of excellent
move ment s set in bro nze cases o f
h i g h
quality, generally
decorated w i t h por cel ain figures o r animals f r o m various
manu fact ories . On e may note, amo ng his clients, the
prince de Bauffremont ,
1 1
Paris de Montmartel ,
1 2
and
Horace Walpole.
N O T E S
1.
I t has not been possible to establish the whereabouts of
this
v i l l a g e , whic h
has presumably since been incorporated
i n t o
some larger township.
2 . A . N . , M i n . , C X V ,
4 7 2 ,
May 15, 1 7 3 1 , marriage contract of
Jacques Gudin.
3.
A . N . , M i n . , C X V , 5 5 1 , January 5, 1 7 4 5 , lease to Paul
G u d i n
and his
wife .
4 . A . N . , V 3 192 ,
fo l .
1 5 m
5. A . N . , V 3 7 7 A . He was appointed deputy guardian of
his nephews on Augu st
2 8 ,
1 7 4 3
( A . N . ,
Y
4 6 1 4 B )
and
replaced in this
f u n c t i o n
on
A p r i l 2 3 ,
1 7 5 5
( A . N . ,
Y 4 7 5 4 B ) .
6.
I n the deed app oin ting his children's tutors, Paul Gud in is
shown to be residing in the place Dauphine (see note 4 ) .
B u t the
lease
on the premises on the quai des Orfevres of
1 7 4 5
shows that he was already l i v i n g there at that date
and that he was authorized to use "the ex i t onto the place
Dauphine by the common alley." It is therefor e not
unusual that either address should appear i n legal
documents.
7. Gudin's case is a typ ic a l example o f the
state
of confusion
i n w h i c h the entries for Tardy's
Dictionnaire
de s Horlogers
Francais
were established, using a cursory and s impl i f ied
c o m p i l a t i o n
of archives assembled by Paul Brateau. Th e
Dictionnaire
mentions
tw o
Jacques-Jerome Gudins, one of
w h o m
(supposedly I'aine, master in 1 7 5 0 , died in 1 7 8 4 )
never existed. Ano the r one of Tardy's creations ex nihilo is
Abra ham Gu din , who is supposed to have been admitt ed
as a master in 1 7 2 6 . Th is is merely the result o f Tardy's
hasty rea ding o f a court decision of
M a r c h
12 , 1 7 2 6 ( A . N . ,
Y
9 3 7 7 ) ,
concerning "Abraham
G i l b e r t .
. . and Paul
G u d i n . "
A nd
lastly,
Tardy was unaware of the existence of
Paul
G u d i n ,
since Paul Brateau di d not know of
it.
8. A . N . , M i n . , X C V I I , 3 4 6 ,
June
7 , 1 7 5 5 ,
d i s t r i b u t i o n
of the
estate o f Jacques Gudin.
9.
In the leases mentioned in notes 3 and 6, Paul Gud in
describes h i m s e l f as Maitre Horloger, a t i t l e to w h i c h he was
not, i n fact, entit led.
1 0. See note 3 and A . N . , M i n . , C X V , 5 8 2, December 6, 1749.
1 1 . A . N . , M i n . , X X , 7 8 4 , 16 Pluviose A n V I I I , inventory after
the death o f the princesse de Bauff remont .
1 2 . A . N . , M i n . , C V I I ,
5 3 4 ,
September
2 3 ,
1 7 6 6 ,
inventory
after the death of Paris de
M o n t m a r t e l .
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T H E
E T I E N N E L E N O I R W O RK S H O P
The signature "Etienne Le N o i r " was used through
o u t the eighteenth century by two clock-makers of that
name and by their grandson and son Pierre-Etienne.
F r o m
1750 to 17 71, it ref err ed to the
f i r m
established by
the latter and his father Etienne ( I I ) . From 1770
u n t i l
abou t 182 0, it was used by Pier re-E tien ne alone, t hen
b y his son Etien ne ( I I I ) Ale xan dre . Th e clocks in the
G e t t y
Museum are the w o r k of Etienne (I I) and Pierre-
Etienne Le N o i r , and the present study w i l l be restricted to
these two.
Etienne ( I I ) Le N o i r was born in Paris on November
7, 1699
1
and died in Paris on August 20, 1778.
2
He was
the son o f Etien ne (I ) Le N o i r (ca. 1675-1739), master
c l o c k - m a k e r i n Paris, and o f M a r i e -A n n e Gamonet (died
1 7 3 9 ) .
He had
f o u r
brothers, Jean-Francois,
Jacques,
Claude, and
Isaac,
a ll
o f
w h o m
were
master
clock-makers,
and two sisters,
A n n e - E m i l i e , w i f e
of the engraver
Jean-
Baptiste Ad am du
T i l l e t ,
and M a r ie - A n n e , w i f e of Pierre
A l b a t o n ,
a monteur de boites (clock-maker specializing in
the maki ng of watchcases). H e ma rr ie d Mar gue rit e Hur e
i n March 1723 at L i z y - s u r - O u r c q .
3
They had two
c h i l
dren, Pierre-Etienne, and Francoise-Marguerite (died
1 7 5 3 ) , who married Etienne Cluzed, apothecary to the
due d'Orleans. Etienne ( I I ) became a master (as the s on of
a master) on November 26, 1717.
4
Etienne ( II ) was i n partnership
w i t h
his son Pierre-
Etienne
u n t i l
his retirement in 1 7 7 1 .
5
A f t e r that he con
t i n u e d
to
manage
his
estate
an d
d i v i d e d
his time be
tween his Paris apartment and his house i n B e l - A i r ,
M o n t m a r t r e .
Etienne ( I I )
amassed
a considerable fort une . He was
already com fort ably wealthy wh en his father die d in
1739, and in 1745 he refused his inheritance.
6
He gave
b o t h his daughter and his son dowries of 11,000 livres!
7
H i s
company was established in 1750
w i t h
capital
a m o u n t i n g to 48,000 livres, w h i c h ha d gro wn to 62,000
livres by 1751, and was reduced to 41,157 l ivres i n 1753
( e q u a l l y
d i v i d e d between father and son).
8
From 1754 to
1756,
Etie nne ( I I) purchas ed two offices of
Conseiller
du
Ro i
and Inspecteur sur les
Vins, Eaux
de Vie et autres
Liqueurs
a
Paris
9
and a f a r m in Chaunes-en-Brie
( w h i c h
he leased
o u t )
1 0
for 82,000 livres cash. Up on the death
o f
his
w i f e ,
i n
1759, his personal fortune amounted to 176,000
livres
and the clear
assets
of the
firm
were 54,239 livres.
11
A t his
death in 1778, he was
w o r t h
320,904
livres.
12
Pierre-Etienne Le N o i r was bo rn in Paris about 1725.
He marr ied Jean-Henriette Brevet in 1750,
1 3
and they
had three chil dren , Etienne-Al exandre, Jean-Marie, and
Jean-He nri, all of who m were
s t i l l
l i v i n g
in 1779. Pierre-
Etienne became a master in Paris on Febru ary 22, 1 743.
1 4
He worked w i t h his father and was in partnership w i t h
h i m f r o m 1750 to 17 71. I n tha t year, he took over the
f a m
il y workshop,
w h i c h
he later l e f t to his son Etienne ( I I I )
A l e x a n d r e ,
who continued the business under the Con
sulate and the Empire. Pierre-Etienne always l i v e d and
w o r k e d
on the qu ai des Orf evre s.
The Le
N o i r f a m i l y , l i k e
the families
M a r t i n o t
and
T h u r e t ,
is a perf ect ex amp le o f the great dynasties o f
Parisian clock-makers. Their
ancestors
are first men
t i o n e d i n the sixt eenth century, and the f a m i l y continued
t o
w o r k
in the profession w e l l after the en d of the a ncien
r e g i m e .
T h e f a m i l y , o f w h i c h E tienne (I I) was a f o u r t h -
gener atio n member, h ad three active branches. Th e Le
N o i r s were a l l i e d by mar ri age to several of the fore most
c l o c k - m a k i n g families, i n c l u d i n g Dugrand-Mesnil , Du-
tertr e, Furet, and Bera ult. Etienne ( II ) was also related
t o
the renowned engravers and publishers Gournay and
B a i l l e u l
th roug h the marr iage
o f
his sister
A n n e - E m i l ie
to
Jean-Baptiste Ad am du
T i l l e t .
1 5
Th e works hop reached its peak dur in g the associa
t i o n between Etienne ( I I ) and Pierre-Etienne. Under the
signature "Etienne Le
N o i r
a Paris" the two clock-makers
s o l d a large num ber
o f
c l o c k s and watches, execut ed i n all
sorts o f
materials, w h i c h were distributed
a ll
over Europe.
T h e i r repu tati on was such that even duri ng their
l i f e
times fakes were being sold under their name. (This was
also the
case w i t h
watches b y
J u l i e n
Le Roy and Ferd inan d
B e r t h o u d . )
T h e
scope o f
the Le
N o i r s '
wo rkshop led them to s p l i t
t h e i r subcontracting for mechanical parts. The
names
o f
o n l y
a few of thei r collaborators are
k n o w n .
The springs
were prov ided by the best makers, Claude and Etienne-
Claud e Ric hard , Charles Buzot , and Pierre Masson, and
the dials by Antoine-Nicol as Marti niere and Jacques
D e c l a . Some of their watchcases were made by the mon-
teurs
de
boites
Francois Gervais, Pierre
A l b e r t o n ,
Moyse Du
C l o u x , an d Xavi er Gide. Others were decorated by the
miniaturiste-emailleur
Huber t ,
w i t h
chatelaines by the g o l d
s m i t h Jean-Marc-Antoine Ecosse.
I n
1759 the value of the firm's stock was est ima ted by
th e master clock-makers Etienne Galois and L o u i s -
Francois Herbault at over 28,000 livres. T h e firm's most
l u c r a t i v e
a c t i v i t y
at the ti me was the pro duc ti on of
watches. S i x t y o f
these
are listed, f o r t y - f i v e
w i t h
g o l d
cases,
and f i f t e e n
w i t h
silver ones, as against twenty-two
c l o c k s o f
various sorts, fourteen
o f these w i t h
bronze
cases
and eight
w i t h
cases veneered
w i t h
marquetry.
1 6
Th e Etienne Le N o i r worksho p sold its prod ucti on in
t w o
ways: finished clocks an d watches were sold
d i r e c t l y
t o
the pub li c or to dealers; movem ents (to be placed
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l g . Duvaux's
widow
is listed among the "good debts" for the
amount of 9 6 livres in the inventory of 1 7 5 9 (see note 11) .
Le Noir appears as a creditor for the same amount in the
posthumous inventor y of Duvaux's belongings ( A . N . ,
M i n . , X C I V , 2 9 0 , November 2 9 , 1 7 5 8 ) . Duvau x's daybooks
mention three clocks (nos. 5 8 1 , 7 5 2 , an d 2 7 0 0 ) and a
watch (no. 2 2 7 4 ) , sold respectively to the princess of
Naples, the marquises de Brignolles and de Pom padour,
and the king for the chateau de Choisy.
2 0. A . N . , M i n ., L X X X V I I I , 6 29 ,
August
28 , 17 53 ,
inventory
after the death the w i f e of Francois Darnault.
2 1 . Anne xed to the invento ry of 1 7 5 9 (see note 1 1 ) is a "State
ment o f the amounts re main ing due to the f i r m " listed
under four different headings: "Good debts, most of
which
have been settled," "Good debts
which
are subject to
reduction," "Doubtful
debts,"and "Unrecoverable debts."
This last heading is mainly composed of remainders of
accounts of negligible value.
2 2 . Listed fo r 1,590 livres unde r the heading of good debts
and for 5 22 livres under that of debts subject to red ucti on.
O n the back of a document i nclude d in the scelle ( p r e l i m i
nary inventory) of the clock-maker Daille ( A . N . , Y 1 1 3 4 1 ,
February 3, 1 7 6 0 ) appears a copy o f the f o l l o w i n g note:
"A t the end o f the coming mon th o f January I shall pay to
the order of
M .
Lenoir
the amount of three hu ndred
livres,
being the value of goods received i n Paris today, 19 June
1 7 5 9 " and "Pay to the orde r of M . Osmond value in
account i n Paris 24 December 1 7 5 9 . [Signed] Lenoir lefils.
Pay for me to the order of M . Forestier value received in
goods in Paris 2 6 January 1 7 6 0 [Signed] R. Osmond!'
2 3 . Listed under the heading of doubtful debts for the
amount of 2,853 livres. On May 3 0 , 1 7 6 1 , the Le Noirs,
father and son, requested an attachment on the estate o f
Jean A l l a in in the amount of 3 , 2 0 0 livres, which were owed
to the m by his son ( A . N . , Y 1 1 5 7 8 , M ay 2 9, 1 7 6 1 ) .
2 4 . Listed for the amount of 1,725 livres under the heading of
debts subject to
reduction.
The y recovered only 14 per
cent on March 2, 1 7 6 2 . See Direction des creanciers de Louis-
Francois Herbault,
md [marchand]
mercier bijoutier,
A . N . ,
X X I I I , 64 3, March 2, 1762 .
2 5 . Listed for the amount of 5,053
livres
under the heading of
good
debts.
2 6 . La Fresnayepere was include d for 2 , 4 5 4 livres, 10 sols in the
list of good debts, and his son for 4 0 0 livres under the same
heading.
2 7 . Listed f or 2 , 5 6 2 livres under the heading of doubtful
debts.
2 8 . Thi s is the
f i r s t
name to
appear,
o n January 23 , 1750 , on
the register of deliveries described in the
inventory
under
n o . 22 .
2 9. Listed f or 5 1 6 livres under the heading of debts lost before
the establishment of the f i r m .
3 0 . A . N . , M i n . ,
L V I I ,
4 0 8 , October 1 2, 1753.
3 1 .
Arch ives de la Seine, D 5
B 6 , 4 4 7 ,
Nicolas Bonnet's
daybook.
3 2 . I n 1 9 5 5 P.
Cailleux
owned another cartonnier by Bernard
v an Risenburgh,
which
incor porate d a clock w i t h a move
ment by Etienne Le
Noir.
See Grands Ebenistes et Menuisiers
Parisiens du XVI11 erne siecle, 1740—1790, exh. cat. (Paris,
Musee des Arts Decoratifs,
1 9 5 5 ) ,
no. 30.
3 3 . Goyer is listed for 36 livres and Saint-Germain for 60 livres.
Th e Le Noirs dealt w i t h the la tter for many years. See
Augarde 1986 .
3 4 . A clock w i t h an elephant by Caffieri and clockworks signed
"Etienne Le Noir a Paris," formerly in the collection of the
comtesse de Maist re, had a chimes sp ring signed "Buzot,
gbre 1 7 4 1 " a nd a clock spr ing signed "Masson, 20 Janvier
1 7 4 1 . "
3 5 . Due de Richelieu sale, Paris, December 18, 1 7 8 8 , lo t 692 .
3 6 . The inventory o f January 1, 1 7 8 8 , of the king's clocks and
o f the Garde Meub le mentions seven clocks and w a l l clocks
by Etienne Le
Noir
( A . N . , O
1
3 3 7 1 ) .
3 7 .
De
Versailles
a
Paris:
Le
Destin des Collections Royales,
exh . cat.
(L a Mairie d u V
e
arrondissement de Paris, 1 9 8 9 ) , no. 88.
3 8 . Archi ves de la Seine, D 5 B
6
, 3 2 5 , daybook of the clock-
maker Henri W a l t r i n (on November 4 , 1 772 , the repair of
a clock by Etienn e Le Noir belonging to the comtesse du
Barry is mentioned).
3 9 . Th e Le Noi rs had long-established connections
w i t h
Swe
den. Etienne Le Noir, incidentally, suffered f r o m the
bankruptcy
o f Jean Fredman, clock-maker to the king of
Sweden, in 1 7 4 1 . See Tessin 1 9 6 3 , pp . 1 3 6, 1 4 1 , n. 4.
T H E L E P A U T E W O R K S H O P
Th e signature "Lepaute Ho rlog er du Roi" corre
sponds to the business association for me d by the brother s
Jean-A ndre and Jean-Baptis te ( I I ) Lepaute dur i ng the
second
h a l f
of the reign of Louis XV ,
wh i ch
was cont in
ued by Jean-Baptiste an d his two nephews, Pierre-Bazile
Lepau te and Pi erre He nry . Th is signature was used
betwee n 1750 and 1789. On e cannot always dist ing uish
th e
ind iv idual
role of each of the associates in the pr oduc
t i o n of this wor ksho p. This is part icul arly true o f the two
founders , w ho were in t u r n d irectors of the firm.
1
Jean-A ndre Lepaute was born at Thon ne- la -Long in
1720 and die d in Saint-C loud on A p r i l 11 , 1789 ^ He was
b u r i e d in the ch urch o f Saint -Germain-de- l 'Aux errois in
Paris. He was the son of An dr e Lepaute , a locksmith,
and Elisa beth Doulet . O n Augu st 27, 1747, he mar rie d
Nicole-Reine Etable de La Briere (1723-1788), the
daught er o f an officer of the house o f Marie-Louise d 'Or
leans, the
widow
of Louis I of Spain. The couple was
childless.
T he famous astronom er and academician
Jerome de Lalande drew a splendid por t r ai t of Mad ame
Lepaut e, who was a dist in guish ed as tronom er.
3
Some time before Octobe r 1751 , Jean -An dre was
gra nte d lodgin gs in the Palais du Lu xe mb ou rg and as a
result was able to use the
t i t l e Horloger
du Roi .
4
H e
received lo dging s in the Galleries of the Louvr e on
December 24, 1756.
5
Jea n-A ndr e was admit ted to the
Paris g u i l d as a maste r clo ck-m aker on J u n e 2, 1759,
by decree o f the Conse il d 'Etat d u Roi of March 13,
1759 , wh i ch released hi m f r o m th e obl igat ion o f f o l l o w
i n g a regular apprent iceship .
6
He fo rmed a business
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a s s o c i a t i o n w i t h h i s b r o t h e r o n O c t o b e r 2 8 , 1 7 5 9 .
7
H e
r e t i r e d f r o m business
i n 1 7 7 5
8
a n d w e n t o u t o f h i s m i n d
a r o u n d 1 7 8 1 .
9
J e a n - A n d r e w a s t h e a u t h o r o f v a r i o u s p u b l i c a t i o n s ,
i n c l u d i n g h i s e x e m p l a r y Tra i te d 'horlogerie, p u b l i s h e d i n
1 7 5 5 , w h i c h h e w r o t e w i t h t h e h e l p o f
Jerome
d e
L a l a n d e .
1 0
Jean-Baptiste
( I I ) L e p a u t e w a s b o r n i n 1 7 2 7 a t
T h o n n e - l a - L o n g an d d i e d i n Paris o n 2 9 P lu v i o s e A n X
( M a r c h
1 8 , 1 8 0 2 ) .
1 1
H e w a s t h e s o n o f
A n d r e
L e p a u t e a n d
E l i s a b e t h D o u l e t . I n 1 7 59 h e m a r r i e d M a r i e - T h e r e s e -
V i c t o i r e
C h a r d o n , d a u g h t e r o f t h e
p r i n t e r Jacques
C h a r -
d o n a n d g r e a t - g r a n d d a u g h t e r o f t h e f a m o u s ebeniste a n d
fondeur
t o L o u i s X I V , D o m e n i c o C u c c i .
1 2
S h e b o r e h i m
three c h i l d r e n : L o u i s - A l e x a n d r e ( 1 7 6 5 - 1 8 4 5 ) , a n a d m i n
i s t r a t o r o f t h e L a n g u e d o c c a n a l , A l b a n - L o u i s ( d i e d 1 8 0 7) ,
a g o l d s m i t h - j e w e l e r , a n d C a t h e r i n e - H e n r i e t t e .
I n t h e m i d - 1 7 4 0 s , h e j o i n e d h i s b r o t h e r i n P a ri s , w h o
t r a i n e d h i m a n d
made
h i m h is associate o n O c t o b e r 2 8 ,
1 7 5 9 . H e became Horloger du Roi u n d e r t h e same c o n d i
t i o n s as J e a n - A n d r e a n d w a s a l l o w e d t o
succeed
t h e l a t t e r
i n
h i s l o d g i n g s i n th e G a l l e r ie s o f t h e L o u v r e o n S e p t e m
b e r 1 1 , 1 7 7 5 .
1 3
H e w as a d m i t t e d t o t h e g u i l d as a
master
c l o c k - m a k e r o n D e c e m b e r 2 0 , 1 7 7 6 .
1 4
Jean-Baptiste
r e
t i r e d
o n M a y 1 4 , 1 7 8 9 .
1 5
P i e r r e H e n r y ( c al l e d P i e r r e H e n r y - L e p a u t e ) w a s
b o r n
A u g u s t 2 2 , 1 7 4 9 , a t T h o n n e - l a - L o n g a n d d i e d i n
Paris i n J u l y 1 8 0 6 . H e w a s t h e s o n o f Jean H e n r y , a
f a r m e r , a n d E l i s a b e t h L e p a u t e , s i s t e r o f
Jean-Baptiste
a n d J e a n - A n d r e L e p a u t e .
1 6
H e h i m s e l f h a d o n l y o n e s o n ,
A u g u s t i n - M i c h e l H e n r y ( b o r n 1 8 0 0 ), w h o
also became
a
c l o c k - m a k e r .
1 7
I n 1 7 6 3 P i e r r e H e n r y
became
t h e a p p r e n t i c e o f Jean-
A n d r e
L e p a u t e .
1 8
I t
seems
h e w a s n e v e r a d m i t t e d t o t h e
g u i l d as a master. A s o f 1 7 7 4 h e w a s t h e d e f a c t o p a r t n e r
o f
Jean-Baptiste
as w e l l a s t h e p a r t n e r o f h i s c o u s i n
P i e r r e - B a z i l e L e p a u t e . O n M a y 1 4 , 1 7 8 9 , t h e t w o c o u s i n s
a c q u i r e d t h e i r u n c l e ' s
shares
i n t h e w o r k s h o p . P i e r r e
H e n r y
p a r t e d f r o m h i s c o u s i n o n D e c e m b e r 3 , 1 7 9 5 , t o
f o u n d h i s o w n firm i n t h e r u e N i c a i s e , a t w h i c h t i m e h e
began
t o u s e t h e
signatures
" H e n r y a P a ri s" a n d " H e n r y -
L e p a u t e a P a ri s ." A s o f January 1 , 1 8 0 0 , P i e r r e H e n r y w a s
l i v i n g i n t h e
house
o f
Jean-Baptiste
L e p a u t e i n t h e r u e
S a i n t - T h o m a s - d u - L o u v r e . H e la t er m o v e d t o n u m b e r 1 ,
r u e d u D o y e n n e .
1 9
P i e r r e - B a z i l e L e p a u t e ( c a l l e d S u l l y - L e p a u t e ) w as
b o r n
i n T h o n n e - l e - T h i l o n June 1 4 , 1 7 5 0 , a n d d i e d i n
Paris o n A u g u s t 2 , 1 8 4 3 . H e w a s t h e s o n o f
Joseph
L e p a u t e a n d M a r i e
C o l l i g n o n .
A r o u n d 17 66 he
j o i n e d
h i s
u n c l e s a n d c o u s i n s i n Paris a n d c o m p l e t e d h i s a p p r e n t i c e
s h i p i n t h e
f a m i l y
w o r k s h o p . H e
became
a p a r t n e r o f
Jean-Baptiste a n d h i s c o u s i n P i e r r e H e n r y i n 1 7 74 , p r o b
a b l y
w i t h o u t a f o r m a l c o n t r a c t .
A f t e r
h i s c o u s i n d e c i d e d t o e st a b l is h h i s o w n w o r k
s h o p , P i e r r e - B a z i l e associated h i m s e l f w i t h h i s n e p h e w
Jean-Joseph
L e p a u t e , w h o w a s k n o w n as C o l l i g n o n .
T h e i r p a r t n e r s h i p l a s t e d u n t i l 1 8 1 1 , a t w h i c h
date
Jean-
Joseph
e s ta b l is h e d a n i n d e p e n d e n t w o r k s h o p u n d e r t h e
s i g n a t u r e " L e p a u t e n e v e u a P a r is , " w h i c h h e l a te r ceded t o
h i s s o n - i n - l a w a n d c o u s i n A u g u s t i n -M i c h e l H e n r y .
I n 1 8 1 1 P i e r r e - B a z i l e a n d h i s s o n P i e r r e - M i c h e l
( 1 7 8 5 — 1 8 4 9 ) e s t a b l i s h e d t h e f i r m o f " L e p a u t e 8c
F i l s , "
w h i c h
c o n t i n u e d t o u s e t h e s i g n a t u r e " L e p a u t e a P a r is "
a n d t o e x p l o i t t h e t i t l e o f Horloger de VEmpereur u n d e r t h e
E m p i r e a n d
Horloger du Roi
u n d e r t h e R e s t o r a t i o n a n d
t h e J u l y M o n a r c h y .
V e r y
l i t t l e i n f o r m a t i o n i s a v a i la b l e o n t h e e a r l y stages
o f J e a n - A n d r e
Lepaute's career.
I t i s b e l i e v e d t h a t h i s
f a t h e r t a u g h t h i m c a s ti n g a n d t h e l o c k s m i t h ' s trade w h e n
h e w a s s t i l l a
c h i l d .
H i s f a t h e r p r o b a b l y t a u g h t h i m c lo c k -
m a k i n g t o o , si n c e t h e u p k e e p o f la r g e c l o c k s i n t h e c o u n
t r y s i d e w a s e n t r u s t e d t o t h e l o c k s m i t h s .
J e a n - A n d r e is b e l i e v e d t o
have
s e t t l e d i n
Paris
c i r c a
1 7 4 0 , a t w h i c h t i m e h e m a y have presented h i s f i r s t v e n
tures
i n t o t h e m a k i n g o f
echappement a repos (deadbeat
escapements) t o t h e c l o c k - m a k e r L o u i s A m a n t .
2 0
H e m a y
w e l l have i m p r o v e d h is k n o w l e d g e t h a n k s t o th e c l o ck -
m a k e r s o f t h e E n c l o s d e l 'a b b a y e d e S a i n t - G e r m a i n - d e s -
Pres, a m o n g w h o m there w e r e s u c h e x c e l l e n t a r t i s t s as
Jean-Francois
D o m i n i c e ,
M i c h e l
S t o ll e n w e r c k, H e n r i
E n d e r l i n , a n d P i e r r e d e R i v a z , w h o w e r e o n l y b e l a t e d l y o r
i n d e e d n e v e r a d m i t t e d as
masters.
Jean-Andre's first
d o c u m e n t e d u n d e r t a k i n g s i n
c l u d e d c o m m i s s i o n s f r o m t h e C r o w n . T h e h o r i z o n t a l
c l o c k
o f t h e
chateau
d e l a M u e t t e h a d a l r e a d y
been
o r d e r e d i n 1 7 4 8 .
2 1
I n 1 7 50 , w i t h t h e assistance o f h i s
b r o t h e r J e a n - B a p t i st e , h e ex e c u t e d a m o n u m e n t a l c l o ck
f o r t h e Palais d u L u x e m b o u r g ,
2 2
a c o m m i s s i o n w h i c h
earned
t h e m l o d g i n g s i n t h a t
b u i l d i n g .
T h e t w o b r o t h e r s
also e x e c u t e d h o r i z o n t a l c l o c k s f o r t h e V e r r e r i e R o y a l e
( R o y a l G l a s s w o r k s ) , f o r t h e
chateaux
o f S a i n t - H u b e r t ,
B e l l e v u e ,
a n d C h o i s y , a n d f o r t h e E c o l e
M i l i t a i r e .
