Clock-maker (1842-1921)

«Allegory of Fidelity to Henri IV»

Dial signed « Planchon à Paris » 

France
Circa 1880

Gilded bronze, Marble

Height : 46 cm (18,1 in.) ; Width : 30 cm (11,8 in.) ; Depth : 17 cm (6,7 in.)

A fine clock in white marble and chased and gilt bronze, depicting a female figure draped in the antique manner, holding two hearts in her right hand and supporting a medallion bearing the profile of Henry IV of France, an idealized royal figure. This medallion rests on a truncated, fluted marble column housing an enamel dial with Arabic numerals for the hours and a peripheral minute track, framed by a knotted garland of flowers and laurel. To the right, a child playing with a dog forms an explicit symbol of fidelity (the dog being the traditional attribute of this virtue).
The whole rests on a molded base decorated with garlands of roses and laurel within beaded reserves on a black ground, supported by six leafy ball feet.

This association makes it possible to interpret the composition as an allegory of fidelity to Henry IV, a king regarded in the 18th century as a model of good governance and national concord.

This theme belongs to a well-established iconographic tradition: clocks from the late Ancien Régime frequently employ female and childlike figures to express moral or political virtues. This clock represents a historicist revival of a model designed in the 1780s, a period when Parisian clockmaking reached a peak in the integration of sculpture, architecture, and moral symbolism.

related work

This model, highly popular in the 18th century and probably created by the merchant-mercier Daguerre, was produced in numerous variations on different themes, such as this Allegory of Friendship and Loyalty clock, signed “Montjoye à Paris,” circa 1780, now in the Philadelphia Museum of Art (reproduced in H. Ottomeyer, Vergoldete Bronzen, vol. I, Klinkhardt & Biermann, Munich, 1986, p. 245).

The Metropolitan Museum of Art in New York also holds an example signed “Charles Dutertre à Paris,” on which the medallion is missing (inv. no. 43.163.24a–b).

biography

Matthieu Planchon (1842–1921), born in Bourges, was apprenticed to his father, also a clockmaker, and completed his tour de France in 1862. He acquired the business of the clockmaker Adrien Philippe in 1870. Listed on Rue Vieille-du-Temple in 1880, by 1890 he had established himself in the Galerie Montpensier at the Palais-Royal. Influenced by the architect Viollet-le-Duc (1814–1879), he specialized for a time in the Neo-Gothic style before developing a style known as the “Planchon style,” inspired by those of the Ancien Régime.
In 1889, he adopted as his trademark the motto of 17th-century Parisian clockmakers: Solis mendaces arguit horas (“The hours of the sun are deceptive”). In 1899, he took on his son-in-law, Paul Brateau, as a collaborator. He published several works and, in 1900, wrote the report on the Retrospective Museum of the Exposition. He died in 1921. Brateau succeeded him, and the shop, located on the Chaussée d’Antin since 1900, was moved in 1930 to Rue Meyerbeer, where it ceased all activity in 1936.

bibliography

•  Tardy, Dictionnaire des Horlogers Français, Paris, 1972, p. 525

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Bronze-caster (1815-1903)

« Cage » Clock

Signed Denière Ft. de Bronzes/ A Paris

Case signed H. PICARD

France
Circa 1860

Gilded bronze

Height : 87 cm  (34,2 in.) ; Width : 58 cm (22,8 in.) ; Depth : 24 cm (9,4 in.)

Large and rare Louis XVI style cage clock in chiseled and gilded bronze, rectangular in shape, highlighted with friezes of water leaves and pearls, with glass panels decorated with tasseled draperies and ribboned foliage. The circular white enamel dial, adorned with garlands of flowers, indicates the hours and minutes in Arabic numerals. It is topped by a cassolette flanked by griffins holding a garland of vine leaves in their beaks. The pendulum is formed by a radiant mask of Apollo. Two uprights with acanthus scrolls, vines and cornucopias ending in hoof feet frame the case, supported by a winged sphinx carrying a garland of flowers. The whole rests on a molded base decorated with friezes of posts ending with cornucopia-shaped feet.

After nearly a century, the Denière company closed its doors and auctioned off its stock during six sales held between February and December 1903, granting the buyer the right to reproduce the company’s models. The current model, described as a “pendule à cage”, was acquired by François Linke at the third auction held between October 20 and 22, 1903, who successfully reproduced this model.

