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"

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

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
12 100 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
13 000 GBP

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
8 200 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
11 700 GBP

Vrard SHANGHAI

L.VRARD & Co, SHANGHAI, carriage clock with engraved and gilt Gorge case, with center-sweeping seconds hand, second half of the 19th Century. The silvered platform with English-type crabtooth escapement and cut bi-metallic balance wheel. Half-hourly rack strike on a silvered bell at the rear, with repeat button on top at the front of the case. Alarum on a bell situated below. Autonomy 8 days. Enamel dial with Roman numerals for the hours, with signature L.Vrard & Co, Shanghai. Breguet blued steel hands with a large center-sweeping seconds hand. Breguet, Finely engraved and gilt Gorge case with bevelled glass on five sides allowing for a good view of the movement from all sides, the retailer’s name in Chinese is indicated on the rear movement plate. Gorge, Carriage clocks with center-sweeping seconds hands are rare as this feature added complexity to their design. The Chinese market of the 19th Century was eager for them as this made the clock alive, as time was thus visible with the naked eye. Another unusual feature on this clock is the presence of TWO separate bells, for the strike and alarum, an unexpected refinement. alive, . Height 19cm (7 ½”) with handle up, Width 9,5cm (3 ¾”), Depth 8,5cm (3 ¼”), Charles Allix and Peter Bonnert, Carriage Clocks, their History and development, The Antique’s Collector’s Club, 1974. Carriage Clocks, their History and development, € 6500.-Read more

  • BELBelgium
  • Dealer
Fixed price
5 600 GBP

Pratt Comptoir Général

Important mystery clock of large-scale with torsion pendulum, signed J. Pratt, Comptoir General, Paris. Circa 1890. J. Pratt, Comptoir General, Paris. Large Paris-type movement with Brocot half-rollers escapement of exceptional size interacting with a 9-teeth escape wheel (!) The swing from left to right is through a thin rod placed inside the larger vertical nickel-plated rod suspended by the arm of the statue. The black painted sphere-shaped dial is hollow and contains the clock’s movement. The whole swings from left to right at about a 30° angle, the assembly hanging through two long and thin suspension blades. Countwheel strike every half-hour on a silvered bell. Autonomy 8 days. The dial has twelve applied chased gilt-brass Roman hour numerals surrounding a central star and two finely chased gilt-brass half-moon hands. The two-tone patinated spelter support, in the form of a draped female figure inspired from celebrated Italian Renaissance models; the sculpture in contrapposto, brings movement and lightness to the composition. The dial, gracefully suspended from the figure’s hand at the end of a long embellished shaft, terminates in a fine point. The latter highlights the impression of mystery emanating from the sphere, which moves around itself instead of swinging to-and-fro: the figure’s hand remains stationary and, yet, the sphere continues to move with no obvious impulse to keep it going!, Genuine tours de force and triumphs of ingenuity, mystery clocks are designed to hide their workings, creating the kind of illusion we see here: a contrast between the figure’s perceived movement and the sphere’s static horological precision. H.123 cm (48 ½"), W. 35 cm (13 ¾"), D. 40 cm (15 ¾"). According to an advertisement in the 1896 issue of Didot-Bottin (directory and almanac for commerce, industry, judicial and civil services) the Comptoir Général, a retailer, was one of ‘the most well-stocked shops for everything from: jewellery, bronze art objects, timepieces & furniture, precious stones, marble sculptures, silverware, ceiling lights & white metal, chandeliers, cutlery, lamps & diamond-facetted fireplaces, travel clocks, “fine-stone” pearls.’ It boasted ‘factory prices’ and ‘retail stores in Paris with no other branches, representatives, or offices in any other city, French or foreign.’ The Comptoir Général was represented by Maison H. Riondet & J. Pratt, Succ., located at 9, boulevard Poissonnière and 45, rue du Sentier in Paris. The 1911 Annuaire de la Curiosité et des Beaux-Arts, a directory of curiosities and fine art, shows that the retailer was a member of the bronze manufacturing trade union. Didot-Bottin, Comptoir Général, Annuaire de la Curiosité et des Beaux-Arts, Intersecting the grand Parisian boulevards, the Comptoir Général was located on the royal route, which under the Second Empire already connected the Madeleine to the Gymnase Theatre. The retailer figured among the great Parisian stores of the late nineteenth-century, providing “free entry” to customers. Strolling from the Place de la Madeleine to the Café des Variétés on Boulevard Montmartre, elegant crowds stopped to admire the store’s display windows, stocked in an abundant and spectacular manner. The Comptoir Général was contemporary with other great department stores of the period, like the Grands Magasins du Louvre, Bon Marché, and La Samaritaine, and attested to the new forms of commerce developing during the second half of the nineteenth century. These stores became showcases; advertising in newspapers, they offered the consumer a diverse and varied product, displayed in a way that was elaborate and often luxurious. Grands Magasins du Louvre, Bon Marché, La Samaritaine, On requestRead more

  • BELBelgium
  • Dealer
Fixed price

Gilt Mirror with Regulator

Large gilt mirror for department stores with precision regulator, United States, circa 1870. Very unusual and large precision regulator in a gilt-framed wooden and stucco mirror, with shell and scrolls decorations above. The whole mirror is mounted on hinges, opening to the pine and hardwood case containing the massive cast-iron base of the clock movement and its accessories. Painted steel dial with Roman numerals for the hours and outside railing for the minutes and seconds. The three hands for the hours, minutes and seconds of blued steel, the seconds hand centre-sweeping. The movement specially made for this unusual decorative mirror, of two thick brass plates held by four turned iron pillars, with two main barrels for a more even and regular motion, powered by two cast-iron weights maintained by wo pulleys each, allowing them a running time of 33 days between windings. A simplified Maltese cross system – typical American Design – will stop overwinding on one end, or a drop of the weights to the bottom of the frame on the other end. Dead-beat Graham-type anchor escapement, steel suspension, polished brass-covered pendulum bob and pinewood pendulum rod. This regulator with a mirror frame, or mirror with a regulator, was very likely made as a special order for a Department Store or a commercial gallery of the period from the East Coast. The type of movement and the way of its fitting into the case is quite typical of American clockmaking of the second half of the 19th C, particularly in Boston or New York. th, Height 91ʺ (2m30), Width 30ʺ (77cm), Depth 11ʺ (28cm), € 9.500,-Read more

  • BELBelgium
  • Dealer
Fixed price
8 200 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
5 600 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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