Jean-
B a p t i s t e a n d h i s nephews c o m p l e t e d c l o c k s f o r t h e P a v i l
i o n
d e B a g a t e l l e i n 1 7 7 8 , f o r t h e H o t e l d e s I n v a l i d e s i n
1 7 8 4 , a n d f o r t h e H o t e l d e V i l l e i n 1 7 8 1 / 8 6 . T h i s l a s t c l o c k
w a s t o
become
t h e o b j e c t o f a f i n a n c i a l
l i t i g a t i o n
b e t w e e n
t h e m a n d t h e c i t y g o v e r n m e n t .
A l o n g w i t h these m o n u m e n t a l cl oc k s, J e a n - A n d r e
also
t o o k a n i n t e r e s t i n o r d i n a r y c l oc k s a n d i n w a t c h
m a k i n g , a n d h e u n d e r t o o k v a r i o u s e x p e r i m e n t s ( p a r ti c
u l a r l y
o n t h e
pendule polycamerat ique)
i n these
areas. Some
o f h is e x p e r i m e n t s w e r e u n d e r t a k e n
w i t h
h i s b r o t h e r ,
others w i t h t h e h e l p o f P i e r r e ( I I I ) L e R o y , w i t h w h o m h e
h a d " c o n t r a c t e d . . . t o create a firm b y w h i c h [ J e a n -
A n d r e ] i s e n t i t l e d t o execute a n d s e l l c l o c k s o f a n e w
1 8 0
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c o n c e p t i o n i n accordance w i t h clauses a n d c o n d i t i o n s
e s t a b l i s h e d b y s a id firm."
23
A
c o n f l i c t
c o n c e r n i n g t h e
a u t h o r s h i p o f v a r i o u s in v e n t i o n s c o v e r e d b y t h i s c o n t r a c t
u l t i m a t e l y
degenerated
i n t o a b a t t le o f p a m p h l e t s .
2 4
T h e Lepautes p r o d u c e d a l a r g e n u m b e r o f c lo c ks
a n d w a tc h e s , b o t h s i m p l e a n d c o m p l i c a t e d , a n d t h e q u a l
i t y o f t h e i r w o r k s , t o g e t h e r
w i t h
t h e i r c a r e f u l c h o i c e o f
cases,
earned
t h e m a s u p e r i o r r e p u t a t i o n . I n 1 7 66 t h e y
p u b l i s h e d t h e
Descrip t ion de p lus ieurs ouvrages d 'Horlo-
gerie.
25
T h e f a c ts p r o v i d e d b y t h i s t r e at i s e , t o g e t h e r w i t h
w h a t c a n b e l e a r n e d
f r o m
o t h e r
sources
p r o v i d e
some
i n f o r m a t i o n c o n c e r n i n g t h e L e p a u t e s ' c o l l a b o r a t o r s .
F o r b r o n z e cases, t h e y t u r n e d t o s u c h s c u l p t o r s a s
C l o d i o n , J e a n - A n t o i n e H o u d o n , Jean-Baptiste S t o u f ,
G i l l es - P a u l C a u v e t ,
2 6
a n d A u g u s t i n P a j ou ( f o r m o d e l s ) .
2 7
( I n m a k i n g c lo c ks f o r th e d u e d e B o u r b o n w i t h m o v e
ments
by L e p a u t e , H o u d o n
f o l l o w e d
d r a w i n g s b y t h e
a r c h i t e c t s L e C a r p e n t i e r a n d d e
W a i l l y . )
2 8
Jean-Jacques
E t a b l e de L a B r i e r e p r o v i d e d t h e m w i t h a d r a w i n g f o r t h e
case
o f a
pendule polycamerat ique,
29
a n d F ra n c o i s - J o s ep h
B e l a n g e r a d r a w i n g o f a c l o c k f o r t h e c o m t e d ' A r t o i s .
3 0
T h e Lepautes b o u g h t o r c o m m i s s i o n e d cases f r o m t h e
fondeurs-ciseleurs
( a n d s o m e t im e s also m o d e l e r s ) L u c -
P h i l i p p e
T h o m i r e
le pere,
31
R o b e r t a n d
Jean-Baptiste
O s m o n d ,
3 2
E t ie n n e M a r t i n c o u r t ,
3 3
F r a n c o i s V i o n ,
3 4
Jean-
C l a u d e D u p l e s s i s ,
3 5
L o u i s - B ar t h el e m y H e r v i e u ,
3 6
N i c o l a s
B o n n e t ,
3 7
Jean-Joseph d e S a i n t - G e r m a i n , M i c h e l Po i s -
s o n ,
Jean-Pierre
C o t t i n , a n d t h e w i d o w G a l l o is . T h e y h a d
some o f t h e i r o w n cases cast b y t h e fondeur C h a r l e s B e -
n a r d .
3 8
T h e y
also
c a l l e d u p o n t h e g i l d e r s a n d case-makers
L o u i s - F r a n c o i s G o b e r t ,
3 9
Jean G o y e r , a n d F r a n c o i s
R e m o n d .
4 0
W h e n m a r q u e t r y cases w e r e c a l l e d f o r t h e Lepautes
t u r n e d c h i e f ly t o th e
ebeniste
N i c o l a s P e t i t f o r
long-case
c l o ck s . E t i e n n e M a r t i n c o u r t p r o v i d e d P e ti t
w i t h
bronzes
f o r long-case
c l o c k s w i t h a s u n f l o w e r . L e p a u t e
also
o r d e r e d cases f r o m A n t o i n e F o u l le t , A d r i e n - J e r o m e J o l -
l a i n , B e r n a r d
( I I )
v a n R i s e n b u r g h ( a m o n g o t h e r it e m s f o r
a l on g -C a se c l o c k o r d e r e d b y M o n s i e u r B o n n e m e t ) ,
4 1
Jean-Baptiste L e p e n d u , F r an g o i s G o y e r, P h i l i p p e - C l a u d e
M o n t i g n y ,
B a l t h a za r L i e u t a u d ,
Jean-Francois
L e l e u , a n d
C h a r l e s - A n t o i n e S t a d l e r . T h e y also d e c o r a t e d t h e i r cases
w i t h
g i l t
b r o n z e a n d w i t h o r i e n t a l o r
Sevres
p o r c e l a i n ,
as
w e l l
as
w i t h
t e r r a c o t t a . F o r
watchcases
th e y t u r n e d ,
a m o n g o t h e r s , to L o u i s - F r a n c o i s L e f e v r e .
T h e L e p a u t e s ' s u b c o n t r a c t o r s f o r t h e m e c h a n i c a l
parts
i n c l u d e d t h e c l o c k - m a k e r s P i e r r e - H e n r y
M a l y -
v o i r e ,
4 2
Joseph T a v e r n i e r , Jean P u c e l l e , D a v i d - L o u i s
C o u r v o i s i e r , P r i v e t , Jean A r g a n d , J a c q u et - D r o z , Jean F o l
fils
43
Georges R o g e r ,
4 4
Jean F o r c h e r ,
4 5
a n d Joseph S y l -
v e s t r e .
4 6
M o s t o f t h e i r s p r in g s w e r e p r o v i d e d b y C l a u d e
R i c h a r d ,
a n d m a n y o f t h e i r d i a l s w e r e e n a m e l e d , a t
first
b y
A r r o u a r d , t h e n b y E l i e B a r b e z a t ( u n t i l 1 7 7 7 ) , a n d l a t e r
b y H e n r i - F r a n c o i s D u b u i s s o n an d G e o r g e s - A d r i e n
M e r l e t . I n 1 7 5 9 t h e y
used
t h e d i a l - m a k e r
D a v i d
a n d i m
p o r t e d b l a n k m o v e m e n t s f r o m S w i t z e r l a n d t h r o u g h t h e
C o u r v o i s i e r b r o t h e r s i n L e L o c l e , a n d t h r o u g h V i g u i e r
i n
G e n e v a .
T h e L e p a u t e s '
customers
b e l o n g e d t o b o t h
c i ty
a n d
c o u r t a n d i n c l u d e d L o u i s X V , M a d a m e d u B a r r y ,
4 7
t he
comtes
d e P r o v e n c e
4 8
a n d d ' A r t o i s ,
4 9
M m e s
V i c t o i r e
a n d
A d e l a i d e , t h e d u e de B o u r b o n , t h e duchesse d e M a z a r i n ,
t h e p r i n c e d e S a l m , t h e m a r q u i s d e B r u n o y , d e C o u r t a n -
v a u x , d e L a R o c h e f o u c a u l d , d e M a r i g n y , a n d d e Pange,
M .
B e a u j o n , F r a n c o i s B o u c h e r , G r i m o d d e L a R e y n i e r e ,
R a d i x d e S a i n t - F o y , R a n d o n d e B o i s s e t , a n d V a s sa l d e
S a i n t - H u b e r t . T h e y also p r o v i d e d a s t r o n o m i c a l c l oc k s
f o r
t h e
Paris
O b s e r v a t o i r e ,
5 0
f o r t h e k i n g ' s C a b i n e t d e
P h y s i q u e a t L a M u e t t e ,
5 1
a n d f o r J e a n - S y l v a i n B a i l l y ' s
p e r s o n a l o b s e r v a t o r y i n t h e G a ll e ri e s o f t h e L o u v r e .
5 2
O u t s i d e F r a n c e , M a d a m e I n f a n t e , t h e duchess o f Par
m a ,
5 3
P r i n c e C h a r le s o f L o r r a i n e , F e r d i n a n d
V I ,
C h a r l e s
I I I , a n d C h a r l e s I V o f S p a i n , a n d Q u e e n L o u i s e - U l r i q u e
o f S w e d e n o w n e d ex a m p l e s o f t h e i r w o r k .
5 4
T h e Lepautes s o l d m o s t o f t h e i r p r o d u c t i o n d i r e c t l y ,
b u t o c c a s io n a l l y , p a r t i c u l a r l y at t h e o u t s e t o f t h e i r
career,
t h e y w e n t t h r o u g h
marchands-merciers ,
s u c h a s S . H . d e L a
H o g u e t t e
5 5
o r C o s i ,
5 6
as w e l l a s p r o v i d i n g c l o c ks t o t h e i r
c o u s i n L e p a u t e d e B e l l e f o n t a i n e .
5 7
T h e i r
a c c o m m o d a t i o n s i n t h e G a l le r ie s o f th e L o u v r e
w e r e so c r a m p e d t h a t t h e Lepautes c o u l d n o t hope t o
e s t a b li s h a r e a l w o r k s h o p t h e r e .
5 8
T h e i r l o d g i n g s en t a i l e d
o t h e r advantages, h o w e v e r , a l l o w i n g t h e m t o e n j o y t h e
p r i v i l e g e s t h a t w e r e
associated
w i t h
these
grants
b y t h e
C r o w n .
T h e
Lepautes
o p e n e d a n
annex
i n t h e r u e d e
Sevres
a t L a C r o i x - R o u g e , w h i c h s o o n
became
t h e i r m a i n
w o r k s h o p . T h e y l a t e r m o v e d i t t o t h e r u e S a in t H o n o r e ,
o n t h e c o r n e r o f t h e r u e d e F A r b r e S ec , a n d , finally, f r o m
1 7 7 6 t o 1 7 8 9 ^ 0 t h e p l a c e d u
Palais
R o y a l .
T h e y also r e c e i v e d t h e t i t le s o f Horloger de S.A.S. le due
de Bourbon
59
a n d
Horloger de Monseigneur, comte d 'Artois.
60
T H E
P U B L I C A T I O N S
O F
J E A N - A N D R E
L E P A U T E
Copie d 'une let tre ecri te a Monseigneur le due de*** par le
Sieur
Le Paute Horloger du Roi , au pa la is du Luxembourg, ser
vant a la justification dudit Sieur Le Pau te, contre differentes
imputa t ions du S ieur Le Roi , fils a ine du Sieur Jullien le Roi,
Horloger
du R o i
( P a r i s , 1 7 5 2 ) . B i b l i o t h e q u e N a t i o n a l e
V 8 7 3 6 .
Replique
du S ieur Lepaute Horloger du Roi au Luxem
bourg
a un ecri t in t i tule Ref lex ion de M. Le Roy
LAine,
Fils
( P a r is , 1 7 5 2 ) . B i b l i o t h e q u e N a t i o n a l e V 8 7 3 8 ( n o t c i t e d b y
B a i l l i e
1 9 5 1 , w r o n g
date
i n T a r d y 1 9 8 0 ) .
B I O G R A P H I E S
1 8 1
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Memoire
sur Vechapemens a repos, Donne a I'Academie des
Sciences, le aout 1753, par Lepaute Horloger du Roi au Lux
embourg
a Par is (Paris:
Jacques
Cha rdo n, 1753). B i b l i o
theque Nationale V 8741 (not ci ted by B a i l l i e 1951 or
Tardy 1980).
Description dun echapement a repos et a chevilles dont les
leviers sont egaux £s? naturels, mis a son point de perfection par
Lepaute,
Horloger
du Roi, au Luxembourg a
Par is
£s?
presente
par
lui a Sa Majeste, a Marly, le 23 mai 1753 (Paris: Veuve
L o t t i n , 1754). Bibli othe que Nation ale V 8739.
Reponse
du Sieur Le Paute, Horloger du Roi, au Luxem
bourg,
a une lettre du Sieur Caronf i ls (Paris: Veuve
D a v i d ,
1753). Biblioth eque Nationale V 8742.
Traite d'Horlogerie contenant tout ce qui est
necessaire
pour
bien
connaitre and pour regler les Horloges et Les Montres . . .
(Paris: Jacques C h a r d o n pere, 1755).
Description dune nouvelle pendule policameratique; pour
servir de Supplement au Traite d'Horlogerie (Paris: Cha rdo n,
1760). This small publication appeared in the catalogue
o f
th e
L i b r a i r i e
Thoma s-S che ler , n. s. 13 (Paris, 1989), no.
756 (not cited by B a i l l i e 1951 or Tardy 1980).
Description de plusiers ouvrages d'Horlogerie (Paris:
Jacques Ch ard on, 1766).
Traite
d'Horlogerie contenant tout ce qui est necessaire
pour
bien connaitre et pour regler les Horloges et Les Montres . . .
accompanied by Description d'une pendule policameratique
an d Description d'une pendule a seconde qui marque le temps
moyen et le temps vrai sans etre expos ee aux inconvenients qu'on
a
remarques jusqu'a present dans les pendules a equations
(Paris: Samson, 1767).
NOTES
1. See in parti cula r A . N . , M i n . , L X I V , 3 6 6 , October
2 8 ,
1758,
a n d A . N . , 0
1
1 6 7 3 , dos. 11 (memo randa of 1 7 7 5 ) .
2.
Gabriel-Joseph Lepaute [ 1 7 9 3 - 1 8 8 2 ; son of Pierre-Bazile
Lepaute], "N otice Histor ique sur la Famille Lepaute." T he
information
in this manuscript was k i n d l y communicated
to the authors by M i c h e l Henry-Lepaute. Unless otherwise
noted, al l biograp hical material is derived f r o m this
source.
3 . Lalande 1 8 0 3 , pp .
6 7 6 — 6 8 1 .
4 .
A . N . , Y 1 1 5 6 7 , Jean-A ndre Lepaute's co mplain t of Octo
ber
2 6 , 1 7 5 1 ,
against Pierre Le Roy
fits.
This is the period
during
w h i c h he produced the various clocks bearing the
signature "Le
Paute,
Hor loger du Roi au Luxembourg ."
Concerning the various applications of the term
Horloger
du
Roi and the distinctions between them , see Aug arde
1 9 9 6 .
5 . A . N . , 0*1069.
6.
A . N . , E* 1 3 4 0 A , no. 6, and A . N . , Y 9 3 2 8 .
7 . A . N . ,
M i n . ,
L X I V , 3 6 6 .
8 .
See note 1.
9.
See note 3, p. 67 7.
1 0.
I b i d .
1 1 . A . N . , M i n . ,
X V I I I , 9 8 2 ,
5 Ventose A n X , inventory after
the death o f Jean-Baptiste Lepaute.
1 2.
A . N . , M i n . , L X I V , 3 6 6 , October
2 8 ,
1 7 5 9 , Jean-Baptiste
Lepaute's marriage contract.
1 3. See note 1. Patent dated September 2 7 ,
1 7 7 5
( A . N . ,
O
1
1 6 7 3 , dossier 12 ) .
1 4 . A . N . , Y 9 3 9 3 . T hey satisfied the demands of the Corpora
t i o n des Hor loger s. On this poin t, see A . N . , O
1
1 6 7 3 , dos.
12 .
1 5.
A . N . , M i n . , X C V I ,
5 5 3 ,
May 14, 1 7 8 9 , deed of transfer.
1 6 . A . N . , M i n . , X X X I V ,
6 4 0 ,
August 4 , 1763.
1 7.
He marr ied his cousin Anais Lepaute, daughte r
o f
Jean-
Joseph Lepaute (called Collignon) and maintained his
father-in-law's workshop u n t i l 1 8 3 4 under the business
name of "Henry neveu Lepaute." I n 1 8 5 0 he merged his
business w i t h the factory of his cousins Lepaute & Fils,
under the name "Henry-Lepaute." Only i n 1 8 5 4 did he
receive permission f r o m the Conseil d'Etat to use the
name "Henry-Lepaute."
1 8. See note 16.
1 9 . A . N . , M i n . , X C V I , 5 5 3 , attachment to the contract of asso
ciation o f May 14 , 1 7 8 9 , "lease by private treatise delivered
by
J. B . Lepaute to the citizen Henry on 7 Vendemaire An
V I I " (quoted in the inventory , see note 1 1 ) . See also the
Almanack Azur ( 1 8 0 6 ) and the Alman ack Indicateur pour les
Etrangers ( 1 8 0 6 ) .
2 0 . "Already in 1 7 4 0 , the late M . Aman t, to whom I commu ni
cated my thoughts . . ." in J.-A. Lepaute, Memoire sur
V e
chapemens a repos . . . (Louis Ama nt, master clock-maker on
October 1, 1 7 2 5 , invented an echappement a repos and a cad-
rature
de
pendule,
w h i c h
were publ ished by Th io ut in his
Traite d'Horlogerie)
2 1 . A . N . , O
1
2 2 4 9 ,
fo l .
239.
2 2 .
I b i d . ,
fo l .
238.
2 3 .
See note 4.
2 4 .
See J.-A. Lepau te,
Copie
d'une lettre
ecrite
a . . . ; P. Le Roy,
Reflexion
de M. Le Roy L'Ainefils, sur un Ecrit intitule,
Copie
d'une lettre . . . (Paris, 1 7 5 2 ) (Bibliotheque Nationale Impr.
V
8 7 3 7 ) ; and J.-A. Lepaute, Replique du
Sieur
Lepaute . . .
2 5 .
This book is not mentioned in
Bai l l ie
and Tardy's
b i b l i o g
raphies re garding the
measurement
o f
time,
but Tardy
does quote a passage
f r o m
it in his Dictionnaire de s Horlogers
Franqais ( 1 9 7 4 ) , pp .
3 7 8 , 3 7 9 ,
3 8 4 ) , datin g it 1 7 6 6 . This
publication is extreme ly rare an d is not fo und i n the major
libraries.
We used the copy i n Jean-Claude Subrier's
collection.
2 6 .
J.-A. Lepaute,
Description
de
plusiers
ouvrages
d'Horlogerie
( 1 7 6 6 ) .
2 7 . I b i d .
2 8.
The marquis de
Marigny's pendule
polycameratique was
crowned w i t h a putto representing T ime by Hou don
(sale, Paris, May 4, 1 7 8 5 , lot 12 ) .
2 9 . J--A. Lepaute, Description d'une nouvelle
pendule
polycamera
tique. Jean-Jacques Etable de la Briere ( 1 7 1 6 - 1 7 8 5 ) was
Jean-Andre Lepaute's brother-in-law.
3 0 . A . N . ,
R i
3 2 4 ,
and
A . N . , M i n . , L X I V ,
3 6 6 ,
October 28,
7 5 9 -
3 1 . See note 7 and Archive s de la Seine, B5 B 6 , 4 5 7 1 , Luc-
Philippe Thomire's daybook.
3 2 . See note 7.
3 3 .
See note 26 .
3 4 .
I b i d .
3 5 .
I b i d .
3 6 .
A . N . , M i n . , X X V I I , 4 0 7 , December 19, 1 7 7 9 , a nd A . N . ,
M i n . , X X V I I ,
4 2 7 , November 1 1 , 1782.
182
BIOGRAPHIE S
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37 - Archives de la Seine, D 5
B 6 ,
4 4 7 , Nicolas Bonnet's
daybook.
3 8 .
See note 7 and A . N . , M in . , L X X X V , 5 8 2 ,
September
8,
1 7 6 4 .
3 9 .
Sale, Paris, February 17, 1 7 7 7 , lot 3 3 7 .
4 0 . Information k i n d l y provi ded by Christian Baulez.
4 1 . Bonnemet's equation clock was housed i n a case by Ber
nard, w h i c h , in the eighteenth century stood for Bernard
( I I ) van Risenburgh (sale, Paris, A p r i l 12,
1 7 7 1 ,
l ot 1 2 7 ) .
The description of the
case
corresponds to that of a long-
case clock now at the Gulb enkian Foundation i n Lisbon
( i n v . 1 9 5 ) .
4 2 . M a l y v o i r e worked as a finisher f o r Julien Le Roy and the
Lepautes. See J.-A. Lepaute, Memoire sur I'echapemens . . .
4 3 .
See note 7.
W i t h
the exception of
A r g a n d ,
none of
these
clock-makers had yet
been
received as
masters
in 1759.
4 4 . Archives de la Seine, D 4 B
6
,
balance
sheet of October 25,
1 7 6 7 . Georges Royer,
compagnon
horloger, also worked for
Delunesy and Biesta.
4 5 . A . N . , E*
1 3 9 1 B , decree
of the Conseil d'Etat du Roi of
August
2 8 ,
1 7 6 4 , document 18.
4 6 .
A . N . , O
1
1 6 7 3 , dos.
1 0 ,
letter f r o m the marquis de Mar-
i g n y
to the architec t Jacques-Germain Soufflot, Mar ch 2 1 ,
1 7 5 7 -
4 7 .
Bibliotheque Nationale, Manuscrit Francais, 8 2 5 8 ,
fo l .
32,
receipt fo r a watch valued at 5 , 0 0 0 livres delivered in 1 7 7 0 .
4 8 .
A . N . , F
1 7
1 2 6 6 - 1 .
4 9 .
A . N . , R
1
3 1 7 , R
1
3 2 4 , R
1
3 7 9 and O
2
4 7 0 .
5 0 .
Jacques Domi nque Cassini, Memoir es pour Servir a
I'Histoire
de s
Sciences .
. . (Paris,
1 8 1 0 ) ,
p. 208.
5 1 . A . N . , O
1
1 5 8 4 , doc.
4 4 ,
memo randum by Lepaute con
cern ing an astronomical clock intended for a cabinet at La
Muette, see Ronfort 1989.
5 2 .
Memoires
de
VAcademie des
Sciences
pour I'annee ij66 (Paris,
1 7 6 8 ) .
5 3 . Archives of Parma, CBf, cart. 4 6 , letter
f r o m
Lepaute,
7 5 2 -
5 4 .
See note 50 and J.-A. Lepaute, Memoire sur I'echapemens. . .,
i n
w h i c h
he
describes
hims elf as "overwhelmed
w i t h
w o r k
f r o m the courts of Naples and of Spain."
5 5 . A . N . ,
M i n . ,
X C V I I , 3 4 6 , May 15, 1755.
5 6 .
A . N . , V
3
7 7 B , contract o f December
2 0 ,
1758.
5 7 .
See note 1 1 . Th is invento ry contains a note concerning a
d e l i v e r y
o f clocks b y
Jean-Baptiste
Lepaute to Lepaute de
Bellefontaine and back interest owed by the latter to
N ic o l e
Etable, wife
o f
Jean-Andre Lepaute.
5 8 .
See note
4 6 .
The letters of Soufflot and the marquis de
M a r i g n y
d w e l l upon the small size of the space located
above the archways of the Louvre, w h i c h constituted
Jean-
Andre Lepaute's f o u r t h
l o d g i n g ,
obtained upon the resig
nation of the g o l d s m i t h Jacques Roettiers.
5 9 . C ha n t i l l y ,
Conde
A r c h iv e s ,
AC 7, authorization o f
January
4> 7 7 3 -
6 0 .
See note 30 .
T H E CHA RLES LE ROY WOR KSH OP
T h e signa tur e "Charl es Le Roy" was i n use b etwee n
1734 and the en d of the eighte enth c entury. U n t i l about
1770, it i d e n t i f i e d movements pro duce d by the workshop
o f Charles Le Roy. A f t e r that
date,
it was
used
by his son,
Etienn e-Aug ustin Le Roy.
Charles Le Roy was born in 1709
1
and died on Octo
ber 2,
1 7 7 1 .
2
He mar rie d Marie-Mad eleine Bercher (died
o n
A p r i l 8 1776),
3
who bore him at
least
four sons:
M i c h e l - N i c o l a s
(17 34-1 803) , a lawyer at the Parlement de
Paris, who later became a parish priest in Nanterre;
Et ienne-August in,
Hor loger
du Roi ( f r o m 1737 u n t i l after
1792); Norbert, a priest; and Jacques
Prosper
(died after
1790), a marchand-mercier.
4
He was admitted to the Paris
g u i l d
as a master clock-
maker on August 16, 1733.
5
His workshop was located
first
i n
the rue des
Precheurs,
6
then, starting in 1745 at
the latest, in the rue Saint-Deni s, on the corner of the r ue
d u
Signe, opposite the churc h of Saint-Leu.
7
Etienn e-Augu stin Le Roy was bor n in 1737
s
and d ied
after 1792. He was ad mi tt ed to the Paris
g u i l d
as a master
clock-maker on November 22, 1758.
9
He assumed or
received the
t i t l e
o f Hor loger du Roi at an uncertain
da te .
1 0
I n
al l l i k e l i h o o d he worked w i t h his father before contin
u i n g
his activities un de r the
name
o f "Charles Le Roy" in
th e
same
premises.
11
He sold his stock, betwe en 1792 and
1799, to Gaspard Cacha rd, wh o pur sued his trade i n the
same
premises un de r the trade name "Cac har d, Succr. de
C h .
Le Roy."
12
T h e
absence
o f notarized deeds of the k i n d cited in
connect ion w i t h the oth er biogra phies i n this book does
not preclu de the con ten tio n that Charles and Etienn e-
A u g u s t i n Le Roy were both
b r i l l i a n t l y
successful an d
wealthy.
13
Th re e factors sup por t this conclusi on: the
Charl es Le Roy fami ly's rise in society, the lo cat ion o f the
L e
Roy's works hop , and its activities.
T h e fami ly's rise in society can be established by fo ur
observations. The first o f
these
is the fact that M i c h e l -
N i c o l a s ,
eld er son o f Charl es Le Roy, was i n a posit ion to
become an advocat (l awyer ) at the Parl eme nt de Paris, an
obvious sign of accrued we alth . Th e second is the decision
b y Charles Le Roy, as early as 1764, to establish for his
w i f e an d him self a perpe tual fou ndat ion for the saying of
masses.
14
T h e
t h i r d
is the t i t l e o f
Hor loger
du Roi, w h i c h
Etienne-Augustin Le Roy was allowed to
assume
as a
result o f his deliv eri ng clocks and watches di rectl y to
L o u i s X V I .
1 5
T h e last is the
appearance
of Etienne-
A u g u s t i n Le Roy on the electoral lists at a time when a
man's r i g h t to vote dep end ed on the
state
o f his fortu ne.
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Ano the r consid eration is the location of the
w o r k
shop, w h i c h sto od, by 1748, in the rue Saint-Denis, wher e
i t
was to remain for over
s i x t y
years. A t that ti me this
street and the rue Sain t-Hon ore were the two tho rou gh
fares on
w h i c h
a ll the l u x u r y
trades
of the capital were
assembled. Charles Le Roy's choice of loca tion is indic a
t i v e
o f an am bit ion deservedly rew arded , since his
estab
l ishment
is ment ioned w i t h praise on a par w i t h that
accorded to Juli en Le Roy, Ferd ina nd Ber tho ud, or the
V o i s i n s
i n the p r i n c i p a l almanacs o f the second
h a l f
of the
eighteenth century.
