Lot Essay
Jean-Charles Pochon, Paris, recorded Enclos St. Martin des Champs, 1780
The design of this clock incorporates various elements derived from the oeuvre of Pierre-Philippe Thomire, particularly the Antique sacred altar with rams' masks on winged sphinx supports as seen on the Vestal clock of 1788 in the Musée des Arts Décoratifs probably inspired by a drawing by Hubert Robert (see A. González-Palacios, Il tempio del Gusto, Milan, 1984, Vol. II, p.116) and also used on a pair of Sèvres and ormolu girandoles dated 1790 and 1791 in the Royal Palace, Madrid (see: P. Verlet, Les Bronzes Dorés Français, Paris, 1987, p.47). A similar anthemion moulding appears on the Sèvres vase with caryatid mounts now in the Louvre, the mounts for which were made by Thomire in 1783 (H. Ottomeyer, P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. II, p.300, fig. 4.19.1)
0
0
0
0
}
0
0YE
CNX FAILURE PLEASE REQ RECONNECTION
A1
The design of this clock incorporates various elements derived from the oeuvre of Pierre-Philippe Thomire, particularly the Antique sacred altar with rams' masks on winged sphinx supports as seen on the Vestal clock of 1788 in the Musée des Arts Décoratifs probably inspired by a drawing by Hubert Robert (see A. González-Palacios, Il tempio del Gusto, Milan, 1984, Vol. II, p.116) and also used on a pair of Sèvres and ormolu girandoles dated 1790 and 1791 in the Royal Palace, Madrid (see: P. Verlet, Les Bronzes Dorés Français, Paris, 1987, p.47). A similar anthemion moulding appears on the Sèvres vase with caryatid mounts now in the Louvre, the mounts for which were made by Thomire in 1783 (H. Ottomeyer, P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. II, p.300, fig. 4.19.1)
0
0
0
0
}
0
0YE
CNX FAILURE PLEASE REQ RECONNECTION
A1