Jacques Nève is an clockmaker and has been a member of the CNES (Chambre Nationale des Experts Spécialisés en objets d’art et de collection) since 2009. His workshop is located in Braine-le-Château, Belgium.
Jacques Nève offers a selection of clocks dating from the eighteenth and nineteenth centuries, carefully selected in terms of quality, originality and historical provenance.
The expert horlogist Jacques Nève also provides confidential appraisals for estate settlements, division of family property, insurance coverage and sales purposes. Certificates of authenticity can be provided on request.
Objects "Jacques Nève"
Early 19th C. French Capucine, enamel dial with Roman numerals, red arabic numerals for the quarter markers, and red signature Martin à Bagnol (North of Limoges in the Massif Central). Double rack strike on the hour and two minutes past the hour, single half-hourly strike on a sivered bell. Alarm set by a third hand on the dial. Finely cut blued steel hands with brass tips, steel alarm hand. Eight-day movement with simplified maltese cross winding stops on both barrels, anchor recoil escapement with silk suspension. Alarm system set by the steel hand on the dial, and wound by pulling the string on the left side. Height (with carrying handle upright): 30cm, € 7500.-Read more
- Fixed price
- 6 400 GBP
Jean Eugène ROBERT-HOUDIN, “Triple Mystery” Clock, Paris, circa 1850. Crystal, patinated and gilded bronze. Signed on the dial: Robert-Houdin/Paris. The circular dial, made from three clear glass plates of near-identical size, indicates the hours in Roman numerals and the minutes with precision indicators, with two arrow-shaped gilt-brass hands. The hours and signature are painted on the back of the first glass plate; the second glass plate contains the motion work in its center and moves with the hour hand, the third glass plate is the rear support of the assembly. The whole dial is contained by a gilt-brass surround that sits in a chased gilt-bronze mount supported by a crystal column terminating in three patinated-bronze griffins on a shallow ebony-simulated terrace decorated to end in gilt-bronze scrolls and grotesque motifs. Like the dial with multiple glass plates, the crystal column is actually made of two separate crystal tubes, the inner one being fitted with rotating wheels at both ends. A long rod with an endless screw is the link between the glass inner column and the removing middle dial, it is hidden within one of the decorative dial supports. Another such long rod with lantern pinions on both sides is hidden within one of the three griffins, and acts as the link between the movement and the crystal column. The movement, unable to be contained inside the base, is concealed within the circular black-lacquered pedestal bordered with fine brass fillets, the top covered in crimson velvet. It is made of two separate trains (one for the strike and the other for the time) with all wheels placed in a linear fashion so as two place them all in a narrow space. The movement ends with a platform escapement in a line, with Swiss-type escape wheel, and cut bi-metallic balance wheel. The strike is every hour and half hour on a coiled gong attached in the base and controlled by a countwheel. The movement is stamped E. Robert-Houdin and numbered 3857 on the winding side. The same very long brass key is used for winding and setting the hands through 3 holes at the rear of the base. Height 57 cm (22 ½ "), Diameter of dial: 12 cm (4 ½ "), Diameter of base: 26 cm (10 ¼ "). (Blois, 1805 – Saint-Gervais, 1871) Horologist, illusionist, stage artist. ‘I am inclined to believe’, noting in his biography “Confidences”, that I came into the world with a file, a compass or a hammer in my hand, for from my earliest youth, these instruments were my rattles, my toys; I seemed to use them as other children learned to walk and talk.’, All his life, Jean Eugène Robert-Houdin was ruled by his passion, or mania, to invent and perfect, never ceasing to surprise and fascinate; his scientific and technical innovations as well as his remarkable talent as a magician secured his place in history. The son of horologist Prosper Robert, Jean Eugène Robert-Houdin was born in Blois on 7 December 1805. Established as an horologist in Paris around 1835, Jean Eugène began his training in his father’s workshop. Although Prosper Robert insisted that his son pursue a legal career, Jean Eugène preferred the domain of horology and began an apprenticeship under his cousin Jean Martin Robert, reputed to be the most skilful horologist in town. Blois, home to the kings of France since the Renaissance, was one of the major horological centres at the time – in 1700, there were no fewer than 200 clockmakers working there. It was also here, in his hometown, that Jean Eugène