Th e Charles Le Roy wo rks ho p was mostly devo ted to
watches. By 1765, the num be r pro duc ed had reached
2,340.
1 6
Th is implie s an annual pr odu cti on of about
eighty
items an d was practica lly equiva lent to that of
Juli en Le Roy or Jean-Baptist e B a i l l o n . The workshop's
produc t ion
grew
s w i f t l y
after the a r r i v a l of Etienne-
A u g u s t i n ,
reaching 4,000 before 1772.
1 7
Th e num ber
10,347 i
s
fou nd on a watch a complications ( w i t h t he days o f
the week and other indications) f r o m the mid-1790s .
18
These
figures do not include a gr oup of u nn um be red
watches for w h i c h it is ha rd to dete rmin e whet her the sig
natures are apocryphal or whether the
absence
of num
bers was intent ional .
1 9
I t appears that the Le Roys used
many watchcases i m por t e d f r o m Switzerland; the
o n l y
suppl iers i n Paris that we have been able to i d e n t i f y are
Moyse Du clo ux and Pierre de Mon cha nin .
Th e Le Roys' pr od uc ti on of clocks was unus uall y
s m a l l
u n t i l
about 1760.
Case-makers
who supplied the
workshop include Joseph de Saint-Germain, Ant oin e
F o u l l e t ,
Jean
Pecourt, Francois Du ha me l, an d Francois
Goyer for woo d
cases
veneered w i t h marquetry, the Caf-
fieris
and
Jean-Joseph
de Saint-Germain for those i n g i l t
bronz e. Later o n in the century, probab ly at the i n i t i a t i v e
o f
Et ie nne-Aug ust in, this prod uct i on w o u l d noticeably
increase.
20
The workshop's suppliers at that time
i n c l u d e d th e fondeurs-ciseleurs Jean-Louis Beaucourt,
Francois V i o n , Jean-Joseph de Saint-Germain, Etienne
M a r t i n c o u r t ,
Pierre V i e l , Robert and Jean-Baptiste
Osm ond , Jean-Baptiste Zaccon, Jean-Nicolas Fremon t,
A u g u s t i n
Le
M i r e ,
Eti enne Blavet, and Francois Rem ond .
L i t t l e
is kno wn about the collaborators who prov ide d
mechanical parts. Charles Le Roy had at least two ap
prent ices , Phi l ippe Ar ma n d
2 1
and Jacques-Denis Lema-
zur ie r .
2 2
He also employed the clock-makers Antoine
Francois
2 3
and Florent Lecomte.
2 4
For clock-springs the
L e Roys c h i e f l y tu rn ed to the Richards, father and son.
The workshop's clientele was
l i k e
that of the oth er
great clock-makers o f the day. It includ ed Louis
X V I ,
his
brother, the comte de Provence, M i l e de Clermont (a
princess o f the bloo d), Messieurs Bergeret, de Mo nt ho -
l o n ,
an d de Bonne val, as w e l l as the court s of Sweden and
Saxony among others.
Th e inv en tor y of the king's clocks and the Gard e
Meub le o f Janu ary 1, 1788, lists nin e clocks signed
"Charles Le Roy,"
w h i c h
we re al l, at the tim e, in Louis
X V I ' s priv ate apartments in Versailles.
25
At least three o f
these
were models by V i o n a nd two were by Osm ond . A n
i n v e n t o r y o f the clocks be lon gin g to the Men us Plaisirs
und erta ken by Robert Robi n in 1793 mentions a ten th
c l o c k , w h i c h can be i d e n t i f i e d as the one in the Ge tty
Museum (cat. no. 16).
2 6
S i x o f the n ine clocks on the
first l is t
undoubte dly cor
respond to those men tio ned i n the personal accounts of
L o u i s X V I (paymen ts made to Le Roy betwee n 1773 and
1777). These accounts also mention a watch f r o m the
same w or k s hop .
2 7
It has not been de term ined how
Etienne-Augustin Le Roy entered the personal service of
L o u i s X V I , who was the n Daup hi n. He had an o f f i c i a l
p o s i t i o n ,
since he rece ive d a salary o f 474 livres and a pen
sion of 200
l ivres
an nuall y. Th e salary came to an end
when Louis X V I ascended the throne in 1774. The k i n g
nonetheless pu t his tru st in the clock-maker since he reg
u l a r l y dispatched h im on various errands u n t i l 1791 (i n
particular to settle several b i l l s sent by the
l i b r a r i a n
B l a i -
z o t ) . I t appears in any event that Etienn e-Aug ustin Le
Roy was clearly ent itl ed to
assume
the t i t l e
Hor loger
du Roi.
N O T E S
1. A large num ber of clock-makers w i t h the name Le Roy or
L er o y p l ied th eir trade i n Paris in both the seventeenth
and eighteenth centuries. They were often unrelated. The
artist
under discussion, for instance, was unrelated to the
f a m i l y
o f
Julien
Le Roy (see biogr aphy i n this volume),
although
one of the latter's brothers was named Charles
and was also a clock-maker.
2.
His tomb is in Saint Genevieve's cathedral in Nante rre. His
epitaph reads: "Here,
a w a i t i n g
the glorious Resurrection,
lies
Charles Le Roy, Clock-maker in Paris, Bourgeois of
Nanterre, Deceased on 2 Octob. 1 7 7 1 . aged 62 years.
Rel i
g i o n loses one of it s most
f a i t h fu l
disciples.
Fi l led
w i t h its
S p i r i t , he revered al l the Mysteries, he knew its True
M a x i m s and put them i n t o practice. This temple loses
an e d i f y i n g m odel of fervor and piety, the Poor and the
Unfortunate
a recourse and a comforter, the Parish, an
exemplary man, w ho assembled al l the c i v i l and moral v i r
tues, an o b l i g i n g man who sought o n l y to do good, Chris
t i a n Y o u t h , a fathe r who encouraged it to Science and to
V i r t u e by kindnesses o f various sorts. Hocce amoris
& f
reve-
rentice
Monumentum Plaudente Pago, Pusuerunt Moerentes
Fului, 1 7 7 8 . " ( Epita ph by R. P. Bern).
3. Archives Brateau .
4 . Death certificate of Nicolas-Jacques J u l l i a r d , dated A p r i l
2 0 , 1 7 9 0 , published b y J. J. Guif f rey, Etat-Civil de s tapissiers
de s Gobelins . . . (Paris, 1 8 9 7 ) , p. 38.
5 .
Liste
1 7 4 8 .
6. A . N . ,
M i n . , X X X ,
2 5 9 , Mar ch 6, 1 7 3 4 .
7 . A . N . , M i n . , X X , 5 8 7 , July 2 1 , 1745.
8. E. Chavaray, Assemblee Electorate de
Paris
(10 nov. 1790-15
juin 1791) (Paris, 1 8 8 0 ) , p. 25.
9.
A . N . , Y 9 3 8 6 .
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w h i c h he invented a special repeating mechanism, and
t w o
repeating watches, " w h i c h are the first t o have b een
made w i t h a featu re tha t allows His Majesty to remove the
c l o c k - f a c e
i n ord er to see the clo ckworks revealed."
21
The
f o l l o w i n g year he applied the same in ven ti on as in th e
k i n g ' s w a l l
cl ock to s i m p l i f i e d repea ting clocks, the
first
o f
w h i c h was intended for the comte de Clermont.
2 2
From
then on he never
ceased
produ cing works of
h i g h
tech
n i c a l q u al i ty , i n c l u d i n g t hree astron omical clocks, one of
w h i c h , "whose accuracy appe ared marve lous ," was used
b y Pierre-Louis Mor eau de Maup ertuis du ri ng his voyage
t o
t he A r c t i c C ircle in 1 736.
2 3
The other two astronomical
c l o c k s were made for Jacques ( I I ) Cassini at the Paris
Observatoire and for
Jacques ( I I I )
Cassini for use in his
astron omical and geodesic operati ons i n the south of
France.
2 4
I n 1740 Le Roy inv ent ed the
"bate
levee," by
suppressing the bate
o f
th e
case
for the repeat ing watches,
w h i l e
adding a bate to the d i a l , w i t h i n
w h i c h
th e t r a i n o f
the movement was lodged.
2 5
I n 1755 he added to the
w o r k s
o f the rep eati ng watches a small anchor escape
ment, the
f u n c t i o n
o f w h i c h was to regularize the
t r a i n
o f
th e c a r i l l o n .
2 6
Meanwh ile, together
w i t h
his son Jean-
Baptiste,
he wr ot e several articles on clock- an d watch
m a k i n g for the Encyclopedic
L e
Roy's workshop produ ced a large numbe r
o f o r d i
nar y watches and clocks to satisfy the heavy de ma nd
r e s u l t i n g f r o m
his reputa tion . W h i l e it is impossible to
det erm ine the numb er of clocks w h i c h Le Roy
h i m s e l f
or
his
assistants
may have made, i t is kn ow n that he p ro
duced over 3,500 watches.
27
This amounts to an average
o f one hu nd re d movements a year and, taki ng holidays
i n t o
account,
2 8
impli es that he prod uce d a watch in
less
tha n three days. By comp aris on, the work sho p o f Jacques
G u d i n
produced no more than fifty a year
2 9
and that of
Fe rd inand Ber thoud t h i r t y to fifty.
30
Th e numb er of
watches attributed to Le Roy, to w h i c h shou ld be add ed
the m ovem ent s o f his clocks, allows fo r the fact that he
subcont racted all or part o f this ong oin g a c ti v i t y , w h i c h
was nonetheless carr ied out under his supervisio n.
H i s
collaborators for the mechanical parts included
n o t o n l y his apprentices, who sometimes became h is com-
pagnons , Antoi ne Campary,
3 1
Rene Senard,
3 2
L o u i s - D a v i d
Car re ,
3 3
Jean Vernede,
3 4
and Joseph Sylvestre,
35
bu t first
and foremost his
sons
Pierre and Jean-Baptiste,
36
his
b r o t h e r - i n - l a w
Pierre Senard, his nephews S enard an d
D e l a f o n d , and his cousin Francois
B e l i a r d ,
as
w e l l
as
P i e r r e - H e n r i
M a l y v o i r e ,
3 7
Abraham Bar tho lony ,
3 8
Marc
Y v e r ,
3 9
A my Dentan ,
4 0
Jean-Philippe Pl an,
4 1
D a n i e l -
Samuel Plattel,
4 2
Antoine Francois,
43
and Frangois
D u b o i s .
4 4
F or springs he mo stly tu rn ed to the Blakeys,
father and son.
4 5
A n t o i n e - N i c o l a s M a r t i n i e r e was already
p r o v i d i n g h i m
w i t h
dia ls ,
4 6
as was Nicolas J u l l i e n
4 7
and
p o s s i b l y E l i e
Barbezat,
4 8
i n 1731.
There is no known instance,
w i t h
the exception of a
f e w
prototypes, of movements by Le Roy being
w i t h o u t
a
case
o f g o o d q u a l i t y . Th anks to his reput ati on, he was very
soon in a position to free
h i m s e l f f r o m
the demands of
the commercial circuits in order to sell his production
d i r e c t l y .
As a result, his relationship
w i t h
the makers of
c l o c k - a nd watchcases a nd
w i t h
th e marchands-merciers was
regu late d exclusively by the pr inc ipl e of supply a nd
demand.
I t can be assumed tha t he freel y chose his cases except
w h e n
the cli ent imp osed his own taste. Such was the
case
w i t h th e cartel created f or Louis X V in 1728. Th e marqui s
de Beri ngh em , who commissio ned the piece, reserved
th e
r i g h t
to have the
case
made at his conveni ence and
accordi ng to his drawi ngs. The cl ock-maker accepted this
c o n d i t i o n , and "he so
w e l l
succeeded that it has been gen
e r a l l y
appro ved and adm ir ed, bot h by connoisseurs and
b y people of good taste."
49
Made of g i l t bronze and
c r o w n e d w i t h
a figure sy mbol izing Da wn ,
5 0
it was exe
cuted by the fondeur-doreur Nicolas Le Sueur,
51
who made
a copy of it for Bo nni er de La Mos son .
5 2
A clock
w i t h
a
case
by C a f f i e r i , now in Waddesdon Man or in England ,
was also the result of a special commission,
5 3
as was t ha t
b e l o n g i n g
to the marquis de Puyseult
w i t h
a
case
by
Frangois-Thomas Germain,
w h i c h
was described thus in
1770:
" I t e m
one l arge cl ock, by Jul ie n Leroy, i n its case,
made by Germain, Sculpteur Ordinaire du Roy, repre
senting the Fates, estim ated . . . 3000
L . "
5 4
W i t h
these exceptio ns, as far as clocks are conc erne d,
J u l i e n
Le Roy
seems
to have had a continuous relation
ship
w i t h
Andre-Charles B o u l l e
5 5
and his son Andre-
Charles
( I I )
B o u l l e ,
5 6
w i t h
w ho m he shared the custom of
the prince de Carignan.
5 7
D u r i n g the 1730s, he installed
equation movements in
pedestals
and w a l l cases by
Charles Cressent .
5 8
Henry Hahn, who was called Le
C o c q ,
5 9
Nicolas-Jean Marchand, Jean-Pierre Latz,
A d r i e n Dubois ,
6 0
Anto in e Foullet, An to in e Gosselin, and
Balthazar Lieuta ud also provid ed hi m
w i t h cases.
Somewhat befor e and also du ri ng the Neoclassical
p e r i o d , t he signat ure " Julien Le Roy" was regul arly asso
c i a t e d
w i t h
gilt-bronze
cases,
th e dates o f
w h i c h
often
i n d i c a t e
that they were executed after his death; in other
w o r d s , as we
i n i t i a l l y
pointed out, they were made for
Pierre
( I I I ) .
These
wor ks are the r esult of collaborations
between Pierre and Phil ippe and Jacques ( I I ) C a f f i e r i ,
6 1
Jean-Joseph
de Saint-Germain,
6 2
Edme Roy,
6 3
and Rob
er t Osmond.
6 4
As far as watches are concerned,
o n l y
the
c l o c k - m a k e r
Joseph Q u e t in
6 5
has so far been i d e n t i f i e d as
a supplier of watchcases.
O n l y on e marchand-mercier is kn ow n to have been a
customer o f Le Roy: Lazare Duva ux, to wh om he sup
p l i e d movements for clocks decorated
w i t h
Vincennes
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p o r c e l a i n
flowers a nd Meissen porce lai n figur es. These
items were s old to Loui s XV , to the due de Parme, to
Mada me de Pomp adou r, to the due de Bou rgo gne, and to
the comte du L u c .
6 6
L e Roy's features are k no wn to us th ro ug h a paint
i n g by Perronneau,
w h i c h
was engraved by M o i t t e .
6 7
His
haughty visage hardly
does
justi ce to the cordia l char
acter o f the m an as revealed by the tes tim ony of his
contemporar ies.
6 8
H i s a b i l i t y
to assimilate the most advanced scientific
knowledge
o f
his day should be
stressed.
His membershi p
i n
the Societe des
A r t s
allowed hi m to meet nume rous
scholars and
d i l e t t a n t i
o f v a r y i n g social origins, opinions,
and specializations, and his theoretical treatises gave him
entree
i n t o
scholarly circles.
I t appears certain that he collected objects related to
his art, but th e lack of an inven tor y after his death pre
vents a determi nati on of the
scope
o f his c o l l e c t i o n and of
the nature of his other
tastes.
69
We do know that Pierr e
Gau dro n wanted hi m to inh erit the
first
French equation
c l o c k
(produced in 1688 by his father Antoine Gaudron)
and a duplicate
o f
one he h i m s e l f had b u i l t for the Regent
i n
1717, as
w e l l
as an equinoctial sundial by
M i c h e l
But-
t e r f i e l d , w h i c h was no doubt rare.
7 0
He also acquired a
long-case clock a complications by Claude ( I I I ) M a r t i n o t i n
a
case
by Juste-Aurele Meissonnier,
71
and he acquired
f r o m his colleagues vario us examples o f t h e i r inventions.
7 2
L e Roy's fortune amounted to about 200,000
livres
at
the tim e of his death. His investment i n stocks amo unt ed
t o
108,000 livres, w h i c h yielded an annual income of
6,126 livres. Most
o f
th e remai nde r is accounted for by two
houses
in Paris, one i n the ru e
S a i n t - M a r t i n
"A
1'Enseigne
de la Cloche," the other i n the rue de Hu rep oi x, w h i c h
was rented for a t o t a l o f 3,050
l ivres
per year, and one h a l f
o f
a house i n
V e r n e u i l
near Chatellerault (the other
h a l f
o f
w h i c h belonged to his
w i f e ) .
7 3
The tools and stock of
the workshop were valued at o n l y 8,422
livres.
Thi s rela
t i v e l y low
figure,
together
w i t h
the fact that the
o n l y
credit
appearing in his accounts consisted of a note f r o m the
chevalier de L ' H o p i t a l d ated May 8, 17 51, impli es that
J u l i e n
had in fact ret ire d, in favor of his elder son Pierre,
some years before his death i n 1759. Thi s seems plausible
since he was th en seventy-t hree.
J u l i e n
Le Roy must be acknowledged as the most
famous French clock-maker of the eighte enth centu ry.
H i s r eputa t ion rests upon the fundame ntal cont ribu tion
he mad e t o the pr eci sio n o f watches and clocks. His
mechanical discoveries, adopted by the most able of his
colleagues, contributed not
o n l y
to the renewal of Pari
sian clock production but also to a healthy r i v a l r y in the
p u r s u i t
o f research re lated to the measurem ent of tim e.
The numerous solutions that were thus found gradually
raised France to the
f r o n t
ran k of all clock- making
nations, d e p r i v i n g En gl and of the pri macy it had enjoyed
i n this area under the last Stuarts, and
w h i c h
i t was n ever
t o
recover.
L e Roy's
w o r k
encompass ed the thre e classic divisi ons
o f
his art: large mo nu men ta l clocks, ord ina ry clocks, and
watches. I n the first
field
he perfected h o r i z o n t a l works so
that they
w o u l d
m ar k bo th mean time and solar
t i m e .
The
monu ment al clock of the H o t e l des Missions Etrangeres
was a
b r i l l i a n t
example of this.
7 4
As far as smaller clocks
were concer ned , he dev ote d his research t o equa tio n
movements, showin g and s t r i k i n g solar time , and to
repeating movements. As for watches, his a c t i v i t y has
been perfectly summarized in the
Encyclopedic:
"He took
a ll
that was best in French and English
w a t c h - m a k i n g .
He
suppressed the latter's doubles boites, chimes, a nd all the
secrets
w h i c h made the works mor e
d i f f i c u l t
to take apart
and rep air; i n the fo rm er he elimin ated the pointless
ornaments w h i c h decorate the piece
w i t h o u t im p r o v i n g
it .
A n d
finally
he creat ed a compo site
f o r m
of watch
m a k i n g ,
i f
one can express the matter i n such terms, mak
i n g i t simp ler in its effects, mo re conve nient to b u i l d , and
easier
to repair and to main tain ."
7 5
L e
Roy's wor ks were oft en present ed at eith er the
Academie des Sciences or the Societe des A r t s and were
p u b l i s h e d
in various jour nals,
i n c l u d i n g
th e
Mercure
de
France, th e Journal de Trevoux, or the
Memoir
es de 1'Academie
Royale des
Sciences.
A few rep ort s made before the Societe
des
A r t s
seem to have remaine d in part unpub lis hed.
7 6
I n
1 7 4 1 ,
upo n the p u b l i c a t i o n o f one o f his discoveries in t he
Mercure de France, he decla red "its usefulness to all the
most comp licat ed watches
appears
so considerable to me
that I hasten to pub li sh it so that my colleagues may take
advantage o f it sooner rat her th an later."
77
This utterly
mo de rn open-mindedn ess, so cont rary to the not ion
o f
protecting one's technical
secrets,
no doubt explains
the strength
o f
his influence in the pre-encyclopedic circle
i n
Paris.
78
H i s
contemporaries praised both the man and his
w o r k .
I n England, George Grah am pai d him a cordial
c o m p l i m e n t
i n speaking o f one o f his works: " I w i s h I
were no t so ol d i n or de r that I mi gh t make watches after
t h i s
mode l . "
7 9
I n France his talen t was hail ed by me n of
letters
l i k e
V o l t a i r e
who, in 1745,
t o l d
one of Le Roy's
sons, "the marechal de
Saxe
an d your father have beat en
the English."
8 0
Th e scientist Jacques (I I) Cassini,
w r i t
i n g
in 1739, decl ared t hat he reg ard ed "le Sr Jul ie n Le
R o y " as "the ablest clock-maker we have in France."
81
I n
1776 Paul-Philippe Gudin de La Brenellerie reminded
his
readers
that Le Roy "was the first to overtake t he
E n g l i s h a nd w ho per mi tt ed (clock-making) to attain its
present l e v e l . "
8 2
No r were his colleagues spa ring in their
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compliments. Ferdinand Berthoud praised his merits in
th e Encycloped ic
82,
an d in his
Histo ire
de la Mesure du Temps
par
les Horloges: "Jul ien Le Roy, this able artist to w ho m
Frenc h clock-m aking owes its outsta nding rep uta tion ."
8 4
Francois B el ia rd also me nt io ne d hi m as the "ablest clock-
make r in France and possibly in Eur ope ,"
8 5
w h i l e
Pierre
Gaud ron, i n h is w i l l ,
w r i t t e n
as early as 1742, made a sig
nificant bequest "to a gentleman (un honnete homme) so
r i g h t l y renowned for his very great a b i l i t y " w ho
"stands
a m o n g
those
. . . who have most con trib ute d to the per
fection o f our ar t ."
8 6
Jean -An dre Lepaute dwel t up on his
open-mindedness: " M . le Roy, far removed f r o m an y jea l
ousy so un wo rt hy of a true Citoye n, has only sought to
give all Clock-makers the op po rtu nit y of seeing his work,
o f
benefit ing
f r o m his knowled ge, and of enla rging i t w i t h
thei r own. "
8 7
Berthoud went even further, noting that
"Julien
Le Roy enjoyed great consider ation in his l i f e
t ime; he dese rved i t , not only because of his talents, but
above all
because
o f his love for the A r t he cult iva ted, and
as a result of his personal qualities."
88
A f t e r his death,
many clock-makers, for commercial reasons, thought i t
advantageous t o present th eir works as "ouv rier de Julie n
Le
Roy," a practice w h i c h Be liar d had already begun to
criticize vigo rousl y in 1767.
A n
enu me rat ion of Le Roy's cl ientele,
w h i c h
was
incredibly extensive an d incl ud ed all the most elegant
memb ers o f Fren ch and Eur ope an aristocracy, w o u l d go
fa r
beyond the normal scope of the present book. An
anecdote
w o r t h m ent ioni ng concerns Ferd inand V I of
Spain, who was one of his most dem and ing customers. I n
1747 the k i n g instructed his
ambassador,
the duke of
Huescar, no t to leave the clock-maker's
house
u n t i l
he had
finished the kno b fo r a
cane
decorated w i t h a watch and
w i t h di am ond s; n or was he to do so, even i f the k i n g o f
France sum mon ed hi m to Versailles to sign the peace
t reaty .
8 9
I n
s o l i c i t i n g
his lodgings in the Lou vre , the clock-
maker wrote to Phi l iber t O r r y o n Jul y 24, 1739: " Th e
sup plic ant . . . has the hono r of w o r k i n g for His Majesty,
M r le due d'Orl eans , the Princes and Princesses of the
Court , and for H. E . Monseigneur the Cardinal de
Fleury
. . ."
9 0
These assertions are corro bora ted by the
invento ries of the princes o f the blood. Besides those
al ready ment ioned, the due de Bourbon,
9 1
the prin ce de
C o n t i ,
9 2
the comtes de La Ma rc he
9 3
and de Clermont ,
9 4
and M i l e de
Sens
9 5
al l ow ne d one o r several of his wor ks.
We may w e l l wonder, in view of this impressive l i s t ,
whether Le Roy might not have been enti t l ed to para
phrase the mo tto of the house of Roh an thus : "Roy ne
puis,
prince ne daigne, Le Roy suis."
96
The technical ,
artistic, and social success of Le Roy was a consequence o f
his innovative s p i r i t an d is in i t s e l f p r o o f of the perfe ct
balance achieved by the c i v i l i z a ti o n o f his day.
NOTES
1. Comte de Beauchamps, Les Comptes
de
Louis XVI (Paris,
1 9 0 9 ) , p. 5 1 :
" M o n t h
of December. I have paid Julien Le
Roy for a mari ne chrono mete r . . . 2 , 4 0 0 livres"
2 .
Julien (I
I )
Le Roy was the second of his line to
bear
this
Christian
name (see the genealogical table below). Since he
cannot be confused w i t h his ancestor, he wi l l be referred
hereafter simply as Julien Le Roy. His son Pierre is desig
nated I I I to distinguish him f r o m his uncle, Pierre ( I I ) ,
who was active in Paris d ur in g the
same
period.
3. He was christene d in that city on Augu st 8 in the church of
Saint-Clement.
4 . A . N . , M i n . , L X X X V ,
5 5 9 ,
October 15, 1 7 5 9 , record of the
private partition o f the estate o f Julie n Le Roy, to
w h i c h
is
attached an attested
a ff idavi t
of the same date.
5 . Cardinal 1987 .
6. Annon ces, Affiches etAvis
divers,
notice dated October 26,
1 7 6 9 .
7 . Pierre ( I I I ) was admitted to the
g u i l d
as a master clock-
maker on July 9, 1 7 3 7 . He was a membe r o f the Acade mie
des Sciences in Angers and Horloger du Roi as a result of his
being lodged in the Louvre , having succeeded his father in
his lodgings in the Galleries. His research in marine
chronometry quite r i g h t f u l l y
made
him as famous as his
father.
8 .
Jean-Baptiste was a physician and a membe r of the Acade
mie Royale des Sciences, Garde du Cabinet de Physique
du Roi at La Muette. He submitted to the Academie sev
eral chronometric inventions,
w h i c h
were put into
a p p l i
cation by his father and his brot her Pierre
( I I I ) .
He was
appointed to the Academie on August 3 0 , 1 7 5 1 , and on
July
1, 1 7 7 0 , was given the ra nk o f
Pensionnaire-Mecanicien
to replace the recently
deceased
Abbe
N o l l et .
A f t e r their
father's death, he shared w i t h his brother the t i t le to the
lodgings in the Galleries of the Louv re. He was a close
f r i e n d o f Benjamin Franklin and corresponded
w i t h
h i m
f o r
over
f o r t y
years (see C.-A. Lopez, Le
Sceptre et
la Foudre,
Benjamin Franklin a
Paris,
1776—1785 [Paris, 1 9 9 0 ] ) . He
served as a clearinghouse for correspondence between
B r i t i s h and French partisans of Americ an independence
(see the letter of L o r d Stormont to L o r d W aymouth, dated
November 6, 1 7 7 6 , published in G. and M . von Pro-
schwitz,
Beaumarchais
et
le Courrier
de
VEurope
[ O x f o r d ,
1 9 9 ° ] ) -
9.
Charles was a chemis t, a professor of medi cine at the U n i
versity of Montpellier, a corresponding member of the
Academie Royale des Sciences
( 1 7 5 2 ) ,
and a member of
the Royal Society in Lond on ( A . N . , Y 1 5 6 7 7 ,
scelle
[pre
l i m i n a r y
inventory] of December 10,
1 7 7 9 ) . Julien-David
served as architect to the k i n g and was a member of the
Academ ie des Insc riptio ns et Belles-Lettres, of the Acade
mie Royale d Architectur e, of the Academie de Marine,
and o f the Royal Society of Antiquarian s in Londo n. He
was also a historio graph er at the Ac ademia in Bologna.
