FROM AN IMPORTANT ARISTOCRATIC COLLECTION TOGETHER WITH LOT 15
J. D. Augarde, Les Ouvriers du Temps, 1997, p.168.
Pierre Kjellberg, Encyclopédie La Pendule Française du Moyen Age au XXe siècle, Paris, 1997, p. 261.
J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 64, no. 47.
H. Ottomeyer and P. Pröschel et. al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 295, fig. 4.17.5. , p. 296, fig. 4.18.1, p. 297, fig. 4.18.4.
P. Verlet, Les Bronzes Dorés Français du XVIIe siècle, Paris, 1987, p. 322, fig. 357.
This clock is a variation on a well known model based upon a drawing executed circa 1785, attributed to the celebrated ciseleur-doreur François Rémond, which is illustrated by H. Ottomeyer and P. Pröschel, op. cit., p. 295, fig. 4.17.5 and reproduced here in fig. 1.
The two seated figures derive from models of L'Etude and La Philosophie created by Louis-Simon Boizot in 1780 for reproduction in biscuit porcelain for the Sèvres factory. The marchand-mercier Dominique Daguerre commissioned Rémond to design the clock to incorporate Biozot's figures. In 1788, Daguerre supplied two clocks of this model to Louis XVI, for the Château de St. Cloud, which are discussed by Verlet, op. cit., p. 322. The gilt-bronze detailing on the frieze of the illustrated model differs with this clock as the former has a frieze centred by a bearded male mask flanked by cherubs and roundels with a female mask.
Rémond was one of the most celebrated ciseleurs-doreurs during the reign of Louis XVI and counted amongst his distinguished clientèle the comte d'Artois and Princess Kinsky. Between February 1784 and October 1787, Rémond sold at least thirty-two versions of this model to Dominique Daguerre, see J.D. Augarde, op. cit., p.175.
There are three very similar clocks in the Royal Collection at Buckingham Palace. A fourth version is at Versailles, H.Ottomeyer, P. Pröschel op. cit., p. 295, figs. 4.17.5, 4.17.6. Another is in the Quirinale Palace, illustrated by A. Gonzalez-Palacios, Il Patrimonio artistico del Quirinale, Gli Arredi Francesi, Milan, 1996, p. 308.There is also a version in white marble in the Royal Palace Stockholm, illustrated by Ottomeyer and Pröschel, op. cit., p. 297, fig. 4.18.4.
A clock on a white marble base with identically cast gilt-bronze panels on the base of the clock and the front of the frieze is illustrated by Kjellberg, op. cit., p. 261, with enamelling by Dubuisson and signed by the clockmaker Thomas à Paris.
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