Robert met his future wife, Josépha Eglantine Houdin, daughter of the well-established Blois horologist, Jacques Houdin, a monumental clockmaker who was summoned to Paris in 1820 to work for Bréguet. In late 1829, Jean Eugène Robert began working for his future father-in-law as a clock dealer, and on 8 July 1830 married his daughter whose surname became inseparable from his own, hyphenating it from then on as Robert-Houdin; it was officially recognised by Prince-President Louis-Philippe in 1852. Shortly after his marriage, Robert-Houdin established himself in Paris where he became known for the construction of ingenious automata and machines of his own invention. He first settled at 63, rue du Temple, repairing clocks and watches. Nevertheless he continued to invent, creating a cabinet of curiosities where he would produce a series of completely new mechanical devices that were marvels of ingenuity. He was awarded numerous prizes and medals throughout his lifetime, including first-class bronze, silver and gold medals at the 1839, 1844, 1855 and 1859 French Industry and Universal Exhibitions. Among his first inventions was the alarm-lighter clock for which he filed a five-year patent on 20 September 1837 for ‘an alarm clock whose function was to have light upon waking.’ It was activated by a watch movement with verge escapement, which released a small candle at the chosen hour — the tip of which, filled with a substance similar to that of German matches, was lit through friction. The success was such that it proved to be a financial boon to Robert-Houdin for many years to come. This commercial success allowed him to move to 13 rue Vendôme, hire employees and devote himself to the construction of automata, among which were ‘The Player with the Beaker’, ‘The Dancer on a Cord’, ‘The Singing Birds’ and the creation of his first masterpiece of horology: the mystery clock. The latter, as we have seen, was the horological expression of his talent as illusionist and became an object of curiosity, highly sought after by amateurs and collectors alike. After this fruitful period, Robert Houdin devoted even more time to creating automata. At the Universal Exhibition of 1844, he exhibited on a circular platform his timepieces and other mechanical devices such as the ‘Writer-Drawer’, which King Louis-Philippe himself admired, and was finally sold for $4000 to the famous American showman, P. T. Barnum. Once again, the Central Jury confirmed his success, awarding him a silver medal for all his inventions. He continued to invent, the list of which includes innovative devices like the electric distributer, electric regulator clock, a mechanism to detect leaks on ships, an electric plastron for fencers, a speedometer for automobiles…. without forgetting his famous “magic clock” invented in 1845, a true masterpiece, which he demonstrated as a stage act. Like the mystery clock, the magic clock’s hands moved without any apparent connection with the driving mechanism; two separate cords suspended the glass dial and bell, which, with a wave of Robert-Houdin’s magic wand, would obey the various orders and commands stunned spectators might suggest . In addition to his talent as inventor, Robert-Houdin had a charismatic personality that enabled him to perform on stage and captivate his audience easily. Theatre lover, illusionist and actor at heart, he opened his own conjuring theatre at 14 Galerie de Valois at the Palais Royal in Paris. On 3 July 1845, Robert-Houdin premiered the first of his four “Soirées Fantastiques” where he paraded a host of mechanical marvels that would respond to his voice, obeying the commands that spectators would suggest. For numerous years he triumphed before his public, earning a reputation worldwide. His fame was such that in 1848 he travelled to London to perform at the St. James’s Theatre, and also before Queen Victoria, who extended a personal invitation to have the magician perform at Buckingham Palace! In 1855, Robert-Houdin and the Maison Destouche exhibited together at the Universal Exhibition, where they were awarded a First Class Medal for seven inventions: an electric regulator clock, a mantel clock, several large bell-tower dials, a mechanism to turn electric current on during the day and off at night, a new electric SMEE battery, an electric distributer (precursor of the electro-magnetic motor) and a new device to transfer electric current. To this endless list, we can add that Robert-Houdin was one of the pioneers of the electric clock, for which he filed a patent in 1855. Tardy, Dictionnaire des Horlogers Français, Paris 1971; Polichinelle, Jan-Oct 1983, pp. 40-48; Francis Maitzner, Jean Eugène Robert-Houdin, Horloger, mécanicien, prestidigitateur “L’histoire de sa vie,” Bulletin ANCAHA, no. 58, été 1990, pp. 5-17; Richard