Information concerning the
li fe
of Charles and Julien-
D a v i d
Le Roy can be fou nd in Michaud, Biographie Univer
sale Ancienne etModerne, rev. ed., v o l . 24.
1 0. Liste 1 7 4 8 .
1 1 . Possibly even before
1 7 1 9
(see Cardinal 1 9 8 7 , p . 1 7 ) ; in
any event, he was director when this Societe was reinstated
i n 1 7 2 6 - 1 7 2 9 .
Concerning the Societe des A r t s , see Ron-
f o r t
1 9 8 9 .
1 2 . A . N . , Y 9 3 2 3 . O n July 2 4 , 1 7 3 7 , he was replaced as jure by
Antoine de Saint-Martin. T he list o f g u i l d members pub-
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lished
i n 1 7 4 8 mentions Julien Le Roy a s jure in 1 7 3 1 , but
further investigation
has shown that this must be a tran
scription error.
1 3 . A . N . , Maison du R o i , O
1
1 0 5 7 (p . 1 8 2 ) and O
1
1 6 7 2 . The
nomination
o f Julie n Le Roy as one o f the king's clock-
makers was accepted by Philibert Orry, Contrdleur General
des Finances since 1 7 3 0 . Despite the contention of G . de
Bellaigue (Bellaigue 1 9 7 4 , v o l . 2, pp. 8 5 5 - 8 8 6 ) , one
should note that Julien Le Roy was never Valet de Chambre-
Horloger
du Roi, a
title
corresponding to
four
offices then
occupied by Claude ( I I I ) Martinot (first quarter, from
1 7 2 5 to 1 7 4 3 ) ; Jean-Jacques Aube rt (second quarter, from
1 7 3 6 to 1 7 4 5 ) ;
Jean-Pierre
Delacroix (third quarter of
1 7 3 7 ) ; an d Jean (V ) Martinot (fourth quarter). For an
explanation of the various positions entitling a person to
use the title Horloger duRoi and the prerogatives attached
to i t , see Augarde 1 9 9 6 .
1 4 . A . N . , O
1
1 6 7 2 , memorandum o f August 10, 1 7 4 4 , pre
sented by the Visiteurs an d Gardes o f the Comm unaut e des
Horlogers.
1 5 . For the
first address,
see "Mem oire pour servir a l'Histoire
de FHorlogerie depuis 1 7 1 5 jusqu'en 1 7 2 9 , " in Le Roy
1 7 3 7 . The second one
appears
on th e certificate of bap
tism o f Pierre ( I I I ) Le Roy ( A . N . , O
1
6 8 1 ) .
1 6. J. Prie ur, "Les Le Roy, Ho rlo ger s de 1 5 5 0 a 1 7 8 5 , " in Car
dinal 1 9 8 7 , pp . 3 7 - 4 0 .
1 7 . See the genealogical tables on pages 2 0 1 - 2 0 3 . Louis-David
Carre was doubly his nephew: he was the son of one of his
wife's
sisters, and he married Therese Le Roy, daughte r o f
Pierre ( I I ) Le Roy.
1 8 . Bellaigue 1 9 7 4 and Cardinal 1 9 8 7 . Both refer to an
assertion made by Ferdinand Berth oud. Charles Le Bon,
known for his work o n equa tion clocks, was Marchand Hor
loger privilegie
du Roi suivant la Com
from
May 9, 17 07
( A . N . , V
3
1 9 1 , f o l. 37V to
June
1, 1 7 3 9 ( A . N . , V
3
1 9 2 ,
f o l . 1 5 l r ) .
Thi s particula r designation implies that an
apprenticesh ip ca rried out und er his supervision was not
recog nized as acceptable by the Paris clock-makers'
guild,
o f
which
he was not a member.
1 9. Both the bonds which existed between Pierre Gaudron
an d
Julien
Le Roy, and the alm ost f i l ia l respect shown to
Pierre by Julien, according to Gaudron himself, argue in
favor of this eventuality.
2 0 .
See Le Roy
1 7 3 7
(note 15) .
2 1 . J. Le Roy, "Memoire conte nant les moyens d'augme nter le
Commerce et la Perfection des ouvrages d'h orlogerie ,"
manuscr ipt, Paris, Conservatoire Nati onal des Arts e t
Metiers
(8 ° K A 1 3 ) .
2 2 . I b i d .
2 3 . P. L . Moreau de Maupertuis, La
Figure
de la
Terre
determinee
pa r
les Observations . .
.
faites par ordre du Ro y au Cercle Polaire
(Paris, 1 7 3 9 ) , pp. 1 9 5 - 1 9 8 .
2 4 . A . N . , Maison du R o i , O
1
1 6 7 2 , letter
from Julien
Le Roy to
Philibert Orry,
July
2 4 ,
1739.
2 5 . Cardinal 1 9 8 7 .
2 6 . I b i d .
2 7 . I b i d .
2 8 . Taking into account Sundays and religious holidays on
which one di d not work, public holidays num bere d about
one hu nd red in eighteenth -century France.
2 9 . Based on calculation s made by the present authors.
3 0 .
Augarde
1 9 8 4 ,
p. 69.
3 1 . A . N . , M i n . , L X X X V , 4 0 3 , September 2 9 , 1723.
3 2 . A . N . , M i n . , X X X I V , 5 3 1 , March 2, 1 7 4 1 .
3 3 . A . N . , M i n . , L X X X V , 4 9 7 , October 2 3 , 1743.
3 4 . A . N . , M i n . , X X X I V , 5 6 7 , November 9, 1747.
3 5 . A . N . , M i n . , L X X X V , 5 2 4 , A p r i l 16 , 1 7 5 0 , an d A . N . , O
1
1 6 7 2 .
3 6 . J.-C. Sabrier, "Eclaircissements sur la contribution de la
famille Le Roy aux progres de l'horlogerie," in Cardinal
1 9 8 7 .
3 7 . See Lepaute biogra phy in this volum e, note 4 2 .
3 8 . A . N . ,
V
3
7 6 B , J u l y 8 ,
1754.
3 9 . Th is clock-maker is one o f the two witnesses who signed
the attested affidavit made out after the death o f Julien Le
Roy. See note 4.
4 0 . A . N . , E* 1 2 9 3 ,
decree
o f the council o f March 5 , 1 7 5 4 ,
doc. no. 3 2 .
4 1 . A . N . , E* 1 4 0 9 ,
decree
o f the council o f March 2 5 , 1 7 6 6 ,
doc. no. 3 2 .
4 2 . A . N . , E* 1 4 0 9 ,
decree
of the council o f March 25, 1 76 6 ,
doc. no. 29.
4 3 . A . N . , E* 1 4 0 9 ,
decree
of the council o f March 2 5 , 1766,
doc. no. 3 1 .
4 4 . A . N . , E* 1 3 9 1 , decree of the
council
of August 2 8 , 1764,
doc. no. 16.
4 5 . Le Roy 1 7 3 7 (note 15 ) and Blakey 1 7 8 0 .
4 6 . W. Edey, French Clocks in North American Collections (New
York,
1 9 8 2 ) , no. 44.
4 7 . Nicolas Jullien, peintre-emailleur, was a mem ber of the
Societe des Arts. H e worked at first as an ouvrier libre, hav
i n g only been received as master painter at the Academie
de Saint-Luc on September 2 3 , 1743.
4 8 .
According
to the Archiv es Brateau, Elie Barbezat was
admitt ed as a master pa inter into the Academie de Saint-
L u c on November 6, 1 7 7 7 . He resided in the rue Bertin-
Poiree. It is most l ikely that he worked only for Pierre ( I I I )
L e Roy, unless he wor ked before that as an ouvrier libre.
4 9 . J. Le Roy, "No uve lle maniere de placer les quadr atures des
pendules a repetition," i n Le Roy 1 7 3 7 .
5 0 . A . N . , O
1
3 3 7 1 , in vent ory o f the king's clocks, January 1,
1 7 8 8 .
5 1 . Nicolas Le Sueur, master fondeur before 1 7 1 8 , added to his
title that o f Marchand Doreur, Graveur, Damasquineur
Privile
gi e du Roi suivant la Cour ( A . N . , V
3
1 9 2 , Aug ust 9, 1 7 3 0 ) , as
would Philippe Caffieri later on. He kept this patent u n t i l
1 7 7 0 , thus assembling in the same wor kshop tw o special
izations that
normally
belonged to two differen t guilds and
could not be accrued to the same person.
5 2 . Bon nie r de la Mosson sale, Paris, March 8, 1 7 4 5 , and f o l
lowing
days, lot 9 3 8 .
5 3 . Bellaigue 1 9 7 4 , no . 1 0 . Th is may be deduced
from
the fact
that the m odel was not present when inven tories were
made o f the
Caffieri
w orkshop , before and after 1 7 4 9 .
5 4 . A . N . , M i n . , X C I I , 7 3 6 , December 14, 1 7 7 0 .
5 5 . Ronfort 1 9 8 6 , pp . 4 7 5 ~ 4 9 4 -
5 6 . A . N . ,
Y
1 3 2 3 2 ,
July
2 8 , 1 7 4 5 ,
scelle
(preliminary inventory)
o f Andre-Charles ( I I ) Boulle.
5 7 . A . N . , M i n . , L X X X V I I I , A p r i l 1 1 , 1 7 4 1 , assembly o f the
creditors of the prince de Carignan.
5 8 . Edey 1 9 8 2 (note 4 6 ) , n o. 4 7 , for instance.
5 9 . A . N . , M i n . , X X X V I I I , 2 5 8, Aug ust 8, 1 7 3 1 , inventory
after the death of Hen ry Le Coq.
6 0 . Th e existence of this collaboration allows one to
assume
that an earlier one existed between Julien Le Roy and Ber
nard
(I ) van Risenburgh (about 1 6 7 0 - 1 7 3 8 ) , a specialist in
B I O G R A P H I E S
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the making of clock cases, whose contremaitre was
Adrien
Dubois.
See J. N . Ronfor t and J.-D. Augarde, "Le Maitre
de Bureau et 1'Electeur," LEstampille-LObjet
d'Art
(Decem
ber 1 9 9 0 ) , pp .
4 7 - 7 5 .
6 1 . A large numb er o f Caffieri's clocks have movements by
Julien Le Roy.
6 2 . Augarde
1 9 8 6 ,
p p.
5 2 3 , 5 3 4 , 5 3 6 - 5 3 8 .
6 3 .
C. Baulez, "La Pendule a la
Geoffrin:
Modele a
succes,"
LEstampille 224
( A p r i l 1 9 8 9 ) ,
p p.
3 4 - 4 1 .
Th is author's dat
in g
o f the
pendule
a la
Geoffrin
shows that most of the exam
ples of this mod el
which
are equipped w i t h a
dial
signed
"Julien
Le Roy" are also equ ipped w i t h movements by
Pierre
( I I I )
Le Roy.
6 4 . Several of Osmond's clocks w i t h dials signed "Julien Le
Roy" were obviously made after 1 7 5 9 .
6 5 . Joseph Quetin, master clock-maker and
monteur
de
boites,
used a stamp bearing the
initials
JQ and a six-toothed
cogwheel.
6 6 .
L. Courajod, Le
Livre
Journal
de Lazare Duvaux
(Paris,
1 8 6 5 ) ,
n o s
-
1
9
22
>
2 1
7 3 >
2
3 6 , 2 7 0 0 , 2 7 84 , 3 2 4 0 , 3 2 6 0 .
The
due de Bourgogne was Louis
X V ' s
grandson. The comte
de Luc was his illegitimate and unrecognized
c h i l d .
6 7 .
The painting
appears
to have been lost.
6 8 . For descriptio ns o f Julien Le Roy, see P. Le Roy, Etrennes
Chronometriques
. . . (Paris, 1 7 6 0 ) ; Abbe de Fontenai, Dic
tionnaire de s Artistes (Paris, 1 7 7 6 ) ; and F. Prevot d'Exmes,
Julien Le Roy, Horloger (Geneva, 1 8 0 9 ) . The two last-named
authors
have
generally drawn their inspiration f r o m the
first.
6 9 . Hi s
widow
and children decided not to make an inventory
and to make a private partition o f the prop erty held in
common
(see note 4 ) .
7 0 . A . N . ,
M i n . , X V I I ,
7 5 7 ,
May 19,
1 7 4 5 ,
w i l l of Pierre
Gaudron.
7 1 . He made this acquisiti on at the
sale
that
followed
the death
o f the paint er Charles Coypel in A p r i l
1 7 5 3
(lot
5 7 9 ,
paid
7 2 5 livres).
7
2.
See Prevot d'Exme s (note 6 8 ) .
7 3 .
See note 4. Th e
partition
o f his
estate gave
2 5 , 0 0 0
livres
to
each o f his sons. Th e
widow
kept the remainder, including
f u l l t i t le to the three houses. Pierre ( I I I ) Le Roy received
as his share all the eq uipm ent a nd the e ntire stock of the
workshop,
excepting one clock
which
was given to his
brother Charles.
7 4 . See P. Le Roy (note
6 8 ) .
This
town
house was on the cor ner
o f the rue du Bac and the rue de Babylone.
7 5 . Encyclopedic ouDictionnaire
Raisonne
. . . (Paris, 1 7 7 2 ) ,
introduction to the illustrations in the section devoted to
clock-making.
7 6 . The
library
of the Conservatoire Nati onal des Arts et
Metiers
in Paris has some of his m anuscripts.
7 8 . Cardinal
1 9 8 7 .
7 9 . R. Ha hn , "Science and the Arts in France: The Limitations
o f
an Encyclopedic
Ideology,"
Studies
in
Eighteenth-Century
Culture 10 ( 1 9 8 1 ) , pp .
7 7 - 9 3 .
8 0 . See Prevo t d'Exme s (note 6 8 ) .
8 1 .
I b i d .
8 2 . A . N . ,
O
1
1 6 7 2 ,
letter
o f July 2 3 , 1 7 3 9 ,
to Philibert
Orry.
8 3 . Aux Manes de
Louis
XV et d es Grands Hommes qui ont
vecu sous
son regne.
Essai sur le Progres de s Arts et d e
VEsprit
humain
sous
le
regne
de
Louis
XV (Deux Ponts, 1 7 7 6 ) , p p. 8 0 , 8 1 .
8 4 . Encyclopedic ou Dictionnaire Raisonn e .
. . (Paris,
1 7 7 2 ) , a r t i
cles
t i t l e d
"H orloge " and "Horlogerie ."
8 5 . V o l .
1, p .
2 0 7 .
8 5 . Reflexion
sur
VHorlogerie en general et
sur
le s Horlogers
du Roi
enparticulier (The Hague, 1 7 6 7 ) .
8 6 . See note 70 .
8 7 . J.-A. Lepaute, Traite d'Horlogerie (Paris,
1 7 5 5 ,
re. ed. Paris,
1 7 6 7 ) ,
p. 1 0 1 .
8 8 . See note
8 5 , v o l .
2, p. 26 7.
89. Y.
Bottineau, UArt
de Cour dans VEspagne
de s
lumieres, 174
6—
1808 (Paris,
1 9 8 6 ) ,
p. 146.
9 0 .
See note
2 4 .
Cardinal de Fleury was then prime minister.
9 1 .
A . N . ,
M i n . ,
X C I I , 5 0 4 ,
February 1 1 , 1740.
9 2 . Prince de Conti sale, Paris, A p r i l 8, 1777.
9 3 . A . N . ,
M i n . ,
X C I , 1 1 1 6 ,
October 2 2 , 1773.
9 4 . A . N . , M i n . ,
L X X I I I ,
9 2 9 , June
25 ,
1 7 7 1 .
9 5 . A . N . , M i n . , X C I I , 6 6 5 , A p r i l 2 3 , 1765.
9 6 . Th e mott o of the House of Rohan, one of the most cele
brate d fa milies of France, was: "Roy ne puis, princ e ne
daigne, Rohan suis"
(king
I cannot be, prince I deign not,
Rohan I am).
A N T O I N E - N I C O L A S M A R T I N I E R E
Antoine-Nicolas
M ar tin ier e was bo rn in Paris in
1706
1
and die d the re on Septem ber 2, 1784. He was the
son of Nicolas Marti nie re (died before 1736), master
emailleur
a nd patendtrier in Paris and Marie Dum erg ue.
2
I n 1736 he mar ri ed Genevieve Larse, daug hter of Jean-
Francois Larse, a master clock- make r in Paris, an d
Louise-Cather ine Brezaguez.
3
She bore h im at least one
son, Jacques-Nicolas (b or n 1738) .
4
He was admitted to the
g u i l d
i n Paris as master and
Marchand verrier-fayancier-emailleur-patenotrier on Jul y 3,
1720.
5
F ro m 1741 on, he bore the
t i t l e Emailleur
et Pension-
naire du Roi. H e was
jure
o f his g u i l d f r o m 1744 to 1746.
6
He resid ed successively in the rue Neu ve Not re Da me
(1736), the rue Ha ute des Ursins (1738), the rue Da u
phi ne (1740), and th e rue des
C i n q
Diamants
( f r o m
1741
to his death).
Mart in ie re belonged to a
f a m i l y
o f enamelers
which
inc luded no t only his fath er b ut also, conceivably, two of
his brothe rs, Jacques-Nicolas and Char les-A ndre M a r t i
n iere ,
7
a nd certa inly three o f his
first
cousins,
Jacques-
Nicolas, Jean, and Jacques-Antoine
Bo u l l e .
8
I n
th e
eyes
of posteri ty Ma rti nie re is the most
ren own ed e nameler o f clock dials of the reig n of Louis
X V ,
even th oug h, in his own day, an art ist
l i k e Nicolas
Jul-
l i e n , enam eler o f the Societe des Arts , was i n a posit ion to
claim
th e
t i t l e
for h imsel f .
9
A
te xt enti t led "Letter
wr i t t en f r o m
Paris to a
p rov in
cial clock-maker conce rnin g enamel dials" and p rin ted in
th e
Mercure
de F r a n c e o f A p r i l 1740 describes his training
and his prod uct i on:
1 9O
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Th e
King commissioned a clock and desired that the dial he
made entirely of enamel an d fourteen inches in diameter.
Th e
person rece iving the order to make it replied that he
could only assume responsibili ty fo r the attempt to pro
duce such a dial, but could not guara ntee success.
M .
Martinière, Enam eler, rue Dauphine, undertook i t and
was
so success ful in every respect that he had the honor of
presenting
it
himself
to His Majesty, who was pleasantly
surprised
and who demonstra ted His satisfaction with such
kindness,
10
that he returned to Paris, del ighted by such a
hap py success, and re solved to undertake new studies to
advance in his Art, as
fa r
as was possib le . We have al l the
more reason to assume that M. Martinière
will be
able to
progress ye t
urther
because he embodies in
himself various
talents which are
necessary
fo r him to succeed; A pupil of
Messrs.
Bousseau and Coustou p é r e , Sculptors to the
King,
he spent a long t ime drawing at the Académie; he
was even award ed three prizes, two of them in 1727 and
the third in 1728. He is also the son of an able Enameler.
Yo u may well conceive, Monsieur, that with such assistance
he will be able to produce works of
excellent
taste, such as
clock-faces of fifteen to sixteen inches in diameter, blazoned
with coats o f arms, numbered
Cartouches
fo r Libraries and
even dials for church c locks composed of several
parts,
yet
appearing, from a distance, to be of one piece; he al so
intends to decorate Bronzes and other Works with colored
Enamel, encrusted with gold. I am convinced, Mo nsieur,
that you will be pleased to have the information I have the
honor of
giving
you.
11
M a r t i n i è re s o o n re a l i z e d these
hopes
b y e x e c u t i n g
f o r
L o u i s X V , b e t w e e n 1 7 4 1 a n d 1 7 4 2 , t h e e x c e p t i o n a l
A l m a n a c p e r p é t u e l e t t o u j o u r s n o u v e a u n o w i n t h e W a l
l ac e C o l l e c t i o n i n L o n d o n .
1 2
H e d i s p l a y e d h i s t a l e n t s a s a
d r a f t s m a n b y e x e c u t i n g , i n 1 74 7 , a p a i n t i n g o f t h e b a t t l e
o f
F o n t e n o y i n e n a m e l .
1 3
I t appears l i k e l y t h a t h e also e x e
c u t e d t h e d e c o r a t i o n o f s e v e r a l w a t c he s .
H e s u p p l i e d d i a l s f o r t h e
best
c l o c k - m a k e r s
o f
h i s da y ,
i n
p a r t i c u l a r t o J u l i e n L e R o y , perhaps a s e a r l y as 1 7 3 1 ,
1 4
t o M e l c h i o r B o n n a v e n t u r e B a l t h a z a r ,
1 5
L o u i s J o u a r d ,
1 6
a n d Jean-Baptiste B â i l l o n , b e g i n n i n g i n 1 7 4 0 ,
1 7
a n d also
t o E t i e n n e L e N o i r , G i l l e s l'aîné, J o a c h i m
B a i l l y , Jean
M o i s y , L a n g e d e B o u r b o n (a m a k e r
o f
b a r o m e t e r s ) ,
1 8
a n d
t o p r o v i n c i a l o r S w i ss c l o c k - m a k e r s s u c h a s F o n c k i n
B e r n e .
1 9
I n 1 7 75 t h e S u p p l e m e n t t o t h e Ta blettes de la Renom
mé e
m e n t i o n s h i m as b e i n g
s t i l l
a c t i v e .
2 0
N O T E S
1.
T h e p e r p e t u a l c a l e n d a r o f t h e W a l l a c e C o l l e c t i o n i n L o n
d o n ( I n v . F 7 6 )
bears
t h e i n s c r i p t i o n Martinière age de 3 6 ans
ytembre 1742.
2. I n 1 7 0 1 N i c o l a s M a r t i n i è r e , p a i n t e r o n e n a m e l , r e s i d e d i n
t h e r u e d u H a r l a y
( A . N . , M i n . , X X X I V ,
3 1 3 , O c t o b e r 2 2 ,
1 7 0 1 ) . H i s w i d o w w a s
l i v i n g
i n
Soissons
i n 1 7 3 6 .
3. A . N . , M i n . , L X V I I , 4 9 8 , September 2 3 , 1 7 3 6 . L o u i s -
C a t h e r i n e B r é z a g u e z w a s t h e sister o f t w o master c l o c k -
m a k e r s . T h e b r i d e ' s d o w r y a m o u n t e d t o 2 , 00 0
livres
a n d
t h e g r o o m ' s f o r t u n e t o 4 , 0 0 0
livres.
4 .
A . N . , M i n . , X X X I V ,
5 9 3 , O c t o b e r 4 , 1 7 5 3 . C o n t r a c t r e l a
t i v e t o t h e a p p r e n t i c e s h i p
o f Jacques-Nicolas
M a r t i n i è r e t o
t h e
master
c l o c k - m a k e r
Jean
M o i s y .
5. Catalogue des Maistres et marchands Verriers-Fayenciers-
Emailleurs-Patenostriers de la Ville e t Fauxbourgs de Paris
( 1 7 7 2 ) . P r i v a t e c o l l e c t i o n , P a r i s .
6 .
I b i d .
7 . S e e n o t e 4 . T h e y w e r e a d m i t t e d a s
masters
d u r i n g t h e
jurande
o f A n t o i n e - N i c o l a s M a r t i n i è re ; t h e
eldest
o n
Sep
t e m b e r 1 2 , 1 7 4 3 , t h e o t h e r o n
J u n e
1 , 1745 .
8.
I b i d . Jacques-Nicolas
B o u l l é w a s a w i t n e s s a t M a r t i n i è r e ' s
w e d d i n g a n d g o d f a t h e r t o h i s s o n . H i s b r o t h e r
Jean
is
m e n t i o n e d i n 1 77 5 as b e i n g r e n o w n e d f o r h i s d i a l s , se e
Tablettes
1 7 7 5 .
9 . S e e J u l i e n L e R o y b i o g r a p h y i n t h i s v o l u m e .
1 0 . I t w a s p r e s u m a b l y o n t h i s o c c a s i o n t h a t L o u i s X V g r a n t e d
h i m
a p e n s i o n , w h i c h a l l o w e d M a r t i n i è r e t o
assume
t h e
t i t l e Email leur et Pensionnaire du Roi.
1 1 .
T h i s d o c u m e n t w a s n o t k n o w n t o o t h e r a u t h o rs w h o
u n d e r t o o k t h i s s t ud y . T h e b e g i n n i n g o f t h i s t e x t i s i m p o r
t a n t f o r th e h i s t o r y o f e n a m e l d i a l s a n d
reads
t h u s : Y o u
a s k m e , S i r , t o find o u t f r o m t h e M a n u f a c t u r e r s o f P o r c e
l a i n , w h e t h e r t h e y w o u l d b e a b l e to m a k e y o u a c l o c k - d i a l
o n e f o o t i n d i a m e t e r , k n o w i n g , a s y o u s ay , t h a t i t i s i m p o s s i
b l e t o m a k e t h e m o f t h a t size a l l i n e n a m e l a s i n t h e
case
o f
w a t c h d i a l s . I t is t r u e t h a t
u n t i l
r e c e n t l y t h i s w a s i m p o s s i b l e
b o t h
i n t o w n a n d a t C o u r t :
here
is a n e x a m p l e .
1 2 . I n v . F 6 4 t o F 6 7 . Se e F . J . B . W a t s o n ,
Wallace Collection Cata
logues, Furniture
( L o n d o n , 1 9 5 6 ) , p p . 34 — 35 .
1 3 . V e r s a i l le s , M u s é e N a t i o n a l d u C h â t e a u .
1 4 . S e e W . E d e y , French Clocks in North American Collections
( N e w Y o r k , 1 9 8 2 ) , n o . 4 4 . I n t h i s case, t h e s i g n a t u r e M r e
1 7 3 1 m i g h t c o n c e i v a b l y r e f e r t o M a r t i n i èr e ' s f a t h e r .
1 5 .
A . N . ,
Y 1 5 5 9 2 , M a y 4 , 1 7 3 7 , scellé ( p r e l i m i n a r y i n v e n t o r y )
o f
M e l c h i o r B o n n a v e n t u r e B a l t h a z ar .
1 6 .
A . N . , M i n . ,
X 4 4 0 ,
June
2 8 , 1 7 3 7 , i n v e n t o r y a f t e r t h e
d e a t h o f L o u i s
Jouard's
w i f e .
1 7 . S i g n a t u r e a n d
date
n o t e d b y M . G e n d r o t i n P a r is .
1 8. M e t r o p o l i t a n M u s e u m o f
A r t ,
N e w
Y o r k , G i f t
o f t h e S a m
u e l H . K r e s s F o u n d a t i o n , 1 9 5 8 ( i n v . 5 8 . 7 5 . 6 1 ) .
1 9 . S i g n a t u r e n o t e d b y M . G e n d r o t i n P a ri s .
2 0 .
Tablettes
1 7 7 5 .
2 1 .
J .
G u i f f r e y ,
Histoire de VAcadémie de Saint-Luc
( P a r i s , 1 9 1 5 ) ,
p . 3 8 5 .
B I O G R A P H I E S
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PIERRE M A S S O N
Pier re Masson was bo rn in 1714 and d ied in Paris on
December 16, 1788.
1
I n 1739 he ma rr ie d Francoise
Delanoy,
2
sister o f An dr e Delanoy, a spring-maker and
master cl ock-m aker in Paris. She bor e hi m thre e dau gh
ters: Marie-Jeanne, w i f e o f
Jean
Damo ur, a master sword-
maker ;
3
Madeleine-Jeanne, w i f e of Etienne-Claude
Richard,
a spring-maker;
4
and Francoise-Genevieve, un
married in 1788.
5
Masson was a fabricant de
ressort
(spring-maker) who
was never admitted to the
g u i l d
as a master clock-maker.
