All lots "Clocks and mantel clocks" Advanced search

Reset all filters
783 results

Sun 26 May

Goyer et Imbert, Transition Louis XV-Louis XVI period Fireplace regulator in Parisian varnish imitating Chinese lacquer. The violonnée shape, decorated with flowers and Chinese pagodas, is surmounted by a gilded bronze armillary sphere. The white enameled clock face is signed "Imbert l'Ainé" and indicates the hours in Roman numerals and the minutes in Arabic numerals. Compensated "grill" balance supporting a second dial with barometer function, probably later. Rich ornamentation of gilded bronzes with acanthus, ram's head, lion's head, garlands of flowers and laurel, foliage, frieze of posts and gadroons. Stamped under the base: "J.GOYER" and "JME". Cabinetmaker: Jean Goyer, received master's degree in Paris on December 12, 1760. Watchmaker: Jean Gabriel Imbert, received master on November 22, 1776. Transitional Louis XV-Louis XVI period. Height: 73 cm. (restorations, accidents and missing varnish, barometer hands missing). Provenance: private collection, Lyon. Goyer and Imbert. A Louis XV-Louis XVI Transition Period ormulu-mounted japanned long case clock topped by an ormolu armillary sphere. Bibliography: a similar model is reproduced in Pierre Kjellberg, "Encyclopédie de la pendule française du Moyen Age au XXe siècle", Editions de l'Amateur, Paris, 1997, page 307. François, Jean Goyer's father, is reputed by Kjellberg to have created the model of our clock. A Parisian cabinetmaker received his master's diploma in 1740, he worked at "L'Autruche" on rue du Faubourg-Saint-Antoine, before moving to "L'Eau qui dort" on rue de Charonne. He produced lacquered clock cases in the Chinese style, decorated with rocaille bronzes. His after-death inventory in 1763 lists no less than three clocks and 26 "boëtes de cadran", 16 of which "plaquées en bois pour vernir". His son Jean continued to produce clock sheaths for some twenty years on the rue de Charenton. Also a talented foundryman, he was condemned in 1766 by the jury of ciseleurs for housing bronze workers in his home, and was ordered to choose between the two professions. His collaboration with his brother-in-law René Dubois gave rise to some spectacular creations, including the famous monumental secretary in the collection of James A. de Rothschild at Waddesdon Manor (Kjellberg, 1998, p.372). This regulator model was a great success with enthusiasts of the time, such as the Duc de Choiseul, who is reputed to have commissioned the example in the former Morgan collection, dispersed in 1969. Jean-Gabriel Imbert, known as Imbert l'Ainé (1735-1795), started out as a journeyman, then worked as a free-lance craftsman, before being awarded the title of master on November 22, 1776. He filed for bankruptcy in 1784, but continued his activities. He worked at Carrefour de la Roquette in 1767, rue Planche-Mibray in 1781, rue des Arcis in 1784 and rue de Monceau in 1795. He made high-quality clocks, using cases by J. Goyer, N. Bonnet, M. Poisson or the Osmonds, some gilded by Le Cat and H. Martin (Jean Dominique Augarde "Les ouvriers du Temps", Editions Antiquorum, Geneva, 1996, p. 334-337).

Estim. 5 000 - 8 000 EUR

Sun 26 May

Vuidepot, late 18th century Sculpture clock "Venus, Love and the bird in flight". in white marble and chased ormolu, depicting love handing over a dove in its gilded cage to a languid Venus. The group surrounding the dial, decorated with two rose branches, is bordered by a frieze of oves and stings, and stands on an oblong, filleted white marble terrace decorated with a frieze of acanthus and roses. It stands on eight toupie feet. The white enamelled dial signed "Vuidepot à Paris" shows the hours in Roman numerals, the minutes in railway numerals and the decimal minutes in Arabic numerals, with two openwork bronze hands. A black steel hand indicates the day. Wire suspension. Maximin Vuidepot (1752-1793), master in Paris in 1782. Height 51 Long 61.5 Depth 19.5 cm. (wear and tear; one dove and part of the Venus foot missing) Provenance: private collection, Loches. Maximin Vuidepot. A late 18th C. ormolu and white marble clock depicting Venus, Cupid and a runaway bird. Related work: a "Nymph and love in front of a cage" clock by Furet, horloger du Roi, circa 1775-1800, in the Musée du Louvre, OA 5286. This milestone date clock treats the bronze as an accessory, giving the group carved in white marble pride of place, earning it the appellation "sculpture pendule". The theme of Venus and Love emerged during the reign of Louis XV, with sculptors such as Clodion, Jean-Baptiste Pigalle and Falconnet, and reached its peak during the reign of Louis XVI. This theme is at the crossroads of the return to favor of antiquity and the galant scenes of the first half of the 18th century. Particular attention is paid to the treatment of Venus' drapery.