Clock based on the Denière model, from the photographic archives of F. Linke

Biography

Guillaume Denière (Paris, 1815-1903) studied art under the direction of the renowned French ornemanist Aimé Chenavard (1798-1838) and the architect Henri Labrouste (1801-1875). He took over from his father, established since 1804 at n°15, rue Vivienne in Paris. The firm is prosperous, with four hundred workers satisfying the numerous orders from king Louis Philippe and wealthy private clients. Following in his father’s footsteps, the son produced bronzes for furniture, candelabras, clocks and table centerpieces. He collaborated with numerous artists including Carrier-Belleuse (1848-1913) and Constant Sévin (1821-1888). He delivered several clocks (Genius of the Arts, Woman reading with a dog) for the Tuileries Palace in 1852. The table centerpieces, supple and ingenious in style, as testified by that of the Duc d’Orléans (1842) were acclaimed by the critics. His works were very often remarked at the Universal Exhibitions, to such an extent that Emperor Napoleon III^rd bought a mantel garniture at the 1867 Universal Exhibition in Paris. His fame spread around the world. In 1854, he delivered a spectacular bronze centerpiece to the Russian Ambassador Kisselef, as well as decorative bronzes for the vice-king of Egypt, Saïd Pacha, in 1862, and the King of Cambodia, Norodom Ist (Screen of the Throne room).

Henri Picard was established in Paris, 6 rue Jarente from 1831 to 1839 and then 10 rue de la Perle from 1840 to 1864. He worked on the Emperor Napoleon III’s apartments gilding at the Louvre Palace. His production was in a rich and fine style, like a Japanese style inkwell, or his Pompeian style dining table centerpieces. He earned its reputation for the high quality of its planters and fireplace surrounds.

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Cabinet-maker and bronze-caster
(1847-1919)

 « The Coronation of Science » Clock 

Signed on the dial A. Beurdeley Paris
Mechanism signed J LEFEBVRE FILS PARIS

France
Circa 1880

Gilded and patinated bronze, Marble

Height : 55 cm (21,6 in.) ; Length : 58,5 cm (23 in.) ; Depth : 19 cm (7,5 in.)

Rare Louis XVI style clock in patinated and mercury-gilded chiseled bronze and white marble. In the form of an arched pediment, it is decorated with four Cupids, two carrying a garland of flowers highlighting the dial, and two others symbolizing the coronation of Science. The molded base in white marble, with a double recess, is decorated with a ribboned torus, a frieze of ribboned oak leaves and interlacing, and rests on six flattened ball feet.

related work

In 1774, the bronze-caster Robert Osmond (1711-1789) designed a first model known as “architectural drawing” illustrating The Coronation of Science. Also called The Children of France, it is decorated with a putti crowning a young girl drawing with a compass and delivered to Versailles by Lépine, clockmaker to the King since 1762, for the apartment of Madame Royale in the Princes’ Wing, on December 28, 1778.
This clock is described in the inventory of Versailles clocks from 1787, in the Clock Cabinet of the King’s apartments at Versailles : « 1. Une pendule de cheminée à chapiteau en bronze doré d’or moulu portée sur socle de marbre noir garni de frises à a grecque, les ornements de cette boette sont désignés par deux enfants assis sur l’entablement portant le chapiteau en forme de support, surmontée de deux génies dont l’un est couronné par l’autre, h. de 19 po. Sur 19 po ? 9 l. de large, par Charles Le Roy » 

This clock is inspired by the plate 77 of Osmond’s collection of drawings entitled : Pièce à portail grande Architecture avec 1 génie, vers 1775

Another version of this clock by the bronze-caster Osmond, described as a cartonnier clock and closer to the model executed by Beurdeley, and reproduced in Vergoldete Bronzen P. Pröschel and H. Ottomeyer, Munich 1986, vol. I, page 229, fig. 4. 1. 9., is kept at the Musée Jacquemart André.

Biography

In 1875, Alfred-Emmanuel Beurdeley (1847-1919) was at first assistant to and later succeeded his father Louis-Auguste Beurdeley, one of the main cabinet-makers of the Second Empire, specialising in 18th century furniture. Louis-Auguste was the star whenever he exhibited and was “most favored by the royal and imperial families”. Although he produced the same kind of works of art as his father, Alfred Beurdeley was also a very well-known art collector and a skilled bronze sculptor. With Dasson, Grohé, Sauvresy and Fourdinois, the most famous artists of the period, he took part in the 1878 Universal Exhibition and won the gold medal. Crowned with glory he went so far as to open a shop in New York. His participation in the 1883 Amsterdam Universal Exhibition drew considerable attention to his work and “Alfred Beurdeley, Fabricant de bronzes d’art” was then awarded the Ordre National de la Legion d’Honneur, France’s hightest official mark of recognition. He thus won the respect of both the government and contemporary art critics. His last presentation was during the 1889 Universal and International Exhibition, when the director of the Exhibition wrote in his report : “The talent of Mr Beurdeley is self evident when one inspects his furniture.”

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Designer and Art object Editor
(attributed to)

Oriental Clock

France
Circa 1890

Porcelain, Bronze 

Height : 54 cm (21,2 in.) ; Width : 37 cm (14,5 in.) ; Depth : 28 cm (11 in.)

