Henry Dasson, After the Model by Jean-Henri Riesener, Paris, dated 1888
Henry Dasson, After the Model by Jean-Henri Riesener, Paris, dated 1888
Henry Dasson, After the Model by Jean-Henri Riesener, Paris, dated 1888
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Henry Dasson, After the Model by Jean-Henri Riesener, Paris, Dated 1888
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Henry Dasson, After the Model by Jean-Henri Riesener, Paris, dated 1888

A FRENCH ORMOLU-MOUNTED AMARANTH, KINGWOOD, TULIPWOOD, SYCAMORE AND PARQUETRY PEDESTAL CLOCK

Details
Henry Dasson, After the Model by Jean-Henri Riesener, Paris, dated 1888
A FRENCH ORMOLU-MOUNTED AMARANTH, KINGWOOD, TULIPWOOD, SYCAMORE AND PARQUETRY PEDESTAL CLOCK
Surmounted by a cloud-form case cast with three putti suspending hung garlands, centred by a white enamel dial signed 'Henry Dasson / A Paris', with twin barrel movement, Brocot escapement and rack striking to bell, on a spreading socle with ribbon-hung garlands, above the square tapering pedestal headed by a laurel wreath beneath an Apollo mask, above scrolling foliage centred by a flower-filled urn, the sides with lozenge parquetry panels, on four paw-cast feet above a shaped plinth centred by a foliate wreath, on toupie feet, stamped to the reverse 'HENRY DASSON 1888', the moulding further signed 'henry Dasson & Cie 1888'
88½ in. (224.8 cm.) high; 19 in. (48.5 cm.) wide; 12 ¼ in. (31 cm.) deep
Provenance
A Private Collection Volume II; Sotheby’s, New York, 19 April 2007, lot 157 ($156,000).
Literature
C. Mestdagh, L'ameublement d'art français: 1850-1900, Paris, 2010, p. 192, fig. 220 (this example illustrated).
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

This fine régulateur de parquet is after the celebrated model attributed to Jean-Henri Riesener, executed in 1785 and now in the Musée de Louvre (cat. C.Dr., No. 185).

The attribution to Riesener is based on numerous stylistic motifs distinctive to his oeuvre: the Apollo mask to the frieze is a recurrent feature on later stamped furniture by Riesener, as are the acanthus cast volutes heading the chamfered angles.

Today this model is one of the most famous régulateur clocks from French Royal Ancien Régime. Its hood, with dial encircled by sculptural cloudbourne cherubs is most distinctive. Its enduring popularity owes much to it being a favoured object of Empress Eugénie, who placed it in her cabinet de travail at the Palais des Tuleries in 1855. Empress Eugénie was fascinated with Marie-Antoinette, and her interest in furniture such as this sparked a wider fashionable revival of the Louis XVI style. At Empress Eugénie’s behest, the model was replicated in the 19th century as a barometer by the cabinet-maker Guillaume Grohé (for an illustration of Riesener's original clock and Grohé's pendant barometer, see P. Verlet, Les Bronzes Dorés du XVIIIe Siècle, Paris, 1987, p. 116, no. 145 and p. 384, no. 394).

Following defeat in the Franco-Prussian war the régulateur was transferred to the Mobilier National for display at the Louvre. It is here that it would have been admired by ébénistes who would have sought permission to replicate the model. Examples from this time are known to have also been made by Dasson’s contemporaries Alfred Beurdeley, Paul Sormani and Lexcellent, though few of the quality of the present lot are known.

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