Estim. 2 500 - 4 500 EUR

Sun 26 May

Late 18th century, early 19th century Large obelisk clock in white marble and chased bronze gilded with ground gold. The obelisk, surmounted by an armillary sphere, is adorned at its base with an enameled dial signed "Jacquot A Paris", with hours and minutes in Arabic numerals. The dial is surmounted by a gilded bronze bas-relief of two nymphs carrying the world on which Cupid is enthroned, and supported by another bas-relief featuring two lions joined by a drapery. The sides are decorated with warrior attributes and the edges highlighted by a twisted gilded border. The base is adorned with a gilded bronze bas-relief with a frieze of children in the Clodion style. A quadrangular black marble terrace is surrounded by four gilded bollards linked by a chain. Brocot suspension probably brought back. Numerous Jacquots have been listed in Paris since the 18th century, including one established in 1806 on rue Saint-Martin. Height 75 Long 32.5 Depth 19 cm. Provenance: private collection, Loches. Late 18th C.- early 19th C. A large ormolu and white marble obelisk clock. Topped with an armillary sphere. On a black marble base. Related work: Jean-Baptiste Thiéry, Pendule en forme de pyramide, 1785, Musée du Louvre, OA 5308. Bibliography: - Pierre Kjellberg, "Encyclopédie de la pendule française", Editions de l'Amateur, Paris, 1997, a comparable model reproduced on p. 219; - Egyptomania", Musée du Louvre exhibition catalog, January 20-April 18, 1994, RMN, Paris, a comparable model reproduced on p. 137. The obelisk, erected in ancient Egypt to mark military victories, became a popular motif in France in the late 18th century. During the reign of Louis XVI, several models featuring a crowned eagle with outstretched wings were created to celebrate the victory of Yorktown, won by General de Rochambeau and George Washington against English troops in America. The model then took on several variations, including an armillary sphere at the top. Its popularity continued to grow under the First and Second Empire, boosted by Napoleonic campaigns and Egyptomania.

