Jacques Nève

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.

Countries
  • Belgium
Objects "Jacques Nève"

Sam Brown, Edinburgh

SAM BROWN Edinburgh, Scottish floor standing regulator of small size, circa 1780, circular silvered brass dial with Arabic numerals for the five minutes and Roman numerals for the hours, an inner circle marking the days of the month also with Arabic numerals. Blued steel hands for the hours and minutes, polished brass hand ending with a moon for the day indications. Subsidiary dial above the center with sweeping seconds hand. Horizontal signature Sam Brown Edin.r. Weight driven movement with tapering plates cast with 'feet' united by three turned pillars, with deadbeat escapement overlapping the top pillar, the pendulum suspended from a steel arm traversing the top of the plates. Case with broken arched pediment and carved dentil cornice centered by a brass finial on freestanding reeded Doric columns, the trunk with chamfered front angles and terminating in shaped and carved protrusions to accept the swing of the pendulum bob, on a tall base of particularly good colour and figure, on bracket feet, solid Cuban mahogany and mahogany veneer on oak, lock and key for the lower door, a secret locks the upper door. Sam Brown Edin.r, H. 6’ 1” 1/4 (186 cm), L. 18” 1/8 (46 cm), P. 14” 3/16 (36 cm), Edinburgh, member of the Clockmaker’s Company, 1750-1787 ; son of John Brown (1720-1750) ; associated with George Skelton, 1787. In 1756, Samuel Brown delivered to the subscribers of the Caledonian Mercury a popular treatise on Astronomy by James Ferguson. He was admitted to the Incorporation of Hammermen in 1757. This Incorporation, whose origins are as old as Scotland’s, was very active from the 16th Century, especially in Dundee where gold-, silver- and gunsmiths were established in great numbers. More than thirty crafts figure in the Hammerman records such as Armourer, Bucklemaker, Blacksmith, Gunsmith, Goldsmith, Silversmith, Jeweller, Clocksmith, Watchmaker, Knocksmith, Cutler, Sword Slipper, Locksmith, Farrier, Saddler, Lorimer, Brassfounder, Plumber, Pewterer, Guardmaker and Potter. All were “metalsmiths” and practiced the art of metal hammering. This Incorporation played a very active role in the Regional and National economic development until the middle of the 19th Century and the advent of the industrial era. The rules of membership of this Incorporation were very strict, but in return its members benefited from an excellent reputation and a good level of social security. As reported in the Edinburgh Hammermen Records, Samuel Brown "compared and presented his essay, being a watch movement made and finished in his own shop, as William Nicol, landlord, Deacon Dalgleish, William Auld, and James Cowan, essay masters declared, which essay was found to be a well wrought essay, etc, and he was therefore admitted a freeman clock and watch maker in the Incorporation.", Caledonian Mercury, 25th September 1756 ; Edinburgh Hammermen Records, 1757 ; G.H. Baillie, Watchmakers and Clockmakers of the World, Methuen & Co London, 1929. € 15000.-Read more

  • BELBelgium
  • Dealer
Fixed price
13 300 GBP

Exceptional carved walnut wall clock – Rossigneux

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

  • BELBelgium
  • Dealer
Fixed price

Parkinson & Frodsham

Bracket clock with precision visible deadbeat escapement, signed Parkinson & Frodsham, LONDON. George III Period, circa 1810. Movement with two fusees and gutline transmission, Graham-type precision deadbeat escapement visible from the rear, spring suspended pendulum with adjustment above the bob, the rod made of pine wood for minimizing the temperature disturbance. Hourly rack strike on a vertical bronze bell at the rear, with pull-repeat on the right-hand side. Finely engraved rear plate. Autonomy 8 days. Painted dial with black Roman numerals for the hours, on white background. Subsidiary dial for the seconds below the numeral XII. Finely cut blued steel hands. Oak case with ebonized pear tree veneer with varnished applied bronze lining and accessories. Front and side panels finely cut in the fish scales fashion, with red silk back lining, allowing for the sound to go through while keeping the dust outside. Ormolu feet, handle and bezel. Height 41 cm (16”), Width 28 cm (11”), Depth 19 cm (7 ½”), William PARKINSON and William James FRODSHAM were associated for fifty years, between the years 1800 and 1850. First established in Liverpool, then in London, they had an excellent reputation as clockmakers, as well as marine chronometer makers. Their workshop continued to produce fine timepieces right up to 1947. 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; Tony Mercer, Chronometer Makers of the World, revised edition 2004. € 9.500,-Read more

