230 - Chased ormolu cartel decorated with compartments featuring florets, scales, canals and festoons, alternating with rosettes. It is crowned by a dome decorated with gadroons, attached to a dial with large acanthus leaves arranged in symmetry and surmounted by a female allegory seated diagonally on a cloud. The lower part forms an imposing openwork cartouche with scalloped and foliated scrolls ending in an interlace. Two winged women, in term, facing each other, crown the cartouche, supporting the rectilinear base of the dial holding a spiral fleuron. The sides feature mascarons with male and female profiles. Enameled dial signed and dated: COLIN DE LA GLIZIER A PARIS. 1735. The movement signed and dated COLIN DE LA GLIZIER A PARIS 1735.

Chased ormolu cartel decorated with compartments featuring florets, scales, canals and festoons, alternating with rosettes. It is crowned by a dome decorated with gadroons, attached to a dial with large acanthus leaves arranged in symmetry and surmounted by a female allegory seated diagonally on a cloud. The lower part forms an imposing openwork cartouche with scalloped and foliated scrolls ending in an interlace. Two winged women, in term, facing each other, crown the cartouche, supporting the rectilinear base of the dial holding a spiral fleuron. The sides feature mascarons with male and female profiles. Enameled dial signed and dated: COLIN DE LA GLIZIER A PARIS. 1735. The movement signed and dated COLIN DE LA GLIZIER A PARIS 1735. Louis XV period, 1735. Jean-Baptiste-Marie Colin de la Gliziere received his maitre in 1729. H. 75 cm - W. 26.5 cm. - D. 14 cm (wear, small accidents) Provenance: Former Bernard Steinitz Collection. Bibliography: Our cartel is reproduced on p. 60-61, fig. 39 in Les ouvriers du temps by Jean-Dominique Augarde, published in 1996 by Editions Antiquorum. (Fig. 1) Bronze became the predominant material for clock cases in the 1730s and 1740s, to such an extent that it almost completely eclipsed the traditional cabinet-making boxes. It lent itself marvelously to the exuberance of the rocaille art in full expansion at the time, and by the end of Louis XIV's reign had won the almost unanimous support of a clientele sensitive to luxury objects. Jean-Baptiste-Marie Colin de La Glizière, who created the movement for our cartel in 1735, used cases by Caffieri, in particular Jacques (1678-1755), and later by Jean-Joseph de Saint-Germain (1719-1791) and Balthazar Lieutaud (circa 1720-1780). Our cartel belongs resolutely to the Regency style: espagnolettes and chiselled mosaic decor evoke the creations of Charles Cressent (1685-1768) in the 1720s, a feeling reinforced by the constant symmetry of the overall design. Colin de La Glizière was awarded the title of Master on July 1, 1729, and his clients included the Prince de Montauban, the Chevalier de Bethizy, the Comte de Sainte-Amaranthe, the Président de Bandeville and Messrs Paris de Montmartel and Perrinet des Jars. For another clock by Colin de La Glizière, see the Pendule de Jupiter in the Musée Jacquemart-André.