67. Clock with the Three Graces in bronze... - Lot 67 - Farrando

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  3. 67. Clock with the Three Graces in bronze... - Lot 67 - Farrando
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Lot n° 67
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Estimation :
3000 - 5000 EUR
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Result : 9 000EUR
67. Clock with the Three Graces in bronze... - Lot 67 - Farrando
67. Clock with the Three Graces in bronze with brown patina, gilt bronze and green marble. The dial with revolving circle, enamelled white with Arabic numerals alternating with fleur-de-lis. At the amortization a love sitting among clouds, at the top of a sphere in green enamelled metal decorated with foliage and seeds. The Three Graces in bronze with brown patina, joined by garlands of flowers, support the sphere and rest on a triangular base in green marble decorated with foliage. Feet toupies. Louis XVI style, second half of the 19th century. (Small chips to the enamel of the sphere, slight crack to the enamel of the annular dial, missing the attribute of love to the amortization). H : 70 cm - W : 31 cm - D : 27 cm The clock we present is reproduced in L'Ameublement d'art français 1850-1900, Camille Mestdagh, Les éditions de l'Amateur, Paris, 2010, page 90 (fig. 82). A similar clock (with a white marble base) was shown at Christie's, New York, 28 October 2003, lot 23. A black and white photograph illustrating the "Petit Salon" of Emmanuel Alfred Beurdeley's mansion on rue de Clichy in Paris shows an identical clock on the mantelpiece (sources: Bonhams London catalog, sale July 6, 2011, page 140). The group of the Three Graces is an original creation after an 18th century model by the founder François Vion. A drawing for a clock with the Three Graces, signed Vion and dated 1770, possibly after a model by Falconet, is preserved in the Doucet Library (Paris, Institut national d'Histoire de l'art, VI E 15, Rés. fol. 20/1). A similar clock, but with the Three Graces in gilded bronze, was delivered by Beurdeley to the Duc d'Aumale for his château of Chantilly, now preserved in the Salon Violet. The description is as follows: "Spherical clock with double blue enamelled revolving dial, supported by the three graces in gilded bronze, triangular foot in white marble decorated with gilded bronze and chasing, 1000 francs". The clock we present is reproduced in L'Ameublement d'art français 1850-1900, Camille Mestdagh, Les éditions de l'Amateur, Paris, 2010, page 90 (fig. 82). A similar clock (with a white marble base) was shown at Christie's, New York, 28 October 2003, lot 23. A black and white photograph illustrating the "Petit Salon" of Emmanuel Alfred Beurdeley's mansion on rue de Clichy in Paris shows an identical clock on the mantelpiece (sources: Bonhams London catalog, sale July 6, 2011, page 140). The group of the Three Graces is an original creation after an 18th century model by the founder François Vion. A drawing for a clock with the Three Graces, signed Vion and dated 1770, possibly after a model by Falconet, is preserved in the Doucet Library (Paris, Institut national d'Histoire de l'art, VI E 15, Rés. fol. 20/1). It was taken over by Beurdeley with some variants in the second half of the 19th century, notably on the base. A similar clock, but with the Three Graces in gilded bronze, was delivered by Beurdeley to the Duke of Aumale for his Chantilly castle, now kept in the Salon Violet. The description is as follows: "Spherical clock with double blue enamelled revolving dial, supported by the three graces in gilded bronze, triangular foot in white marble decorated with gilded bronze and chasing, 1000 francs".
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