CLOCK “ALLEGORY OF PROSPERITY” WITH DATE Louis XVI, Paris, circa...
MANTEL CLOCK “ALLEGORY OF PROSPERITY” WITH DATE
Louis XVI, Paris, circa 1780. The dial is signed “Revel au Palais Royal” (presumably Joseph-Marie Revel).
White marble and gilt bronze. The case surmounted by Abundantia with a cornucopia, as an allegory of prosperity, supported by two putti riding dogs. On an octagonal plinth with flat bun feet. White enamel dial with Arabic hour and date numerals. Paris movement with half-hour strike and date indication. 1 key.
54 × 16 × 52 cm.
Dial with numerous cracks and a repair. Gilding rubbed. Chips to the marble. Movement in working order, possibly requiring servicing.
A design drawing for a very similar pendule is preserved in the Bibliothèque Nationale in Paris and is illustrated in Ottomeyer/Pröschel, "Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus", Munich 1986, vol. 1, p. 280, no. 4.13.3. It comes from an album of clock designs which, according to the authors, were submitted circa 1807–09 for the protection of the models. The design itself, however, dates from before the Revolution. François Rémond has been suggested as a possible designer, based on a stylistically very similar design drawing for the andiron of the Princesse de Lamballe (ibid., p. 206, pl. XXIII).
MANTEL CLOCK “ALLEGORY OF PROSPERITY” WITH DATE
Louis XVI, Paris, circa 1780. The dial is signed “Revel au Palais Royal” (presumably Joseph-Marie Revel).
White marble and gilt bronze. The case surmounted by Abundantia with a cornucopia, as an allegory of prosperity, supported by two putti riding dogs. On an octagonal plinth with flat bun feet. White enamel dial with Arabic hour and date numerals. Paris movement with half-hour strike and date indication. 1 key.
54 × 16 × 52 cm.
Dial with numerous cracks and a repair. Gilding rubbed. Chips to the marble. Movement in working order, possibly requiring servicing.
A design drawing for a very similar pendule is preserved in the Bibliothèque Nationale in Paris and is illustrated in Ottomeyer/Pröschel, "Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus", Munich 1986, vol. 1, p. 280, no. 4.13.3. It comes from an album of clock designs which, according to the authors, were submitted circa 1807–09 for the protection of the models. The design itself, however, dates from before the Revolution. François Rémond has been suggested as a possible designer, based on a stylistically very similar design drawing for the andiron of the Princesse de Lamballe (ibid., p. 206, pl. XXIII).