  • BELBelgium
  • Dealer
Fixed price
8 500 GBP

George Prior

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

  • BELBelgium
  • Dealer
Fixed price
12 000 GBP

Experimental table regulator, Robert Gibson

ROBERT GIBSON, N°2, experimental table regulator, circa 1810, square movement with cut corners on the upper side, with maintaining power and winding stop system similar to that of a fusee, lead weight descending the whole inside height of the case and hung through 3 pulleys. Graham dead-beat escapement with a narrow anchor, steel and roller suspension with a finely made and finished bob on the pendulum. Engraved signature on the backplate Robert Gibson Fecit, LONDON, N°2. One week autonomy. Painted dial of the scientific regulator type with three blued steel hands, the minute hand on top, the center-sweeping seconds hand and the hour hand below with its Roman numerals. ‘Japanned’ black peartree veneer case with gilt window surrounds, two gilt corner pieces. The lower window allows for a view of the pendulum and the weight. British-made table regulators are very rare, and this particular one is remarkable by its simplicity and quality of design and craftsmanship. It also bears all the markings of experimentation, and its maker did not bother to subsequently hide them. H 38cm (15"), W 22cm (9"), D 13cm (5"), A clockmaker by the name of Robert Gibson is recorded as active in Dumfries (Scotland) between 1795 and 1820, it could be that he also worked in London at some stage, G.H.Baillie, Watchmakers and Clockmakers of the World, 1925; Brian Loomes, Watchmakers and Clockmakers of the World, volume 2, 1976Read more

  • BELBelgium
  • Dealer
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Richard Volkaerts

Precision wall regulator, masterpiece from Richard VOLKAERTS in 1920, Brussels Professional School of Precision Mechanics and Electricity. Extremely robust construction movement with thick plates and four large pillars screwed on both sides, all the wheels with high count pinions, Graham escapement, steel suspension with double blade, powered by a single weight with pulley offset through the top inside right of the case allowing for a fifteen-day autonomy. Steel rod pendulum with micrometric crutch adjustment, graduated adjustment on the cylindrical bob, with lead mass freely resting on the bottom giving temperature compensation by this simple means. Original crank key. The plates and the cylinder wheel 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, RICHARD VOLKAERTS 1920. Three blued steel hands, with center sweeping seconds hand. Very solidly and finely made oak case, with heavy bevelled glass on the three sides, with protruding lozenge mouldings on top and spandrel mouldings on both top sides of the dial. The whole assembly is held by two solid hooks on top. Left-side closing door with key. The Brussels Professional School of Precision Mechanics and Electricity, 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. The case was also manufactured by student cabinetmakers from the same prestigious school, allowing them to demonstrate their best assembly skills. 'The case is made from quarter-sawn oak, showing extensive medullary rays typical for wood cut in this manner. For those that don’t recognize the term, Medullary rays are the tree’s nutrient “transport lines”, extending from the air pores in the bark to the center, or core of the tree. They are the often wavy patterns one sees in quarter-sawn oak that usually run nearly perpendicular to the grain of the wood. The advantage of quarter-sawn lumber is its enhanced stability - it does not warp, twist or shrink and expand as much as lumber that is cut in a more conventional manner. And, the medullary rays add a beautiful counterpoint to the very plain grain of typical oak.", Dimensions: Height 5' 11" (180cm), Width 1' 7" (48cm), Depth 10 1/4" (26cm), € 14000.-Read more