Rare Chinese style clock in the shape of a covered pot, in porcelain painted in imitation of Chinese cloisonné enamel and decorated with a two-patina bronze mount. The dome-shaped cover is topped with a Fô dog. A rotating decoration of chrysanthemums and peonies and golden geometric motifs on a blue background flourishes on the belly, and on each side of the dial surrounded by pearls and bronze flowers, two Fô dog heads hold the handles in their mouths. The whole rests on a bronze base decorated with a frieze of eggs and ending with six feet formed of elephant heads resting on their trunks and four turtles upright on their back legs.

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition. Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums: the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York.“L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb, gilded bronzes, glass or enameled panels and often including authentic Japanese or Chinese elements.

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Designer and Art object Editor
(attributed to)

« Pagoda » Clock

France
Circa 1885

Bronze 

Height : 60 cm (23,6 in.) ; Width : 28 cm (11 in.) ; Depth : 22,5 cm (8,8 in.)

Beautiful Japonisme clock in openwork patinated bronze with gold and silver highlights in the shape of a pagoda, at the corners presenting stylized dragons above uprights imitating bamboo.
The dial, with calligraphed numbers in Kanji and hands depicting an undulating dragon,
is placed on a portico with elephant heads, resting on columns, in the center of a terrace surrounded by an openwork gallery. The whole rests on a base decorated with foliage with four scrolled feet.

The roots of the artistic movement known as “Japanism” not only came from Japanese art, but also from Chinese art. Following the Franco-English military campaign led in 1860 against the Imperial army in China, the French troops of Napoleon the IIIrd brought back from the Summer Palace, a part of the Chinese Imperial court treasure, which made up the famous Chinese Museum of Empress Eugénie at the Fontainebleau Palace. The French artists quickly took inspiration from those exotic and sumptuous objects for their creations, as they used to do in the 18th century, when the best French cabinet-makers adapted the Chinese lacquers on the luxurious royal chests, aimed at amateurs, most of whom will never set foot in these distant lands.

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition. Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums: the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York.“L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb, gilded bronzes, glass or enameled panels and often including authentic Japanese or Chinese elements.

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Ornemanist
(1842-1901)                                               

F. Linke

Cabinet-maker and Bronze-caster
(1855-1946)                                                                                                       

(attributed to)

« The Source »

France
Circa 1890

Gilded bronze

Height : 26,4 cm (10,4 in.) ; Width : 14 cm (5,5 in.) ; Depth : 9 cm (3,5 in.)

Charming clock in the shape of a Rocaille-inspired cartel in chiseled and gilded bronze. Scalloped marine-inspired decor representing a trophy with oars, dolphins, reeds and flowers on a trellis background. The white enamel dial is surmounted by an allegory of the Source personified by a Cupid pouring water from a pot and holding an oar. Ending with four arched legs, it rests on a scrolled terrace decorated with acanthus and rocks. The design of this clock is characteristic of the style of Léon Messagé.

related work

Similar gilded bronze clock with the design attributed to L. Messagé. C. Payne, Francois Linke 1855-1946: The Belle Epoque of French Furniture, Antique Collector’s Club Ltd., Woodbridge, 2003, pl. 104, p. 93

biography

Léon Messagé is a renowned designer and sculptor who integrated in his ornaments related to the Rocaille asymmetry, new lines and shapes announcing the “Art Nouveau” style. But even though, Messagé found inspiration with these 18th century artists, such as Nicolas Pineau or J. A. Meissonier, he didn’t simply copy their work and showed great originality, even extravagance, with some designs contained in “Cahier des dessins et croquis style Louis XV”. He realized numerous sketches on grey paper before the execution of a reduced or life sized model of his ornaments, made of wax or terra-cotta. From 1885, Léon Messagé started working with important Parisian cabinet-makers such Joseph-Emmanuel Zwiener (1849-1895) and François Linke (1855-1946). François Linke developed his personal style, with such talent and quality that he was named during the 1900 Universal Exhibition the “Linke Style”. His tremendous success and his particular formal imagination came from his association with the designer Léon Messagé. The mutual influences concerning these three artists can be concretely observed in numerous realizations.

François Linke, born in 1855 in Bohemia (Czechoslovakia), worked as a cabinet-maker in Paris from about 1882 until his death in 1946. In 1900, at the apex of his career, he opened a new shop at the famous Parisian place Vendôme. He specialized in Louis XV and Louis XVI style furniture: all pieces were beautifully mounted with gilt-bronze ornaments, and he received numerous commissions. Later Linke decided to collaborate with the well-known sculptor Léon Messagé and integrated new lines and shapes announcing the “Art Nouveau” style. His great success is definitely the 1900 Universal Exhibition where he was awarded the gold medal for his extraordinary kingwood desk, designed by Messagé. At this occasion, the “Revue artistique et industrielle” commented that “Linke’s stand is the biggest show in the history of art furniture”.

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Designer and Art object Editor
(attributed to)

« The Musician » Japanese style Clock

France
Circa 1890

Porcelain, Bronze

Height : 40 cm (15,7 in.) ; Width : 25 cm (9,8 in.) ; Depth : 18 cm (7 in.)