H e
does
no t appear to have been related to the various
Parisian clock-makers bearing the same surna me. He
l i v e d f i rs t in the rue Saint- Andre-de s-Arts (1760), then in
the rue de la Huc hett e (1784).
Masson was
first
inde pen dent ly active towa rd the end
o f the 1730s and began w o r k i n g for Etienne Le N o i r at
the latest i n
1 7 4 1 .
6
I n 1744, on the beha lf
o f Jean
Goyer,
he bought a clock f r o m th e ebeniste Claude-Joseph Des-
godets, for
w h i c h
the bronzes had been specially designed
b y Jean-Joseph de Saint-Germain and of w h i c h Goyer
had copies made.
7
Aside f r o m this (except for the
names
o f Jean-Baptis te D ute rt re ,
8
G e r m a i n A dm yr a u l t ,
9
and
D a v i d - L o u i s
C o u r v o i s i er
1 0
) , l i t t l e is kn ow n abou t his c l i e n
tele, alt hou gh it was no do ubt considerable. His reputa
t i o n was w e l l established, as can be
seen
f r o m the mention
o f his name i n the Tablettes Royales de la Renommee i n 1772
an d 1773, whe re he
appears
as a make r o f watch - ra the r
tha n o f clock-springs.
Masson ret i red many years before his death. At that
t i m e he is descr ibed as a fo rm er
officier
mesureur du granier
a sel, an o f f ic e he relinqu ishe d February 14, 1782 .
11
His
i n v e n t o r y shows that he was reasonably w e l l off. His f o r
tune the n amo un ted to about 50,000 livres, composed
m a i n l y
of stocks an d bo nd s.
1 2
N O T E S
1.
A . N . , Y 1 1 2 0 6 , December 17, 1 7 8 8 , scelle ( p r e l i m i n a r y
i n v e n t o r y )
o f Pierre Masson.
2 . A . N . , M i n . , C X I
I ,
July 1, 1 7 3 9 , marriage of Pierre
Masson.
3.
A . N . , M i n . ,
C I X ,
A p r i l
8,
1 7 6 5 ,
marriage of Marie-Jeanne
Masson.
4 . A . N . , M i n . , L X X I I , 4 5 0 , November 2 0 , 1 7 6 8 , marriage of
Madeleine-Jeanne Masson.
5 . A . N . , M i n . ,
X X X V I ,
6 0 4 , December 3 1 , 1 7 8 8 , inventory
after the death of Pierre Masson.
6 .
See Le N o i r b iography in this v o l u m e , note 34.
7. A . N . , Y 1 0 9 8 9 , complain t of
M a r c h
6, 1745.
8. See note 5.
9.
Arch ives de la Seine, D 4 B
6
, cart.
25 ,
balance sheet of
August 12, 1767.
1 0. A . N . , M i n . , X X X I V ,
6 9 2 ,
July 2 7 , 1 7 7 3 , assembly of
D a v i d - L o u i s
Courvoisier's creditors.
1 1 . See note 5.
1 2.
I b i d .
G E O R G E S - A D R I E N
M E R L E T
T h e emailleur Georg es-Ad rien Mer let was bo rn in
1754.
He was the son o f Jean Me rlet , a grocer, and Ange -
l i q u e
B o y e l l e d i e u . H e started his apprentice ship w i t h E l i e
Barbezat, an enam eler a nd mem be r of the Acad emie de
Saint-Luc, on October 30, 1767.
1
A c t i v e circa 1780, and
probably the
successor
to Barbezat, in 1784 he was
l i v
i n g in the rue Bertin-P oiree ,
2
whe re he rema in ed at least
u n t i l
1802.
3
He the n resided in the rue des Lavand ieres-
Sainte-Opportune, where he was said to have been l i v i n g
i n 1812.
4
M e r l e t
was, together w i t h Joseph Coteau a nd H . Fr.
Dub uisso n, one of the three great enamelers o f c l o c k dials
o f the end o f the eighteent h and the begin nin g of the
nin ete ent h centuries. Hi s oldest datable works are th e
dials for the c lock "au x sultanes," w i t h a movement by
U r b a i n Jarossay,
executed fo r the comte d'Arto is by Fran
cois Rem on d in 1783.
5
Me rle t suppli ed a great num ber o f
clock-makers w i t h dials,
i n c l u d i n g
the Lepautes, Louis
B e r t houd ,
6
Nicolas C o l l a r d , Dar lo t , J o l l i n Vaine, Jean-
A n t o i n e
Le pin e, Liesse (in Roue n), Pier re Gavelle Vaine,
Charles-Guil laume Maniere, Mugn ier , Robert Robin,
Leon ard Roque, Simo n Roy, and Nicolas Sotiau.
He also enam eled skeleton clocks, the gilt- bron ze
friezes of w h i c h were made in the manne r o f Etienne
M a r t i n c o u r t ,
and put them on the market under his own
name along w i t h various other h i g h l y decorated clocks.
A s
can be
seen
f r o m the clo ck by F o l i n Vaine at the G etty
Mu se um (cat. no. 19), Merlet' s art is charac terized by
great delicacy. The d i a l o f the clock "aux sultanes" d em
onstrates that even at the outset o f his
career
he was the
equal of Coteau and Dubuisso n.
N O T E S
1.
A . N . ,
M i n . ,
X X X I I I , 5 6 6 .
2 .
Arch ives de la Seine,
D 4
B
6
,
dos.
3 7 2 7 ,
A p r i l
7,
1 7 8 4 ,
bal
ance sheet o f Jean Georges Imbert Vaine mentio ning a cur
rent account and a note dated May 1 7 8 3 .
3. Archives de la Seine, D i
1 U 3 ,
cart.
1 4,
dos. 1032,
14 Nivose an X , balance sheet o f Jean-Baptiste Georges.
4. Almanack Azur, 1812.
5.
I n f o r m a t i o n
provide d by Christi an Baulez.
6.
Paris, Musee Nat ion al des Techniques, Ms. 8°
1 8 7 ,
account
book of
L o u i s
Berth oud. Merlet's name appears on Octo
ber
2 6 ,
1 7 8 4 .
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T H E R I C H A R D WO R K S H O P
Th e signature " Rich ard" on clock-springs corre
sponds
to that of a f a m i l y workshop run in
t u r n
by
Claude, Etienne-Claude, and Gaspard Richard. Claude
Richard died after 1789.
1
He marr i e d Mar ie -Anne C o l l o t ,
who
bore h im three c hild ren : Pierre-Joachim, marchand-
mercier
and clock-maker,
2
Marie-Francoise, w i f e of the
marchand-mercier
Anto ine- Marie Men ard, and Et ienne-
Claude. He was active as a fabricant de
ressort
(spring-
make r) before 1747 an d was ad mit ted to the
g u i l d
as
maitre marchand-mercier in Paris on Novem ber 16, 1759.
3
He relinquished his business to his son Etien ne-Cl aude
Richard on
Janua ry
1, 1769.
4
Etienne-Cl aude R ich ard was bo rn in Paris in 1 747
5
and di ed there before 1785. He was mar rie d first to
Madeleine-Jeanne Masson, daugh ter o f the spring-
maker Pierre Masson,
6
wh o bore h im a daughter,
Madeleine-Francoise.
7
H is two
sons,
Claude and Antoi ne-
M a r i e , were the resul t of his second ma rri age , to M a r i e -
Anne-Genevieve
M a u p o i l
(died 1787).
8
Etienne-Claude
was app ren tic ed to the clock-maker Jerom e-Franc ois
Regnault in 1767. Claude's grand son Gaspard Richa rd
(son of Pierre-Joachim Richard ) is men tio ned as a spring -
maker in 1787.
9
The Richards' workshop was among the most impor
tant producers of c l o c k - and watch-sp rings o f the second
h a l f o f the eigh tee nth cen tury. First established in the rue
Zacharie (1 747), it was tra nsf err ed bef ore 1767 to the rue
de la Huc het te, the loca tion at w h i c h it is men tion ed i n all
the commercial almanacs of the day. Relinquished by
Claude Ri char d to his son Etienne-Claude, the wo rksho p
was subsequently r u n by the latter's
w i d o w , u n t i l
1787,
10
w i t h the help of his nep hew G aspar d wh o, in due course,
t o o k it over.
The Richards supplied the best clock-makers of their
day: Andre-Georges Gu iot ,
1 1
Etienne Le
N o i r ,
Charles Le
R o y , Pierre (I I) Le Roy, the Lepaute s,
12
Lepaute de Bel-
lefontaine, Simon Ridereau ,
1 3
An toin e Crosnier ,
14
Louis
M a t h i e u
Delagardette, Jean-Gabriel Imb er t Vaine,
15
Rob
ert Robi n, Denis Masson,
1 6
David-Louis Courvoiser ,
1 7
Jean-Baptiste
Fure t ,
1 8
and Ferdinand and Louis Ber-
t houd ,
1 9
as
w e l l
as clock-makers f r o m the provinces, such
as J. H .
V a r i n
in Troyes.
N O T E S
1.
A . N . , M i n . , X X X V I , 6 0 4 , December 3 1 , 1 7 8 8 , inventory
after the death of Pierre Masson.
2. A d m i t t e d
as
marchand-mercier
on November 15, 1774
( A . N . , Y 9 3 3 2 ) . I n the acte de
tution
of his
nephews
he is
described as a clock-maker ( A . N . , Y 5 1 6 0
A ,
December 1,
1 7 8 7 ) . He resided in the cour des Moines of the Enclos de
l'abbaye de Saint-Germain-des-Pres.
3.
A . N . , Y 9 3 2 8 .
4 . A . N . , L X X X I I , 4 5 0 , November 2 0 , 1 7 6 8 . Marr iage con
tract of Etienne-Claude Richard. Claude Richard left to
his son "the business . . . consisting in steel merchandise,
clock-springs both finished and unfinished . . ., the said
Sr. Richar d pere,
wi l l
forego the exercise of said profession
throughout the city, faubourgs, and
suburbs
of Paris."
5 .
Certificate
o f
baptism in the church o f Saint-Severin, Feb
ruary
2 8 ,
1 7 4 7 , attached to the contract of apprenticeship
o f
February
2 3 , 1 7 6 7 ( A . N . , M i n . ,
X X X I V ,
6 6 0 ) .
6 .
See note 4 and the Pierre Masson biography in this
v o l u m e .
7 . A . N . , Y 5 6 1 0
A ,
February 1, 1 7 8 7 , appointment of
a
tutor
f o r Richard's mino r
c h i l d r e n .
8. I b i d .
9.
See note 6.
1 0. Paris, Musee National des Techniques, Ms 8° 187 , account
book of
L o u i s
Berthoud, December 3, 1 7 8 4 : "To Mme
Richard for springs, 64
livres."
1 1 .
Andre-George s Guiot (died
1 7 4 7 )
was one of Charles
Cressent's favorite clock-makers.
1 2 . A . N . , M i n . , L X I V , 3 6 6 , October 2 8 , 1759.
1 3 . A . N . , M i n . , L X X X V , 5 8 4 , August 7, 1764.
1 4. Orologio
3
( 1 9 8 8 ) ,
p. 104.
1 5. Arch ives de la Seine, D 4
B 6 ,
4 1 3 2 ,
Jean-Georges
Imbert's
balance sheet
o f
June
9 , 1 7 8 4 . Richard
appears
in settle
ment of current accounts, for the amount of 155
livres.
1 6. A . N . , M i n . , L X X X V ,
5 5 6 ,
A p r i l 2 8 , 1759.
1 7. A . N . , M i n . , X X X I V , 6 9 2 , July 2 7 , 1 7 7 3 .
1 8. Archives de la Seine, D 4 B
6
, cart. 9 6 , dos. 6 6 5 7 , Jean-
Baptiste Furet's
balance sheet
of
M a r c h
8 , 1 7 8 6 .
1 9.
See note 10.
J E A N R O M I L L Y
Jean
R o m i l l y was born in Geneva on June 27, 1714,
an d die d in Paris on Febr uary 16, 1796.
1
He was the son
o f Pierre R o m i l l y (1681-1717), a master clock-maker in
Geneva, a nd Jacqueline Balexert (died 1735). He ma rri ed
Elisabeth J o l l y , granddaughte r o f Jean J o l l y (died 1751),
a master clock-maker in Paris.
2
R o m i l ly ha d two chil dren ,
Edme-Jean (17 39-177 9), a pastor of the Re form ed
Church, and Elisabeth (1742-1814), w i f e of Guil laume
O l i v i e r
de Corancez (17 34-181 0), owner and editor of
th e
Journa l
de
Paris.
R o m i l l y
was admitted to the
g u i l d
i n Paris as
master
clock-m aker on May 4, 1752, un de r the ter ms o f a deci
sion of Consei l d'Eta t du R oi o f
A p r i l
4, 1752,
w h i c h gave
h i m a dispensation f r o m the obligatio n of
f o l l o w i n g
a
regular apprent iceship.
3
He was the technica l dir ecto r of
the Manufactur e Royale d 'Hor logeri e f r o m 1787 to 1790.
R o m i l l y resided in
t u r n
i n the ru e Pelletier (1752), the
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q u a i
des Orf evres (1760), the place Da uph ine (1772), an d
the rue Poupee (1787).
The offspring of a
f a m i l y w h i c h
boasted thir tee n
clock-makers in the
years
betw een 1670 an d 1810,
i n c l u d
i n g
his fat her (w ho was the most famo us o f his
l i n e ) ,
his
uncle, and his three brothers, R o m i l l y was initi ate d int o
c l o c k - m a k i n g
i n the
f a m i l y
circle in Geneva. Th e circ um
stances of his move to Paris, about 1734,
4
are not known,
b u t i t appears l i k e l y that he trai ned hims elf by
w o r k i n g
among Protestant clock-makers such as Jean
J o l l y .
5
For
springs, he collaborated w i t h W i l l i a m
( I I )
Blakey.
R o m i l l y
is the author of several theoretical publica
tions on chr ono me tr y that are exclusively devoted to
watches. He perfected the deadbeat
escapement
w i t h
t w i n pallet that had been developed by Caron de Beau-
marchai s an d present ed it at the Academi e des
Sciences
i n
1755.
6
Jean Jodin
made
reference to this inv ent ion : "M r.
R o m i l l y has j u s t
made
the most fortunate addition possi
ble to this
escapement."
7
As a result
R o m i l l y
was one of
the f i r s t clock-make rs to pro duce watches capable of ru n
n i n g
eight days. On May 10,1758, he
appeared
before the
Academie to present a watch that had been running for
378
days
witho ut being wound.
8
It lacked precision, how
ever, and even though he reduced the period to six
months, this watch
f a i l e d
t o obta in the
degree
o f p r e c i s i o n
f o u n d
in or di na ry watches. I t was
finally
Ferdinand Ber-
t h o u d wh o managed to combine long dura tio n w i t h the
p r e c i s i o n
R o m i l l y
had been seeking.
9
I n the real m of
c l o c k s , R o m i l l y seems to be the only clock-maker to have
used the compensation p en dul um invente d by Greni er.
1 0
R o m i l l y
was on
f r i e n d l y
terms w i t h
Jean-Jacques
Rousseau
and was part o f th e
i n t e l l ec t u a l
circle o f the cap
i t a l .
H e cont ri but ed various articles on clock- and watch
m a k i n g
to the Encyclopedic
ou Dictionnaire Raisonne des
Arts
. . . (Paris, 1772), in cl ud in g
those
on "A rc de Levee,"
"Frotte ments," "Pivots," and "Regulateurs," and also pro
v i d e d
captions for the
i l l u s t ra t i o n s .
He was on good terms
w i t h Diderot and d'Alembert, to whom he introduced
his
namesake,
Sir Samuel
R o m i l l y ,
i n 1781. Th e la tter
described him in the
f o l l o w i n g
terms: "He was a man of
v e r y
great merit in his
business,
had seen a great deal of
the
w o r l d ,
an d was not wi th out a considerable po rt io n of
l i t e r a t u r e . "
1 1
I n 1779 he
became
an associate member
o f
the comm itt ee of the Salon de la Corr espon dance .
12
I n 1786 he was, together w i t h Ferdinand Berthoud,
A b r a h a m - L o u i s Breg uet, Jean-Baptiste Lepaute, and
Jean Gregso n, a mem ber of the commission form ed to
stud y Frangois-Jean Brall e's pro pos al fo r the establish
ment o f a Manuf actu re Royale d'Hor loger ie,
w h i c h
was
finally create d by the
lettres patentes
of Louis X V I dated
Jan uar y 17, 1787 .
1 3
He served as the manufactory's tech
n i c a l d irector u n t i l 1790.
R o m i l l y , who had encou raged his son-in-law to fou nd
th e Journal de
Paris,
th e
f ir s t daily
liter ary newspaper in the
c a p i t a l , assumed
respon sibilit y for the weather section.
T h i s
allowed him to
c l a i m
w i t h
some
humor that " j ' y fais
l a
pl uie et le beau temps"
( " I
make
f a i r
weather and f o u l , "
i n ot her words, " I cont rol everyth ing here"). He pub
l i s h e d
various texts in the
Journal,
incl udi ng a letter, in
1778, in
w h i c h
he demonstrated that perpetual motion
was impossible .
1 4
The major part of his clock-making
a c t i v i t y
was
devoted to watches, their mechanism being generally set
i n extremely fine cases. Some of
these
were supplied by
A n d r e - L o u i s Levacher
Vaine
and decorated w i t h enamels
b y
such
w e l l - k n o w n
artists as the painter Jean Prevaux.
He delivered one to the Menus Plaisirs on the occasion of
the wedding of the Dauphin, the future Louis
X V I .
1 5
R o m i l l y pr oduc ed o nly a small numb er of move
ments for clocks,
w h i c h
were placed in cases by B althazar
L i e u t a u d ,
Charles
Cressent,
Robert Osmond, or
Jean-
Joseph
de Saint-Germain.
These
were in all
l i k e l i h o o d
executed at the
request
o f suc h clients as the financier
Jean-Francois
de Lab orde , the comte du Luc, the marqui s
de
Pange,
Madam e de Mont esq uio u, and the prin ce de
M o n a c o . For Madame de Pompadour, in 1762, he
made
the works for a
Sevres
porcela in clock
w h i c h
was part of a
garni ture of f ive
pieces
for a mantelpiece . I t later enter ed
the colle ction of the due de Praslin.
R o m i l l y
was the progenitor of a line of
p o l i t i c a l fig
ures, scientists, and generals who distinguished them
selves
in France in the nineteenth century. His son Jean-
Edme,
first
destine d for the clock-maker's profession, was
ord ai ned a pastor in Geneva on Mar ch 14, 1763, and
became
a famous
preacher,
exercising his ministr y
first
i n
L o n d o n ,
t hen i n Switz erlan d. A t the age o f t w e n t y - t w o , he
w r o t e the articles "Tolerance" and
" V e r t u "
for the great
Encyclopedic He also co nt ri bu te d to Charl es Palissot's
Memoires
Litteraires,
for
w h i c h ,
among other things, he
w r o t e an article on Jean-Jacques
Rousseau.
16
Romilly's
s o n - i n - l a w , Guil laume
O l i v i e r
de Corancez, was a protege
o f Anne-Robert-Jacques Tur got and Arm and -Th oma s
de
M i r o m e s n i l .
Thanks to the
Journal de Paris
as w e l l as to
interests he held in a hired carriage business, his eco
n o m i c situation was, according to his daughter, "close to
opulence whe n the Revoluti on occurr ed."
1 7
Corancez's
son, Louis-Alexandre
O l i v i e r
de Corancez (1770-1832),
f o l l o w e d
Napoleon to Egypt and was a distinguished
scholar, histor ian, and di plo mat . I n 1797 his da ughter,
M a r i e - J u l i e O l i v i e r
de Corancez, married Jean-Baptiste
Cavaignac, a mem ber of the Natio nal Conv ent ion and a
r e g i c i d e , who
became
Prefect under the Empire. Their
elde r son, God ef roy Cava ignac (1801—1845), was an
opponent of the July Monarchy and
became
one of the
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presidents o f the Societe des Dro its de l' Ho mm e.
1 8
Their
you nges t son, Lou is- Eug ene (1802—1857), was
first
a
major-general, then gouver neur-ge neral of A l g e r i a. I n
1848 he was
c h i e f
executive of France ("chef du Pou voir
e x e c u t i f " ) and pres ented him sel f as a candidat e fo r
the presidenc y against Prince Louis- Napo leo n. Louis -
Eugene's son Jacques (1853-1905) was several times a
minister und er the
T h i r d
Republic, most notably
M i n i s
ter o f War at the tim e of the Drey fus affair. Jacques's son
Eugene
was one o f the most reno wne d Fren ch Helle nists
o f the be gin ning of the century, w h i l e his son-in-law, Gen
eral Mangin, became a m i l i t a r y hero d ur in g the First
W o r l d
War.
N O T E S
1.
Recueil Genealogique Suisse
(Geneva,
1 9 9 4 ) ,
v o l . 3, article on
Romil ly .
2 .
Jean
Jo l l y belonged to a line of Parisian clock-makers. He
was admitted as master
o n
June 9 , 1 6 9 8 , and was elected
Garde
Visiteur
in 1 7 1 6 .
3 .
A . N . ,
Y
9 3 2 7
and
A . N . ,
E*
1 2 7 8
B. On this matter, see
B lake y biography in this volume, note 16.
4 . Th e decree o f the Conseil d'Etat du Roi cited in note 3
states that " f r o m the age of t w e lv e he has
been
brought up
by his f a m i l y in the art of c l o c k - m a k i n g and has worked
since the age of eighteen as a
compagnon
together w i t h the
master clock-makers of Paris . . ."
5 . On the occasion of her marriage , Elisabeth G r i b e l i n ,
Jean
Jolly's granddaughter, received a 200-livre annuity f r o m
the k i n g , "since she was educated in the catholic, apostolic
and Roman f a i t h at the Nouvelles Converties," although
her mother was christened on October
2 7 ,
1 6 9 4 , in the
church of Saint-Barthelemy
( A . N . , M i n . ,
X X X I V , 589,
1 . 1 0 . 1 7 5 2 ) .
6 . J. Rom i l l y , "Une montre
presentee
par
M .
Rom i l l y , citoyen
de Geneve,"
Histoire,
Annee
1 7 5 5
(Paris,
1 7 6 1 ) .
7. J.J o d i n , L es Echappemens a
repos
compares aux Echappemens a
recul,. .
.
suivi de Quelques reflexions sur
Vetat
present de I'Hor-
logerie . . . (Paris, 1 7 5 4 ) , p. 224.
8. Encyclopedic, seconde
section, horlogerie
( 1 7 6 6 ) and LAlma
nack Dauphin ( 1 7 7 2 ) .
9. F. Berthou d, De la
mesure
du temps . . . (Paris,
1 7 8 7 ) .
1 0.
Christie's, New Y o r k ,
June
5, 1 9 8 6 , lot 1 4 3 . Grenier's pen
d u l u m
was published b y J.-F. Pilatre de Rozier, Observation
sur
la
physique,
v o l . 16 (Paris,
1 7 8 0 ) ,
and again,
w i t h mo d i f i
cations, in v o l . 29 (Paris,
1 7 8 6 ) .
1 1 . S. Rom i l l y , Memoirs
of
the
life of Sir Samuel
Romilly,
written by
himself,
edited
by h is sons
(London,
1 8 4 0 ) .
1 2 .
J. Chatelus,
Peindre a Paris
au
XVIHeme siecle
(Nimes,
1 9 9 1 ) .
1 3.
Augarde 1 9 8 4 , pp. 66—79,
a n
d
A . N . ,
E*
1 6 5 0
B.
1 4. Magasin Encyclopedique
(Journal
de s Sciences, de s Lettres et des
Arts)
V I (An I V )
( 1 7 9 5 ) ,
pp . 5 3 3 ~ 5 3 4 -
1 5.
A . N . ,
O
1
3 0 4 4 , ite m no.
3 1 1 .
1 6. E . -J.
Rom i l l y ,
Sermons recueillis par le pasteur Juventin, precede
d'un
Eloge
Historique, 3 vols. (Geneva, 1 7 8 8 ) .
1 7.
M . - J .
C a v a i g n a c ,M e m o i r e
duneInconnue, 2780-1816 (Paris,
1896).
1 8.
His tom b by Francois Rude, in the cemetery of M o n t -
martre, is one of this sculptor's finest works.
M I C H E L S T O L L E N W E R C K
M i c h e l Stoll enwer ck was a native of German y, pro b
ably f r o m the duchy of
J u l i c h .
H e di ed in Paris in July
1768.
1
His
f i r s t w i f e
was Marie- Elisabe th Bod art . The y
had at
least
eight chi ldren,
2
including: Pierre-Hubert
(about 17 40-a fter 1805), a clock-maker,
3
Pierre-Mart in
( d i e d
after 1805), a clock-maker wh o settled in the Un it ed
States
of Ame ric a after 1769,
4
Catherine-Elisabeth
(1739-af ter 1810), who mar rie d Charles-Dominique
Pesiere, Huissier
audiencier en la
juridiction
des
Eaux
et
Forets a Paris, the n a lawyer at the Parlement de Paris;
5
Franco ise-An geliqu e (die d after 1804), wh o was ma rr ie d
i n tu rn to Louis-Alexandre de
V i l l i e r s
(di ed befo re 1772)
and Alexandre-Pierre d 'Antibes ;
6
Marie-Anne (died
after 1808); and Jean-Francois (born 1753).
7
I n 1764 he
married his second w i f e , Mar ie-A nne Courcelles (died
after 1777).
8
A c t i v e
i n Paris as an ouvrier
libre,
Sto llen werc k was ad
m i t t e d
to the g u i l d as a master clock-maker in that c i t y
o n A p r i l
14, 1746,
9
i n accordance
w i t h
a
decree
of the
Conseil d'Etat d u Roi given on Febru ary 1 of the
same
year.
10
H e l i v e d f i r st i n the Enclos de l'abbaye de Saint-
Germain-des-Pres, the n in the rue de la Comed ie Fra n
chise (1747) and i n the rue G uene gau d (1753), and fi
n a l l y in the rue d u Harl ay on the place Dauph ine (17 57).
T h e
date
an d circumstances un de r
w h i c h
Stollen
werck
settled i n Paris are un kno wn , as are the origi ns o f
hi s f a m i l y . A clock-maker by the
same
name was active in
A i x - l a - C h a p e l l e (Aachen) i n the mid dle of the eighteenth
century.
1 1
Stollenwerck's conte mpora ries spelled his
name in a variety of ways making it particu larly trouble
some to scholars. Families
o f
th e
same
name l i v i n g in Ger
man y to day spell it with ou t the le tter "c." What is kno wn is
that Sto llenwe rck settled in Paris aro un d 1730. His first
marr iage t ook place pri or to 1739, and he already o wned
an inde pend ent worksh op in 1740.
One can give onl y an indi rec t assessment of his pro p
erty. Th e marr iag e contract of his dau ght er i n 1762
seems to i m p l y that Stolle nwerc k was relatively wealthy
f o r a ma n o f his posi tion . Th is impressi on of financial
ease is con fi rme d by the locat ion o f the establishment he
then occupie d: the rue du Harla y and the buildings
o f
the
place Dauphine onto w h i c h it ope ned were in the quar ter
i n w h i c h
the most fashionable and wealthiest clock-
makers o f the capital were to be fou nd . Th at he was prob
ably
w e l l
of f financially is also co nf ir me d by the fact t hat
Pierre-Hubert Stollenwerck's stock was acquired by his
stepmother for
8,463
livres, paid in cash,
12
an amount cer
t a i n l y provided by M i c h e l Stollenwerck, since Marie-
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A n n e C o u r c e l l e s' s d o w r y , d e c l a r e d
three
m o n t h s e a r l ie r ,
i n c l u d e d
l i t t l e
m o r e t h a n f u r n i t u r e o f n e g l i g i b le v a l u e .
