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"

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

Satyr and Bacchante, after Pradier

Ed. Detalle, an important mantel clock, "Satyr and Bacchante" after James Pradier (1790-1852), made in Paris c. 1870. Inscribed ‘Pradier’ in cursive script on front of base; no foundry mark. Signed on the dial: Ed. Detalle, Rue St Antoine 180, Près la Rue de Rivoli. Bronze group with light brown patination; reduction of the original marble by James Pradier, now in the Louvre (R.F. 3475); it rests on a black Mazy marble pedestal flanked by two volute-shaped capitals, the corners decorated with fluted pilasters in vert-de-mer marble. Half-man, half-goat, the satyr is depicted with horns, hoofs and a tail. With one knee on the ground, the satyr supports on his thigh a swooning female figure and with his free hand removes the light garment that covered her. In a state of rapture, she seems to both push him away and draw him close. Depicted in a posture of sensual surrender, the Bacchante has abandoned her attributes: the thyrsus and drinking cup; on the base the discarded thyrsus rests alongside a tambourine. French movement with two spring barrels; the time train on the right side with spring suspension adjustable from the front of the dial and self-levelling escapement, both patents from Achille Brocot, visible anchor and escape wheel, with jewel half-rollers; the strike train on the left side for every half hour on a silvered bell, countwheel. Enamel dial on two levels, separated by an ormolu circle, the outer with Roman numerals for the hours and fine graduation for the minutes, the inner with the visible escapement, the two Breguet-style blued steel hands, and the signature Ed. Detalle, Rue St Antoine 180, Près la Rue de Rivoli. All the visible metallic parts in either polished steel or ormolu, the escape wheel in brass. Front and rear bevelled flat glass. (more on the sculpture in the Pdf file below), H: 51cm (20"), W: 48cm (19"), D: 28cm (11¼") Bronze sculpture: H: 30cm (12"), W: 34cm (13½"), D: 19cm (8"), Tardy, Dictionnaire des horlogers français, Paris, 1972 ; Statues de Chair, sculptures de James Pradier, Musée d’Art et d’Histoire, Genève 1985 ; Claude Lapaire, James Pradier et la sculpture française de la génération romantique, catalogue raisonné, SIK-ISEA Institut Suisse pour l’Etude de l’Art, 2010. Louvre Museum, Paris; Musée d'Orsay, Paris; Montpellier Fine Arts Museum; Geneva Fine Arts Museum, and many more. € 6.500,-Read more

  • BELBelgium
  • Dealer
Fixed price
5 800 GBP

Jean De Greef

Precision Table Regulator, Masterpiece From Jean De Greef In 1925, Brussels Professional School Of Precision Mechanics And Electricity. Extremely robust construction movement with thick plates and four large turned pillars screwed on both sides, Graham escapement placed on the lower end of the movement, and thus upside-down, steel suspension, and powered by a mainspring in a barrel allowing for a two-week autonomy. Pine wood rod pendulum with micrometric crutch adjustment, graduated adjustment on the heavy brass bob. The plates nicely marble patterned. Large silvered dial with Roman numerals for the hours, bearing the signature ECOLE PROFELLEDE MÉCANIQUE DE PRÉCISION ET D'ELECTRICITÉ DE BRUXELLES, JEAN DE GREEF 1925. Two blued steel hands, with polished conical washer at the center. Oak case with signature JD and date 1925 in bas-reliefs on the arches front and rear. ELLE, Height 27 ½ ˮ (70cm), Width 14ˮ (36cm), Depth ½ˮ (22cm), 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. 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 enphasize the geometrical shapes and to show the movement in its best possible view. This particular case being the only one known to us, along with the presence of the initials and date on it, and the original winding key with initials JD cut out make it very likely that the student Jean De Greef made his own case as well. Arts and Crafts School of Brussels, € 6.500Read more

