An Italian neo-classical gilt-bronze-mounted white marble, porphyry and granite mantel clock, Workshop of Luigi and Giuseppe Valadier, Roman circa 1780/1790

Carlo Orsi, Milan
Private European Collector

A rare piece in overall good conserved condition and can be placed immediately. More vibrant contrast of colours of the marbles and gilding is less greenish and the colour of the porphyry and the base are slightly darker and more attractive than in the catalogue photograph. There are old very minor restorations and chips to the marbles generally commensurate with age and normal usage. There is a section of gilt-bronze beading missing at the top of the left side which can easily be replaced. There are some scratches to the marble on the reverse of the clock. The pierced gilt-bronze back cover to the movement is dented and can easily be restored. The material behind the pierced gilt-bronze panel on the left side is mising but can either be left as it is or replaced. Report on movement: Enamel dial has very minor chips to both winding holes and other edge chips at VI, VII and between VIII and IX. Minute hand broken and missing. Roman movement with pivoted verge escapement and unusual hinged pendulum rod, quarter striking, cadrature mounted on the backplate, numbered 2819. Movement is complete but extremely dirty and will require complete service and overhaul. Lacking both bells, pendulum bob and winder.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Alvar González-Palacios, L'Oro di Valadier, un genio nella Roma del  Settecento, Exhibition Catalogue, Villa Medici, 29th June -8th April 1997, pp. 136-139.
Alvar González-Palacios, "Le Mani del Piranesi: Valadier padre e figlio", Il Tempo del Gusto, Milan, 1984, pp. 129-36, table. XXI, fig. 239 and 253.
Alvar González-Palacios, "Un Orologio di Giuseppe Valadier", Antologia di Belle Arti, Il Neoclassicismo III, Turin, 1991-1992, pp. 107-110, for the clock in Waddesdon Manor.
Enrico Colle, A. Griseri, R. Valeriani, Bronzi Decorativi in Italia, Milan, 2001, pp. 224-225, no. 63, for various neo-classical clocks by Valadier.
Artemis Group, Valadier, Three Generations of Roman Goldsmiths, An exhibition of Drawings and Works of Art, 15th May-12th June 1991, London, p. 130, no. 71.
Anna Maria Massinelli, The Gilbert Collection, Hardstones London, 2000, pp. 60-61, no. 12.

The activities of this celebrated dynasty of Roman goldsmiths and founders including Luigi Valadier (1726-1785) and his son Giuseppe (1762-1839), have been well documented. However, it was Alvar González-Palacios, who first proposed that both Luigi and his son Giuseppe made clock cases. A.G.P. attributed three multi-coloured marble and gilt-bronze neo-classical clocks conceived in a similar vein to the offered clock to their workshop.

The corpus of Valadier workshop drawings are in the Pinacoteca of Faenza and also include those exhibited in London, (see the Artemis Group exhibition catalogue, 15th May-12th June 1991), where there are more than thirty designs for clock cases. There are also numerous references to clocks in the Registro, the inventory of   Giuseppe Valadier's workshop in 1810, which have further confirmed this production. See, the catalogue of the Artemis Group Valadier exhibition, op. cit., p.130, no. 71, where a design for five neo-classical clocks, circa 1790-1800, conceived in a similar vein to the present model is reproduced here in fig. 1.

The drawings in Faenza and those exhibited in London are by both Luigi and Giuseppe Valadier aswell as other draughtsmen working in their studio and although none are identical to the present clock, there are many similar features.

It is also worthwhile considering the neo-classical clock and its design illustrated by A.G.P. op. cit., in the exhibition catalogue,1997, pp. 138-139, no. 32. The clock is circa 1785-90 and its design is now in the Pinacoteca Civica, Faenza, the latter is reproduced here in fig. 2.  The three published clocks by A.G.P. are all dateable to the 1780's.

A related neo-classical mantel clock based upon the design in fig.2, attributed to Giuseppe Valadier and originally from the collection of Baron Redé, Hôtel Lambert Paris, was sold Sotheby's, Monaco, 25th -26th May 1975, lot 249, reproduced here in fig. 3. It was subsequently sold Christie's, New York, 18th October 2002, lot 367.

Luigi Valadier (1726-1785):
From an early age he was active in the family workshop situated near the San Luigi dei Francesi church in Rome. In 1764,he finally received the patent as a silversmith, the stamp containing his initials and three lilies. His workshop received orders from the most important European art patrons. A large group of existing preparatory drawings for silver works of art witness the vast repertory of the workshop. Beside the production of objects Valadier added that of bronze sculptures after the antique, some of large dimensions, which received the favour of the public. See for example, those made for the Duke of Northumberland (1765-1779), now at Syon House, for Madame du Barry in 1773, (now at the Louvre) and for the Comte d'Orsay (1799 now at the Louvre). In 1779, he was nominated Cavaliere by Pope Pius VI and from then on he started mounting the famous Vatican collection of antique cameos (the best examples are now also at the Louvre). 

Giuseppe Valadier (1762-1839):
He later became famous as an architect and as a silversmith and bronzier and worked in a similar style to his father's and one of his most celebrated Roman neo-classical pieces was a bronze table supported on twelve statues(modelled by Vincenzo Pacetti, 1789-90, now in the Vatican Library). After 1817, he worked mainly as an architect.