Amusing bronze with double patina and porcelain clock in the shape of a covered jar.
This clock, with a dial with Arabic numerals decorated in its center with a seated lute player, is topped with a lantern and framed by two butterflies with outstretched wings, applied to a decoration of porcelain plates with a red background decorated with swallows and bamboo.
The whole rests on a base with a foliage pattern, supported by elephant heads.

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition. Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums: the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York.“L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb, gilded bronzes, glass or enameled panels and often including authentic Japanese or Chinese elements.

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Designer & Art Object-Editor
(attributed to)

Japanese style Clock with Openwork Decoration 

France
Circa 1885

 Double patina Bronze, Enamel

Height : 42,5 cm (16,7 in.) ; Width : 27 cm (10,6 in.) ; Depth : 15,5 cm (6,1 in.)

Rare Japanese clock in double patina bronze with suspended dial.

The portico and dial, with calligraphic Kanji numerals complemented by hands featuring an undulating dragon, are decorated with clouds with dragon heads and sacred pearls.

The whole is set on a base with four scrolled feet, enriched with foliage and adorned with an elephant’s head.

Related Work

Our hanging dial clock is a variation on the Tam-Tam clock designed in Henry Pannier’s blue notebook and described as “Pendule Tam Tam pâte tendre flambeaux 3 lumières (Schlomach)”.

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition.

Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums: the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York.

“L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb, gilded bronzes, glass or enameled panels and often including authentic Japanese or Chinese elements.

Bibliography

• – L’Escalier de Cristal, Le luxe à Paris 1809-1923, p.241, Annick et Didier Masseau, Editions Monnelle Hayot, 2021

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Silversmith (19^th century)

Easel Clock

Signed Elkington & Co
Numbered Rd 92173

England
Circa 1890

Height : 52 cm (20,5 in.) ; Width : 40 cm (15,7 in.) : Depth : 28 cm (11 in.)

Beautiful rectangular table clock executed in gilded and silvered electrotyped metal, decorated in relief with butterflies, music instruments and theater masks, surmounted by two angels crowning with a wreath a portrait of a man in profile in medallion. Ornated in the lower corners with the muses of Theater and Music centering a medallion. It is presented in a wooden frame lined with green velvet, opening by a glazed door and forming an easel.

As The Art Journal wrote as soon as 1844, “The electrotypes are perfect; the finest lines, the most minute dots are as faithfully copied as the boldest objections”. With this new technique, developed in England thanks to Elkington, it became then lucrative market for recreating famous works of art in metal as well as creating some new ones, then cheaper than bronze casts.

Biography

The great Birmingham firm of Elkingtons, was largely the creation of George Richards Elkington (1800-1865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 the business had expanded sufficiently for a branch to have been established in London. In the late 1830’s the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then employed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtons’ reputation with their elaborate exhibition pieces.

Elkington’s works to be linked to

Victoria & Albert Museum, London : The Milton Shield, executed in silver and damascened iron, designed and realized by Morel Ladeuil for Elkington & Co., displayed at the 1867 Paris Universal Exhibition, awarded the gold medal.

Bibliography

Victorian Silver and Silver Plate, Patricia Wardle, The Victorian Collector Series, Barrie & Jenkins, London, 1970.
L’Orfèvrerie au XIXe siècle, XIes Rencontres de l’Ecole du Louvre, La Documentation Française, Paris, 1994.
L’Argenterie, Claude Blart, Flammarion, Paris, 1989.

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Bronze-caster
(Active from 1853 to 1918)

Exceptional rotating Clock

France
Circa 1889

Signed MILLET A PARIS  

Height : 72 cm (28,3 in.) ; Width : 59 cm (23,2 in.) ; Depth : 26 cm (10,2 in.)

Provenance : Château de Paradis, La Croix-en-Touraine, France

Sumptuous rotating clock made in « Brèche sanguine » marble and gilded bronze. In the form of a covered vase, the belly is embellished with bunches of rushes and a pair of winged tritons holding a trident. The rotating circles are enameled with Arabic numbers for the minutes and Roman numbers for the hours. The circled lid is topped by an exploded pomegranate. It rests on a quadrangular pedestal decorated with a dolphin among the waves. 

Renowned for the quality of its chiseling and the choice of materials, the Millet firm had a large workshop with many workers, using its own bronze models and enjoyed collaborations with famous sculptors and bronze-casters such as Claude Marioton.

A similar model is presented by Maison Millet for the Paris Universal Exhibition of 1889.

Biography

The firm of Théodore Millet was founded in 1853. A very talented specialist in 18th Century reproductions, Millet produced furniture and artistic bronzes of the highest quality. He was one of the few cabinet-makers to obtain authorization from the Château de Versailles to make in 1902 a replica of Queen Marie-Antoinette’s great jewel cabinet. As an artist of great merit and Specialising in « meubles et bronzes d’art, genre ancien et moderne », Millet obtained the highest rewards such as the Gold medal at the Paris Universal Exhibition in 1889 for his first participation, and the Grand Prize at the Universal Exhibition of 1900. The photographic archives show, among the workshops views and the parisian shop, Millet’s stand at the Universal Exhibition in Saint-Louis (US) in 1904. The firm’s influence internationally is then through its antenna in New-York « Duryea and Potter », 469 fifth avenue, New-Yok. The firm lasted until 1918.

