Offered by Galerie Gilles Linossier
Dimensions: H 57 cm x W 35 cm x D 22 cm
In brass marquetry and tortoiseshell nets on a pewter background, chiseled and gilded bronze ornamentation,
The dial is signed L. OURRY in Paris, the movement closed by a leaf in walnut and blackened wood fillet, surmounted by a terrace
adorned with antique fire pots, resting on feet represented by lion's paws.
Louis XIV period
DESCRIPTION:
Our pendulum in "Boulle" marquetry of brass, pewter and ebony on a red tortoiseshell background adopts a very original form called "doll's head", it is characteristic of watchmaking production at the end of the reign of Louis XIV.
This new model, which appeared at the very end of the 17th century, presents a subtle play on the bulging sides of curves and counter-curves resting on four claw feet.
This violin aspect continues on the rounded pediment decorated with a brass trellis. Four fire pots placed at the ends punctuate the upper decoration.
In our work, the artist plays with the colors, notably through the blackness of the ebony which contrasts with the red scale, the copper and the pewter.
This marquetry is adorned with a finely chiseled decoration composed of foliage scrolls and arabesques running through the eventful case of the clock as well as the ogee base.
The original movement features a lever escapement and leaf suspension.
The composition of our clock is related to a drawing by the ornamentalist Daniel Marot (1663-1752) published on page 178 of Ernst Warmuth's book "Das Ornamentenwerk des Daniel Marot", Berlin, 1892.
Until the end of the 17th century, massive, architectural cases adopting straight shapes dominated watch production during the reign of Louis XIV. With this new, smaller "doll's head" shape, movement, curves, counter-curves and volutes gradually took hold until the Regency before being omnipresent during the reign of Louis XV.
This type of clock, original and innovative in its form, embellished with a rich ornamentation in precious materials was very popular with amateurs.
Thus, an example is kept in the study of the apartments of Madame de Maintenon, secret wife of Louis XIV, at the Castel of Fontainebleau.
Unfortunately very few of these clocks have come down to us, first of all because their production cost was very high and they were reserved for an elite of the nobility, but also because of the relative fragility of their marquetry and their very distinctive decoration. , which very quickly caused them to fall into disrepair.
Our rich clock, which is more imposing than the traditional model, is in perfect condition and bears the name of one of the most important watchmakers of the reign of Louis XIV; it is a rare example of this production which marks the very beginning of the great collaboration between cabinetmakers and watchmakers.
WATCHMAKER
Louis OURRY, born in Blois Paris Son of Jacques apothecary and Marie Lepelletier, Married to Suzanne Guineau. Protestant.
Master in Paris, Quai Pelletier (1684). His widow is cited Quai des Orfèvres in the City of Blois where she continued her husband's business.
In December 1700, seventeen clocks in violation of the sumptuary edict were inventoried in her home. Used the cash registers of André Charles Boulle and among his clients was the president of Montholon.
Its timepieces are kept in the greatest museums in the world such as the British Museum (London), the Louvre Museum, the Museum of Decorative Arts, the Mazarine Library (Paris), and the Castel of Versailles.
