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RICHARD REDDING ANTIQUES |
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RICHARD REDDING ANTIQUES |
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A very fine quality Empire gilt and patinated bronze Pendule ‘À L’Afrique’ of eight day duration signed on the white enamel dial Thonissen à Paris, the dial with Roman numerals and a fine pair of pierced gilt brass hands for the hours and minutes. The movement with anchor escapement, silk thread suspension, striking on the hour and half hour on a single bell, with outside count wheel. The magnificent drum-shaped case attributed to Jean-Simon Deverberie surmounted by a seated figure of a half-draped huntress with bow in her left hand and quiver of arrows on her back, her feet resting on a turtle and a seated panther to her right, the whole on a waisted base, mounted either side with serpent-tied floral garlands and relief cast amorini to the front, above a beaded border on toupie brass feet Height 46 cm, width 37 cm, depth 15 cm. Paris, date circa 1806 Literature: Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 381, pl. 5.15.25, illustrating an identical Deverberie case signed on the dial Gaulin à Paris. Tardy, “Les Plus Belles Pendules Françaises”, 1994, pp. 246-7, illustrating Deverberie’s original case design in the Bibliothèque National and three other identical cases. Elke Niehüser, “Die Französische Bronzeuhr”, 1997, p. 146, pl. 236, showing an identical case with dial signed Ridel à Paris. Pierre Kjellberg, “Encyclopédie de la Pendule Française du Moyen Age au XXe Siècle”, 1997, p. 351, featuring an identical clock with dial signed Thiéry à Paris. Identical models of this wonderful clock, representing the personification of Africa, can be found among such prestigious collections as the Musée des Arts Décoratifs, Paris and the Musée Duesberg at Mons (one with movement by Ridel, the other by Bonnet). Kjellberg, ibid. lists examples by Thonissen (fl. 1806-30), who was recorded at rue Mandar 1806-20 and then at rue Comtesse d’Artois in 1830 and other clockmakers such as Armingault, Dubuc l’Aîné, Sirost and Ribot à Montélimar. Jean-Simon Deverberie’s (1764-1824) original drawing for the Pendule à l’Afrique of 1799 is included in his album of clock designs now housed in the Cabinet des Estampes, Bibliothèque National, Paris. It was one of a number of designs on the theme of le bon Sauvage; other celebrated models included l’Amèrique portraying a Negress with alligator at her feet and l’Indien et l’ Indienne enlacés. Deverberie was probably the finest bronze manufacturer to produce clock cases on a similar theme, the first being La Négress, housing a movement by Furet and Godon which was presented to King Louis XVI’s wife, Marie-Antoinette in 1784. The present model, made as a pendant to his l’Amèrique, dates from 1799 and continued in popularity up until about 1815. Deverberie who also acted as a marchand-mercier, was by 1800 established at rue Barbette; four years later he was at Boulevard du Temple and from 1812 until 1824 his business Deverberie & Compagnie was based at rue des Fosse du Temple. The case design reflects the vogue for exoticism that prevailed during the eighteenth century and continued into the next. In particular it was inspired by the notion of le bon Sauvage, as aired by writers such as Rousseau. In 1767 the French explorer Bougainville arrived in Tahiti followed by Captain Cook in 1769. Accounts of the harmonious life of the South Sea islanders encouraged even the brightest wits of Paris and London to question their comparative corrupt European society. The notion of le bon Sauvage also inspired some of the greatest literary works of the period including Daniel Defoe’s ‘Robinson Crusoe’ (1719), Jonathan Swift’s ‘Gulliver’s Travels’ (1724), as well ‘Paul et Virginie’ (1787) by B. de Saint-Pierre and ‘Atala’ (1801) by Vicomte de Chateaubriand. In turn the latter two works were the subject for two wonderful clock cases previously owned by this gallery. |