Chavigny, Jean Robert-Houdin Horloger, Bulletin ANCAHA, no. 58, été 1990, pp. 19-28; J.C. Gendrot La pendule mystérieuse de Robert-Houdin Bulletin ANCAHA N° 58, été 1990, pp. 29-37; Paul Réal, Restauration d’une pendule à trois mystères signée E. Robert-Houdin, Bulletin ANCAHA, printemps 1998, pp. 39-44; Derek Roberts, Mystery, Novelty & Fantasy Clocks, Shiffer Publishing, USA, 1998. Dictionnaire des Horlogers Français, Jean Eugène Robert-Houdin, Horloger, mécanicien, prestidigitateur “L’histoire de sa vie,”, , Jean Robert-Houdin Horloger, La pendule mystérieuse de Robert-Houdin, Restauration d’une pendule à trois mystères, signée E. Robert-Houdin, Mystery, Novelty & Fantasy Clocks, Musée de la Magie, Blois; Musée Paul Dupuy, Toulouse, On requestRead more
“Vestal Virgins”, a Directoire period Mantel Clock, circa 1795. In chased and gilded bronze, the serpent to the underside of the athenienne in patinated bronze, the two columns in red Griotte marble. Signed on the dial A PARIS (indication that the clockmaker ordered the clock from a bronzier or marchand mercier, permitting him to add his name to the enamel dial). The name on the dial however has long since disappeared, erased from years of handling. A PARIS, bronzier, marchand mercier, Paris-style movement with anchor recoil escapement and silk suspended sunburst pendulum. Countwheel strike for the hours and half hours on a silvered bell. Autonomy 15 days. Very fine polychrome dial, with “slanted” Arabic numerals for the hours and 15-minute intervals; delicate blue wildflowers marking each half five-minute interval and underlined with a gilt filet; red Arabic numerals for the 30-day Revolutionary calendar. Chased, gilt-brass hour and minute hands; blued steel calendar hand. Draped in classical attire, both vestal virgins hold a laurel crown and trumpet, symbols of victory and glory, while hoisting a tassel-trimmed drape over an athenienne containing the sacrificial flame, the whole in gilded and patinated bronze. Set within the folds of the drape, the dial is surmounted by a triumphant cherub astride a spread-winged eagle perched on an Ionic capital. The gilt-bronze base, on ten toupee feet, is cast with a frieze depicting in its centre two swans drinking from a fountain and flanked on either side by two lions resting their front paw on a sphere. Vestal virgins were young priestesses devoted to the cult of Vesta, goddess of the hearth and their task was to maintain the sacrificial flame. The use of these figures for decorative purposes is indicative of the late eighteenth century’s more severe perspective of Antiquity, which continued under the French Directory; symbols like the sacrificial fire became associated with virtue, while the vestals became symbolic of patriotism. The origin of the vestal-themed clock model dates back to the reign of Louis XVI and derives from a Hubert Robert engraving, published in Recueil des griffonis (1771-1773) by the abbot de Saint Non, depicting an ancient fragment, which was much admired in Rome. It was then reinterpreted and applied by the most celebrated ornament designers and bronziers of the time, like Jean-Démosthène Dugourc and Pierre-Philippe Thomire, to create exceptional mantel clocks like the one presented here. Recueil des griffonis, bronziers, H. 66 cm (26") W. 50 cm (19 1/2") D. 13 cm (5")Read more
French Empire-period clock, circa 1810, "The Cup-and-Ball Lesson". Black marble and ormolu of exquisite qality, signed Dautel, Rue de Thionville à Paris. The charming scene representing a young woman sitting on an armchair with winged sphynges armrests, flanked by her cat and dog, explaining the intricacies of the game to a young boy perched on a stool and cushion. Fine enamel dial with Roman numerals and Arabic quarter markers, blued steel Breguet hands. 8-day duration movement with anchor recoil escapement and silk suspended pendulum, countwheel strike on a silvered bell. H. 39 cm (15.3 in), € 12000.-Read more
- Fixed price
- 10 200 GBP
French “Cathedral” Clock, second Quarter Of The 19th Century, circa 1830, the case in patinated bronze of two different colours and ormolu. Paris-type movement with recoil anchor escapement and silk-suspended pendulum, made by Honoré Pons and stamped Pons - Médaille d’Or 1827. Half-hourly countwheel strike on a steel gong placed in the base and chiming to the sound of a local church bell. Autonomy two weeks. The clock dial, set in the façade in place of the rosette window, the enamelled metal dial painted to give the illusion of stained glass, the individual Roman-hour chapters in blue on white enamel, the blued steel hands in the form of partridge eyes (oeuil-de-perdrix); the case, the majority in patinated dark green or brown, the details accented in chased gilded bronze, backed with bright enamel-painted