Bibliography

L’ameublement d’art français, 1850-1900, Camille Mestdagh, Les Ed. de l’Amateur, Paris, 2010, p. 244
Le mobilier français du XIXe siècle, dictionnaire des ébénistes et des menuisiers, Denise Ledoux-Lebard, Editions de l’Amateur, 2000, p. 482 et 483

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Bronze-caster
(1828-c.1890)
(attributed to)

A neo-Egyptian clock

Height : 46 cm (18 in.); Width : 39 cm (15 ^1/3 in.) ; Depth : 17 cm (6 ^2/3 in.)

A black and red marble clock in the shape of an Egyptian temple, flanked by double columns inscribed with hieroglyphs and ornated with a winged uraeus, all made in two patina bronze. The clock is surmounted by a patinated bronze sphinx. Resting on four bronze faces wearing the nemes and terminating in lion paw feet.

Biography

Georges Emile Henri Servant (1828-c.1890) who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860’s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his sphinx clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York (A similar clock is now exposed at the Metropolitan Museum of Art, New York). But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek and Egyptian works (Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167). He was even awarded in 1874 the « Ordre national de la Légion d’Honneur », France’s hightest official mark of recognition. Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and small bronze pieces of furniture, but was also a member of the jury for the class of bronze pieces of art. He finally retired shortly before the 1889 Paris Universal Exhibition.

Museology

Decorative objects by Servant exhibited in the United States :
– The Metropolitan Museum, New York.
– The High Museum, Atlanta.

Bibliography

Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167.
Exposition Universelle de 1878, Rapport sur les bronzes d’art, Groupe III, Classe 25, p° 26.
“La petite sculpture au XIXe s. Les éditeurs”, Bernard Metman, Archives de l’Art français, 1989, t. XXX, p° 210.

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France
Circa 1830

Dial signed Polti Frères

Gilded bronze

With base : Height : 61 cm (24 in.) ; Width : 51,5 cm (20,3 in.) ; Depth : 23,5 cm (9,2 in.)
Without base : Height : 52 cm (20,5 in.) ; Width : 42 cm (16,5 in.) ; Depth : 12,5 cm (4,9 in.)

Important philhellenic clock in burnished and amati gilded bronze, finely chiseled, representing on the terrace a couple elegantly dressed in « the turkish style », and richly decorated with foliage, scrolls and flowers. The feet, decorated with water leaves, rest on a rosewood oval base covered with a globe.

The theme of the clock comes from The Giaour, a fragment of a Turkish Tale, an English poem by Lord Byron published in may 1813 which tells the thwarted love of a Venetian, the Giaour –
term by which the Turks designate infidels and especially Christians – and of Leila, a slave belonging to Hassan’s seraglio, military leader of a Turkish province. The betrayal of Leila discovered, she will be thrown into the sea and her lover will avenge her by killing Hassan, then taking refuge in a monastery.

Symbol of prestige and modernity, the decorative clocks are a reflection of the taste of the era of a wealthy bourgeoisie and may be the subject of diplomatic gifts or between individuals.
Beyond the purely decorative aspect of such objects, watchmaking in the 19th century is part of a subtle mix of political, historical and literary references.

This philhellenic movement concerning the West finds a particular echo in France, one of the countries with the United Kingdom and Russia having suported the Greeks during their war of independance (1821-1830) to free oneself from the grip of the Ottoman Empire. Many clocks have been made, highlighting the courage of the fighters, celebrating the heroes of this war of independence and exalting national sentiment, inspired by contemporary literature evoking these events.

Related works

Leila and the Giaour clock Gilded bronze, H. : 58 cm Reproduced in Les heures du Philhellénisme, les pendules philhelléniques françaises, Stéphan Adler, Editions Olkos, Athènes, 2018, p.271

Reverse painting on glass, circa 1830, Reproduced in Les heures du Philhellénisme, les pendules philhelléniques françaises, Stéphan Adler, Editions Olkos, Athènes, 2018, p.270

Bibliography

Les heures du Philhellénisme, les pendules philhelléniques françaises, Stéphan Adler, Editions Olkos, Athènes, 2018

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Designer & Art objects Editor
(attributed to)

Japanese style clock

France
Circa 1890

Height : 45 cm (17,7 in.) ; Width : 24 cm (9,4 in.) ; Depth : 15 cm (5,9 in.)

