| |
A very important Louis XVI patinated and gilt bronze pendule ‘Au Cheval’, signed on the white enamel dial Lepaute, Horloger Du Roi, with an exceptionally beautiful case attributed to François Vion. The dial with black Arabic numerals for the minutes, black Arabic numerals for the hours, with a very fine pair of pierced gilt brass hand.. The movement with, anchor escapement with going and striking, striking on the hour and half hour on a single bell, with outside count wheel. The magnificent case featuring the clock on the back of an Arab stallion, the drum case covered with floral leaves. The fully bridled horse with flowing mane and tail and tasselled saddle cloth on its original rectangular gilt bronze base
Paris, date circa 1780
Height 42 cm, width 27 cm, depth 15 cm.
Literature: Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 180, pl. 3.7.7, and p. 180, pl. 3.7.8 respectively illustrating a similar clock case by François Vion dated 1770 after a design by him housed in the Bibliothèque Doucet, Paris.
Although the present case compares with Vion’s model cited above, the quality of its modelling, casting and gilding is far superior and as such closely follows the work of the master bronzier, Jean-Joseph de Saint-Germain (1719-91, maître 1735). A clock of similar quality with movement by Durand à Paris and case by Saint-Germain with the horse facing the opposite direction is illustrated in Pierre Kjellberg, “Encyclopédie de la Pendule Française du Moyen Age au XXe Siècle”, 1997, p. 132, pl. A.
François Vion was one of the leading bronziers of his day who became a maître in 1764. Apart from a few decorative gilt bronze accessories such as plinths for statuettes he appears to have specialized in clock cases. He executed a number with animals such as a pendule ‘Au Lion’ housing a movement by Gudin à Paris made for the Ministère d’Etat, now at the Ministry of Finance, Paris. He also made a number of cases with classical figures. He is known to have worked with the clockmaker Furet during the 1780’s and also supplied quality cases to makers such as Lepaute, Manière and Cronier. Among his finest sculptural cases is one housing a movement by Lepaute à Paris, representing ‘The Three Graces’, made for the Comtesse du Barry at Château de Fontainebleau, now in the Musée du Louvre, Paris. The Musée Municipal, Besançon owns a clock with case by Vion surmounted by Venus and putti after a design by E.-M Falconet. While the Wrightsman Collection in the Metropolitan Museum, New York own a biscuit porcelain figure of Cupid by Falconet placed on a gilt bronze base by Vion.
Since its foundation, die House of Lepaute has maintained the highest reputation among leading French clockmaking firms. Successive generations of the Lepaute family ran the business which enjoyed significant acclaim (luring the Eighteenth and Early Nineteenth Centuries The firm tug an in 17-tS when Jean-Andre and his brother. Jean -Baptiste established a clock manufacturing business in Paris. They were appointed “Horlogers du Roi”, making a number of fine clocks for the Louvre, Paris. Jean-André also constructed several of Paris’s public clocks, one of which on the Ecole Royale Militaire is till working in order. He also made several technical advances
Pierre-Basile’s son, Pierre-Michel (d. 1849), c. 1811, the firm was renamed Lepaute et Fils, established at prestigious premises at Place du Palais Royal, Paris.
Jean-Joseph Lepaute, born in Bieves, France was a major figure within the family firm. Like his great uncle and founder of the firm, he was a superb craftsman. He was appointed clockmaker to Napoléon. In 1813 he made a
in the field of horology. On his retirement, 1774 his brother, Jean-Baptiste tool his nephews, Pierre-Henry (1745 – 1806) and Pierre-Basile Lepaute (1750 – 1843) into partnership. Pierre-Henry retired in 1798where upon Pierre-Basile entered a partnership with his nephew, Jean-Joseph Lepaute (1768 – 1846). They were joined by
clock for the Palais de Fontainbleau; he constructed clocks for other important residences including the Château de St. Cloud and Château de Comilègne In addition he made many other fine home clocks In 1821 he was appointed official clockmaster to Paris, with special responsibility for the maintenance and repair of all the City’ s public clocks Toward the end of his career he worked in close association with another important member of the family firm Augustin-Michel- Henry Lepaute (1800-85).The son of Pierre-Henry. Augustin-Michel-Henry was appointed clockmaker to Louis-Philippe and Napoléon III. He made the clucks for the Palais de Justice. Paris and the Bourse, Marseilles Two of his regulators are in the Conservatoire des Arts et Metiers. Paris while one of his gold watches can be seen al the Guildhall. London.
During the Eighteenth Century , French decorative clockmaking had reached its apigée, with neo-classical design prevailing during the 1750"s and until c.1830. During this period the house of Lepaute. created some distinguished pieces. An example of a Louis XVI regulator by Lepaute. C. 1770 is housed at Windsor Castle; the case was made by Nicolas Petit, and in reaction to the earlier exuberance of rococo design it is characterised by simplicity and symmetry. A later example of a Lepaute mantel clock, c. 1780 in the Wallace Collection. London displays winged sphinxes, in keeping with the taste for Egyptian decoration It stands in contrast to a Lepaute Directoire mantel regulator, signed Henry N(ev)eu de Lepaute a Paris, c 1790-5, which has extremely simple lines and little decoration. However as exemplary of all Lepaute time pieces, it has " a very well executed movement and dial". (F.J. Britten, Old Clocks and Watches and their Makers, 1911).
|
|
/images/left.gif){kind=small}