brass panels to give the illusion of stained glass; on a tulipwood veneer base enclosing the chime; original glass dome. Height 48 cm (19"), with base 57 cm (22 1/2"), with base and dome 61 cm (24") Width 32 cm (12 1/2"), with base 43 cm (17") Depth 15 cm (6"), with base 24 cm (9 1/2"), In 1789, Honoré Pons entered the workshop of Antide Janvier, who, in 1798, recommended him to the prestigious firm of Lepaute where he was hired as a clockmaker. On 9 January 1804, the young horologist presented his Observations sur l’échappement libre (Observations on a detached escapement) to the French Academy of Sciences, which earned him laudatory reviews and a commendation from the Academy. At thirty, Pons set up shop as a clockmaker on rue de la Huchette in Paris. In 1807, he was assigned by the State to revive the clockmaking industry of Saint-Nicolas-d'Aliermont, an important horology centre, near Dieppe, that comprised no fewer than 27 workshops. Known for his outstanding quality, Pons’ work had considerable influence on numerous renowned clockmakers. By the end of 1808 Pon’s success was already noted by academy scholars in their traditional report to Emperor Napoleon I on the progress of the sciences in France: ‘A few young individuals stand out, demonstrating notable talent and who […] one day will take the place of today’s great masters. The first of these, M. Pons, is not far from their ranks. His escapements are excellent; he has a passion for his art; he is an inventive thinker; his pinion and wheel cutting machine is an ingenious idea.’, Pons introduced machinery and production line methods for his Paris-style movements, which allowed for the considerable increase in production – up to 5000 movements per year – needed to supply the new industrial bourgeoisie’s strong demand for mantel clocks. In this manner he succeeded in developing the industry, while his participation at the Paris exhibitions earned him numerous awards for his perfectly crafted movements and remarkable precision timepieces; he received a Silver Medal in 1819 and 1823, and a Gold Medal in 1827, 1834, 1839 and 1844. After his death, the firm continued under the direction of Borromée Delépine in partnership with Cauchy, then, after the death of Delépine in October 1860, his son took over in a partnership with Barrois. The Delépine family received nothing less than a gold medal at the 1900 World’s Fair in Paris. The firm that was founded one hundred years earlier by Pons, had grown to 300 employees. As a true pioneer of the industrialisation of French clockmaking, Pons’ impact was considerable. All clockmakers of great renown were influenced by the quality of his work, in one-way or another. Bibliography: Laurent de Commines, Eric Gizard, Un âge d'or des Arts décoratifs 1814-1848, Grand Palais, RMN 1991; Chavigny Richard, ‘Pierre-Honoré-César Pons, pionnier de l'horlogerie industrielle’, Bulletin de l'ANCAHA, no. 80, 1997; Pierre Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Ed. L’amateur, 2005. € 14000.-Read more
- Fixed price
- 11 900 GBP
Thomas Pratt, Canterbury, Bracket Clock with precision deadbeat escapement, signed Thomas Pratt, Canterbury, circa 1810. Movement with two fusees and chain transmission, Graham-type precision deadbeat escapement, spring suspended pendulum with Harrison-type compensation made of 5 rods of brass and steel, adjustment under the bob. Hourly rack strike on a bronze bell above, with pull-repeat on the right hand side and strike suppressor above the dial. Finely engraved rear plate bearing the signature of Thomas Pratt, Canterbury. Autonomy 8 days. Similarly signed silvered brass dial with Roman numerals for the hours. Strike suppressor lever (STRIKE – SILENT) above the numeral XII. Subsidiary dial for the seconds below the numeral XII. Finely cut blued steel hands, for the hours, minutes and seconds. Oak case with ebonized peartree veneer with varnished applied bronze lining and accessories. Side panels finely cut in the fish scales fashion, with silk back lining, allowing for the sound to go through while keeping the dust outside. Four ormolu ball feet, two ormolu side handles. Height 43 cm (17”), W. 28 cm (11”), D. 17 cm (7”), Thomas Pratt is recorded as active around 1800, and a maker of travelling clocks, among others. G.H. Baillie, Watchmakers and Clockmakers of the World, 1925, Watchmakers and Clockmakers of the WorldRead more
