Lot Essay
Adam L'Echopié, maître in 1758
There are a variety of sources on which this clock is most probably based:
A vase designed in the 17th century by Jean Marot which has virtually identical satyr's masks to the sides is illustrated in Tardy, La Pendule Française dans le Monde, 1987 part II, sixth edition, p.38;
A vase designed by Wailly which incorporates closely related saytr's masks surmounted by serpents;
A clock designed by LeLorrain and executed by Philippe Caffieri circa 1756-1757 for the bureau made for Lalive de Jully and now at the Musée Condé at Chantilly, which is fitted with lion's pelts. An anomymous 18th Century portfolio with watercolors at the Bibliothèque Doucet, Paris, illustrates the design for the offered lot as no. 143.
The offered lot appears already in sales of the late 18th century (Monsieur de Billy, 15 November 1754, lot 185:Une autre pendule d'un riche modèle, forme de vase, à têtes de faunes, formant les anses et entrelacés de serpents aves chutes et guirlandes de laurier), and in the early 19th century (Amiel sale, 7 March 1808, lot 51: Une pendule sonnant les heures et demies placée dans un riche vase couvert orné d'anses à têtes de satyres et serpents, et à guirlande de laurier...).
An identical clock attributed to Robert Osmond, the dial signed Balthazar A Paris and executed in the 1770's is now in the collections of the Princes Thurn und Taxis (see P. Pröschel and H. Ottomeyer, Vergoldete Bronzen, 1986, vol. I, p. 196, pl. 3.13.2). A closely related clock signed Bouchet Horloger DuRoy A Paris was sold, Christie's London, 28 March 1974, lot 27 and again, Christie's London 6 December 1979, lot 25. Another clock executed in white marble, the dial signed Le Roi A Paris from the collection of Francis Guerault, was sold Paris, 21 -22 March 1935, vol. I, no. 44, pl. XXI.
There are a variety of sources on which this clock is most probably based:
A vase designed in the 17th century by Jean Marot which has virtually identical satyr's masks to the sides is illustrated in Tardy, La Pendule Française dans le Monde, 1987 part II, sixth edition, p.38;
A vase designed by Wailly which incorporates closely related saytr's masks surmounted by serpents;
A clock designed by LeLorrain and executed by Philippe Caffieri circa 1756-1757 for the bureau made for Lalive de Jully and now at the Musée Condé at Chantilly, which is fitted with lion's pelts. An anomymous 18th Century portfolio with watercolors at the Bibliothèque Doucet, Paris, illustrates the design for the offered lot as no. 143.
The offered lot appears already in sales of the late 18th century (Monsieur de Billy, 15 November 1754, lot 185:Une autre pendule d'un riche modèle, forme de vase, à têtes de faunes, formant les anses et entrelacés de serpents aves chutes et guirlandes de laurier), and in the early 19th century (Amiel sale, 7 March 1808, lot 51: Une pendule sonnant les heures et demies placée dans un riche vase couvert orné d'anses à têtes de satyres et serpents, et à guirlande de laurier...).
An identical clock attributed to Robert Osmond, the dial signed Balthazar A Paris and executed in the 1770's is now in the collections of the Princes Thurn und Taxis (see P. Pröschel and H. Ottomeyer, Vergoldete Bronzen, 1986, vol. I, p. 196, pl. 3.13.2). A closely related clock signed Bouchet Horloger DuRoy A Paris was sold, Christie's London, 28 March 1974, lot 27 and again, Christie's London 6 December 1979, lot 25. Another clock executed in white marble, the dial signed Le Roi A Paris from the collection of Francis Guerault, was sold Paris, 21 -22 March 1935, vol. I, no. 44, pl. XXI.