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Époques: Consulat

  • Deverberie
    Jean-Simon Deverberie (1764-1824)

    Rare Gilt and Patinated Bronze Mantel Clock

    “The African Huntress”

    Pendule358-03_BD_MAIL

    Attributed to Jean-Simon Deverberie

    Paris, Directory-Consulate period, circa 1800

    Height45.5 Width35.5 Depth14

    The round white enamel dial indicates the Arabic numeral hours and the Arabic numeral fifteen-minute intervals by means of two engraved or pierced bronze hands. It is housed in a chased and gilt and patinated bronze case. The bezel is adorned with delicate stylized and bead friezes. The clock is surmounted by a magnificent female figure – a seated black huntress who is wearing a feather loincloth, with a quiver containing feathered arrows slung across her chest. Her curly hair is held in place by a silvered headband and her glass eyes are naturalistic. She is wearing necklaces, rings, earrings, and ankle bracelets; in her right hand she holds an arrow and in her left, a bow. Her left foot rests upon a turtle with a finely chased shell. On the opposite side, a seated lioness turns toward the huntress. The high, sloping and molded architectural base is decorated with ribbon-tied flower and leaf garlands, a bead frieze and an applied scene depicting young cherubs who are hunting and fishing. The clock is raised upon six finely chased feet.

    Black figures were rarely used as a decorative theme in French and European horology before the late 18th century. It was not until the end of the Ancien Régime, and precisely the last decade of the 18th century and the early years of the following century, that the first “au nègre” or “au sauvage” clocks appeared. They echoed a philosophical current that was developed in several important literary and historical works, including Paul et Virginie by Bernardin de Saint-Pierre (published in 1787, it depicts the innocence of Man), Atala by Chateaubriand (which restores the Christian ideal), and particularly Daniel Defoe’s 1719 masterpiece, Robinson Crusoe. The original drawing of the present clock, entitled “L’Afrique”, was registered by Parisian chaser-caster Jean-Simon Deverberie in the year VII (illustrated in Dominique and Pascal Flechon, “La pendule au nègre”, in Bulletin de l’association nationale des collectionneurs et amateurs d’horlogerie ancienne, Spring 1992, n° 63, p. 32, photo n° 2).

    Among the known identical clocks one model, whose dial is signed “Gaulin à Paris”, is pictured in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, Band I, Munich, 1986, p. 381, fig. 5.15.25. A second model, featuring variations including the fact that the figure stands on an arch, is illustrated in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age à nos jours, Paris, 1997, p. 350. One further example, whose dial is signed “Ridel”, is in the Musée François Duesberg in Mons (illustrated in the exhibition catalogue “De noir et d’or, Pendules « au bon sauvage”, Musées Royaux d’Art et d’Histoire, Brussels, 1993).

    Jean-Simon Deverberie (1764 - 1824)

    Jean-Simon Deverberie was one of the most important Parisian bronziers of the late 18th century and the early decades of the following century.  Deverberie, who was married to Marie-Louise Veron, appears to have specialized at first in making clocks and candelabra that were adorned with exotic figures, and particularly African figures. Around 1800 he registered several preparatory designs for “au nègre” clocks, including the “Africa”, “America”, and “Indian Man and Woman” models (the drawings for which are today preserved in the Cabinet des Estampes in the Bibliothèque nationale in Paris). He opened a workshop in the rue Barbette around 1800, in the rue du Temple around 1804, and in the rue des Fossés du Temple between 1812 and 1820.



    Important Patinated and Gilt Bronze Mantel Clock with Matte and Burnished Finishing

    “The Amerindian Hunter”

    “Alexandre”

    Paris, Directoire-Consulate period, circa 1800

    Height54 Width41 Depth12.5

    The round enamel dial, signed “Alexandre à Paris”, indicates the Roman numeral hours and the Arabic fifteen-minute intervals by means of two bronze hands. It is housed in a finely chased patinated and gilt bronze case with matte and burnished finishing. The clock is surmounted by the figure of a black hunter wearing a feather headdress and a feather loincloth who is holding a bow in his left hand and an arrow in his right hand, with a quiver of arrows slung across his chest. He is sitting on a sloping rectangular form decorated with a lion’s head, which is placed in a ship with a wolf’s head figurehead. It stands on a terrace adorned with naturalistic waves. The quadrangular base with concave sides is decorated with applied motifs including palmettes, scrolls, and torches; its façade is embellished with an elaborate high-relief scene depicting rocks, a hut, and palm trees, among which three little boys dressed in loincloths are hunting, fishing, and resting with their dog. The oblong plinth rests on four flattened feet that are adorned with bead friezes and double zigzags framed by engine turning centered by cabochons.