1 3
T h e s e t t le m e n t o f t h e c l o c k -m a k e r ' s estate, o n t h e o t h e r
h a n d , w as o b v i o u s l y q u i t e a c o m p l i c a t e d m a t t e r s i n c e,
e i g h t e e n m o n t h s a f t e r h i s d e a t h , n o g u a r d i a n h a d y e t
been a p p o i n t e d f o r h i s m i n o r c h i l d r e n (as a r e s u l t o f
w h i c h
a n o t a r iz e d i n v e n t o r y c o u l d n o t b e m a d e ) ,
1 4
a n d i t
w a s
s t i l l
n o t s e t t l e d i n 1 8 0 5 .
1 5
I n a n y e v e n t , v a r i o u s c l u es
a l l o w
a n e s t i m a t i o n o f S t o l l e n w e r c k ' s
estate
a t a b o u t
7 7 , 0 0 0
livres
a t t h e t i m e o f h i s d e a t h .
1 6
H i s
c o n t e m p o r a r i e s r e g a r d e d S t o l l e n w e r c k as a n a r t
is t
w i t h a n e x c e p t i o n a l m e c h a n i c a l t a l e n t . I n 1 7 54
Jean
J o d i n w r o t e t h a t " th e E n d e r l i n s , C a m s , S t o l l en w e r c k s ,
B e r t h o u d s , & c .
have been
r e d u c e d t o a f u r t i v e e x e r c i se o f
t h e i r
s u p e r i o r t a l en t s i n f a v o r e d
places
. . ,"
1 7
T h e scope
o f
s u c h
praise
c a n b e
measured
i n t e r m s o f t h e p r e s t i g e
a n d i m p o r t a n c e o f t h e w o r k s o f E n d e r l i n a n d B e r t h o u d .
O n
F e b r u a r y 1 6 , 1 7 6 1 ,
LAvant-Coureur
d e c l a r e d t h a t : " L e
s i e u r S t o l le w e r k , c l o c k - m a k e r , w h o m w e m e n t i o n e d o n
t h e o c c a s i o n w h e n t h e b e a u t i f u l a s t r o n o m i c a l c l o c k w a s t o
b e
seen
i n h i s s h o p ,
also
h as a p a r t i c u l a r
g i f t
f o r a r r a n g i n g
c a r i l l o n s
o f s i n g u l a r a c c u r a c y a n d e x a c t t o n e . T h i s a r ti s t
c o m b i n e s g r e a t t h e o r e t i c a l a b i l i t y
w i t h
a p e r f e c t e x e c u
t i o n ,
8c
h i s h a n d i s a lw a y s g u i d e d b y p r i o r c a l c u l a t i o n . "
1 8
S p e a k i n g o f h i s m u s i c a l c y l i n d e r s i n 1 7 7 6 ,
Pere
E n g r a -
m e l l e gave h i m
some
v i b r a n t p o s t h u m o u s p r a i s e , " A s f o r
t h e i n s t r u m e n t s w i t h c h i m e s , o r c a r i l l o n s . . .
those
o f
S t o l k v e r c k
have e n j o y e d t h e h i g h e s t r e p u t a t i o n . . . p r o d
ucts o f
t h i s
k i n d ,
w h i c h c a n b e t r a n s p o r t e d i n t o t h e r e m o t
e s t l a n d s ,
w i l l
c o m p l e t e t h e t a m i n g o f b a r b a r i a n N a t i o n s ,
w h o have
a l r e a d y
been
filled w i t h a d m i r a t i o n u p o n s e ei n g
some i n s t r u m e n t s b y M a r c h a l 8c S t o l k v e r c k . . . Some car
i l l o n s
b y S t o l k v e r c k t r a n s p o r t e d t o C h i n a , M o n g o l i a , T u r
k e y a n d a m o n g s t t h e H u r o n s , have l e f t t h e s o v e r e i g n s o f
those
v a st c o u n t r i e s e n c h a n t e d w i t h a d m i r a t i o n . "
1 9
A n d
finally
t h e e d i t o r s o f t h e
Encyclopedic
chose t o
represent
o n e
o f
h i s w o r k s i n t h e plates d e v o t e d t o c l o c k - a n d w a t c h
m a k i n g ,
i n o r d e r t o i l l u s t r a t e t h e a r t i c l e o n t h e
c a r i l l o n
( p l a t e s
X X V I I
a n d
X X V I I I
o f t h e first s e c t i o n ) .
O n e m a y assume t h a t S t o l l e n w e r c k w a s first t a u g h t b y
H e n r i E n d e r l i n , w h o s e t r a i n h e l a t e r used,
2 0
a n d w h o , l ik e
h i m ,
r e s i d e d i n t h e abbey o f S a i n t - G e r m a i n - d e s - P r e s . I n
a n y e v e n t , T h i o u t associated t h e i r names i n m e n t i o n i n g
a n
escapement
i n v e n t e d b y E n d e r l i n .
2 1
T h e first k n o w n m o v e m e n t b y S t o l le n w e r c k i n s c r ib e d
w i t h a
date
w as
made
i n 1 7 4 0 ,
2 2
a n d t h e
assertions o f Jean
J o d i n s h o w t h a t h i s r e p u t a t i o n w a s e s t a b li s h e d l o n g
b e f o r e h e w a s a d m i t t e d to t h e
g u i l d
as a
master
i n A p r i l
1 7 4 6 . T w o l e g a l d o c u m e n t s a n d a s u r v i v i n g s p e c i m e n o f
h i s w o r k c o n f i r m t h is . T h e i n v e n t o r y
made
a f t e r t h e
d e a t h o f t h e d u e d e M o r t e m a r t i n A u g u s t 1 7 4 6 ,
2 3
m e n
t i o n s t h a t i n h i s
Paris
t o w n
house
w e r e t w o c l o c k s b y S t o l
l e n w e r c k , o n e o f t h e m
a secondes ,
a n d t w o w a t c h e s , o n e o f
g o l d
a n d o n e l a r g e s i l v e r de ca mp a gn e . T h e i n v e n t o r y o f
t h e m a r q u i s d e F e r r i e r e , i n 1 7 4 7 ,
also
m e n t i o n s a c l oc k
a
secondes b y S t o l l e n w e r c k e s t i m a t e d a t t h e h i g h p r i c e o f
6 0 0
livres.
24
F i n a l l y ,
th e s u m p t u o u s
long-case
c l o c k i n t h e
C l e v e l a n d M u s e u m o f A r t , t h e case o f w h i c h bears t h e
date
1 7 4 4 ,
2 5
g i v e s t a n g i b l e p r o o f o f t h e a r ti s t i c e x c e l l e n c e
o f
t h e w o r k h e w as a lr e a d y p u t t i n g o n t h e m a r k e t .
Besides
c l o c k s a n d
watches
w i t h
t r a d i t i o n a l w o r k s ,
S t o l l e n w e r c k a p p l i e d h i s t a l e n t s i n t h e h i g h l y t e c h n i c a l
fields
o f
e q u a t i o n c l o c k s , p l a n i s p h e r e s , a n d c a r i ll o n s . I n
t h e case o f t h e c a r i l l o n s , i t appears t h a t h e
made
t h e m n o t
o n l y f o r h i m s e l f b u t also f o r h i s c o l l e a g u e s . A t least f ive
specimens
o f h i s c a r i l l o n s
have
c o m e d o w n to u s . O n e
o f
t h e o l d e s t , e x e c u t e d a t t h e abbey o f S a i n t - G e r m a i n ,
b e f o r e h i s m a s t e r s h i p , w a s
made f o r Jean-Francois D o m i -
n i c e 's c l o c k n o w i n t h e G e t t y M u s e u m ( c a t . n o . 5 ) . T h e sec
o n d
w a s p l a c e d , t o g e t h e r w i t h w o r k s s i g n e d b y E t i e n n e L e
N o i r fils, i n a c l o c k a t t r i b u t e d t o Jean-Pierre L a t z . T h i s
c l o c k w a s n o t
o r i g i n a l l y
i n t e n d e d t o c o n t a i n a
c a r i l l o n ,
b u t
t h e a d d i t i o n m a y a c t u a l ly
have
c o i n c i d e d
w i t h
i t s e x e c u
t i o n .
2 6
T h e t h i r d w a s c o m b i n e d w i t h t h e a s t r o n o m i c a l
w o r k s o f t h e
long-case
c l o c k b y L a t z n o w i n C l e v e l a n d .
T h e f o u r t h , d a t e d 1 7 5 6 , b e l o n g s t o a n e x c e p t i o n a l c l o c k
f o r
w h i c h S t o l l en w e r c k
also
e x e c u t e d a c o m p l i c a t e d
m o v e m e n t . C r e a t e d f o r t h e m a r q u i s d e B r u n o y , s o n o f
Jean
Paris
de M o n t m a r t e l ,
2 7
t h i s c l o c k' s g i l t - b r o n z e case
r e p r e s e n t i n g t h e D e a t h o f A d o n i s i s o n e o f t h e m o s t
r e f i n e d
w o r k s o f Jean-Joseph d e S a i n t - G e r m a i n . T h e
fifth b e l o n g s t o a c l o c k b y P i e r r e D a i l l e , d a t e d 1 7 6 3 , n o w
i n
t h e W a ll ac e C o l le c t i o n i n L o n d o n .
2 8
O t h e r c l o c ks w i t h
c a r i l l o n s
c r e a t e d b y S t o l l e n w e r c k c o u l d b e f o u n d , i n t h e
e i g h t e e n t h c e n t u r y , i n t h e c o l le c t i o n s o f
M .
M a l l e t ,
2 9
t h e
marquises
d e
Pange
3 0
a n d de C o u r t a n v a u x ,
3 1
M . D u c l o s -
D u f r e s n o y ,
3 2
a n d l a t e r i n th a t o f M . C o b l e n t z .
3 3
O n e
l a s t c l o c k , w i t h a s tr o n o m i c a l m o v e m e n t s a n d a
c a r i l l o n ,
h o u s e d i n a n e x c e p t i o n a l case ( p o s s i b l y b y
Jean-Pierre
L a t z ) made
o f
brass
a n d t o r t o i s e s h e l l m a r q u e t r y l a v i s h l y
d e c o r a t e d
w i t h
g i l t b r o n z e , w a s a c q u i r e d b y F r e d e r i c k I I
o f Prussia.
34
T h e s e c o n d field t o w h i c h S t o l l e n w e r c k
gave
h i s
a t t e n t i o n w a s t h a t o f a s t r o n o m i c a l c l oc k s . H e made a t
least
t w o o f t h e
three
s u r v i v i n g p l a n i s p h e re s t h a t b e
l o n g e d t o A l e x a n d r e F o r t i e r a n d m a y have been r e s p o n
s i b l e f o r t h e
changes
made
i n t h e p o s i t i o n o f t h e s e c o n d
a r y d i a l s t h a t d i s t i n g u i s h e s t h e l a s t t w o f r o m t h e first.
35
F o r t h e e q u a t i o n c l o c k s a n d
those
w i t h a s t r o n o m i c a l i n d i
c a t i o n s h e s o m e t i m e s used E n d e r l i n ' s t r a i n ,
3 6
w h i c h h a s
a l r e a d y
been
m e n t i o n e d , o r t h a t w h i c h T h i o u t r e f e r r e d
to as a cadrature angla ise.
37
W i t h t h e e x c e p t i o n
o f
h i s s o n P i e r r e - H u b e r t , a n o t h e r
s o n , p os s ib l y P i e r r e - M a r t i n , m e n t i o n e d as a
horloger
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mecanicien
around 1775/1778,
38
and David-Louis Cour-
vois ier ,
39
th e names o f his collabora tors i n the clock-
making
field
are not kno wn .
Stol lenwerck
probably bought the pro duct ion of
Pie rre -Hu ber t and sold i t und er his ow n name: "Th e Sr.
Stol lenwerck
has ackn owle dge d tha t said effects . . .
be lo ng to said P. his son . . . tha t since the age o f eig hte en
years he has granted h im fre edo m to
w o r k
on his own
account ."
40
As far as marquetry
cases
are concerne d, Stollen
werck col laborated
w i t h
Jean-Pierre L at z .
4 1
For br onze
cases, he often used
Jean-Joseph
de Saint -Germain
4 2
and
Rober t Osmond, who m a de a clock w i t h a
vase
and
l i o n
masks inten ded fo r the due de Brissac,
43
and Edme Roy,
one o f whose so-called "a la
Geoffr in"
models he
fitted
w i t h a movemen t .
4 4
He occasionally provided decorative
bronze elements to gilders, in part icula r to Ignace-Pierre
G o b e r t .
4 5
I t
seems
l i k e l y tha t Stollenwer ck sold most of his pro
duc t ion
himself. His clientele included
r i c h
di let tant i
and connoisseurs of fine mechanical pieces. Besides the
names
already mentioned, one may add those of the
amiral -marquis de Massiac
46
and the barons de Th i er s
4 7
an d de Bezenva l. I t was fo r the latter that he execu ted the
works o f a w a l l clock, the pend ant of which was a ther
mometer s igned
"Michel
B ourb on," as w e l l as the works
o f an ext rao rdinar y clock of g i l t and patinated bronze
repr esen ting an allegory of His tory: "On a cluster of
clouds ru n thr ou gh by the scythe of T i m e , there
appears
a winged globe h a l f covered by a v e i l a nd circled by a
snake; the hours are ma rke d upo n i t and a put to points
them out ,
whi le
another one, surro unde d w i t h attributes
o f th e
sciences
a nd
seated
on the clouds, writes up on a
book he is h o l d i n g . "
4 8
NOTES
1.
A . N . ,
Y
1 1 7 3 6 ,
lawsuit brought against his
widow
for the
delivery o f meats to the couple
thro ugh July
3 0 , 1768.
2 .
A . N . , M i n . , X X X I , 1 7 3 ,
February 1 1 ,
1 7 6 2 ,
marriage of
Catherine-Elisabe th-Nicolle Stollenwerck. In this contract,
she is named as inheriting
f r o m
her mother an amount
equal to one eighth of her
estate.
I t is no
easy
matter to
trace the childre n of
Stollenwerck.
A
horloger mecan icien,
not a master, exercised his craft in Paris und er the name of
Stollenwerck fits
(see note
3 8 ) .
T his may possibly have
been
Pierre-Martin.
See note 4.
3 . A . N . , M i n . , X X X I , 1 7 7 , June
8 ,
1 7 6 4 ,
transfer, by Pierre-
Hu be rt Stollenwerck, of his clock-maker's stock, to his
stepmother, M ari e-A nne Courcelles. Th e circumstances
o f
this
sale suggest
that Pierre-Hubert may have been the
M . Stollenwerck who, in
1 8 0 1 ,
published a translation of
Fischer's book
entitled Recherches Historiques
sur
le s
Princi-
pales Nations
Etablies en
Siberie
et
dans les Pays Adjacens,
lors de
la
Conquete
de s
Russes.
Th e translator's name is preceded
solely
by the lette r M , and it is impossible to establish
whether this is intended as the
i n i t i a l
o f a
first
name or an
abbreviation of "Monsieur." I n the preface the author
wrote
th e
f o l l o w i n g : "originating f r o m
the land
o f
Juliers
but
bo rn in Paris where I received my education, I was still
young eno ugh, when I went to Russia, to be able to learn
the language of that country." After having taken part as
an
officer
i n the campaign against the Turks, under the
orders o f Marshal Count
Riumianzowski,
Pierre-Hubert
married
Elisabeth Abrahamovna o f the princely
house
of
Volkonsky
i n Moscow in September
1 7 7 6
and returned to
settle in France, in the Berr y, du ri ng the 1 7 8 0 s .
4 .
Pie rre -Ma rtin Stollenwerck is ment ioned as being in New
Y o r k
i n 1 8 0 5 ( A . N . , M i n . ,
X X , 8 0 8 ,
6 Nivose An
X I V
[doc
uments missing]). His
sons
were no doubt the founders of
the
firm
of Stollenwerck Brothers, also in New
Y o r k
after
1 8 2 0 . G. H. B a i l l i e ( 1 9 2 9 ) , mentions a P. M . Stollenwerck in
Philadelphia in 1 8 1 3 , wh o may be the same Pierre-Martin
or
one of his sons. Pierre-Martin was designated the god
father of his niece Sophie de V i l l i e r s on September 22,
1 7 6 9 ,
together w i t h his stepmother, Mari e-An ne Cour
celles ( A . N . ,
M i n . , C I , 5 8 4 ,
deed of
March
17,
1 7 7 2 ) .
We
thank Christian Baulez for having drawn our attention to
this
deed.
5 .
See note 2. Charles -Domini que Pesiere was the son of
Dominique
Pesiere, master
clock-maker and great-
grandson of Nicolas
( I )
Hanet, Christiaan Huygens's agent
i n
Paris. The proper ty of the groom amounted to 4 2 , 4 0 0
livres;
that of the bride to her unspecified share in her
mother's estate. She received a
douaire prefix
consisting of a
l i fe
annuity of 6 0 0 livres (repres enting a capital of 1 2 , 0 0 0
livres) and a donation of
3 , 0 0 0
livres
par preciput
et
horspart
(before distribution o f the
shares,
inheritance
taxes
being
paid
f or
f r o m
the estate).
Finally,
Catherine-Angelique De
Walle made a donation of 6 , 0 0 0 livres to the future couple,
w h o l l y devolving upon the survivor.
6 .
A . N . ,
M i n . ,
I X , 8 8 4 ,
17 Nivose A n X I I I , power of attorney
given
by Alexandre-Pierre d'Antibes to his
wi fe .
7 . Paris, Biblio thequ e Nationa le, Manus crit Francais, Fichier
Laborde, extract f r o m the baptismal register of the church
o f Saint Andre-des-Arts dated May
4 ,
1753.
8. A . N . ,
M i n . , X X X I ,
1 7 7 ,
March 2, 1764.
9.
A . N . , Y 9 3 2 6 .
1 0 . A . N . ,
E*
1 2 2 8 B .
I n February
1 7 4 5
the government cre
ated the offices
o f Inspecteurs et contrdleurs de s
Jures in
a ll
the
arts and crafts communities of the kingdom. This place
men t of heredit ary officers at their head went against the
desire of
these
communit ies to freely elect their own rep
resentative officers. Consequently each
g u i l d
offered to
buy
back
these
offices an d
"H(is)
M(ajesty), in orde r to
show the co ntinu atio n of his affection and benevolence,
allowed the m to do so." Being unable to borrow the
req uire d capita l, the Parisian clock-makers decided to ask
the king's permission to ad mit as masters twenty unquali
fied
workers who
would
execute
masterpieces
and pay
increased admission
fees
amounting to
2 , 0 0 0
livres. They
were allowed to do this on February 1,
1 7 4 6 ,
by the afore
mentioned decree.
1 1 . See La Mesure du Temps dans les Collections Beiges (Societe
Generale de Banque, Brussels, 1 9 8 4 ) , no. 244.
1 2 . See note 3.
1 3 . See note 8.
1 4 . See note
1.
Legal statement of October 8 , 1 7 6 9 . One must
also take int o account various debts contracted by Stollen-
B
I
O
GRAPH
I
E
S
197
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werck
which were not settled after his death; for instance
those claimed by the clock-maker D avid-Louis Courvoisier
and the gilder Ignace-Pierre Gobert.
1 5 . See note 6 . Th is was certa inly due to the fact that the estate
o f his father-in-law Bodar t had not yet been settled.
1 6. Th is figure
fits
w e l l w i t h a comparative study of the wealth
o f clock-makers such as the Le Noirs, Le Roys, Lepautes,
or Voisins. I t is also consistent w i t h the estimation of the
prop erty o f Stollenwerck's
first wife
and o f the l i q u i d assets
he disposed of
i n 1 7 6 4
to buy back the stock of his son
Pierre-Martin.
1 7 . J. J
odin, Les Echappemens
a
repos compares
aux
Echappemens
a
recul,.
. .
suiv i de Quelques reflexions
sur
Vetat present de VHor-
logerie.
. . (Paris, 1 7 5 4 ) .
1 8. Th e reference to the astronomical clock refers to
Alex
andre Fortier's personal orrery.
1 9. Pere Marie-Dominique-Joseph Engramelle, La Tonotechnie
ou
I'Art
de Noter les cylindres et tout ce qui est susceptible de
Notage dans les instrumens
de
Concert mechaniques
(Paris,
1 7 7 5 ) ' PP- 3 5 - 6 4 -
2 0 . T h iou t 1 7 4 1 . This train is i n a long-case clock now in the
Museum
fur Kuns thand werk in Dresden, the case o f
which, accor ding to He nry Hawley, may be attrib uted to
Jean-Pierre
Latz. Reprodu ced in R. Muhe and H .
Vogel,
Horloges
Anciennes (Paris, 1 9 7 9 ) , fig. 57 5.
2 1 . T h iou t 1 7 4 1 .
2
2 . On a w a l l clock formerly i n the
collection
o f Jean-Baptiste
Diette.
SeeMaison etJardin
(November 1 9 6 1 ) . Information
kindly
comm unicate d by Christi an Baulez.
2 3 . A . N . , M i n . ,
X X I I I ,
5 4 5 , August 3 1 , 1746.
2 4 . A . N . , M i n . , V I , 7 0 7 , December 18, 1747.
2 5 . H . Hawley,
"Jean-Pierr e
Latz, Cabinetmaker," Bulletin of
the Cleveland Museum of Ar t (September-October 1 9 7 0 ) ,
n o. 1.
2 6 . Sale, Sotheby's, Monaco,
June
16 , 1 9 9 0 , lo t 8 2 1 .
2 7 . Anonymous sale, Paris, Aug ust 2 8 , 1 7 7 5 , lot 3. This clock,
formerly in the collection o f the
comtesse
de Behague, is
n ow in the Ganay collection. We are obliged to Christian
Baulez for com mun icatin g the seller's
identity.
2 8 . Inv. F 9 6 . The
dial bears
the double signature o f
Joseph
Coteau and Louis-And re T h i l , which
suggests
that the two
enamelers were, at one tim e,
associates.
A n identical clock,
w i t h Stollenwerck's signature on the
dial,
is now in the
Palais de l'Elysee, in the Salon des Port raits.
2 9 . Sale, Paris, May 12, 1 7 6 6 , lo t 1 0 7 . T he carillon plays thir
teen different tunes.
3 0 . Sale, Paris, Ma rc h 3, 1 7 8 1 , lo t 1 3 6 ; Boileau sale, Paris,
March 4 , 1 7 8 2 , lo t 3 0 8 . The marquis de
Pange
was a great
collector
o f clocks. He owned, among other things, the
long-case clock by Ferdinand Ber tho ud, Balthazar Lieu-
taud, and Philippe Caffieri now in the Chateau de Ver
sailles. See C. Baulez, I I
L u i g i X V I , " i n
/ / mobile francese dot
Luigi
XVI
a ll 'art deco
(M i l a n , 1 9 8 1 ) , p. 6.
3 1 . Sale, Paris, December 1 7 8 2 , lo t 1 1 (effetsprecieux). The
marquis de Co urtanv aux was one of the most famous sci
entific diletta nti of the end of the eighteenth century.
Besides his
collection
o f
scientific
instrume nts, he owned a
complete clock-makers worksho p, splendidly equipped
w i t h m achines and instrum ents of every
kind.
Twenty-
four clocks appeared i n his sale, seven by Bert hou d, six by
Lepaute, three by Stollenwerck, and one by Robert Robin.
S ix o f these are eq uation clocks, one o f them being by Stol
lenwerck. On this matter see Augar de 1 9 9 6 .
3 2 . Sale, Paris, Aug ust 18, 1 7 9 5 . This collection was assembled
at the end of the ancien regime and M . Duclos-Dufresnoy
could
n ot have been th e first o wner o f the Stollenwerck
clock.
3 3 . Sale, Paris, Ma rch 1 3 / 1 4 , 1 9 0 8 , lo t 2 0 7 .
3 4 . P. Seidel, Les collections d 'oeuvres d'artfrangaises du XVIHeme
siecle
(Berlin, 1 9 0 0 ) , pp. 59, 199.
3 5 . See Fortier biogra phy in this volum e.
3 6 . See note 20 .
3 7 .
See note 25 .
3 8 . Tablettes 1 7 7 5 : "Stollenwerck fils, rue Neuve Saint-Meri,
opposite the Cul de Sac du Boeuf, makes simple clocks to
which he adjusts carillons which repeat at each hour the
tunes one has chosen."
Around 1 7 7 8 / 7 9
he lived in the rue
de la Verr erie ( A . N . , Y 1 0 9 2 9 A ) .
3 9 . A . N . , M i n . , X X X I V , 6 9 1 , May 2 4 , 1 7 7 3 , inventory after
the death of David-Louis Courvoisier; per note o f June 2,
1 76 6 , s t i l l not settled.
4 0 . Pierre-Huber t Stollenwerck does no t appear in the regis
ters
of admission to mastership, no r does his broth er
Pierre-Martin.
4 1 . Hawley 1 9 7 0 (see note 2 5 ) , p p. 2 i 5 f f .
4 2 .
Augarde
1 9 8 6 ,
p.
5 2 1 .
4 3 . A . N . , M i n . , X C I , 1 2 9 5 , December 2 8 , 1 7 9 2 , inventory
after the de ath of the due de Brissac. The clock was confis
cated d uri ng the Revolution.
4 4 . Baulez 1 9 8 9 , an d sale of
vicomte
Melchior de Vogue,
Paris, June 2 7, 1 9 1 0 , lot 107.
4 5 . A . N . , M i n . , X X V I I I , 4 0 0 , August 2 6 , 1 7 6 6 , inventory
after the death of Ignace-Pierre Gobert, and A . N . ,
X X V I I I , 4 0 2 , February 8, 1 7 6 7 , m arriage o f his widow to
Louis-Nicolas Gerard.
4 6 . A . N . , M i n . , L X X I I I , 9 8 9 , October 7, 1 7 7 7 , inventory after
the death of the marquise de Massiac.
4 7 . A . N . , M i n . , L X X I I I , 9 2 5 , December 2 2 , 1 7 7 0 , inventory
after the death o f baro n de Thiers. The Stollenwerck
clock, which is listed as no. 5 6 7 in the inventory, di d not
appear
i n the
sale
of this collector's belongings.
4 8 .
Sale, Paris, Au gus t 10,
1 7 9 5 ,
lo t
1 7 6 .
The gilt-bronze
wall
clock
and its pendant have been identified by Christian
Baulez as numbers F 255 and 2 5 6 of the Wallace Collec
tion
i n London. Number 1 9 1 , the clock w i t h a globe, could
be
seen,
in the nineteenth century, in the collection of
Baron
Gustave de Ro thsc hild . See A . Jacquemart, Histoire
du Mobilier (Paris, 1 8 7 6 ) , p. 84.
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C H A R L E S
V O I S I N
C h a r l e s V o i s i n w a s b o r n i n Paris i n 1 6 85 a n d d i e d
there
o n F e b r u a r y 2 4 , 1 7 6 1 .