Estim. 2 000 - 4 000 EUR

Sun 26 May

Louis-Auguste Marquis (French, 1811-1885) Exceptional Louis XVI style mantel set, c.1845 in finely chased ormolu, including a clock and a pair of cassolettes with primed sides, formerly covered with lapis-lazuli scagliola. The clock is surmounted by a bouquet of lilies, tulips and roses; the handles have goat heads, and the dial is entwined with laurel leaves. It stands on a leafy pedestal supported by a fluted column base and a plinth at the bottom. The enameled dial is signed "Marquis à Paris" with the hours in Roman numerals and the "Avance Retard" dots at noon. The two-week reserve movement bears the watchmakers' stamps: "Farret A Paris" and "Pons médaille d'or1827". The cassolettes are topped with a pine-cone fretel, their handles with young goats' heads joined by a flowery garland, resting on a gadrooned pedestal in a laurel twist. Bronzier: Louis-Auguste Marquis (1811-1885), associated from 1838 to 1844 with Gilbert-Honoré Chaumont (1790-1868), established at 25 rue Chapon in Paris, then, under the Second Empire, at 66 boulevard de Strasbourg. Watchmaker : Pierre Honoré César Pons (1773-1851), who revived the watchmaking business in Saint-Nicolas d'Aliermont, was active in Paris until 1846, when he sold his company to Delepine. Finishing watchmaker: Farret & Cie, active in Paris, rue Chapon, between 1840 and 1870. Pendulum: Height 82 Width 41 Depth 24 cm. Cassolettes : Height 61 Width 33 Depth 22 cm. (excellent overall condition; small accident to the dial, missing pistils from a lily, blue finish on the ovals partly faded). Louis-Auguste Marquis, ca. 1845. A Louis XVI style ormolu mantel clock and pair of cassolettes. Marquis, le bronzier des Princes In 1838, bronze-maker Louis-Auguste Marquis (1811-1885) joined forces with Gilbert-Honoré Chaumont (1790-1868), an artisan in the field of chandeliers. The partnership was a great success. At the Exposition des Produits de l'Industrie, they were awarded a bronze medal for the creation of a set of Renaissance-style candelabras, a clock and a large chandelier with branches supported by children and chimeras. The company subsequently moved to no. 25 rue Chapon in Paris, before relocating under Napoleon III to 66 boulevard de Strasbourg. The company became the main supplier to the royal palaces, and was awarded the title of "Fabricant du Mobilier de la Couronne" for lighting fixtures. Chaumont, now known as "Chaumont Marquis", begins to diversify its production with the creation of furniture bronzes in a variety of styles. It supplied the Giroux and Beurdeley houses, as well as the royal family. The fireplace for the Salon des Princes was delivered to the Grand Trianon in 1838. On his own from 1844 onwards, Marquis supplied the Palais Royal in 1855 with an impressive pair of gilded bronze candelabras, "Enfants au silence", whose lilies and garlands of flowers are reminiscent of the work done on our fittings. His work includes references to the great bronziers of the previous century, such as the Osmond dynasty, Thomire and Pierre Gouthière. For example, the ram heads on this set are inspired by those on a pair of aiguières made by Pierre Gouthière around 1767 to 1770 (private collection) or on a serpentine cassolette made around 1775, now in the Musée du Louvre (OA 5179). However, our garniture also uses modern industrial materials, such as sheet metal and scagliola, to imitate hard stones, which are particularly rare and expensive.

Estim. 12 000 - 18 000 EUR

Mon 27 May

Empire clock attributed to PIERRE-PHILIPPE THOMIRE (Paris, 1751- 1843), after CLAUDE MICHALLON (Paris, 1752-1799). France, ca. 1805. "À l'amour couronné". Gilded bronze. In good condition. Sphere inscribed on the base. Measurements: 96 x 57 x 29 cm. Monumental Empire clock attributed to the bronze artist Pierre-Philippe Thomire, based on the prolific model made by the sculptor Claude Michallon. It is a piece with a stepped base on the upper part of which is the dial, with Roman numerals lacquered in black and bordered by a classic border. As in Michallon's model, on the body of the clock rest the figures of Cupid and Psyche worked in patinated bronze: Psyche places a crown on Cupid, while he brings his hand to her cheek in a delicate gesture full of love and tenderness. Formally, the position of the bodies stands out, denoting Michallon's savoir faire, as well as the careful detail of the modeling in the anatomy and in the qualities. The attribution of the design to Michallon (d. 1799) derives from an 1816 invoice by Feuchère for Würzburg in which he mentions this "pendulum of Psyché couronnant l'amour groupe modelé par feu Michallon". Pierre Philippe Thomire was a French sculptor known, above all, for his work in gilded bronze, thanks to which he became the leading caster in France at the end of the 18th century, with an important workshop established in 1775. His career saw a surprising improvement when he began assisting Jean-Claude-Thomas Duplessis, the artistic director of the Manufacture de Porcelaine de Sèvres, and, when the latter died in 1783, Thomire continued his work, creating the bronze mounts for works that combined it with porcelain. Such was his success that he continued to work during the French Revolution. In 1804 he expanded the business by buying the workshop of a cabinetmaker, which allowed him to work with furniture. He worked for Napoleon and also did so after the fall of Napoleon, retiring at the age of 72 and, even then, continuing with his creation in sculpture (he exhibited at the Salon de Paris). Claude Michallon was a French sculptor trained at the Ecole des Beaux-Arts in Paris, a student of Charles-Antoine Bridan (1730-1805) and Guillaume Coustou. In 1785 he won the grand prize for sculpture with a bas-relief representing Brutus. He studied at the Académie de France in Rome for six years, until 1791. When he returned to Paris, he received commissions for colossal statues and won several prizes awarded by the Committee of Public Information. He competed for several projects in Paris. Claude Michallon presented his marble group d'Aconce et Cydippe at the Paris Salon in 1793, and created several models for watch cases, such as Cupid and Psychée. Among others, Pierre-Philippe Thomire cast bronzes closely following his models.