    Exoticism became fashionable during the late 18th century, inspired by the philosophical writings of Jean-Jacques Rousseau, who called for a return to Nature and exalted the virtues of the “noble savage”; it was conveyed by contemporary literature as well. Among the great literary successes of the time were “Paul et Virginie” written by Bernardin de Saint-Pierre in 1788; it echoed the well-known “Robinson Crusoe” by Daniel Defoe; the novel “Les Incas” by Marmontel, which was published during the American War of Independence; and “Atala” by Chateaubriand, which was published in 1801. These works profoundly changed Europeans’ attitudes toward other civilizations, plunging the Old World into a deep romantic nostalgia that was linked to the quest for a pagan Garden of Eden, regenerated and redeemed by Christianity.

    As was often the case in the French decorative arts, this current influenced artistic trends, and particularly horological creations. The model of the present clock was created within that particular context. Very likely an allegorical representation of the discovery of the New World, two versions of it were offered. The first one featured a figure who was sitting on a chariot; only a few such examples are known, including a clock that is today in the Musée du Nouveau Monde in La Rochelle. A second example is pictured in G. and A. Wannenes, Les plus belles pendules françaises, De Louis XIV à l’Empire, Florence, 2013, p. 315. Only a few examples are known of the second type, which is also that of the present clock. Two of them are in the Musée François Duesberg in Mons (illustrated in Musée François Duesberg, Arts décoratifs 1775-1825, Brussels, 2004, p. 59).

    Levol  -  Thomire
    Pierre-Philippe Thomire (1757-1843)

    Important and Rare Matte and Burnished and Patinated Gilt Bronze Mantel Clock based on the Novel “Paul et Virginie”

    “The Triumph of Virtue and Innocence”

    Pendule328-03_BD_MAIL

    “Levol à Paris”

    The Case Attributed to Pierre-Philippe Thomire

    Paris, Consulate period, circa 1800

    Height66 Width65.3 Depth15.8

    The round white enamel dial, signed “Levol à Paris”, indicates the Roman numeral hours and the Arabic fifteen-minute intervals by means of two pierced gilt bronze hands. It is housed in a magnificent neoclassical case featuring finely sculpted and chased figures made of patinated bronze and gilt bronze with matte and burnished finishing. The hour and half-hour striking movement is housed in a drum case whose bezel is adorned with bead friezes and alternating water leaf and reed friezes, surmounting a drapery with delicate rope fringe decorated with a latticework band. That case supports a magnificent sculptural group depicting two figures seated side by side: a young man and a young woman, the latter holding in her left hand a drapery that floats over their heads. This refers to an episode from the novel “Paul et Virginie” in which Virginie, having been caught in a sudden shower, uses a part of her dress to shield herself from the rain, raising it above her head and thereby also protecting Paul, who was with her. The figures’ attitudes and their way of looking at each other betray great affection. The group rests on a palanquin with stretchers in imitation bamboo, which are carried by two finely sculpted black men dressed in loincloths with a burnished and matte border. On the terrace stands a dog that raises its right front foot. The quadrangular base with slightly protruding corners is decorated with applied palm tree motifs; the façade is adorned with a reserve panel depicting a scene that takes place within a landscape, which relates to the adolescence of the two young people. The clock is raised upon four feet that are adorned with leaf friezes.

    Black figures were rarely used in French and European decorative horology before the late 18th century. It was not until the end of the Ancien Régime – precisely, the final decade of the 18th century and the early years of the following one – that the first clocks called “au nègre” or “au sauvage” appeared. That fashion resulted from a specific social and romantic context. In the late 18th century, writings such as those of Jean-Jacques Rousseau exalted the moral virtues of a return to nature, through the idea of the “noble savage”. The interest in exoticism was encouraged by contemporary literature. The great success of  “Paul et Virginie”, written by Bernardin de Saint-Pierre in 1788, an echo of the famous “Robinson Crusoe” by Daniel Defoe, the novel “Les Incas” by Marmontel, which had been published during the American Revolution, and “Atala” written by Chateaubriand in 1801, profoundly changed Europeans’ attitudes to other civilizations, plunging the Old World into a current of romantic nostalgia linked to the idea of a quest for a Pagan paradise, which would be given new life by Christianity. As has often been the case in the French decorative arts, these new ideas manifested themselves in artistic creations, often in the fields of horology and lighting. The present clock was created within that particular context. Its particularly elaborate design and the exceptional quality of its chasing and gilding, and the patina of the two young black men, are evidence that the bronzier was one of the finest then working in Paris; it must therefore be attributed to Pierre-Philippe Thomire.