Brussels Professional School of Precision Mechanics And Electricity, precision table regulator, masterpiece from Francis Breyne in 1931. Extremely robust construction movement with thick plates and four large turned pillars screwed on both sides, Graham escapement, steel suspension powered by a mainspring in a barrel allowing for a three-week autonomy. Pine wood rod pendulum with micrometric crutch adjustment, graduated adjustment on the heavy brass bob.The plates nicely machined patterned. Large silvered dial with Roman numerals for the hours, bearing the signature ECOLE PROFELLE DE MÉCANIQUE DE PRÉCISION ET D'ELECTRICITÉ DE BRUXELLES, FRANCIS BREYNE 1931. Two blued steel hands, with polished conical washer at the center. It was traditionally left to the student cabinet-makers of that same prestigious school to make the case, using the best materials and assembly methods of the time. It is made in a very fine manner, using quarter-sawn oak and glasses on four sides, to emphasize the geometrical shapes and to show the movement in its best possible view. Its trapeze shape with stepped decorations and slightly triangular hood, is directly inspired from the clocks cases made by Gustave Serrurier-Bovy (1858-1910), the famous Liège architect and decorator who was a major player in interior designs in Belgium. The detailed plans of most parts for these masterpieces still exist and are reproduced in the PDF files with links below. Height 52 cm, Width 35 cm, Depth 16 cm. that was to become later the Arts and Crafts School of Brussels, held the reputation of being one of the finest clock-making school in the World in the 20th Century years preceding the Second World War. As an end of school project, the students had to entirely manufacture a precision regulator of a given design. They were left with some liberties for some of the execution details, and these finished works were to become their masterpiece, that were to stay with them for the rest of their career, so as to demonstrate their skill, but also to regulate all the other time instruments that they would work on. € 5400.-Read more
- Fixed price
- 4 600 GBP
Early 19th C. French Capucine, enamel dial with Roman numerals, and signature Gaillard à Lyon. Double rack strike on the hour and two minutes past the hour, single half-hourly strike on a sivered bell. Alarm set by a third hand on the dial. Finely cut blued steel hands, brass alarm hand. Eight-day movement with simplified maltese cross winding stops on both barrels, very rare verge escapement and silk suspension. Alarm system set by the brass hand on the dial, and wound by pulling the string on the left side. Pendulum with rod and square made of a single steel piece. Gaillard à Lyon, Height (with carrying handle upright): 30cm (11 3/8"), € 7000.-Read more
- Fixed price
- 5 900 GBP
French Louis XVI ormulu and marble mantel timepiece, enamel dial with Roman numerals signed .A.D.F. Further calibration for half seconds and date, pierced and engraved gilt hands, blued sweep seconds and date pointer, movement with pinwheel escapement mounted on the tapered backplate, gridiron pendulum with sunburst bob forming an oscillating bezel knife-edge suspended from the finely cast and chiseled lyre-shaped case surmounted by a sunburst mask with a garland below, the whole mounted on an oval moulded ormolu mounted white marble base. Two-weeks duration. H. 19 1/4" (49 cm), (1720 - 1807) A.D.F. is the monogram of J.B.André Furet, who was clockmaker to the King of Spain along with his associate François-Louis Godon. Tardy, Dictionnaire des horlogers français, (Paris, 1972); J.-D. Augarde, Les Ouvriers du Temps, La Pendule à Paris de Louis XIV à Napoléon Ier. Dictionnaire des horlogers français, Les Ouvriers du Temps, La Pendule à Paris de Louis XIV à Napoléon Ier, Waddeston Manor, Aylesbury; Musée Municipal, Besançon; Musée Jacquemart-André, Chaalis; Patrimonio Nacional, Spain; Royal Collections, London; Musée du Louvre, Paris; Musée des Beaux-Arts, St-Omer. € 15000.-Read more
- Fixed price
- 12 700 GBP
Wall-mounted Bracket Clock with lock, for the Ottoman market, circa 1790. Movement with two fusees and gutline transmission, anchor recoil escapement, spring suspended pendulum with adjustment under the bob. Hourly rack strike on a bronze bell above. Finely engraved rear plate bearing the signature or George Prior, London. Autonomy 8 days. Similarly signed enamel dial with Ottoman numerals for the five-minute markers and the hours. Strike suppressor lever (STRIKE – SILENT) above the numeral 60. Finely cut and gilt brass hands. Oak case with ebonized peartree veneer with varnished or gilt applied bronze lining and accessories. Side panels finely cut in the Oriental fashion, with silk back lining, allowing for the sound to go through while keeping the dust outside. Stylized lying crescent above the dial to underline the Easterly character. A very ingenious and unusual assembly system makes the whole assembly theft-proof; the clock is assembled with its bracket through two hand-screws hidden inside the bracket. The bracket cover also locks in place with a key, and the whole does not allow access to the wall screws, unless separated first. It is also to be noted that the two upper side panels can be easily removed for a technical access. Overall Height 72 cm (28 ¼”), W. 32 cm (12 ½”), D. 20 cm (8”), George Prior is recorded as active in Prescott St, London between 1765 and 1810. He was rewarded with the Silver Medal assorted with 25 guineas by the Arts Society for the invention of a new clock escapement, and rewarded again with 20 guineas for making a remontoire, which he patented in 1818. He was mostly known for supplying watches and clocks to the Ottoman market. Richard Barder, The Georgian Bracket Clock 1714-1830, 1993; G.H. Baillie, Watchmakers and Clockmakers of the World, 1925; F.J.Britten, Old Clocks and Watches & Their Makers, 1904. € 13500.-Read more