Rare rectangular Japanese style clock in chiseled and gilded bronze. It is decorated in its center with a painted ceramic plaque with floral decoration of chrysanthemum branches enhanced with gold on a cream background, all set in a gilded bronze frame surmounted by a threatening dragon.
Rich bronze ornamentation of openwork japanese style motifs, surrounding a bust of a protective guardian.
It rests on double feet joined by a spacer where are placed two Japanese theater characters dressed in traditional costumes. The hours and minutes are indicated by the head and the tail of an articulated dragon.

The reopening of the Japanese harbours to trade with the West in 1853 brought to France many Japanese objects which influenced the artistic creation of that time. But strangely, Japan is not the only origin of this artistic movement named Japonism (Japanese style) : indeed this movement also drew its inspiration in Chinese art, following the Anglo-French military campaign which led to the looting of Beijing Summer Palace. Since then, the influence of Japanism grew up and concerned successively all the fields of art ; first painting, and then little by little furniture, art objects, and even sculpture and architecture. As soon as 1863 Empress Eugénie set the tone by creating her Chinese museum inside Fontainebleau Palace. In 1867, Japan participated for the first time at the Universal Exhibition. It heightened and confirmed this attraction for the East and the circulation of Chinese and Japanese ornamental publications allowed a clientele keen of novelty to renew their interior decoration.

L’Escalier de Cristal was also submitted to this influence and it offered products inspired from Japan. The famous Company collaborated in this aim with various artists such as Gabriel Viardot (1830-1906) or Louis Majorelle (1859-1926). It adapted with great freedom the Japanese motifs to create original works, focusing on small decorative objects such as trays, clocks or vases, in bronze and enamel.

Related works

Japanese style clock attributed to L’Escalier de Cristal

Three-pieces Japanese style clock set attributed to L’Escalier de Cristal

Biography

“L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition.

Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture branch, many famous makers such as Majorelle from Nancy, Edouard Lièvre or Gabriel Viardot worked for Pannier Frères. Some pieces are to be seen in the greatest museums : the Ermitage in Saint-Petersburg, the Orsay Museum in Paris, the Corning Museum of Glass in New York.

The Maison “L’Escalier de Cristal” was sometimes the exclusive owner of the models and then those pieces were just signed by “L’Escalier de Cristal” or sometimes beside the artist signature. But “L’Escalier de Cristal” was also very creative, completing pieces with superb gilded bronzes, glass or enamelled panels and including often authentic Japanese or Chinese elements.

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Important five pieces Clock set

Marked on the dial Furet & Bon, H^rs du Roy, à Paris

France
Circa 1880

Clock – Height : 98 cm (38 ^1/2 in.) ; Width : 70 cm (27 ^1/2 in.) ; Depth : 25 cm (9 ^3/4 in.)
Candelabra – Height : 116 cm (45 ^2/3 in.) & 92 cm (36 ^1/4 in.) ; Diameter : 50 cm (19 ^2/3 in.)

Important Louis XVI style clock set made up of a clock and two pairs of seven light arms candelabra. Executed in white Carrare marble, with splendid chased and gilded bronze ornaments, such the female allegories representing Euterpe, Muse of Music playing the lyre and Urania, Muse of Astronomy holding a terrestrial sphere and a compass; with further decorations such cupids, ram’s heads and floral garlands for the clock; roses, tulips and lilies composing the candelabra branches. The all finely ornated with playing putti « pâte sur pâte » porcelain medallions.

Works to be linked

A similar clock made around 1780, now displayed in the Royal palace in Madrid, is reproduced in the reference book Encyclopédie de la pendule française de Pierre Kjellberg, Ed. de l’amateur, p.258 and in La pendule française dans le monde, Tardy, vol. 2, Paris, 1981, p.112.

These candelabra are to be linked to those executed by Pierre-Philippe Thomire and François Rémond around 1785 for the King of Spain Charles IV and the Queen Marie-Louise (entered then the collection of Baron Alphonse de Rothschild, at the
 Ferrières Castle).

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Sculptor & bronze-caster
(mid-19th century)

A Charming Clock

France
Circa 1880

Patinated and Gilt Bronze, Red Griotta Marble

Height: 55 cm (21,7 in.) ; Width: 17 cm (6,7 in.)

Beautiful gilt bronze clock, whose cylindrical dial with attributes of Love is supported by a patinated bronze kneeling Cherub. The whole rests on a red Griotta marble pedestal ornated with a laurel wreath, relying on a gilt bronze base signed Eug Hazart à Paris.

This clock model was very appreciated in the second half of the 19th century, and we find some other clocks signed by the bronze-caster Henry Dasson (1825-1896), round 1880.

Biography

Eugène Hazart entered the « Réunion des Fabricants de Bronze » in 1839. Well-known since 1843 in the making of ancient style reproductions, not only with his Gothic and Renaissance style bronzes but also very at ease in the 18^th century style. He was definitely well appreciated because his presence in 1884 in the Pannier brothers’s bronze-casters booklet. The Pannier brothers managed beautifully the so-famous house « A l’Escalier de Cristal », which took place at the Palais-Royal in Paris and was selling porcelain and cristal objects as well as furniture. This company drew attention to his work during its participations in the 19^th century “Expositions des Produits de l’Industrie”.