Estim. 25 000 - 28 000 EUR

Mon 27 May

Egyptian-inspired Empire clock, ca. 1810. Patinated bronze. Ormolu dial. Red marble base. It has small restorations. Dial signed "Bailly", watchmaker active in Menars street and Richelieu street in 1810. Measurements: 47 x 25 x 16,5 cm. Napoleon's campaign in Egypt in 1798 was the starting point of the Egyptomania that would dominate French art in the early nineteenth century. The future emperor and his troops were able to see first hand the great temples, monumental sculptures and pyramids, but the main architects of the dissemination of these images were the artists who accompanied the troops, and who devoted themselves to making sketches and watercolors of the various landscapes. When these works arrived in France, they were engraved and used as the basis for large oil paintings and sculptures. Thanks to these images, a new iconographic repertoire arrived in Europe, based on ancient Egyptian art but recreated with freedom and fantasy. This table clock is a clear example of this taste for the Egyptian, which will develop not only in the early nineteenth century but will be taken up again with force at the end of the century, within the context of historicism. Thus, we see a piece that represents a seated woman holding a clock in her arms. These solemn figures became very popular in the 19th century, as attested by the similar clocks that survive to this day. The clock we present here is inspired by others preserved today in museums and palaces, such as the one in the Malmaison Museum or the Pavlovsk Palace in St. Petersburg, among others.

Estim. 15 000 - 16 000 EUR

Mon 27 May

Raingo Frères, Napoleon III period Fireplace insert in onyx and gilt bronze, composed of a clock and a pair of candelabras: - the terminal clock topped with a quiver and a torch in a laurel wreath surmounting a white enameled dial showing the hours in Roman numerals, the minutes in Arabic numerals and chemin de fer. Signed "Raingo Fres / Paris", it is surrounded by two knotted horns of plenty and surmounts a bas-relief decorated with foliage. Six gadrooned feet. The turntable is numbered "172" and stamped by Raingo Frères. Brocot suspension. - four-light candelabra, the central part topped with a pomegranate, the binnacles decorated with acanthus leaves alternating with florets. The scrolled arms end in pomegranates. They stand on a fluted pedestal flanked by horns of plenty. The base has three bas-reliefs, the central one adorned with a quiver and a torch, the other two with laurel garlands. Six gadrooned feet. Pendulum: Height 45 Width 35 Depth 14.5 cm. Candelabra: Height 50.5 cm. (minor accidents, including a small crack on the front, restorations). Provenance: former collection of Château de Maugué, Loir-et-Cher. Then blésoise collection, place du château. The Raingo Frères Company, Napoléon III Period. An onyx and ormolu mantel clock and matching pair of candelabras. Bibliography: Pierre Kjellberg, "Encyclopédie de la pendule française du Moyen-âge au XXe siècle", Paris, Les éditions de l'Amateur, 1997, a very similar model reproduced on p. 476. Raingo Frères was founded in 1823. It brought together the four sons of watchmaker Zacharie-Joseph Raingo, himself the son of Nicolas-Joseph and Marie-Magdelaine Decrolyet. On the strength of its achievements, the company was awarded a bronze medal by the jury of the Exposition des Produits de l'Industrie in 1844. Raingo supplied the most important personalities of the time, including Emperor Napoleon III and his wife Empress Eugénie from 1860 onwards. Maison Raingo is described as "one of the leading houses in Paris [ ] for the merit of its products".

Estim. 1 000 - 1 500 EUR
Security
Online payments are secured by Ingenico and encrypted transactions.
Guarantees
Each lot has been authenticated and appraised by an Auction House.
Support
Consult our FAQ or contact us
Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
More about Drouot
Drouot certified auction houses
To buy
How to buy on Drouot.com
How to buy at the Hôtel Drouot
Glossary
Useful links
To sell
Value your property
Auctions at the Hôtel Drouot
Subscribe
SERVICES FOR PROFESSIONALS
Auctioneers
Contacts
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
Press Center
Private events
CGU and legal notice - Privacy Statement - Copyright © Drouot.com