1
H e w a s t h e s o n o f F r a n c o i s
V o i s i n ( d i e d p r i o r t o 1 7 2 5) a n d G e n e v i e v e C o s s o n ( d i e d
1 7 3 9 ) . I n 1 7 1 2 h e m a r r i e d h i s
f i r s t
w i f e , D e n i s e F o r t i e r
( d i e d 1 7 2 2 ) ,
2
w h o b o r e h i m f o u r c h i l d r e n : A n t o i n e
( 1 7 1 7 — a f t er 1 7 8 9 ) , w h o w a s a d m i t t e d t o t h e
g u i l d
i n
Paris
as a master c l o c k - m a k e r o n F e b r u a r y 1 9 , 1 7 4 3 ; D e n i s e -
M a r g u e r i t e ( b o r n 1 7 1 9) , w h o m a r r i e d t h e
ma rcha n d-
mercier E t i e n n e - F r a n c o i s S a n t i l l y ; M i c h e l l e ( b o r n 1 7 2 0) ,
w h o
d i e d y o u n g ; a n d G e n e v i e v e ( b o r n 1 7 2 2 , d i e d b e f o r e
1 7 4 5 ) ,
w h o m a r r i e d t h e marchand-mercier A u g u s t i n B o n -
n e m a i n . H i s r e m a r r i a g e i n 17 2 5 t o M a r i e - A n t o i n e t t e
C o n v e r s ( 1 7 0 8 - 1 7 6 3 ) r e s u l t e d i n
f i v e
c h i l d r e n :
G e n e v i e v e - A n t o i n e t t e ( b o r n 1 7 2 6 ), w h o d i e d y o u n g ;
A n t o i n e t t e - C h a r l o t t e ( b o r n 1 7 3 1 ) , w h o m a r r i e d F r a n c o is -
A m b r o i s e D i d o t , f o u n d e r o f t h e f a m o u s D i d o t p u b l i s h i n g
f i r m ; A n t o i n e - H e n r y ( 1 73 3 — 1 81 5 ), w h o w a s a d m i t t e d t o
t h e g u i l d i n Paris as a master c l o c k - m a k e r o n A u g u s t 3 1 ,
1 7 5 5 ; C a t h e r i n e ( b o r n 1 7 3 4 ) ; a n d C h a r l e s ( 1 7 3 9 - 1 7 8 1 ) ,
Ecuyer
Valet de Chambre du
Roi.
4
V o i s i n w a s a d m i t t e d t o t h e g u i l d i n Paris as a master
c l o c k - m a k e r o n A u g u s t 6, 1 7 1 0
5
a n d f u n c t i o n e d as
Ga rde
Visiteur f r o m 1 7 2 6 t o 1 7 2 8 . H e also a c q u i r e d t h e h o n o r i f i c
t i t l e Grand
Messager Jure de VUnivers i te de
Paris.
6
H e r e s i d e d
i n t h e r u e d e
Sevres
a n d i n t h e r u e D a u p h i n e ( a f t er 1 7 1 3 ) .
V o i s i n w a s a p r o d u c t o f t h e P a r i s i a n m i d d l e class. H i s
f a m i l y boasted a n o t h e r c l o c k - m a k e r i n t h e p e r s o n o f h i s
u n c l e N i c o l a s . O n e o f h i s u n c l e s , w h o s e
name
w as
also
C h a r l e s , w a s gardener t o t h e k i n g . T h e f am o u s tourneurs
en ivoire
w h o s e rv e d L o u i s X V a n d L o u i s
X V I
w e r e m e m
bers o f h i s f a m i l y . H e amassed a f o r t u n e w h i c h , a t h i s
d e a t h a m o u n t e d t o o v e r 2 0 4 ,0 0 0
livres?
m o s t o f t h i s c o n
s i st i n g i n t h e f r e e h o l d o f f o u r houses a n d h a l f o f a g r o u p
o f
f i v e
o t h e r s , a l l o f t h e m l o c a t e d i n P a ri s . T h i s f i n a n c i a l
success i s c o n f i r m e d b y h i s d a u g h t e r s ' p r e s t i g i o u s m a r
riages
a n d t h e s o c i a l ascent o f h i s i m m e d i a t e
descendants.
H i s la s t s o n , C h a r l e s , a c q u i r e d t h e o f f ic e o f Valet de
Cha mb re
Ordina ire du Roi
w h i c h r a i se d h i m t o t h e n o b i l i t y
8
a n d , i n 1 7 7 2 , o n e o f h is grandsons w a s a l a w y e r i n t h e
P a r l e m e n t d e P a r i s .
9
T h e p i c t u r e w e c a n f o r m o f h i s w o r k s h o p u n d e r t h e
Regence,
as s h o w n b y t h e i n v e n t o r y
made
a f t e r t h e d e a t h
o f h i s f i r s t w i f e i n 1 7 2 2 ,
1 0
is t h a t o f a n a l re a d y r e m a r k a b l y
a c t i v e
business.
H i s p r o p e r t y w as t h e n e s t i m a t e d a t
6 0 , 0 0 0
livres.
T h e s t o c k a l o n e , a c c o r d i n g t o t h e e s t i m a t i o n
o f t w o c l o c k - m a k e r s , H e n r y B a l t h a z a r a n d B e n o i t G e
r a r d , s e r v i n g i n t h e c a p a c i ty o f e x p e r t s , w a s v a l u e d a t
2 2 , 3 0 8
livres
a n d i n c l u d e d o v e r e i g h t y
watches
o f
d i f f e r
e n t k i n d s ,
w i t h
g o l d , s i lv e r , o r m e t a l
cases,
t w e n t y - s i x
c l o c k s i n t h e i r
brass
a n d t o r to i s e s h e ll m a r q u e t r y cases,
t o g e t h e r w i t h c h a i n s o f p r e c i o u s m e t a l , v a r i o u s b l a n k
m o v e m e n t s , a n d t o o l s . I n 1 72 5 h i s f o r t u n e h a d i n c r e a s e d
b y
1 5 , 0 0 0
livres.
11
W h e n h e r e l i n q u i s h e d h i s
business
as a
g o i n g c o n c e r n t o h i s s o n H e n r y o n D e c e m b e r 1 8 , 1 7 6 0 , it s
w o r t h
w a s e s t i m a t e d a t 2 3 , 0 0 0
livres.
12
V o i s i n
p r o d u c e d m o s t l y l u x u r y i t e m s t h a t a r e b e t t e r
c h a r a c t e r i z e d b y t h e q u a l i t y o f t h e i r cases t h a n b y t h e
i n t e r e s t o f t h e i r m o v e m e n t s , w h i c h a r e m o s t l y s i m p l e i n
c o n c e p t i o n b u t e x c e l l e n t l y c r a f t e d . V o i s i n s p e c i a l i z e d i n
c l o c k s d e c o r a t e d w i t h p o r c e l a i n
f r o m
a b r o a d v a r i e t y o f
o r i g i n s , t h e m o s t n o t e w o r t h y o f
w h i c h
i n c l u d e t h e p o r c e
l a i n
w a l l c l o c k
f r o m
C h a n t i l l y n o w i n t h e G e t ty M u s e u m
a n d a c l o c k w i t h
A f r i c a n
f i g u r e s i n Chinese p o r c e l a i n
f r a m i n g a
Japanese
p o r c e l a i n case, f o r m e r l y i n t h e c o l le c
t i o n
o f t h e E l e c t o r o f B a v a r i a .
1 3
H a r d l y a n y o f V o i s i n ' s c o l l a b o r a t o r s a r e k n o w n t o
u s ,
1 4
w i t h
t h e e x c e p t io n o f A d r i e n D u b o i s f o r cases
v e n e e r e d
w i t h
m a r q u e t r y ,
Jean-Joseph
d e S a i n t - G e r m a i n
f o r g i l t - b r o n z e cases,
15
F r a n c o is D u b o i s f o r m o v e m e n t s ,
1 6
a n d
Jean-Jacques
G a v e l l e f o r
watchcases.
17
V o i s i n also
p r o v i d e d
m o v e m e n t s f o r cases d e c o r a t e d w i t h l a c q u e r e d
o r i e n t a l f i g u r e s b y t h e M a r t i n b r o t h e r s . H e w a s i n c o m
m u n i c a t i o n
w i t h a l a r g e n u m b e r o f
marchands-merciers ,
i n c l u d i n g H e n r i L e b r u n , Jean-Jerome
A l l a i n ,
F r a n c o i s
B a i l l y , B o n n e a u , a n d D u h a m e l pere.
18
H i s e l d e r s o n
w o r k e d
w i t h h i m f o r a
w h i l e ,
t h e n se t u p a n i n d e p e n d e n t
w o r k s h o p b e f or e r e t i r i n g i n 1 7 7 2 .
1 9
H i s y o u n g e r s o n
a lw a y s r e m a i n e d w i t h h i m ; h e e s s e n ti a ll y r a n t h e
business
i n t h e r u e D a u p h i n e
f r o m
a b o u t 1 7 5 8 .
2 0
I t w a s t h i s
shop
t h a t w a s r e g u l a r l y m e n t i o n e d
w i t h
h i g h
praise
b y t h e v a r
i o u s c o m m e r c i a l
almanacs
o f t h e s e c o n d
h a l f
o f th e e i g h
t e e n t h c e n t u r y .
V o i s i n used t w o s i g n a t u r e s : " C h a r l e s V o i s i n a Pa r i s , "
a n d
" V o i s i n
a P a r i s " ( t h e l a t t e r a f t e r t h e d e a t h o f h i s u n c l e
N i c o l a s ) . A n t o i n e V o i s i n chose t h e s ig n a t u r e " V o i s i n
fils?
w h i l e
A n t o i n e - H e n r y s i g n e d h i s w o r k s " H e n r y
V o i s i n . "
T h e scope o f V o i s i n 's c l i e n t e l e w as t h e m a r k o f h i s
success. I t i n c l u d e d i n d i v i d u a l s o f r o y a l b l o o d su c h a s t h e
duchesse d u M a i n e , h e r s o n , th e c o m t e d ' E u , a n d t h e
duchesse d e B r u n s w i c k , c o u n t le s s members o f t h e m o s t
r e n o w n e d f a m i l i e s o f t h e F r e n c h a ri s t oc r a c y , a n d s u c h
d i l e t t a n t i
as t h e d u e d e C h e v r e u s e , p r i n c e F e r d i n a n d d e
R o h a n , t h e princesse d ' A r m a g n a c , t h e marquises d e
F u r c y , d e T a h o u t , a n d d ' A r c y , t h e m a r q u i s d e
C
as
t r i e ,
d e
P o n t s , a n d d e Perensc, t h e comtes de M o n t r o n d a n d
d ' A r g e v a l , M a d a m e d e P o m p o n n e , Presidents D e l i s l e ,
t h e b a r o n d e M o n t m o r e n c y , t h e a m i r a l - c o m t e d ' E s t ai n g ,
a n d t h e a m i r a l - m a r q u i s d e M a s si a c. V o i s i n ' s r e p u t a t i o n ,
f i r m l y
e s t a b l i s h e d f r o m a n e a r l y date, w a s u p h e l d b y
h i s
sons.
B I O G R A P H I E S
199
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NOTES
1. Paris,
Bibliotheque
Nationale,
Manuscrit
Francais,
Fichier
Laborde,
from the
burial
register of the chur ch of Saint
Andre-des-Arts,
February
2 4 ,
1 7 6 1 .
2 . A . N . , M i n . , X X I X , 3 0 7 ,
September
2 2 , 1 7 1 2 .
3. A . N . , M i n . , X I I ,
3 8 9 ,
A p r i l 3,
1 7 2 5 .
4 . He was also a freem ason. He was Venerable of the Lodge of
the United Brothers
(Freres
Unis) and later of
its
prolonga
tion, the Lodge of Saint Charles of the
United
Brothers.
5. Liste
1 7 4 8 .
6. Concerning this
function,
see
M . Marion,
D ictionnaire
des
Institutions de la France aux XVHeme
et XVIHeme
siecles (Paris,
1 9 7 2 ) , a nd Thiery, A lmanack du voyageur a Paris (Paris,
1 7 8 4 ) .
7. A . N . ,
M i n . , C X I X ,
3 5 1 ,
March
1 1 ,
1 7 6 2 , partition
o f the
property
o f Charles Voisin.
8.
His advance on fee was dated May 8,
1 7 6 5 .
See
A . N . , M i n . ,
X C I ,
1 1 0 8 ,
February 1,
1 7 7 3 , inventory
after the dea th of
the wife o f Charles Voisin fils.
9. A . N . , M i n . , X C I ,
1 1 0 4 ,
September 16,
1 7 7 2 ,
ma rriage of
Charles Voisin
fils.
1 0 .
A . N . ,
M i n . , C X I X , 1 92 ,
October
2 0 , 1 7 2 2 , inventory
after
the dea th o f Denise Fortier.
1 1 . See not e 3.
1 2 .
A . N . ,
M i n . , C X I X , 3 4 6 . U nfortunately,
a detailed
inven
tory
o f the stock established by priva te treatise was not
attached to the deed.
1 3 .
Inv.
K . V . C.210,
Residenzmuseum,
Munich.
1 4 . On A p r i l 1 5 , 1 9 8 9 , a wall clock i n
g i l t
bronze attributed to
Charles Cressent with a moveme nt by Charles Voisin was
pu t up for sale (lot
9 0 )
by
Ader,
Picard, Tajan in Paris. Th e
attribution
of the
case
to Cressent is quite unfoun ded in
view
o f the
information
available.
1 5 .
J.-D. Augarde
1 9 8 6 ,
p p.
5 2 1 - 5 3 8 .
1 6 . A . N . , E* 1 3 9 1 B ,
decree
o f the council o f August 2 8 ,
1 7 6 4 ,
doc.
no. 16.
1 7 .
A . N . ,
M i n . ,
X X X I V ,
6 4 2 ,
January 1 1 ,
1 7 6 4 , inventory
after
the de ath of the wife
o f
J.J. Gavelle.
1 8 . A . N . , M i n . , C X I X , 3 4 7 ,
inventory
after the dea th of
Charles Voisin.
1 9 . See note 9. Antoine Voisin is described in this docume nt as
an ancien maitre horloger.
2 0 .
See note 12 .
200
B I O G R A P H I E S
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G E N E A L O G Y O F T H E D E L A F O N D A N D C A R R E
F A M I L I E S
P I E R R E D E L A F O N D
Master Clock-maker, Tours;
later, Paris ( 1 7 2 3 )
m . Marie Lombard
J A C Q U E S T H O M A S
( 1 7 1 4 - ? )
Master Clock-maker
m . Marie-Jeanne Lombard
J E A N N E
m .
Julien Le Roy
Clock-maker to the King
L O U I S - D A V I D
( 1 7 1 8 - 1 7 7 9 )
Master Clock-maker ( 1 7 4 8 ) ,
Garde-Visiteur* ( 1 7 6 8 ) ,
Syndic* ( 1 7 7 5 )
m . Therese
Le Roy
E L I S A B E T H
m .
Jean Carre
Clock-maker, Chatellerault;
later,
Paris
D A V I D
Merchant goldsmith,
Paris
m . Gabriel Le Provost
J E A N - B A P T I S T E
d .
ca. 1746
Clock-maker
m .
Louise Briand
R E N E E - V I C T O I R E
m . Jacques Genisty
M A R I E - T H E R E S E
m . Edme-Augus te Le Dou x,
Lawyer
J U L I E - R E N E
m . Toussaint-
Frangois Hoguet
P I E R R E - J E A N
( 1 7 3
1
" ? )
Apprenticed in 1741
2 0 1
?
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G E N E A L O G Y
O F T H E L E R O Y ,
S É N A R D ,
H O G U E T , A N D B É L I A R D F A M I L I E S
P I E R R E ( I ) J U L I E N
Master Clock-maker,
Tours
m . Perrine Tante
J U L I E N ( I I )
(1686-1759)
Master Clock-maker (1713),
Garde-Visi teur* (1735) ,
Clock-maker
to
th e
K i n g ( i 7 3 9 )
m . Jeanne Delafond
P I E R R E ( I I )
(1687-1762)
Master Clock-maker (1721),
Garde-Visiteur* (1745)
m .
Thérè se Boucher
P I ER R E ( I I I )
(1717-1785)
Master Clock-maker
( 1 7 3 7 ) »
Clock-maker
to
th e
K i n g
(1759)
m . Barbe C athe ron
F R A N Ç O I S E
(1692-?)
m . Pierre S énard
( d - 1743)
Master Clock-maker,
Tours; later, Paris
P E R R I N E
m . 1 Denis Gault
Master Clock-maker
(1741)
m .
2
Alexandre
F o r t i e r
L a w y e r
T H É R È S E
m . David-Louis
Carré
Master Clock-maker
J U L I E N
( d .
1754)
Master
Clock-maker
(1754)
R E N É
C H A R L E S
(1697-?)
Master Clock-maker (1722)
L o u i s
(1722-?) (1723-?)
(see note
3) (see
note
4 )
J E A N - B A P T I S T E
(1720—1800)
Member of the
Académie
de s
Sciences
202
M A R I E - E L I S A B E T H
(1753-?)
m . Jul ien Bél iard
Master Clock-maker
(see note
5)
1 D a u g h t e r o f
N i c o l a s
P e l le t ie r Mas te r
C l o c k - m a k e r
2
D a u g h t e r
o f J é r ô m e
M a r t i n o t V a l e t de
C h a m b r e C l o c k - m a k e r
to the
K i n g
3
A p p r e n t i c e d i n
1 7 4 1
to J u l i e n L e Ro y
4 A p p r e n t i c e d i n 1743 a n d r e s i g n e d i n 1748
5 So n o f
P i e r r e B é l i a r d
M a s t e r
C l o c k - m a k e r
a n d e ld e r br o th e r o f
F r a n ç o i s B é l i a r d
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N I C O L A S
Master Clock-maker, Paris
m . Jeanne Berthon
D A V I D
( i 5 5 7 ? - i 6 3 5 )
Master Clock-maker to the King, Tours ( 1 5 8 6 )
m .
Rebecca
Rouer
1
J UL I EN ( I )
(d . 1691)
Clock-maker, Tours
G A T I E N N E
(d . before 1728)
m . Francois Hoguet
G A T I E N
(d .
1762)
Master Clock-maker
(after 1748)
m . Marie-Francoise Pelletier
(see note 1)
A N N E - F R A N C H I S E
m .
Francois
Beliard
(d . 1795)
Clock-maker to the
King ( 1 7 4 9 ) ,
Garde-Visiteur* ( 1 7 7 1 ) ,
Syndic* ( 1 7 7 8 ) ,
Valet
de C hambr e,
Clock-maker to the
King ( 1 7 8 1 )
J E A N - G A T I E N
(d . after 1789)
Master Clock-maker
( 1 7 7 4 )
P I E R R E - F R A N C O I S
(before 175 0-
after 1790)
Master Clock-maker
( 1 7 7 4 )
J U L I E N - A N T O I N E
(1758-?)
Master Clock-maker
( 1 7 8 6 )
m . Marie-Amelie
Arnault
F R A N C O I S ( I )
(d .
before 1766)
Master Clock-maker
(after 1748)
m . 1
Suzanne
Gerin
m .
2 Marie-Elisabeth Martinot
(see note 2)
T o U S S A I N T - F R A N g O I S
(1743-after
1804)
Master Clock-maker
( 1 7 7 9 )
m .
Julie Le Provost
1 J E A N N E
m . 1
Thomas
Ardesoif
Master Clock-maker
( 1 7 5 3 )
m . 2 Francois-Rene
Arnauld
1
1 E T I E N N E
(d .
1741)
Clock-maker
2 F R A N C O I S ( I I )
(d .
after 1766)
Master Clock-maker
F R A N C O I S - A L E X A N D R E
Clock-maker
2 M A R I E - A M E L I E
m .
Julien-Antoine
Beliard
O n l y members
o f those famil ies
connected
to c l o ck -mak ing are i n c l u d e d
here.
*A position in the
Guild
of Clock-makers
2 0 3
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G L O S S A R Y TO
M O V E M E N T
TERMS
Anchor-escapement ,
see also
escapement
I n combinat ion w i t h a pendulum the anchor
escape
ment regulates the
speed
o f the going
t r a i n .
I t is calle d an
anchor
escapement
because
the
shape
o f
it s pallets r esem
bles an anchor. Its inv ent ion is att rib ute d to W i l l i a m
Cle ment (163 8-17 04), and it is ther efor e also called a
Clement
escapement.
Barrel
A wh eel composed of a too thed disk and a
c y l i n d r i c a l
b o x . The barrel turns freely on an arbor and contains the
m a i n s p r i n g ,
w h i c h
is hoo ked to the barr el at its outer end
and to the arbor at its inn er end. Th e barr el meshes w i t h
th e
f i r s t
p i n i o n
o f a
t r a i n .
Brocot
suspension
A spring system, consisting of one or two strip
springs clamped between two
brass
plates. It was invented
b y
the Parisian clockmaker
A c h i l l e
B ro co t (1817—1878).
Ca n n on pinion,
see also
motion work
T h e
p i n i o n
that drives the motion
w o r k .
It is
made
to
compl ete one re vol uti on per ho ur and is dri ve n by the
center ar bor; it carries the min ute han d.
Coun t
wheel
A
whee l that is dr iv en by the
s t r i k i n g
trai n and deter
mines the number of
b e l l
strokes for
each
hour or part
there of. T he co unt wheel has a given num be r o f notches
spaced
at increasingly wider intervals to permit the clock
t o strike in the correct sequence. At the quarter hour ,
h a l f
hour, or f u l l hour, a lever is l i f t e d f r o m a given notc h, and ,
after the requisite nu mb er o f strokes on the
b e l l ,
the lever
drops i nto the next notch o f the count wheel and
stops
the
s t r i k i n g t r a i n .
Crown wheel escapement,
see also
escapement
T h i s escapement
has two pallets
f i x e d
on an arbor at
right
angles to each othe r. I t was used i n the ear ly clocks
o f th e Renaissance pe riod in combinat ion w i t h a f o l i o t or
a balance. I n the clocks describe d i n this catalogue i t is
used in combi natio n w i t h a pendulum to regulate the
speed
of the going
t r a i n .
The crown wheel
escapement,
sometimes also called a verge
escapement,
is the oldest
k n o w n escapement.
Endless-rope winding mechanism
A me chan ism that maintai ns power to a tr ai n as the
c l o c k
is wound. This device was invented by Christiaan
Huygens.
Escapement , see also
anchor escapement, crown wheel
escapement, verge escapement
A
mechanism that alternately checks and
releases
the
d r i v i n g
force
o f
a timepiece. The mechanism includes the
escape
wheel,
w h i c h
provides impetus to the balance or
p e n d u l u m .
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F ly vane
I n
s t r i k i n g clocks the last wheel of the strike
t r a i n
is
fitted
w i t h
a fly consisting of two vanes. The
f r i c t i o n
between these and the air slows down the
t r a i n .
Going
train
The wheel and pinions that transmit the d r i v i n g
power
f r o m
the weight or mains prin g to the
escapement.
Hour wheel, see also motion work
Part of the going
t r a i n ,
it rotates in normal clocks
once in twelve hours . Th e hou r wheel holds the ho ur
hand.
Locking plate, see count wheel
Minute wheel
Part of the going t r a i n , it rotates o nce an hou r; it car
ries the cannon
p i n i o n
and the minute hand.
Motion
work, see also hour wheel, cannon pinion
The three wheels—cannon p i n i o n , minute wheel
and p i n i o n , a nd ho ur wheel—dir ectly behi nd the d i a l
that transmit the rotation
o f
the mi nu te wheel to the h ou r
w h e e l .
Pinion
A
small toot hed wheel
w i t h
six to fourte en teeth.
Quarter-repeater,
see also repeater
Repeats
the quart er o f an hou r in add iti on to the
hours.
Rack striking work, see also snail
A
s t r i k i n g
t r a i n
i n w h i c h the number of
b l o w s
struck
is
cont rol led by the posi tion of a rack, the teeth o f w h i c h
l i f t the hammer. M i s c o u n t i n g cannot occur.
Recoil escapement, see also anchor escapement
A
specially designed escapement
w i t h
a heavy r e c o i l .
A s the wheel turns, the pallets oscillate more or less
q u i c k l y ,
w i t h
no supplementary arc.
Repeater
A
clock that strikes hours , quarte r hour s, or even
minutes when a cord connected to the
s t r i k i n g
t r a i n
is
p u l l e d . There are various types of repeaters; a quarter
repeater sounds a low not e for the ho urs and a " t i n g -
tang" for each of the quarters.
Repeating
train, see also repeater
T h e
s t r i k i n g
t r a i n o f a repeater.
Silk suspension
A s i l k
thread wound around a squared rod, w h i c h
can be tu rn ed to adjust the len gth and therefo re the
p e r i o d of the pendul um. Lengthening the pendu lum
causes
the clock to ru n slower, sho rten ing
i t ,
to ru n faster.
Snail, see also
rack
striking work
A notched cam that controls the
s t r i k i n g
of the hours
o r
quarters.
Striking hammer
A
malle t that strikes the hours a nd
h a l f
hours on a
b e l l or a gong.
Striking train
The wheel and pinions that transmit the d r i v i n g
power
f r o m
the weight or mainspring to the s t r i k i n g
hammer for
s t r i k i n g
the hours.
Verge
escapement, see crown wheel escapement
206
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I N D E X
Page numbers in bold face refer to extended biographies.