- Fixed price
- 11 500 GBP
Small and unusual capucine, circa 1830, with time and strike, very likely a masterpiece. Movement with dual purpose (time and strike) single barrel of long duration (20 days) and extremely unusual very small countwheel for the strike, signed Pierre Dechevrand à Valenciennes. Small enamel dial with arabic numerals and blued steel hands. Well-designed case with machined decorations all round, silvered bell on top. Pierre Dechevrand à Valenciennes, Height, with handle upright: 26cm (10 ½"), € 6500.-Read more
- Fixed price
- 5 500 GBP
Baulion A Namur, portable Table Clock, Louis XV period, circa 1760. Movement with square plates and two winders. Verge escapement, very short silk-suspended pendulum. Half-hourly rack strike on a silvered bell placed on top of the case. A pull-winder on the right for arming the alarum, another pull-winder on the left for the strike repeat action. Enamel dial with Roman numerals for the hours and Arabic numerals for the five minutes. Finely cut and engraved gilt hands, with a hexagonal disk in the center for adjusting the alarum hour. The gilt brass dial surround with the typical signature of its maker Baulion A Namur. The brass case with four long legs below and four toupees on top, the fifth toupee on top of the bell. The rear door allows easy access to the pendulum, the two side doors with glass within a wave cut allow for a view of the movement. All doors are spring-loaded, another typical Baulion feature. Baulion A Namur, , His clocks can be found in the two main musea: the, REFERENCE BIBLIOGRAPHY :, H. 23cm (9"), W. 15cm (6 "), D. 8cm (3"), a clockmaker born in Charleroi was made burgess of Namur on April 24th, 1761; active in 1760-1765, he was definitely Namur’s most renowned clockmaker. Several very similar clocks to ours are described in the “Catalogue Descriptif des Effets de Charles de Lorraine après sa mort en 1781 ». Charles of Lorraine (1712-1780) was the Governor-General of the Austrian Lower Countries and the Empress Maria-Theresa’s brother-in-law. His interest in timekeeping was notorious, and his collection contained no less that 175 watches and clocks. He often mentioned his collection and took numerous notes about it in his personal handbooks or on loose pieces of cardboard. This is how we know today of three different “clocks with alarum signed Bau-Lion à Namur. Catalogue Descriptif des Effets de Charles de Lorraine après sa mort en 1781, Bau-Lion à Namur, Catalog Collection Charles de Lorraine, 1781 ; La Mesure du Temps, catalog of the exhibition in Namur, 7th to 22nd July 1962 ; Tardy La Pendule Française, La Pendule dans le Monde, 1987; Eddy Fraiture, Belgische Uurwerken en hun Makers, Horloges et Horlogers Belges A-Z, 2009. City of Namur: “Musée de Groesbeek-de-Croix”, and the “Société Archéologique”. € 7900.-Read more
- Fixed price
- 6 700 GBP
Exceptional carved walnut wall clock by Charles-François Rossigneux, Paris, circa 1870. The clock dial in waxed and polished walnut, with gothic-style Roman hour chapters painted in white, chased gilt-brass hands; the case, in the form of a heraldic crest resting on a small gadrooned base finished with an acanthus leaf motif; the whole entirely decorated with Neo-Renaissance motifs loosely inspired from Antiquity, flanked on either side by two inverted winged-dragons with reptile-like tails coiled around a chimera mascaron placed in the centre; above, branches of laurel leaves and a horn-shaped vase filled with a pomegranate bouquet surmount the clock. Self-starting movement with horizontal balance wheel, autonomy eight days. Impressive in scale, this clock case is a real tour de force of wood carving, superimposing a proliferation of ornaments that blends naturalistic plant forms with an imaginary universe composed of hybrid creatures and a grotesque mascaron. Graceful yet spirited, with outlandish and powerful accents, its design recalls the decorative vocabulary of the architect and designer Charles-François Rossigneux. This becomes evident when comparing its lines and motifs to a certain number of his original drawings