  • BELBelgium
  • Dealer
Fixed price
12 500 GBP

Cartel Sarton

French Wall Cartel « Mask of Apollo », from a model by Osmond. Ormolu, Louis XVI-period, circa 1785. Two-train movement, with anchor recoil escapement of the tic-tac type and silk-suspended pendulum. Half-hourly strike on a sivered bell, with countwheel. Two-weeks autonomy. Enamel dial with Roman numerals for the hours and Arabic numerals for the five-minutes intervals. Red signature h. Sarton A LIEGE. Very finely cut, engraved and gilt brass hands. Fire-gilded bronze case of architectural form with acanthus leave garlands and ribbons. Fire-urn on top and pomegranate at the bottom. H. 71 cm (28"), W. 36 cm (14"), D. 13 cm (5"), founder, bronzier, was established rue Maclou in Paris in 1773, he made cases for the most renowned Parisian clockmakers: Lepaute, Robin, Charles Le Roy, etc…, (1748-1828), horologist to the court of princes. Hubert SARTON (1748-1828) lived during a momentous period in history. A product of the Enlightenment, he was also a precursor of the industrial age. Furthermore he was fortunate enough to grow up and live in Liège, which at the time was one of the most dynamic artisan and industrial centres in Europe. Very little has been written about him, yet his contribution to the art of horology is of great importance. He began learning the trade working for his uncle Dieudonné Sarton in 1762, where he demonstrated a remarkable talent for the mechanical sciences. After completing a four-year apprenticeship in Paris at the workshop of Pierre Leroy, eldest son of Julien and brother of Jean-Baptiste Leroy, he returned to Liège in 1772 as Master Clockmaker. Soon after he was appointed ‘Court Clockmaker’ to Duke Charles Alexander of Lorraine, Governor General of Austrian Netherlands, then, as ‘First Mechanic’ to Prince Bishop François-Charles de Velbrück, he enjoyed the benefits of a privileged position which extended his reputation well beyond the Principality of Liège. He also played a civic role being appointed Commissioner and Treasurer of the city of Liège in 1783. In a report published in 1789, the workshop of Hubert Sarton is described in terms that reflect the diversity and quality of his work, as well as his concern for innovation: “At HUBERT SARTON in Liège and Spa, one finds a most comprehensive assortment of clocks and watches, in the latest styles, like gold and silver watches of all kinds […]. One also finds a beautiful assortment of clocks from the most simple to the most complex.” Eleven years later, the French Revolutionary troops stormed Liège putting an end to Austrian rule. It is hard to ascertain exactly what consequences this historic event had on Hubert Sarton’s career. It appears from that time forward he concentrated on the production of skeleton clocks in a variety of models. The number of clocks produced suggests that Sarton certainly managed a large workshop with numerous employees – although no documentation has survived to either confirm or contradict this. Famous for inventing the automatic watch based on a rotor principle, for which he filed a patent at the French Academy of Sciences in 1778, Hubert Sarton created a variety of timepieces throughout his career – Louis XV cartels, Louis XVI mantle clocks, lyre mantle clocks, pendules de compagnie (company clock or waiting-room clock) skeleton clocks and regulators – all equally remarkable for their extraordinary quality and diversity. At once a devoted horologist, mechanic and inventor, Hubert Sarton was one of the major figures of horology in late eighteenth-century Liège. An enlightened man of his time, keen on progress and innovation, his considerable career unfolds as a long series of developments. Having successfully advanced all branches of his trade, this able mechanic dedicated to the art of horology became a master of his art, as witnessed in the exceptional quality and great refinement of his production. Tardy Dictionnaire des horlogers français, Paris, 1972; Jean-Dominique Augarde Les Ouvriers du Temps, La Pendule à Paris de Louis XIV à Napoléon Ier, Genève 1996; Florent Pholien L'Horlogerie et ses Artistes au Pays de Liége, 1933; Ann Chevalier et André Thiry L'Age d'Or de l'Horlogerie Liégeoise, 2003; Jacques Nève Les pendules d'Hubert Sarton, 1748-1828, Horloger-Mécanicien, Inventeur, mémoire présenté en 2009 à la Chambre Nationale des Experts Spécialisés en Meubles, Estampes, Livres, Objets d'Art et de Collection, Paris, 2009. Dictionnaire des horlogers français, Les Ouvriers du Temps, La Pendule à Paris de Louis XIV à Napoléon Ier, L'Horlogerie et ses Artistes au Pays de Liége, L'Age d'Or de l'Horlogerie Liégeoise, Les pendules d'Hubert Sarton, 1748-1828, Horloger-Mécanicien, Inventeur, Brussels, Musées Royaux d’Art et d’Histoire ; Mons, Musée François Duesberg ; Liège, Musée Curtius et Musée d’Ansembourg ; Vienna, Uhrenmuseum. € 14,500Read more

  • BELBelgium
  • Dealer
Fixed price
12 900 GBP

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Jacques Nève
Rue des Fonds 2
1440 Braine-le-Château
+32 477 27 19 08
jneve@horloger.net
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