Bibliography

Un âge d’or des Arts décoratifs, exposition Grand-Palais, RMN, 1991, p° 522.

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Cabinet-maker & Bronze-caster
(1825-1896)

Pair of Barometer and Thermometer

France
Circa 1880

Height: 45,5 cm (17,9 in.) ; Width: 13 cm (5,1 in.) ; Depth: 1,5 cm (0,5 in.)

A companion pair of Louis XVI style barometer and thermometer finely decorated with gilt-bronze acanthus leaves and seeds on green velvet, each with a polychrome decorated enamel plate, signed Henry Dasson / à Paris.

Biography

As a cabinet-maker and a bronze-caster, Henry Dasson executed in his Paris workshop sumptuous copies of royal 18th century models and some pieces of his own modified 18th century design. He used for his pieces of furniture and « objets d’art » the very finest ormolu mounts with high quality mercurial gilding. He purchased the firm of the cabinet-maker Charles Winckelsen upon his death in 1871 and mainly produced in the Louis XV and Louis XVI style. His participation at the Paris 1878 Universal Exhibition was highly remarked with a Louis XVI style table, all in bronze and considered as a « chasing masterpiece », and a copy of the famous King Louis XV desk (original piece exhibited at the Versailles Castle). At the 1889 Universal Exhibition, he won a « Grand Prix » for his beautiful furniture.

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France
Circa 1820

Height : 40 cm (15,7 in) ; Width : 17 cm (6,7 in) ; Depth : 10 cm (3,9 in)

Floral and decorated Restauration period ormolu clock, figuring two baluster columns joint together by a floral arch, and topped by a crown of roses. Roman numbers indicate hours. In the arch, a woman dressed in antic style is sitting on a mobile swing suspended. Four round feet support the clock.

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Cabinet-maker & Bronze-caster
(1825-1896)

Important «Enfant Guerrier» Mantel Clock

Signed and dated Henry Dasson 1877

France
1877

Height: 63 cm (24,8 in.); Width: 64 cm (25 in.); Depth: 29 cm (11,4 in.)

Rare gilt and patinated bronze and marquetry on ebony mantel clock representing an “enfant guerrier”. The upper part is composed of a putto, leaning on the face of the clock, wearing a helmet and holding a gladiator sword. The lower part is constituted of a lovely ebony base embellished by a copper and brown tortoiseshell marquetry in the “Boulle” style and ornamented with a gilt bronze satire head in the middle. Rests on four chiseled and gilded bronze lion feet decorated by a foliage decor.

Another gilded bronze, marble and wood mantel clock, signed Henry Dasson for the clock and Bouchardon 1731 on the marble sculpture.

Biographies

As a cabinet-maker and a bronze-caster, Henry Dasson executed in his Paris workshop sumptuous copies of royal 18^th century models and some pieces of his own modified 18^th century design. He used for his pieces of furniture and « objets d’art » the very finest ormolu mounts with high quality mercurial gilding. He purchased the firm of the cabinet-maker Charles Winckelsen upon his death in 1871 and mainly produced in the Louis XV and Louis XVI style. His participation at the Paris 1878 Universal Exhibition was highly remarked with a Louis XVI style table, all in bronze and considered as a « chasing masterpiece », and a copy of the famous King Louis XV desk (original piece exhibited at the Versailles Castle). At the 1889 Universal Exhibition, he won a « Grand Prix » for his beautiful furniture.

Starting his apprenticeship with his sculptor-architect father, Edmé Bouchardon later enters Guillaume Coustou’s workshop. Thank to the First Sculpture Award received in 1722, Edmé Bouchardon leaves for Rome in 1723. The reputation acquired thanks to his works in Rome precedes his arrival in Paris, where he is integrated to the Royal Academy upon his return in 1733, conferring him the title of Sculptor of the King. Among his prestigious works can be mentioned the statues of the Saint-Sulpice church ‘s choir in Paris, the fountain, Rue de Grenelle executed between 1739 and 1745, then between 1740 and 1750, L’amour se taillant un arc dans la massue d’Hercule currently displayed at the Louvre Museum.

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Bronze-caster
(1828-c.1890)
(attributed to)

Neo-Egyptian clock

France
Circa 1870

Height : 56 cm (22 in.) ; Width : 27 cm (10,6 in.) ; Depth : 18 cm (7 in.)

Black and red marble pyramid shaped Egyptian style clock, surmounted by a patinated bronze figure representing the Egyptian goddess Isis sitting on her throne. Wearing the Hathor hairdress (the solar disc surrounded by the sacred cow horns), she holds in her right hand the Ouadj, the goddesses scepter surmounted by a canopy of papyrus, symbolizing health and eternal youth and in her left hand, the cross of life Ankh, symbol of rebirth and eternity.