  • BELBelgium
  • Dealer
Fixed price
5 800 GBP

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
13 400 GBP

Aaron Willard Jr, Boston

Precision Wall Regulator by AARON WILLARD Jr, Boston. Circa 1830, signed on the dial and movement. Mahogany veneer case surmounted with a cast and turned brass steeple-top finial, solid mahogany hinged molded bezel, hinged bottom door and removable middle panel, the same key for both locks, original black and gold églomisé glasses. églomisé, Painted iron dial with signature at the centre, with Roman numerals for the hours and Arabic numerals for the 5 minutes increments, the upper subsidiary for the seconds and the lower for the 31-day calendar. Blued steel hands. Truncated triangle brass movement plates with 4 turned pillars, maintaining power, the barrel with gutline, pulley and cast iron weight hidden behind a zinc panel inside the case, heavy turned brass and lead weighed pendulum bob suspended by a steel suspension and a pinewood rod, all pivot holes in the movement plate with fine turned edge, very finely machined pinions. Graham-type deadbeat escapement with exceptionally well made anchor. Autonomy 8 days. Height 57” (142 cm), Width 19” (49 cm), Depth 6” (16 cm), 1783-1864, was apprenticed to his father Aaron Willard. Between 1804 and 1806 he was in partnership with his brother-in-law, Spencer Nolan, in the business of producing painted or decorated dials. Shortly thereafter, he took over his father’s business producing precision regulators and decorative clocks. He was the first to design the American-type “Lyre Clocks” and was the last to use mahogany “Banjo”-type cases, of which our clock is a perfect example. Production must have declined and stopped soon thereafter as the quality of églomisé glass became no longer available (circa 1840), G.H. Baillie, Watchmakers and Clockmakers of the World, Methuen & Co London, 1929; Chris Bailey, Two Hundred Years of American Clocks and Watches, Prentice-Hall, 1975. Watchmakers and Clockmakers of the World, Two Hundred Years of American Clocks and Watches, € 12.000Read more

  • BELBelgium
  • Dealer
Fixed price
10 700 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

Auricoste

French Navy 1950s radio room bulkhead clock of good precision, with four hands: seconds hand, minute hand, hour hand, and secondary hour hand (red) for different time zone. This red hand is easily set so as to show any other time zone selected by the user, or it can simply be hidden behind the main hour hand if not in use. The two blue zones (0 to 3 and 30 to 33 minutes) are the times dedicated to encoded transmissions every hour. The two red zones (15 to 18 and 45 to 48 minutes) are the times dedicated to radio silence for listening to distress signals. Easy adjustment of retard and advance through the dial near the number 3. MN 753 is the inventory number of the Marine Nationale (French Navy), and it bears the signature of AURICOSTE, Horloger de la Marine de l'Etat (Clockmaker to the State Navy). The door seals with a screw key to the right, the same key being used to rewind the clock every 8 days. Strong aluminium body, painted dial, the case being painted on the destination ship for color matching with the local wall. The movement recently cleaned and overhauled. All parts original. All-out diameter 8 ¼ʺ (21cm), all-out depth 4ʺ (8,5cm), Auricoste the firm known to supply all precision clocks and watches to the French Navy for the past 80 years, and to this day. A brief history, Émile thomas, the renowned watchmaker and specialist in marine chronometers, founded his own watch-making company in 1854. In 1889, Joseph Auricoste succeeded É.Thomas. He named the company after himself and devoted his expertise to it, an expertise which would soon be recognized and rewarded at the Universal Exposition in Paris. After the Second World War, Auricoste took on a completely new dimension. At this time, Pierre Auricoste, who was continuing the work of his father Joseph, began collaborating with Patek Philippe. Together they installed their first time-keeping network (electro-mechanical) on the French Navy’s Warships. The 1950s saw the beginning of an extremely successful period of collaboration between Auricoste and the French Army. The French War Ministry ordered that the chronographs being used at that time by its military units had to include a flyback function ("retour en vol" in French and "taylor" in Italian). Auricoste, already well-known for its reliability and its expertise in this field, received orders for more than 2000 chronographs from the different divisions of the French Air Force and Navy and the French flight test center. The highest administrations, such as the Elysée Palace and the French Senate, as well as the French Merchant Navy and numerous liners, also used the exceptional time-keeping pieces by Auricoste. The Foch and Clemenceau Aircraft Carriers, the Avisos, the Frigate 2000, and the Nuclear Attack Submarines all appear on the illustrious list of warships which were equipped with the Auricoste time-keeping network. Crossing the world on French Warships, the reputation of the watch-making company was no longer limited to the French mainland. Numerous orders were received from foreign military services. And although it was on the waves that Auricoste won glory and fame, it was not long before Air Forces from all over the world began to equip themselves with Auricoste devices. € 4.500,-Read more

  • BELBelgium
  • Dealer
Fixed price
4 000 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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