    The composition was inspired by a less elaborate horological model depicting a sculptural group in which Paul and Virginie are carried on a stretcher held by two young black women. One such clock is in the Musée Duesberg in Mons (illustrated in the exhibition catalogue “De Noir et d’Or, Pendules ‘au bon sauvage’”, Musées Royaux d’Art et d’Histoire, Brussels, 1993). A second example is illustrated in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age à nos jours, Paris, 1997, p. 344. One further such clock is illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Die Bronzearbeiten des Spätbarock und Klassizismus, Band I, Munich, 1986, p. 379, fig. 5.15.20; that clock has been attributed to the Parisian bronzier Louis-Isidore Choiselat, known as Choiselat-Gallien (1784-1853). One of the finest bronze casters in Paris, Choiselat was a rival of Pierre-Philippe Thomire.

    Contemporary with the “aux porteuses” clocks, “aux porteurs noirs” clocks were much more elaborate and spectacular, due to their much larger size, as well as to their very unusual and perfectly balanced composition and the exceptional quality of their chasing and gilding. This model is also extremely rare; among the very small number of identical examples known, one that is attributed to Pierre-Philippe Thomire is today in the Musée François Duesberg in Mons (illustrated in Musée François Duesberg, Arts décoratifs 1775-1825, Brussels, 2004, p. 66). Tradition has it that the clock in the Musée Duesberg was ordered from Thomire in 1802 by the future Emperor Napoleon I, who intended to give it to Bernardin de Saint-Pierre. Napoleon, who admired the writer’s work, had particularly liked his novel “Paul et Virginie”.

    Pierre-Philippe Thomire (1757 - 1843)

    Pierre-Philippe Thomire was the most important Parisian bronzier of the last quarter of the 18th century and the first decades of the following century. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. He later became one of the bronziers attached to the Manufacture Royale de Sèvres, creating the bronze mounts for most of the important creations of the day. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. In addition, he worked for a wealthy private clientele, both French and foreign, including several of Napoleon’s Marshals. Thomire retired in 1823.



    Gaulin

    Important Gilt and Patinated Bronze Mantel Clock

    The American Indian Hunter

    Pendule302-05_HD_WEB

    Gaulin à Paris

    Paris, Directory-Consulate period, circa 1800

    Height50.5 Width37 Depth12.5

    The round enamel dial, signed “Gaulin à Paris”, indicates the Roman numeral hours and the Arabic numeral fifteen-minute intervals by means of two gilt bronze hands. It is housed in a  finely chased gilt and patinated bronze case. The clock is surmounted by the figure of a black hunter wearing a feather headdress and loincloth, who holds a bow in his left hand and an arrow in his right, with a quiver of arrows slung across his chest. He is sitting on a pedestal that is decorated with a lion’s head and is supported on a chariot with four wheels that are decorated with pierced flower petals and is drawn by a chimera with a lion’s head and dragons’ wings, whose double tail ends in arrows; it holds the reins in its mouth. On the other side lies a dead eagle. The sloping quadrangular base is decorated with garlands hanging from pastilles, whose façade is adorned with an elaborate applied motif depicting a rocky landscape, a cabin, and palm trees, in which three young boys dressed in loincloths are hunting, fishing, and sitting with a dog. The oblong plinth is raised upon four flattened feet decorated with beading and double zigzags that are framed by guilloche work and centered by cabochons.

    During the late 18th century, encouraged by the philosophical writings of Jean-Jacques Rousseau, who extolled the virtues of a return to Nature through the idea of the “noble savage”, the fashion for exoticism was encouraged by contemporary writers. The enormous literary success of works such as Bernardin de Saint-Pierre’s “Paul et Virginie” (published in 1788, it was a descendant of Daniel Defoe’s famous “Robinson Crusoe”), Marmontel’s novel “Les Incas”, which was published during the American War of Independence, and Chateaubriand’s “Atala”, published in 1801, profoundly changed Europeans’ attitudes toward other civilizations. They plunged the Old World into a deep romantic nostalgia related to the quest for a pagan Garden of Eden that would be regenerated by Christianity.

