Lot Essay
Charles Le Roy, recorded at the rue St.-Denis, Paris, 1709-1771.
The design for this clock is based on a model executed by Louis-Simon Boizot for the Sèvres Porcelain Factory in 1780 and titled L'Étude at la Philosophie. The design is believed to have derived from one by Dominique Daguerre who commissioned the bronzier François Remond to execute it in bronze circa 1783. In 1788 Daguerre delivered two of these clocks to Louis XVI for the château de St. Cloud (see P. Verlet, Les Bronzes Dorées Français du XVIIIe Siècle, 1987, p. 322, fig. 357).
Though signed Julien Leroy, the clock is most likely the work of his son, Pierre Leroy, who took over the business at his father's death in 1759, and continued to use his father's signature (for further discussion of this see G. de Bellaigue, James A. de Rothschild Collection at Waddesdon Manor, 1974, p. 104, no. 17). In this case, he appears to have re-used a movement of his father's.
The design for this clock is based on a model executed by Louis-Simon Boizot for the Sèvres Porcelain Factory in 1780 and titled L'Étude at la Philosophie. The design is believed to have derived from one by Dominique Daguerre who commissioned the bronzier François Remond to execute it in bronze circa 1783. In 1788 Daguerre delivered two of these clocks to Louis XVI for the château de St. Cloud (see P. Verlet, Les Bronzes Dorées Français du XVIIIe Siècle, 1987, p. 322, fig. 357).
Though signed Julien Leroy, the clock is most likely the work of his son, Pierre Leroy, who took over the business at his father's death in 1759, and continued to use his father's signature (for further discussion of this see G. de Bellaigue, James A. de Rothschild Collection at Waddesdon Manor, 1974, p. 104, no. 17). In this case, he appears to have re-used a movement of his father's.