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Lot Essay
The exceptionally large scale of this clock sets it apart from the majority of this model, which are frequently signed by Jean-Joseph de Saint-Germain. Elected as a maître-fondeur on 15 July 1748, Saint-Germain enjoyed the privilege of an ouvrier libre - enabling him to act both as an ébéniste and bronzier. He frequently supplied cases cast with animal forms and allegorical 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).
Inspired by Kakiemon porcelain models of elephants, such as that at Burghley House, Lincolnshire ('Porcelain from Palaces', Exhibition Catalogue, British Museum, 6 July-4 November 1990, p.178, no.160), which were susequently copied at the St. Cloud manufactory, St. Germain's design enjoyed enduring popularity in the mid-18th Century. Thus, while clocks of this form are known to have been in existence by 1745-9, testified to by the 'pendule au singe' stamped with the C couronné poinçon sold anonymously Christie's London, 10 June 1993, lot 9, (£80,700, as late as 15 December 1757, Madame de Montmartel acquired a clock of this identical model from the marchand-mercier Lazare Duvaux. Described as 'Une pendule en bronze doré d'ormoulu, dont le mouvement à sonnerie, de Moisy, est porté sur un éléphant', it cost 660 livres.
A clock of this identical model and suite surmounted by a putti and with dippening floral sprays to the base was sold anonymously, Hotel Drouot, étude Couturier, 14 March 1975, lot 79.
Inspired by Kakiemon porcelain models of elephants, such as that at Burghley House, Lincolnshire ('Porcelain from Palaces', Exhibition Catalogue, British Museum, 6 July-4 November 1990, p.178, no.160), which were susequently copied at the St. Cloud manufactory, St. Germain's design enjoyed enduring popularity in the mid-18th Century. Thus, while clocks of this form are known to have been in existence by 1745-9, testified to by the 'pendule au singe' stamped with the C couronné poinçon sold anonymously Christie's London, 10 June 1993, lot 9, (£80,700, as late as 15 December 1757, Madame de Montmartel acquired a clock of this identical model from the marchand-mercier Lazare Duvaux. Described as 'Une pendule en bronze doré d'ormoulu, dont le mouvement à sonnerie, de Moisy, est porté sur un éléphant', it cost 660 livres.
A clock of this identical model and suite surmounted by a putti and with dippening floral sprays to the base was sold anonymously, Hotel Drouot, étude Couturier, 14 March 1975, lot 79.