    As was often the case in the French decorative arts, this upheaval was to have important repercussions that were reflected in certain artistic creations, and particularly in horology. This was the context in which the present clock was created. No doubt an allegorical representation of the discovery of the New World, it was offered in two versions. In the first, the figure is seated on a boat that is decorated with a wolf mask (one such model is illustrated in the exhibition catalogue “De Noir et d’Or”, Musées Royaux d’Art et d’Histoire, Brussels, 1993). The second type is that of the present clock; a few similar examples are known to exist. One such clock is in the Musée du Nouveau Monde in La Rochelle; a second example is illustrated in G. and A. Wannenes, Les plus belles pendules françaises, De Louis XIV à l’Empire, Florence, 2013, p. 315. One further such clock is in the Musée François Duesberg in Mons (see Musée François Duesberg, Arts décoratifs 1775-1825, Bruxelles, 2004, p. 59).

    Lépine  -  Boizot
    Pierre-Claude Raguet-Lépine
    Louis-Simon Boizot (1743-1809)

    Rare Terra Cotta “Egyptian” Mantel Clock

    Egyptian Urania or Allegory of Geometry

    APF_Pendule032_05

    Terra Cotta Case Attributed to Louis-Simon Boizot or his Workshop

    Paris, Consulate period, circa 1800

    Height40 Width40 Depth20

    The round enamel dial, signed “Lepine Place Victoire”, indicates the hours in Roman numerals and the five-minute intervals in Arabic numerals, by means of two gilt bronze Breguet hands. The very fine case modelled entirely in patinated terra cotta; the gilt bronze bezel is chased with beading and a frieze of stylised motifs. The whole rests upon a fragmentary stele or antique cippus, that is engraved with Egyptian hieroglyphs and covered by a drapery issuing from the long tunic worn by the seated female figure. Her drapery partially reveals her breasts; she is wearing an Egyptian nemes headdress with a central star and a band with hieroglyphs on her forehead. She is turning toward the spectator and tracing a geometric figure on parchment with a stylus. At her feet lies a pole wrapped with a parchment that is covered with faint inscriptions. The base is treated naturalistically, in an imitation of rocks with scattered, stylised tufts of grass.

    The unusual design of this clock illustrates the influence of Egyptian culture on the French decorative arts, as a result of the well-known Egyptian Campaign led by Napoleon Bonaparte from 1798 to 1801. This campaign, the aim of which was to seize control of the Orient, gave rise to a new trend: Egyptomania, or the fascination by Europeans for the culture, the history, and arts of ancient Egypt. The clock’s material, terra cotta, is also unusual. At the time, the great majority of clocks were made of marble and gilt and/or patinated bronze. The fact that the present clock was modelled in terra cotta may suggest that the sculptor later intended to cast the model – though perfectly finished in its present state – in bronze, at a later date. This hypothesis is supported by the existence of a nearly identical type of clock in marble and bronze, an example of which is in the collections of the Geneva Musée d’art et d’histoire (illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Band I, Munich, 1986, p. 338).

    The attribution of this model to Louis-Simon Boizot or his workshop is suggested by the exceptional creativity of that workshop; Boizot was one of the principal proponents of the Egyptian style in Parisian horology at the time. He created several unusual clocks with Egyptian figures, which were subsequently cast by talented bronziers such as François Rémond. One such example was created by Boizot and cast by Rémond; it is today in the Prague Museum of Decorative Arts (see the exhibition catalogue Louis-Simon Boizot (1743-1809), Musée Lambinet, Versailles, 2002, p. 292).

    Pierre-Claude Raguet-Lépine

    Royal clockmaker Pierre-Claude Raguet, known as Raguet-Lépine after his father-in-law Jean-Antoine I Lépine, with whom he worked closely, he was born in Dôle, and in 1782 married Jean-Antoine’s daughter Pauline. Having already invested 16,000 livres in his future father-in law’s business, he purchased a third share in 1783 and eventually took over the business in June 1784, using the name “Lépine à Paris, Horloger du Roi”. Raguet-Lépine was a member of the jury responsible for choosing a new Republican time system (1793); in 1805 he became Horloger breveté de Sa Majesté l’Impératrice-Reine, and four years later was named Horloger de l’Impératrice Joséphine. His clientele included Napoleon I, Jérôme, King of Westphalia, Charles IV King of Spain, the princes Talleyrand, Kourakine (the Russian Ambassador) Schwarzenberg (the Austrian Ambassador), the comte de Provence and Louis XV’s daughters at the Château de Bellevue.