housed at the Musée des Arts Décoratifs in Paris, in which we see the same motifs: some imaginary, like the open-mouthed dragons, terrifying chimera mascarons and the form of the central crest with emerging serpent-tails; some taken from plant forms, like the clusters of fruit sprays; others inspired from ornamental book illustrations, with compartments and arabesques, for which Rossigneux was well-known. It is precisely in Rossigneux’s hand-drawn illustrations, depicting vignettes, foliage scrolls, tailpieces and ornamental lettering destined for fine-edition publications, that we discovered the source of inspiration for the present clock, notably in the magnificent folio of the Gospels (Les Saints Evangiles) published by Hachette in 1873 (fig.1-2-3): printed in two volumes, the set contains 128 large etchings after original drawings by Alexandre Bida, and 290 steel engravings featuring decorative titles, chapter heads, tailpieces and initials by L. Gaucherel after drawings by Ch. Rossigneux. H 147 cm (58"), W 102 cm (40"), D 26 cm (10"), (Paris, 1818 – 1907). A prolific artist, Rossigneux also designed fine-edition bindings and contributed, from 1860 to 1875, to the major decorating and furnishing projects in Paris. His practice was to supply a highly finished drawing to a sculptor, who, under his direction and close supervision, created a full-scale relief model that would then be reproduced in wood or precious metal. Rossigneux began his career working for the Gruel bookbinding firm, where he was in charge of designing bindings, endeavouring to introduce new elements inspired from nature. His early designs, noted at the 1844 Exposition des produits de l’industrie (French Industrial Exhibition) in Paris, enabled him to go to Cairo, chosen to decorate the apartments of the ‘Abbas’s palace, which the viceroy of Egypt ‘Abbas Pasha had just finished building. He spent three years in the Orient, from 1848-1851, and became friends with the painters Alexandre Bida and Maxime du Camp. While on mission in Egypt, he was able to develop relationships with the most prominent furniture and decorative-arts firms in France, which, upon his return, kept him occupied with important construction and decorating projects. In 1855, Rossigneux was appointed architect and assistant curator at the Exposition universelle (World Fair) in Paris. In the same year he established a privileged working relationship with Christofle, winning a silver medal for a silver cup made after his designs, and undertaking a project for a centrepiece with three winged infants for the Empress’ personal dining table. As of 1860, he worked under the direction of the architect Alfred Normand for several years, decorating Prince Napoleon’s Pompeii-style home, notably designing lamps and large candelabra, as well as bronze work for the Atrium doors. While he was creating designs for silver, Rossigneux was asked, in 1862, to take over as creative director of MM. Hache et Pepin-Lehalleur, the porcelain manufacture located in Vierzon – a collaboration that lasted until 1870. His influence was no less important at the Manufacture des Gobelins, where for over twenty years he acted as member of the Commission de perfectionnement (Committee for advancement). In 1868, the critic Edmond About described him in these terms: ‘M. Charles Rossigneux, an architect of all stripes, constructs homes, decorates apartments, designs furniture, sketches stained-glass windows, and has tableware, crystal, silverware and even Madame’s jewellery, made after his designs […].’ The following pieces date from the most active period of his career, lasting from 1860 to 1875: a Pompeii-style centrepiece for Prince Napoleon (now lost), a Neo-Grec tea service (exhibited in 1867), an ebony jewellery cabinet with inlay and enamel work (1873), a complete silverware service with the Nemean Lion hide as its principal ornamental motif (exhibited in 1875), a salon table with a gold and silver-inlaid top for Mme de Païva’s hôtel particulier on the Champs-Elysées, bronze work for M. Fouret’s private mansion, and marble vases with bronze mounts and Louis XIV chandeliers for M. Armand Templier. While working simultaneously on these numerous pieces, Rossigneux also designed fine jewellery for the goldsmiths Froment-Meurice; designed furniture for Count Henkel von Donnersmark’s castle in the province of Silesia (1887); and lastly, decorated the entire Hachette family’s hôtel particulier, where everything including chandeliers, torchères and bronze mounts were executed after his designs. The striking similarities between the present clock and the designs for the initials and tailpieces for the 1873 edition of Les Evangiles, leads us to believe that the present clock, exceptional in every respect, could have originated from the prestigious Hachette decorative ensemble now lost. Rossigneux, like Feuchère, Vechte and Klagmann, belonged to the same prestigious school, one that has earned a unique place in the decorative arts of the nineteenth century. During an exhibition of Rossigneux’s work at the Pavillon de Marsan (formerly part of the Tuileries Palace), F. de Ribes-Christofle liked to highlight the effects of his style, of which ‘the characteristic lies in the harmony of his compositional variety, the coherence of his design, and, above all, in the distinctive elegance that acts like a hallmark.’ A multi-talented artist, Rossigneux can be counted, along with Constant-Sevin and the furniture designer Fourdinois, as one of the most prominent representatives of the French decorative arts. Countless designs left his workshop to guide the hands of sculptors and goldsmiths who brought to life splendid bindings, tapestries, jewellery, delicate ceramic work, and furniture made for the sole purpose of obtaining prestigious prizes at the World’s Fairs. Bulletin Bibliographique, Gazette des Beaux Arts, 1873, 2e période, p. 564; Léon Deshairs, Charles Rossigneux, architecte décorateur (1818-1907), Gazette des Beaux-Arts, 1908; Jules Guiffrey, Charles-François Rossigneux, architecte et dessinateur (1818-1907), s.n. 1908; M. de Ribes-Christofle, Notice nécrologique sur M. Ch. Rossigneux, Société d’encouragement pour l’industrie nationale, Paris, Extrait du Bulletin de Mars 1908. Musée des Arts Décoratifs, Paris, On requestRead more
Very fine and small portable clock, in turtleshell and brass veneer, with ormolu decorations applied, signed Louis Ourry à Paris on the dial and the backplate. Very finely engraved and gilt dial with silvered chapter ring and blued steel hands. Subsidiary half-dial above for Advance/Retard regulation. Movement with its original verge escapement and vertical steel balance wheel with three arms, visible at the back of the rear plate. Hourly countwheel strike on a bronze bell hidden under the hood. Born in Blois, † Paris 1699. Son of Jacques, apothicary and of Marie Lepelletier. Married to Suzanne Guineau. Protestant. Made master in Paris. established Quai Pelletier (1684). His widow is recorded Quai des Orfèvres in the Ville de Blois where she carried on withe her late husband's business. In December 1700, during the process of an inventory in her business premises, seventeen clocks were found to be in violation of the sumptuary edict. Ourry used cases by A.C. Boulle and the président de Montholon was one of his customers. Louis Ourry à Paris, Height 27cm. Born in Blois, † Paris 1699. Son of Jacques, apothicary and of Marie Lepelletier. Married to Suzanne Guineau. Protestant. Made master in Paris. established Quai Pelletier (1684). His widow is recorded Quai des Orfèvres in the Ville de Blois where she carried on withe her late husband's business. In December 1700, during the process of an inventory in her business premises, seventeen clocks were found to be in violation of the sumptuary edict. Ourry used cases by A.C. Boulle and the président de Montholon was one of his customers. Brateau, Delamare ; Ronfort 1986 ; Jean-Dominique Augarde, Les ouvriers du Temps, La pendule à Paris de Louis XIV à Napoléon Ier, Genève,1996, London, British Museum; Paris, Musée du Louvre, Musée des Arts Décoratifs, Bibliothèque Mazarine; Versailles, Château. On requestRead more
Empire-period astronomical skeleton clock with quarter strike on three bells, signed Baguellin à Versailles, circa 1810. Large, tall and sturdy movement of triangular shape, with three trains, for the time, the hourly strike on the lower tone bell and the quarter strike on the two higher tone bells. Visible Graham deadbeat escapement situated behind the rear plate, with a heavy gridiron pendulum with thermal compensation, a gilt pendulum bob and knife-edge suspension. The two different strikes are controlled by their own countwheels. Autonomy one month. Graham, Enamel dials, the main chapter ring indicating (from the outer to the inner) the 31-day calendar, the seconds and minutes rail, the hours in Roman numerals, and the days of the week with their zodiacal signs on the opposite side. The open centre allows for a good view of the motion and the calendar work. Five blued steel concentric hands give all the indications, the hour and minute hands with gilt tips for ease of time reading. The upper dial shows the moonphases and age of the moon. Both bezels in very fine ormolu. The whole movement is mounted on two ormolu platforms with eight turned toupee feet, mounted in turn on a black Mazy marble base with four turned ormolu bun feet, decorated in the manner of the bezels. Mazy, H 53cm (20 ¾ "), W 33cm (13" ), D 17cm (6 ¾"), On requestRead more
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