Neo-renaissance clock

L.-A. MARQUIS, M.-J.-N. LIENARD Bronze maker, Designer (1811-1885), (1810-1870)
(attributed to)

NEO-RENAISSANCE CLOCK

France - Circa 1860

Gilt and silvered bronze

Height : 51 cm ; Width : 25 cm ; Depth : 14 cm

The presented artwork is an architectural table clock of exceptional ornamental execution, inscribed in the great tradition of Renaissance or Neo-Renaissance style goldsmithing. Designed as a miniature edifice, it superimposes registers and multiplies classical references in a horror vacui approach where no space is left blank. Built in the manner of a palatial facade or an altar, this piece sees its main level punctuated by fluted columns in silvered metal, topped with gilt Corinthian capitals. These supporting elements frame bas-relief panels where an ornamental repertoire of grotesques, urns, draperies, and foliage abounds, typical of 16th-century ornamentation treatises. The systematic contrast between the bright gilding and the matte silvering structures the reading of the volumes and emphasizes the three-dimensionality of the piece. At the heart of this composition, the focal point remains the dial, whose hours are indicated by blue Roman numerals painted on individual white enamel cartouches. The center of this dial, as well as the plaque that enshrines it, is entirely overrun by a trellis of finely chiseled gilt foliage, while below, a central gilt column divides the lower space into two symmetrical niches. The base of the clock, which rests on flattened bun feet, is centered by a grotesque mask framed by bat or dragon wings, anchoring the work in a fantastic dimension. Rising towards greater lightness, the upper register stages two silvered in-the-round putti figures seated at the ends of the cornice. In the center, a gilt arcade houses a finely crafted covered vase or urn, the whole being majestically crowned by a classical aedicule in the shape of a dome or lantern finished with a tapered pinnacle. Thus, this piece transcends its primary function of measuring time to become a true sculptural microcosm, designed to dazzle by the virtuosity of its chasing, the richness of its materials, and the erudition of its architectural references.
This piece of both goldsmithing and horology, of great ornamental complexity, testifies to the neo-renaissance inspiration in vogue in the mid-19th century. Its ornamentation is inspired by various plates taken from Spécimens de la décoration et de l'ornementation au XIXe siècle, a work published by Michel Joseph Napoléon Liénard in 1872.

BIOGRAPHY

Louis-Auguste Marquis (1811-1885) is an important 19th-century French bronze maker (bronzier), recognized primarily for his luxury furniture creations and ceremonial lighting fixtures made during the July Monarchy and the Second Empire. In 1838-1839, he partnered with Gilbert-Honoré Chaumont (1790-1868), an already highly renowned manufacturer specializing in chandeliers. This collaboration propelled the career of Marquis, who then became Chaumont's successor around 1844. Although Marquis produced clocks and exceptional mantel garnitures, often in the Louis XVI style or of 18th-century inspiration, his great specialty remained monumental lighting fixtures. His talent as a chaser earned him prestigious State commissions. His works notably adorn the Ministry of Foreign Affairs, and several of his pieces are now preserved and catalogued in the collections of the French Mobilier national.

Michel Joseph Napoléon Liénard (1810–1870) is a French sculptor, draftsman, and ornamentalist considered one of the major figures of 19th-century decorative arts and ornamentation. He provided a multitude of models and drawings to the artisans of his time (bronze makers, silversmiths, cabinetmakers, art foundries) and in 1866, he published his famous collection of ornaments entitled Spécimens de la décoration et de l'ornementation au XIXe siècle, whose theoretical and practical scope greatly influenced many artists. He collaborated with the famous Val d'Osne art foundries (notably with the sculptor Mathurin Moreau) and architects such as Hippolyte Destailleur.