    Due to his success he employed a large workforce, including several of his relatives: Jean-Antoine II Lépine who managed the workshop, Jean-Louis Lépine in Geneva and Jacques Lépine in Kassel, Germany. His cases were supplied by the renowned bronziers Pierre-Philippe Thomire, F. Rémond, F. Vion, E. Martincourt, the Feuchères and Duports; his dials by such fine enamellists as Coteau, Dubuisson, Cave, Merlet and Barbichon. Today Raguet-Lépine’s work may be seen in the Louvre, the Château de Compiègne, the British Royal Collection, the Musée International d’Horlogerie at La Chaux-de-Fonds, the Deutsches Uhrenmuseum Furtwangen, the Schloss Wilhemshöhe Kassel, the Patrimonio Nacional in Spain, the Hermitage in Saint Petersburg, the Detroit Institute of Arts and the Minneapolis Institute of Arts.



    Louis-Simon Boizot (1743 - 1809)

    The son of Antoine Boizot, a designer at the Gobelins tapestry manufacture, Boizot worked in the atelier of sculptor René-Michel Slodtz (1705–1764), who also trained Houdon. Boizot married Marguerite Virginie Guibert, the daughter of sculptor Honoré Guibert. In 1778 he was admitted to the Académie royale de peinture et de sculpture and exhibited at the yearly salons until 1800. His portrait busts of Louis XVI and Joseph II were created in 1777 and made in bisque porcelain at Sèvres.

    From 1773 to 1800 Boizot directed the sculpture workshop of the Sèvres porcelain Manufactory, producing the series of unglazed biscuit figures with a matte finish resembling that of marble.

    Boizot also created terracotta designs for gilt-bronze clock cases, such as that of the allegorical “Avignon” clock in the Wallace Collection in London, which was cast and chased by Pierre Gouthière in 1777.



    In the same category
    Molliens
    Louis-François-Amable Molliens

    Rare Gilt Bronze Mantel Clock

    Allegory of Love and Fidelity”

    APF_Pendule027_02

    Molliens”

    Paris, Consulate period, circa 1800

    Height48.5 Width32 Depth11.5

    The white enamel dial, signed “Molliens à Paris”, has Roman numeral hours and quarter-hour graduations for the minutes, indicated by two gilt bronze hands. The finely chased gilt bronze case depicts a young boy symbolising the figure of Love. Dressed in a belted tunic, he holds a torch in his upraised right hand and a bow in the other, with his wings and a flaming torch lying on the ground behind him. A dog symbolising Fidelity walks by his side, his collar attached to the boy’s wrist. The quadrangular terrace, adorned with a fringed drapery in which the dial is set, is supported by four tapering spirally decorated feet. On either side stand “athenienne” tripods with masked monopodia legs and ram’s feet; they are centred by flaming braziers. The rectangular base with rounded corners features reserves decorated with striated motifs and scrolling foliage.  The whole is raised upon six toupie feet that are finely chased with flowers and beading.

    This clock’s subject is one of the favourite themes of Parisian bronziers and clockmakers of the final years of the 18th century and the early years of the following century. The iconography demonstrates collectors’ renewed interest for the allegorical clocks inspired by antiquity that had been fashionable at the end of the Louis XV period, when Parisian decorative arts were renewed by the influence of the neoclassical style. This aesthetic trend, fed by the fascination with classical antiquity that developed during the reign of Louis XIV, encouraged by the mid-century archaeological discoveries of the ancient Roman cities of Pompey and Herculaneum, near Naples.

    Very few similar clocks are known; most feature small variations in their ornamentation. Among them, one example, featuring a patinated bronze dog, is illustrated in Pierre Kjellberg, Encyclopédie de la pendule française du Moyen Age à nos jours, Les éditions de l’amateur, Paris, 1997, p. 334, fig. A. A second example is in the Museo de relojes du Palais de la Atalaya in Jerez de la Frontera (illustrated in E. Niehüser, Die französische Bronzeuhr, Eine Typologie der figürlichen Darstellungen, Munich, 1997, p. 225, fig. 556).

    Louis-François-Amable Molliens

    Louis-François-Amable Molliens was a clockmaker whose workshop was recorded as being, successively, in the rue Saint-Honoré around 1800, then in the passage du Grand-Cerf between 1806 and 1815 (see Tardy, Dictionnaire des horlogers français, Paris, 1971, p. 469). He was well respected and his clocks were acquired by important late 18th century and early 19th century Parisian collectors. Clocks signed by Molliens are mentioned in the probate inventory of Charles-Louis de Reconseille and the Napoleonic Marshall Louis-Alexandre Berthier, Prince de Wagram.



    In the same category