Lot Essay
Jean Fursi worked in the Rue Guénégaud between 1755 and 1788
Robert Osmond became maître fondeur in 1746 and his nephew Jean-Baptiste Osmond in 1764.
This clock is closely related to a design almost certainly by Osmond but traditionally attributed to Francois Vion, now in the Bibliothèque Doucet, Paris (illustrated in H. Ottemeyer, P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, I, p. 195, fig. 3.12.5). Dating from circa 1770, the model could be supplied at a cost of 308 Livres. This clock is enriched with putti emblematic of the cardinal art of music, while a further variant display putti reading, a model which was named Etude. This refinement was made possible by the individual casting of the components resulting in a flexible model that could be tailored to the clients tastes.
Unfortunately Robert and Jean-Baptiste Osmond's work is almost indistinguishable. Robert Osmond, who probably ceased working between 1770 and 1775, seems to have had a continued financial interest in his nephew's workshop, as he appears as one of the creditors when Jean-Baptiste declared bankruptcy in 1784.
Robert Osmond was a widely recognised maître-fondeur and ciseleur, who secured the rights to his patents through the guild. Between 1760 and 1765 he had developed a pendule in the goût à l'antique with a central column hung with swags.
A very closely related clock with movement P.B. Bourgeois and the design for the central pilaster is illustrated in H. Ottomeyer, P. Prösche et al., Vergoldete Bronzen, Munich, 1986, I, p. 195, figs. 3.12.4 and 3.12.7. A further related model was sold anonymously at Sotheby's New York, 7 December 1991, lot 10
Robert Osmond became maître fondeur in 1746 and his nephew Jean-Baptiste Osmond in 1764.
This clock is closely related to a design almost certainly by Osmond but traditionally attributed to Francois Vion, now in the Bibliothèque Doucet, Paris (illustrated in H. Ottemeyer, P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, I, p. 195, fig. 3.12.5). Dating from circa 1770, the model could be supplied at a cost of 308 Livres. This clock is enriched with putti emblematic of the cardinal art of music, while a further variant display putti reading, a model which was named Etude. This refinement was made possible by the individual casting of the components resulting in a flexible model that could be tailored to the clients tastes.
Unfortunately Robert and Jean-Baptiste Osmond's work is almost indistinguishable. Robert Osmond, who probably ceased working between 1770 and 1775, seems to have had a continued financial interest in his nephew's workshop, as he appears as one of the creditors when Jean-Baptiste declared bankruptcy in 1784.
Robert Osmond was a widely recognised maître-fondeur and ciseleur, who secured the rights to his patents through the guild. Between 1760 and 1765 he had developed a pendule in the goût à l'antique with a central column hung with swags.
A very closely related clock with movement P.B. Bourgeois and the design for the central pilaster is illustrated in H. Ottomeyer, P. Prösche et al., Vergoldete Bronzen, Munich, 1986, I, p. 195, figs. 3.12.4 and 3.12.7. A further related model was sold anonymously at Sotheby's New York, 7 December 1991, lot 10