.jpg?w=1)
Lot Essay
Jean-Joseph de Saint-Germain, matre foundeur in 1748
Pierre Gille, dit Gille l'An, matre horloger in 1746
This musical clock, with its putto emblematic of Astronomy, above two others representing Poetry and Music, belongs to the celebrated group of alleghorical clocks executed by Saint-Germain. Known for their superb quality and sculptural variety, Saint-Germain's clocks frequently exchange components in the various designs, as can be seen by the distinctive alleghorical figure of Astronomy, which is also found on the Rhinoceros model(see lot 115).
Several clocks of this exact model, with either a sprig of foliage or musical trophy centreing the music-box base, are known:- one, with movement by Lechopie, was sold from the collection of Arnold Seligman, Galerie Jean Charpentier, Paris, 4-5 June 1935, lot 127; another is in the Muse Carnavalet, Paris; another, with movement by Etienne Campion, was sold anonymously in Paris, Ader Picard Tajan, 22 November 1987, lot 217; and a final example, with movement by Moisy, was sold anonymously at Palais Gallira, Paris, 7 June 1974, lot 82.
JEAN-JOSEPH DE SAINT-GERMAIN (1719-1791)
Elected as a matre-fondeur on 15 July 1748, Saint-Germain
enjoyed the privilege of an ouvrier libre - enabling him to act both as an bniste and bronzier. He frequently supplied cases cast with animal forms and alleghorical figures to the leading
clockmakers of Paris, including the le Roy workshops, Etienne Lenoir
and Jean-Philippe Gosselin. The quality of chasing and modelling in
Saint-Germain's animal and foliate decorated cases also suggests close study of the natural world.
A man of his times, Saint-Germain probably received a rudimentary
education in rhetoric, the Classics and calculus in addition to a
formal study of sculpture and draughtsmanship, reflecting the social
and economic status of his family. Evidence for this early education is seen in the substantial library and finely organized cabinet of
curiosities he amassed. This collection, in turn, sheds light upon his interests in the natural sciences, particularly botany and mineralogy, and the quality of his bronze casts (J.D. Augarde, "Jean-Joseph de
Saint-Germain: Bronzier (1719-1791)," L'Estampille/l'Objet d'Art,
December, 1996, pp. 63-82).
PIERRE I FRANOIS GILLE, DIT GILLE L'AN (c.1690-1765)
Received as matre by priviledge of the Hpital de la Trinit in 1746 alongside his son, Pierre II Gille, the elder Pierre established his atelier on the rue Saint-Martin. Pierre I often used cases decorated with porcelain flowers and figures, as well as those decorated en rocaille or with figures in bronze by such fondeur as Jean-Pierre Latz and Jean-Joseph de Saint-Germain. His clientele included Augustus II of Saxony, the comte von Brhl, and the prince de Cond. Clocks firmly attributed to Pierre I are usually in the Louis XV style.
Pierre II (1723-1784), the son of Pierre I Franois, established an independent atelier on the rue Saint-Martin, signing his works Gille l'Ane Fils until his father died in 1765, at which time he began to employ his father's signature of Gille l'An. His clients included the marquis de Brunoy, prince Charles de Lorraine and the duc de Gramont. In view of the date of this model, it was most probably Pierre I who was the author of this movement.
Pierre Gille, dit Gille l'An, matre horloger in 1746
This musical clock, with its putto emblematic of Astronomy, above two others representing Poetry and Music, belongs to the celebrated group of alleghorical clocks executed by Saint-Germain. Known for their superb quality and sculptural variety, Saint-Germain's clocks frequently exchange components in the various designs, as can be seen by the distinctive alleghorical figure of Astronomy, which is also found on the Rhinoceros model(see lot 115).
Several clocks of this exact model, with either a sprig of foliage or musical trophy centreing the music-box base, are known:- one, with movement by Lechopie, was sold from the collection of Arnold Seligman, Galerie Jean Charpentier, Paris, 4-5 June 1935, lot 127; another is in the Muse Carnavalet, Paris; another, with movement by Etienne Campion, was sold anonymously in Paris, Ader Picard Tajan, 22 November 1987, lot 217; and a final example, with movement by Moisy, was sold anonymously at Palais Gallira, Paris, 7 June 1974, lot 82.
JEAN-JOSEPH DE SAINT-GERMAIN (1719-1791)
Elected as a matre-fondeur on 15 July 1748, Saint-Germain
enjoyed the privilege of an ouvrier libre - enabling him to act both as an bniste and bronzier. He frequently supplied cases cast with animal forms and alleghorical figures to the leading
clockmakers of Paris, including the le Roy workshops, Etienne Lenoir
and Jean-Philippe Gosselin. The quality of chasing and modelling in
Saint-Germain's animal and foliate decorated cases also suggests close study of the natural world.
A man of his times, Saint-Germain probably received a rudimentary
education in rhetoric, the Classics and calculus in addition to a
formal study of sculpture and draughtsmanship, reflecting the social
and economic status of his family. Evidence for this early education is seen in the substantial library and finely organized cabinet of
curiosities he amassed. This collection, in turn, sheds light upon his interests in the natural sciences, particularly botany and mineralogy, and the quality of his bronze casts (J.D. Augarde, "Jean-Joseph de
Saint-Germain: Bronzier (1719-1791)," L'Estampille/l'Objet d'Art,
December, 1996, pp. 63-82).
PIERRE I FRANOIS GILLE, DIT GILLE L'AN (c.1690-1765)
Received as matre by priviledge of the Hpital de la Trinit in 1746 alongside his son, Pierre II Gille, the elder Pierre established his atelier on the rue Saint-Martin. Pierre I often used cases decorated with porcelain flowers and figures, as well as those decorated en rocaille or with figures in bronze by such fondeur as Jean-Pierre Latz and Jean-Joseph de Saint-Germain. His clientele included Augustus II of Saxony, the comte von Brhl, and the prince de Cond. Clocks firmly attributed to Pierre I are usually in the Louis XV style.
Pierre II (1723-1784), the son of Pierre I Franois, established an independent atelier on the rue Saint-Martin, signing his works Gille l'Ane Fils until his father died in 1765, at which time he began to employ his father's signature of Gille l'An. His clients included the marquis de Brunoy, prince Charles de Lorraine and the duc de Gramont. In view of the date of this model, it was most probably Pierre I who was the author of this movement.