White marble, bleu turquin marble and finely chased gilt bronze revolving dial clock

The rectangular movement was specifically made for the vase into which it is fitted. It features a verge escapement, a silk-thread suspension for the pendulum, and striking for the hours and half-hours with a count wheel on the back plate. The rotating gilt bronze rings are decorated with lozenges for the hours and rosettes for the minutes. They are fitted with enamel cartouches displaying Roman numerals for the hours and Arabic numerals for the minutes. The right hand of Cupid serves as the fixed index.

The movement is wound on the right, and the striking mechanism on the left, via two openings in the marble on the right side at the level of the lion’s head. The fast/slow adjustment is positioned flat on top of the movement, with a graduated circular index marked A/R. The pendulum oscillates vertically from front to back, which is unusual.

Louis XVI period, circa 1780
Wear consistent with age and use
Height: 52 cm
Width: 20 cm
Depth: 17.4 cm

Historical background
In the early second half of the 18th century, ornamental schemes in Parisian decorative arts underwent a profound renewal. Following the archaeological discoveries of Pompeii and Herculaneum, collectors, artists, and craftsmen progressively embraced the new principles of Neoclassicism. In the specific field of horology, this shift led to the creation of new clock models known as “revolving dial” clocks, more elegantly suited than traditional circular dials to their new cases in the form of antique vases. This fashion, which met the expectations of major collectors, reached its peak during the reign of Louis XVI.

The present clock was created in this context and stands apart from most known examples—generally executed entirely in gilt bronze—through the combination of a white marble vase and finely chased gilt bronze mounts, whose exceptional quality allows an attribution to Pierre Gouthière. Among the rare comparable examples using the same materials, one may cite a model sold at Christie’s, London, 6 April 1978, lot 14, as well as another with ram-head handles and a lid surmounted by a sculpted putto, formerly in the famous collection of the Count Greffulhe, dispersed in London in 1937 (Sotheby’s sale, 23 July 1937, lot 38).

Biography
Pierre Gouthière (1732–1813) was undoubtedly the most talented Parisian chaser of his time. Patronised by the Duke of Aumont, one of the greatest collectors of the second half of the 18th century, Gouthière obtained in 1767 the title of gilder to the Menus Plaisirs du Roi, the royal administration responsible in particular for private commissions made by the sovereign. This appointment brought him extraordinary renown and allowed him to assemble the most distinguished clientele of the period, composed exclusively of connoisseurs of rare and precious objects. His patrons included, in addition to the royal family and the Duke of Aumont, leading aristocrats such as the Marquis de Marigny, brother of Madame de Pompadour, Princess Kinsky, the Countess Du Barry, mistress of the King, the Duchess of Mazarin, the Duke of Duras, the Duchess of Villeroy, as well as prominent financiers, notably Baudard de Saint-James, wealthy Treasurer General of the Navy, and the powerful banker Thélusson.

Detailed description
Two superimposed dials, or revolving rings composed of enamel cartouches, indicate the hours in Roman numerals on the first ring and the minutes in Arabic numerals on the second. The movement is housed within a superb antique-style vase in white statuary marble, carved with large leaves and spiral gadrooned friezes. The square openwork handles are accented with fluted motifs and rest on lion masks. The body of the vase is adorned with garlands of laurel leaves and berries, intertwined with a serpent whose tongue indicates the hour. The upper section is decorated with a seed emerging from a leafy bouquet.

The vase rests on its moulded pedestal, encircled by a ribbon-tied frieze of laurel leaves and berries, supported by a square base, itself set upon a quadrangular counter-base in gilt bronze with plain reserves framed by matte borders.

Provenance
Former Seligmann collection
Collection of Baron Eugène Fould
Collection of Nathaniel de Rothschild

Inventory
Georges Samary, “Collection de Monsieur le Baron Eugène Fould”, July 1913, no. 8

Bibliography
La Décoration, collection “Connaissance des Arts”, Hachette, 1963, p. 264
Giacomo and Aurélie Wannenes, Les plus belles pendules françaises, Polistampa, 2013, p. 185

Comparative bibliography
An identical clock: Sotheby & Co, 23 July 1937, lot 38
White marble and gilt bronze clock, Paris, circa 1775–1780, formerly in the collection of the Count Greffulhe.