A
A d é l a ï d e , Madame, 181
A d m y r a u l t ,
Germain, 192
A l b a n i , Francesco,
172
A l b a t o n ,
Pierre, 177
A l b e r m a r i e ,
L o r d ,
178
A l e m b e r t ,
Jean Le Rond d', 164, 194
Alexander and Berendt, 113
A l i b e r t ,
102
A l l a i n , Jean-Jacques,
178
A l l a i n ,
Jean-Jérôme, 199
A m a n t ,
L o u i s ,
180
A n g o u l é m e ,
chevalier d', 175
Anne de Beaujeu, regent of France, 164
A r a n c o u r t , marquis d', 169
A r c y ,
marquise d', 199
Arenberg,
due d', 185
Argand,Jean, 181
A r g e v a l ,
comte d', 199
Armagnac, princesse
d ', 199
A r m a n d ,
Philippe, 184
A r n o l d ,
Edward, 106
A r r o u a r d , 181
A r t o i s , comte d', 144, 18 1, 192
Ascaffenberg,
Schloss Johannisburg, 106
A s l i n e ,
166
A u d i n e t , 55
A u m e r l e , Marguerite-Elisabeth, 165
A u m o n t ,
duc d', 175
A v e l i n e etCie, 139
B
Baden-Baden, Zàhringer Museum, 25
Bagatelle,
P a v i l i o n
de, 180
B a i l l e u l ,
177
B â i l l o n , Etienne, 55
B â i l l o n , Jean-Baptiste, 55, 184, 191
B a i l l y , François, 199
B a i l l y , Jean-Sylvain, 181
B a i l l y , Joachim, 166, 191
Balthazar, Henry, 199
Balthazar, Melchior-Bonnaventure, 191
Barbedienne, Ferdinand, 120
Barbezat,
E l i e ,
18 1, 186, 192
Ba r i e r , 155
B a r r y ,
Madame du, 178, 181
B a r t h o l o n y , Abraham, 186
Bartlett-Burdett-Coutts,
W i l l ia m Ashmead,
B a t h , Marquess of, 129
Beaucourt, Jean-Louis, 184
Beaujon, M . , 181
Beaumarchais, Caron de, 194
B e a u v i l l i e r s , duc de, 175
Bélanger, François-Joseph, 181
Béliard, François, 186, 188, 203
B e l l a i g u e , Geoffrey de, 89
B e l l e , Jean-François de, 169
B e l l e f o n t a i n e , Lepaute de, 18 1, 193
B e l l e v u e ,
Château de, 180
Bénard, Charles, 181
B é n é z e c h ,
Pierre, 120
B e n i s i m o n
C o l l e c t i o n ,
144
Beo, Johan n Andre as, 148, 150
B e r a i n ,
Jean
( I ) , 12, 16
Berault ( f a m i l y ) , 177
Bergeret, Monsieur, 184
Beringhem, marquis de, 186
B e r l i n
K u n s t b i b l i o t h e k ,
37, 38 , 118, 172
Kunstgewerbemuseum atKôpeni k, 137
Schloss
Charlot tenburg, 159
Schloss
Potsdam, 150, 151
Bernard, Samuel, 23, 55
B e r r y ,
comtesse de , 169
B e r t h o u d
Frères, 170, 196
Berthoud,
Ferdinand, 163, 167, 170, 177,
184,
186, 188, 193, 194
Berthoud,
L o u i s , 170, 192, 193
Bezenval, baro n de, 197
B l a i n e Jewellers, 34
B l a i z o t , 184
B l a k e y , Nicolas, 165
B l a k e y , W i l l ia m ( I ) , 165, 185
B l a k e y , W i l l ia m ( I I ) , 163, 16 4,165-66
194
B l a v e t , Etienne, 184
B o i z o t , L o u i s - S i m o n , 128, 135
Bonemain, A u g u s t in ,
199
Bonneau, 199
Bonnefont neveu, 116
Bonnet, H e n r i , 112
Bonnet, Nicolas, 178, 181
B o n n e v a l ,
Monsieur de, 184
Bordeaux, Chambre de Commerce, 89
Boucher, François, 172, 181
Bouchez, 34
Boudier,
Jean-Simon, 169
B o u i l l o n , duc de, 168
B o u l a r d , 55
Boullanger,
111
B o u l l e ,
André-Charles, 2, 7, 10, 12, 16, 17,
20,23 ,25 , 156, 158, 175, 186
B o u l l e , André-Charles ( I I ) , 186
B o u l l e ,
Jacques-André, 190
B o u l l e workshop, 152
B o u l l é ,
Jacques-Antoine, 190
B o u l l é , Jacques-Nicolas, 190
B o u l l é ,
Jean,
190
B o u l l o n g n e C o l l e c t i o n ,
178
B o u r b o n , duc de, 82, 18 1, 182, 188
B o u r b o n , Lange de, 191
B o u r b o n ,
L o u i s - H e n r i ,
due de, seventh
prince de Conde, 45 , 168
B o u r b o n , M i c h e l ,
197
B o u r b o n , Palais de, 45
Bourgogne, due de, 187
Bousseau,
Monsieur, 191
Brahe, Tycho, 172
B r a l l e , Francois-Jean, 194
B r a n i c k a , Christine, 77
B r a n i c k i , Jan Clemens, Count, 7 5, 7 7
Breant, Jacques-Pierre-Thomas, 169
Breguet,
A b r a h a m - L o u i s ,
194
Breguet, L o u i s , 169
Brethous, Leon de, 62
B r i c e ,
Germain, 16
B r i g n o l l e s , marquis de, 178
Brissac, due de, 197
B r i t i s h
Royal
C o l l e c t i o n ,
55 , 106, 143
B r o c o t ,
A c h i l l e ,
58, 120, 124, 154, 160, 201
B r o d o n , Nicholas, 55
B r u n o y ,
marquis de, 181
B r u n s w i c k ,
duchesse
de, 199
Burdett-Coutts, Angela, Baroness, 85
B u r r e l l ,
Peter, 1st L o r d G w y d i r , 41
B u r r e l l ,
Peter,
2 nd
L o r d
G w y d i r , 41
B u t t e r f i e l d ,
M i c h e l ,
187
B u z o t , Charles 73, 78, 8 2,
167
177
B u z o t , Jean-Charles, 167
B u z o t , Joseph, 167
Cachard, Gaspard, 183
C a f f i e r i ,
Jacques
( I I ) ,
86, 8 9-90 , 170, 178,
186
C a f f i e r i , Philippe, 89, 170, 178
C a f f i e r i ,
workshop, 184, 186
C a i l l a u d , G. , 169
Campary, A n t o i n e , 186
C a m p b e l l ,
R i c h a r d James, 128
Carignan, prince de, 186
Caron fils, 182
Caron
père,
111
Carré,
Jean,
185, 2 01, 202
Carré,
L o u i s - D a v i d ,
185, 186, 202
Carus, 196
Cassini,
Jacques ( I ) ,
186
Cassini,
Jacques ( I I ) ,
18 6-187
Castrie, marquis de, 199
Catherine the Great, empress of Russia, 135
Cauvet, Gilles-Paul, 118, 181
Cavaignac, Eugène, 195
Cavaignac, Godefroy , 194
Cavaignac, Jacques, 195
Cavaignac, Jean-Baptiste, 194
Cavaignac, Louis-Eugène, 195
Cavalier, Prosper, 171
207
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Chainaut, Madame, 106
C h a n t i l l y porcelain manufactory, 4 2 ,4 5-4 6,
178
C h a n t i l l y , Chateau de , 17, 45, 82 , 199
Char din, Jean-Baptiste-Simeon, 172
Chardon,
Jacques,
180 , 182
Charles
I I I ,
k i n g of Spain, 181
Charles I V , k i n g o f Spain, 181
Charles
V I I ,
k i n g o f France, 164
Charles, prince o f Lorrai ne, 181
Chaulnes, Mich el-Ferdina nd, due de, 170,
172
Chavagnac,
marquis de, 175
Chesterfield, Phil ip Dorm er
Stanhope,
4th
E a r l o f, 154, 155
Chevreuse, due de, 199
Choiseul-Praslin, comte de, 12
Choisy,
Chateau
de , 180
C h r i s t i n a ,
queen
o f Sweden, 172
Ciechanowiecki, Andrew , 128
C i r o u , Ciquaire, 45
Clement, W i l l i a m , 20 1
Clermont, comte de, 186, 188
Clermont, Madamoiselle de, 184
Cleveland Museum of A r t , 99 , 196
C l o d i o n ,
172, 181
Cluzed, Etienne, 177
Coblentz,
M . ,
196
Coentanfan, marquis de, 175
Coeur, Edme, 169
Colbert,
Jean-Baptiste,
16, 23
C o l l a r d ,
Nicolas, 192
C o l l i g n o n [Jean-Joseph Lepaute], 180
Consenne,
Jean, 175
Consenne,
Leonard, 175
Contades,
marechal de, 175
C o n t i ,
Louis-Francois de Bourbon, prince
de, 100, 173, 188
Copernicus, Nicolaus, 173
Corancez, Guillaume O l i v i e r de , 193
Corancez, Louis-Alexandre O l i v i e r de , 194
Cornu,Jean, 16
Cortonne, Jean de , 172
C o s i , 181
Coteau, Joseph, 169, 192
Courtanvaux, marquis de, 181 , 196
Courvoisier (brothers), 181
Courvoisier, David-Louis, 1 81 , 192, 193,
197
Coustou p£r£, 191
Cressent, Charles, 48 , 52 , 55, 6 1 , 178, 186,
194
Crosnier, Antoine, 193
C u c c i , Domenico, 180
D
D a i l l e , Pierre, 196
D a l v a Brothers, 18, 55 ,
D a r l o t , 192
Darnault, Francois, 178
Dasson, Henri, 120
Davenport, 163, 168
D a v i d (dialmaker), 181
D a v i d , Jacques Louis, 128
D a v i s , Charles, 4 1 , 100
Debruge, 10 2,167
Decla, Jacques, 7 8, 8 2,168 177
D e l a f o n d , Pierre, 185, 201
Delafontaine, 120
Delagardette, Louis-Mathieu, 193
Delamare,
Commissaire,
174
Delanoy, Andre , 192
D e l i s l e ,
Presidente,
199
Denier e, 120
Dentan, Amy, 186
Desgodets, Claude-Joseph,
192
Deshayes, Jean-Baptiste-Henri, 172
Desmarets,
Nicholas (Mr. Desmarais), 23,
175
D e t r o i t
Institute of A r t s , 26, 3 5, 40, 57 , 91 ,
107, 113, 120, 122, 146, 154, 159
D i d e r o t , Denis, 164, 194
D i d o t , Francois-Ambroise, 199
D i g u e ,
164
Dodge, Anna Thomson 52, 57
DoMand
pere,
166
D o m i n i c e ,
Bernard, 168
D o m i n i c e , Denis, 168
D o m i n i c e , Etienne, 168
D o m i n i c e ,
Francois, 168
D o m i n i c e ,
Jean-Francois,
28, 3 4, 3 7, 163,
164, 168—69,
1
^ o , 196
D o n j e u x , Vincent, 4 1
Dresden
Museum fur Kunsthandewerk, 178
Schloss
M o r i tz b u r g , 99
D r e y f u s , 195
D r o u o t , Frangois, 169
D r o z ,
Abraham-Louis-Humbert, 111
D u b o i s , Adr i en , 169, 178, 186, 199
D u b o i s , Francois, 186, 199
D u b o i s , Jacques, 7 3, 7 5, 178
Dubuisson, Henri-Francois, 124, 163,169—
70 18 1, 192
DuChesne, Pierre, 7
Duclos-Dufresnoy,
M . ,
196
D u c l o u x , Moyse, 177, 184
D u c o r r o y , 176
D u f o u r , Frangois, 176
Dugourc, Jean-Demosthene, 118
D u g r a n d - M e s n i l ( f a m i l y ) , 177
Duhamel, Frangois, 184
Duhamel pere,
199
Duplessis,
Jean-Claude,
181
Duplessis, Margue rite-Ca therin e Boucher,
155
D u r i e r ,
Jean, 8
D u r i n i ,
Monseigneur, 168
Duter t re
( f a m i l y ) ,
177
Duter t re,
Jean-Baptiste,
192
Duvaux, Lazare, 169, 178, 186
Duveen Brothers, 52 , 57
E
East,
Edward, 168
Ecosse, Jean-Marc-Antoine, 177
Egmont, comte d', 178
Eisen, Charles-Dominique-Joseph, 172
Elector o f Bavaria, collection of, 199
E m l y n , Viscount, 18
Emmoser, Gherard, 172
E n d e r l i n , Henr i , 173, 180, 196
Engramelle, Pere, 196
Ephrussi, Maurice, 100
E s p i r i t o
Santo, Jose
and Vera, 85
E s p i r i t o Santo, Ricardo, 90
Estaing, amiral-comte d', 199
Estaing, comte d', 175
Etable de La Briere, Jean-Jacques, 181
Etable de La Briere, Nicole-Reine, 179
E u , comte d', 199
Exeter, Brown low Hen ry George, 4th Mar
quess of , 34 , 41
Exeter, W i l l i a m Alley ne Cecil, 3r d Marquess
o f ,
41
F
Fabert, marechal de, 175
Fabre
et
fils, B . , 52, 57
Faucheur,
Alexandre le, 168
Faugnes, M . Perrinetd e, 155
Ferdinand V I , k i n g of Spain, 18 1, 188
Ferriere, marquis de, 196
Feuillade, marechal de la, 175
F i e f f e , Jean- Alexandre, 170
F i e f f e ,
Jean-Claude, 170
F i e f f e ,
Jean-Jacques,
5 8, 163, 164,
170
F i e f f e , Jean-Nicolas, 170
F i e f f e ,
Nicolas, 170
Flavecourt, marquis de, 178
F l e u r y , Cardinal de, 188
Fogg, Samuel, 41
F ol /z/s,Jean, 181
F o l i n , Nicolas-Alexandre, called F o l i n Vaine,
140, 143, 171 192
F o l i n ,
Silvestre-Frangois, 171
Fonck, 191
Fontainebleau, Chateau de , 36 , 5 5, 118
Forcher, Jean, 181
F o r d , Edward, 166
Fortier, Alexand re, 92 , 9 4, 163, 171-73 202
Fortier,
Jean,
171
Fortier,
M . ,
100
Fortier, Romain, 172
Foster,
John, 34
F o u l l e t , Antoine, 108, 11 1, 1 12, 169 , 178,
1 8 1 ,
184, 186
F o u l l e t , Pierre-Antoine, 112
Frangois, Antoine, 186
Frankenthal porcelain, 46
Frederick I I , k i n g o f Prussia, 196
Frederick W i l h e l m
I I I ,
k i n g o f
Prussia,
150,
151
Fremont, Jean-Nicolas, 184
French and Company, 13, 26, 4 1 , 91 , 122,
146, 161
Fritzsche, 46
Furcy, marquise de, 199
Furet
( f a m i l y ) ,
177
Furet,
Jean-Baptiste,
193
G
Gaignat Collection, 178
G a l l e , Charles, 169
G a l l o i s
veuve,
181
Galois, Etienne, 177
Gaspard, 16
Gaudreau, Antoine , 89
208 I N D E X
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Gaudron, Antoine ( I ) , 2, 5, 7, 17 4-75 , 185,
187
Gaudron, Antoine ( I I ) , 169, 174
Gaudron, Pierre, 165,
1 7 4- 7 5 ,
^ 7 , 188
Gault, Denis ( I I ) , 1 7 1 , 173, 202
Gavelle, Jean-Jacques, 199
Gavelle I 'aine, Pierre, 192
George
I V ,
king
of England, 144
Gerard, Benoit, 199
Germain, Francois-Thomas, 186
Gervais, Francois, 177
Gide,
Xavier, 177
Gilles I 'aine, 106, 191
Girardon, Francois, 16 , 23 , 25
Glover
and Charrot, 166
Gluck,
Christophe Willibald, 138
Gobert, Ignace-Pierre, 197
Gobert, Louis-Francois, 181
Godde, Jean-Isaac, 168, 169
Godon, Louis-Francois, 169
Gonzales, Manuel, 161
Gosselin, Antoine, 186
Gosselin, Jean-Philippe, 167
Gould, George Jay, 57
Gournay, 177
Goyer, Francois, 1 8 1 , 184
Goyer, Jean, 1 78, 1 8 1, 192
Graham, George, 154, 155, 187
Grandperrins fils, 116
Gregory, P. J. G., 166
Gregson,
Jean,
194
Grenier, 194
Grimou,
Jean, 172
Gruyn,
Pierre, 175
Gudin, Jacques, 176, 186
Gudin,
Jacques-Jerome,
176
Gudin, Paul, called Gudin le
Jeune,
20 , 23,
55>
Guiot,
Andre-Georges, 55 , 193
Gwydir,
se e
Burr
ell
H
Hacker, David, 135
Hahn, Henry, known as Le Cocq, 175, 186
Handscombe, 166
Hanet, Nicolas, 174
Hawley,
Henry 17 , 99
Heban, Claude-Bernard, widow of, 111
Hebert, Thomas-Joachim, 80 , 178
Heller,
P., 65
Helms, Nestor, 168
Henri I I I , king o f France, 164
Henri
I V , king o f France, 12
Henry,
Augustin-Michel, 180
Henry,
Pierre, called Pierre Henry-Lepaute ,
180
Herbault, Louis-Francois, 177
Herbaut, Francois, 178
Hertford, Marquis of, 12, 155
Hervieu, Louis-Barthelemy,181
Hillingdon, Lord,
13
Hoguet, Francois ( I ) , 203
Hoguet, Gatien, 203
Hoguet, Toussaint-Francois, 2 0 1 , 202
Hongr e, Etienne le, 16
Houdin fils, 144
Houdon, Jean-Antoine, 181
Hubert, Guillaume, 174, 177
Huescar, duke of, 188
Huntsmann, 166
Huquier, Gabriel, 6 1 , 62
Huygens, Christiaan, 5, 174, 201
1
Imbert I a i n i , Jean-Gabriel, 1 7 1 , 193
J
Jacquet-Droz, 181
James I I , king of England, 168
Janvier, Antide, 169, 170
Jarossay,
Urbain, 192
Jean, Jean-Adrien, 170
Joao V , king o f Portugal,57
Jodin,Jean, 194, 196
Johnson, Barbara Piasecka, 173
Jollain, Adrien-Jerome, 181
Jollin I 'aine,
192
Jolly, Jean, 19 3, 194
Joselin, 112
Joseph,
Edward, 139
Jouard,
Louis,
191
Journe, M . , 78
Jullien, Nicolas, 186, 190
Julliot, Claude, 178
Julliot, Claude-Francois, 178
K
Kinable, Dieudonne, 169
Kinzing, Peter,
132, 135,
138
Kirchner,
Johann Gottlieb, 46
Klingspor, baron de, 129
Kraemer&Cie,
120, 122
Kriegseissen, Mathieu, 100
Kugel, Jacques, 4 7, 69
La Brenellerie, Paul-Philippe Gudin de, 187
La Chausee, Pierre-Henry de, 170
La Chausee, Pierre Nivelle de, 170
La Fresnaye (father and son), 178
L a Haye,
Marin
de, 17 , 9 9
L a Hoguet te, S. H . de, 181
L a Marche, comte de, 188
La Marck, comte de, 178
L a M o s s o n , B o n n i e r de , 1 7 2, 1 7 3 , 1 8 6
L a Reyniere, Gr imo d de, 181
L a Rochfoucauld, marquis de, 181
La Tour, Maurice-Quentin de, 52 , 55
Laborde,
Jean-Francois
de, 194
Lagrenee, 172
Lagrenee,
Father,
155
Laisse, J. R, 12
Lalande, Jerome de, 179, 180
Lamb, John, 34
Lanz,J.W.,46
Lapina,
107, 111
Larse, Jean-Francois, 190
Latz, Jean-Pierre,
9 2, 99 , 169, 178, 186,
196, 197
Lavoisier,
Antoine, marquis de, 172
Le Bon , Charles, 25, 175, 176
Le Brun, Charles, 12
Le Brun, Henri, 178
Le Carpentier,
Antoine-Mathieu,
181
Le Cocq [Henry Hahn], 175
Le Faucheur, Alexandre, 168
Le Gros, Pierre, 12, 16
Le Hongre, Etienne, 16
Le Lorraine , Robert, 16
Le
Mire,
Augustin, 184
Le Moyne, Pierre, 5
Le
Noir,
Claude, 177, 178
Le Noir, Etienne, 45 , 73, 102, 106, 167, 168,
177-78,
1 91 , 192, 193, 196
Le Noir, Etienne ( I I ) , 70 , 78, 102,
16 4,
17 7-
78
Le Noir, Etienne ( I I I ) Alexandre, 177
Le Noir, Etienne, workshop, 163, 177-78
Le Noir,
Isaac,
177
Le Noir, Jacques, 177
Le Noir, Jean-Francois, 177
LeNoir, Pierre-Etienne, 102, 177
Le
Noir,
Toussaint-Marie, 170
Le Roy, Charles, 114, 118, 163, 165,18 3-
85> 193
Le Roy, Etienne-Augustin, 1 14, 118, 165,
18 3-84
Le Roy,
Jacques-Prosper,
183
Le Roy, Jean-Baptiste, 186, 202
Le Roy,
Julien,
12 , 25 , 65 , 86 ,
8 9 - 9 0 ,
152,
154, 159, 164, 165, 175, 17 7, 184,18 5-
8 8
1 9 1 ,
202
Le Roy, Michel-Nicolas, 183
Le Roy, Norbert , 183
Le Roy, Pierre (I )
Julien,
185, 202
Le Roy, Pierre ( I ) , 1 7 1 , 202
Le Roy, Pierre ( I I ) , 120, 17 1 193, 202
Le Roy, Pierre ( I I I ) , 180, 185, 186, 202
Le Roy, workshop, 16 5,
185-88
Le Sueur, Nicolas, 186
Lebon,
Charles, 185
Lebrun, Henri,
199
Lecomte, Antoine-Francois, 184
Lecomte, Florent, 184
Lefebvre,
Thomas, 170
Lefevre, Louis-Francois, 181
Leleu,
Jean-Francois, 181
Lemazurier, Jacques-Denis, 184
Lemoyne, Jean-Baptiste, 172
Lepaute,
Alban-Louis,
180
Lepaute,
Augustin-Michel-Henry,
180
Lepaute, Jean-Andre, 116, 118, 120, 179-
82 188
Lepaute, Jean-Baptiste ( I I ) , 143,
179,
180,
194
Lepaute,
Jean-Joseph,
called Collignon, 180
Lepaute, Louis-Alexandre, 180
Lepaute, Pierre Henry
[Pierre-Henri,
called
Henri-Lepaute],
34 , 179,
180
Lepaute, Pierre-Bazile, 34, 179, 180
Lepaute, P ierre-Michel, 180, 181
Lepaute, workshop,
16 4 - 1 6 5 ,
170, 179,
181, 182, 192, 193
Lependu, Jean-Baptiste, 181
Lepers, Jacques-Mathieu, 167
Lepine,
Jean-Antoine, 129, 192
Levacher I 'aine, Andre-Louis, 194
Levy, Etienne, & Cie, 26
I N D E X 209
176
L
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Portela,
Juan,
151
Pradere,
Alexandre, 73
Praslin, due de, 194
Presles,
Aranc de, Collection, 178
Prevaux,Jean, 194
P r i v e t ,
181
Provence, comte de, 18 1, 184
Pucelle, Jean, 181
Puyseult, marquis de, 186
Q
Q u e t i n , Joseph,
186
Q u i n a u l t ,
Philippe, 16
R
Regnault, Jerome-Francois, 193
Reinders, Louis, 169
Remond, Francois, 132, 135, 144, 18 1, 184,
192
Restout, Jean, 172
R e v e l ,
Joseph,
169
R i c h a r d workshop, 78, 11 1, 116, 118,
*93
R i c h a r d ,
Claude, 177, 181, 193
R i c h a r d ,
Etienne-Claude, 177, 192, 193
R i c h a r d ,
Gaspar d, 193
R i c h a r d , Pierr e-Joach im, 193
R i c h e l i e u , Louis Francois Ar m an d de V i g -
ne rot du
Plessis,
due de, 107, 178
R i d e l , 143, 144
Ridereau, Simon, 193
R i e u x ,
Gabriel Bernard de, 23, 52, 55
Ri senburgh, Bernard ( I I ) , van, 80, 83, 178,
181
R i v a z , Pierre de, 169, 180
R o b i n ,
Robert, 55, 63, 120, 169, 184, 192,
*93
Roentgen,
D a v i d ,
132, 135, 137, 138
Rohan,
duchesse
de , 175
Rohan, House of, 188
Rohan, prince Ferdinand de, 199
Roland, Philippe-Laurent, 128
R o m a i n ,
Pierre-Etienne, 169
R o m i l l y ,
Pierre, 193
R o m i l l y , Jean,
4 8, 5 2, 164, 166,
193-95
R o m i l l y , J ean-Edme, 194
R o m i l l y , Sir Samuel, 194
Roque, Leonard, 192
Rosenberg and Stiebel, 4 1, 77, 100
R o t h s c h i l d ,
Alex andrine de, 85
R o t h s c h i l d ,
Alphonse, baron de, 58, 64,
77
R o t h s c h i l d , Clarice, baroness de, 77
R o t h s c h i l d , Edm ond, baron de, 78, 85
R o t h s c h i l d , Edouard, baron de, 64
R o t h s c h i l d , Gustave, baron de, 100
R o t h s c h i l d , Guy, baron de, 64
R o t h s c h i l d , Jame s A . de {see Waddesdon
M a n o r ) , 99
R o t h s c h i l d , Nathaniel, baron de, 77
Rouen, Musee des Antiquites, 25
Rousseau, Jean-Jacques, 164, 194
R o y , Edme, 166, 186, 197
R o y , Simon, 192
Rubens, Peter Paul, 172
R u d o l p h I I , H o l y Roman Emperor, 172
S
Sacramento, E. B. Crocke r Ar t Gallery,
128
Saint Cloud, marquis de, 120, 122
Saint Petersburg
Pachkevitch C o l l e c t i o n , 136
Pourtales
C o l l e c t i o n ,
136
State Hermitage Museum, 135
S a i n t - C l o u d , Chateau de, 178
Saint-Germain,
Jean-Joseph
de, 48, 5 2, 55,
5 7 ,
106, 166, 169, 170, 178, 181, 184,
186, 192, 194, 19 7,199
Saint-Germain,
Joseph
de, 55, 5 7, 178, 184
Saint-Hubert, Chateau de, 180
Saint-Hubert, Vassal de, 181
Saint-Romans, marquis de, 175
Sainte-Foy C o l l e c t i o n , 178, 181
S a l m - K r y b o u r g ,
prince de, 128, 181
Samoyault,
Jean-Pierre,
23
Sans Souci,
Neues
Palais, 25
S a n t i l l y , Etienne-Francois, 199
Sarazin, 171
Sauvage,
P., 5
Saxe,
marechal de, 187
Schomberg, comte de, 168
Scott, Sir E. H. , 137
Schwerdfeger, Ferdinand, 171
Sejour, A c h i l l e - P i e r r e - D i o n i s du , 172 l
Senard, Pierre, 185, 186, 202
Senard, Rene, 185, 186
Sens, Madamoiselle de, 188
Severin, Nicolas-Pierre, 166, 170
Sevres
porcelain, 46, 128, 181, 194
Shalberg, Jon, 65
Simmons, H . and J., 84
Smolen, 161
Solimena, Francisco, 172
S o l l e , K a r e l , 34, 154
Sotiau, Nicolas, 192
St. Albans,
Duchess
o f
( H a r r i o t M e l l o n ) ,
85
Stadler, Charle s-Antoine, 181
Stollenwerck, M i c h e l, 28, 34, 100, 164, 167,
173, 180, 195-97
Stollenwerck, Pierre-Hubert, 195, 196
Stollenwerck, Pierre-Martin, 195
Stouf, Jean-Baptiste, 181
S ul ly , Henry, 165, 185
Surmont, Lucien, 104
Su t ten ,W. ,6
5
Swedish Royal
C o l l e c t i o n ,
Drot tningholm
S l o t t ,
55
Sylvestre, Joseph, 18 1, 186
Szechenyi,
Countess
Laszlo (nee Gladys Van
d e r b i l t ) ,
41
Szymanowska, Marian na, 77
T
Tahout, marquise de, 199
Tamms, F, 151
Tavernier,
Joseph,
181
Tesnier, Jean-Bertin , 178
Tessin, Carl Gustav, Count, 178
T h i a f f e t , Felix, 169
Thiers, baron de, 173, 197
T h i e r y , M . ,
34
T h i o u t ,
Antoine, 173
T h o m i r e pere, Luc-Philippe, 181
T h o m i r e ,
Pierre-Philippe, 124, 126, 128,
144
Thure t ( f a m i l y ) , 177
Thure t ,
Isaac,
174
Thuret ,
Jacques,
7, 12, 25
T i l l e t , Jean-Baptiste Adam du, 177
Toulouse, comte de, 25
Tresmes, due de, 175
T r o y ,
Jean-Francois
de, 23
T u b i , Jean-Baptiste, 16
T u r g o t ,
Anne-Robert-Jacques, 194
V
V a i l l a n t ,
Jacques-Francois,
169
V a n de r N e r f f , 172
V a n d e r b i l t ,
Cornelius, I I , 41
V a n d e r b i l t , Gladys (Countess Laszlo
Szechenyi), 41
V a n d e r b i l t , W i l l i a m K. , I I , 41
V a r i n ,
J. H. , 193
V e n i c e ,
Palazzo d An n a , 23
Ventadour, duchesse de, 175
V e r d i e r ,
Francois, 172
V e r d i e r ,
M . ,
172
V e r l e t ,
Pierre, 82
Vernede,
Jean,
186
V e r n o n ,
Samuel
( I ) ,
165
Veronese, Paolo, 172
Versailles, Bibli otheque de, 144
Versailles, Chateau de, 12, 16, 55, 8 9, 128,
164, 184, 188
V i a n ,
159
V i c e n t i n o ,
Nicol i",
23
V i c t o i r e ,
Madame, 181
V i d a l , 170
V i g e r , 104
V i g u i e r ,
181
V i l l a m a r i n a , J. E, 58
Vincennes porcelain, 186
V i o n ,
Francois, 17 1, 181, 184
V i r g i l , 5
V o i s i n , Antoine, 199
V o i s i n , A n t o i n e - H e n r i ,
199
V o i s i n ,
Charles, 42 , 163, 164, 184,
199
V o i s i n , Etienne-Francois, 199
V o l t a i r e , Frangois-Marie-Arouet, 172
V u l l i a m y ,
Benjamin, 106
w
Waddesdon Manor, Buckingh amshi re, 25,
35>99> *54> 55> *5
8
> 59>
1 8 6
Wa i l l y , Charles de, 181
Washington, National Gallery of A r t , 12
Weyl,Johann
W i l h e l m
[Jean Guillaum e],
3 2 , 135' i^
6
x
3
8
W i l d e n s t e i n , Georges, 77
Y
Y v e r , Marc, 186
Y v e r d o n ,
Switzerland, Hotel de V i l l e , 155
Y v e t a u x , marquis de, 175
z
Zaccon, Jean-Baptiste, 184
Z w e i n e r , J . ,
159
I N D E X
211
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