That Egyptian style in fashion since Napoleon the First and his military campaigns in Egypt around 1799 was rediscovered in France in the 1830’s and above all in the 1860’s. Some renowned French artists, such the sculptors and bronze-casters Guillaume Denière (1815-1903), Emile Hébert (1828-1893) et Georges Servant (1828-1890), presented at the 1867 and 1878 Paris Universal Exhibitions, an a-part section dedicated to their Egyptian style production. Their shows drew then considerable attention from the public and the wealthy collectors. During the 1867 Universal Exhibition, one could admire the stand realized by the French silversmith-jeweller Gustave Baugrand (1826-1870), where his works executed in most fine materials took inspiration from the Egyptian Antiques, exhibited then in the Louvre museum.

Biography

Georges Emile Henri Servant (1828-c.1890), who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860’s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York. But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek and Egyptian works (Les Merveilles de l’Exposition Universelle de 1867, t. II, p° 165 & 167). He was even awarded in 1874 the « Ordre national de la Légion d’Honneur », France’s highest official mark of recognition. Servant participated once again successfully at the 1878 Paris Universal Exhibition, where he not only exhibited vases and small bronze pieces of furniture, but was also a member of the jury for the class of bronze pieces of art. He finally retired shortly before the 1889 Paris Universal Exhibition.

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Bronze-caster
(Active since 1845)

A neo-Greek clock set

Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris
and clockwork signed Japy Frères & Cie – Médaille d’Honneur

France
Circa 1867

Clock – Height : 50 cm (19,6 in.) ; Width : 28 cm (11 in.) ; Depth : 17 cm (6,7 in.)
Candlesticks – Height : 25,5 cm (10 in.) ; Diameter : 11 cm (4,3 in.)

A very fine neo-Greek style clock set made up of a clock and a pair of candlesticks. The clock executed in two patina bronze is surmounted by a covered vase and is decorated with porcelain plaques depicting female faces and Art attributes. The Roman numerals on the dial are framed with laurel wreaths. Raised on console feet and a base, the whole reposing on four claw feet. The ensuite pair of two patina bronze candlesticks is finely chased with small flowers and water leaves.

Biography

Henri Houdebine founded his company in 1845. He gained a great reputation in the making of clocks and decorative bronze pieces. His works, appreciated for their high artistic quality, took inspiration from various styles, including the neo-Greek style, very fashionable with artists in the 1860s. His work was immediately successful with the public, and one can say from 1862, that 50% of his production was exported. Houdebine set up his workshops at number 64, rue de Turenne, in Paris during the period 1865-1880. He participated magnificently in several Universal Exhibitions, such those held in Paris in 1855, where he was awarded a 2nd class medal for his statuettes and display cups, in London in 1862, and again in Paris in 1878 and 1889, where he won a Gold medal for his all the works he exhibited. Houdebine participated finally in the Chicago Universal Exhibition of 1893, where he presented splendid cressets, clocks and some sculptures.

Bibliography

Les bronzes du XIXe siècle, P. Kjellberg, Les Ed. de l’amateur, 1989, p° 661.

Catalogue officiel, Exposition Universelle de 1862, Londres, Section française, B.A.D., t. XI, Classe 31, p° 205.

Exposition Universelle de 1889 : Liste des récompenses attribuées aux exposants, Journal Officiel, Paris, 1889, Classe 25.

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Cabinet-maker and Bronze-caster
(1855-1946)
(attributed to)

Thermometer and perpetual calendar

France
Circa 1880

Height : 90 cm (35,4 in.) ; Width : 25 cm (9,8 in.)

A pair of Louis XVI style alcohol thermometer and matching barometer is to be linked to those made by François Linke, and registered under n°1830 in his personal archives.

Elegant set of Louis XVI style comprising a thermometer and a perpetual calendar. Each consisting of a metal plaque, painted with floral motifs on a beige background : for the calendar, four openings dislaying the year, the month, the day and its corresponding number in black on a parchment background, and for the alcohol thermometer, graduations indicating some states in Nature as « Ice » at 0° Celsius, or temperature suitable for « Silkworms » at 23° C. Molded carved and gilded wood frameworks enriched with volutes, acanthuses and oak leaves.

Biography

François Linke, born in 1855 in Bohemia (Czechoslovakia), worked as a cabinet-maker in Paris from about 1882 until his death in 1946. In 1900, at the apex of his career, he opened a new shop at the famous Parisian place Vendôme. He specialized in Louis XV and Louis XVI style furniture: all pieces were beautifully mounted with gilt-bronze ornaments, and he received numerous commissions. Later Linke decided to collaborate with the well-known sculptor Léon Messagé and integrated new lines and shapes announcing the “Art Nouveau” style. His great success is definitely the 1900 Universal Exhibition where he was awarded the gold medal for his extraordinary kingwood desk, designed by Messagé. At this occasion, the “Revue artistique et industrielle” commented that “Linke’s stand is the biggest show in the history of art furniture”.

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