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Rare Gilt Bronze Mantel Clock, signed Beauvarlet
Rare Gilt Bronze Mantel Clock, signed Beauvarlet - Clocks Style Louis XV Rare Gilt Bronze Mantel Clock, signed Beauvarlet - Rare Gilt Bronze Mantel Clock, signed Beauvarlet - Louis XV
Ref : 82171
Price on Request
Period :
18th century
Artist :
Beauvarlet
Medium :
Gilt bronze
Dimensions :
l. 13.39 inch X H. 20.67 inch X P. 7.48 inch
Clocks  - Rare Gilt Bronze Mantel Clock, signed Beauvarlet 18th century - Rare Gilt Bronze Mantel Clock, signed Beauvarlet Louis XV - Rare Gilt Bronze Mantel Clock, signed Beauvarlet
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Exceptional clocks and decorative art objects 17th-19th century


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Rare Gilt Bronze Mantel Clock, signed Beauvarlet

Louis-Antoine Beauvarlet
Case Attributed to Jean-Joseph de Saint-Germain

Rare Gilt Bronze Mantel Clock

Paris, Louis XV period, circa 1755-1760
Height 52.5cm; width 34 cm; depth 19 cm

The round enamel dial, signed “Beauvarlet à Paris”, features Roman hours and Arabic five-minute intervals, with two pierced gilt bronze hands. The magnificent chased and gilt rocaille case is decorated with scrolling foliage and a cartouche framed by acanthus leaves; the sides and the lower portion are adorned with pierced motifs including stylised foliage and flowers. The case is surmounted by a draped female figure holding a mirror, probably the Sorceress Armida, Princess of Damascus, who seduced the Christian knight Rinaldo with her mirror.

This clock counts among the finest rocaille examples of the mid 18th century. It relates to the work of one of the most important Parisian bronze casters of the time, Jean-Joseph de Saint-Germain. Saint-Germain created many clock cases, including an example that is stylistically similar; it is illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Munich, 1986, p. 131, fig. 2.8.23. Among the rare similar models known, one example, whose dial is signed “Ripert à Paris”, was sold at auction in Paris by Me Rheims, Palais Galliera, December 6-7, 1965, lot 179 (see also E. Niehüser, Die französische Bronzeuhr, Eine Typologie der figürlichen Darstellungen, Munich, 1997, p. 72, fig. 106). A second example, from the Château des Mesnuls, was sold in Paris, Me Lair-Dubreuil, Palais Galliera, May 15-16, 1924, lot 113; a third, with a carillon playing ten tunes in the base, is illustrated in R. Mühe and H. M. Vogel, Horloges anciennes, Manuel des horloges de table, des horloges murales et des pendules de parquet européennes, Fribourg, 1978, p. 106, fig. 129. A further clock, whose dial is signed Amant à Paris, was bequeathed in October 1927 to the Lyon Musée des Arts décoratifs by Amédée Gonin (illustrated in P. Arizzoli-Clémentel, C. Cardinal and A. Mazur, Ô Temps! Suspends ton vol, Catalogue des pendules et horloges du Musée des Arts décoratifs de Lyon, Lyon, 2008, p. 64, catalogue n° 20).

Jean-Joseph de Saint-Germain (Paris 1719-1791) was probably the mot renowned Parisian of the mid 18th century. Active as of 1742, he did become a master craftsman until July 1748. He became famous for his many clock and cartel cases, such as his Diana the Huntress (an example is in the Louvre Museum), the clock supported by two Chinamen (a similar example is in the Musée des Arts décoratifs in Lyon), as well as several clocks based on animal themes, including elephant and rhinoceros clocks (an example in the Louvre Museum). In the early 1760’s he played an important role in the renewal of the French decorative arts and the development of the Neo-classical style, an important example of which may be seen in his Genius of Denmark clock, made for Frederic V and based on a model by Augustin Pajou (1765, in the Amalienborg Palace, Copenhagen). Saint-Germain also made several clocks inspired by the theme of Learning, or Study, based on a model by Louis-Félix de La Rue (examples in the Louvre Museum, the Gulbenkian Foundation, Lisbon, and the Metropolitan Museum in New York). Along with his clock cases, Saint-Germain also made bronze furniture mounts, such as fire dogs, wall lights, and candelabra. His entire body of work bears witness to his remarkable skills as a chaser and bronzeworker, as well as to his extraordinary creativity. He retired in 1776.

Louis-Antoine Beauvarlet became a Master Clockmaker in September 1756

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Price : on request