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拍品專文
Jean-Joseph de Saint-Germain, maître fondeur in 1748.
Pierre II Gille l'ainé, maître horloger in 1746.
SAINT-GERMAIN AND THE PENDULE AU CHINOIS
With its central drum case supported by two kneeling Chinamen and surmounted by a putto wearing an ostrich-plumed crown, this clock is emblematic of Asia (E. Maser and C. Ripa, Baroque and Rococo Pictorial Imagery, New York, 1971, cat. no. 103).
Jean-Joseph de Saint-Germain produced and signed a number of ormolu clock-cases of this form with small differences. This includes a clock in the Metropolitan Museum of Art (F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. II, cat. no. 183), another from the collection of Otto Kahn, sold Christie's, Monaco, 20 June 1994, lot 112, and a further example sold, Le Pavillon Chougny, Christie's, London, 9 December 2004, lot 385.
THE GILLE DYNASTY OF HORLOGERS
Pierre II Gille, son of the maître horloger Pierre François Gille, worked with his father before establishing his own workshop. Elected maître in 1746, he produced clocks, always of excellent quality, which were set in cases supplied by Paris' leading fondeurs and bronziers such as Osmond, Vion and Saint-Germain.
JOHN WEBB
The collection of Mrs Cragg was assembled by her father, the celebrated dealer, cabinet-maker and upholsterer John Webb (1799-1880), who was one of the most significant figures in the London art world of the 19th Century. His clients included the Prince Regent and the 3rd Marquess of Hertford to whom he sold French furniture and objets. He also manufactured several copies for the Hertford collection such as the writing-table of Maximilian II Emmanuel, Elector of Bavaria, now in the Wallace Collection. Henry Cole paid tribute to him in 1880 in a long obituary in the Times: 'In the course of frequent journeys abroad, Mr John Webb purchased some precious works of art. His precise appreciation of genuine workmanship of different periods, together with his knowledge (...) enabled him to bring together many rare objets d'art' (C. Wainwright, 'The Making of the South Kensington Museum', Journal of History of Collections, 2002, p. 63).
Pierre II Gille l'ainé, maître horloger in 1746.
SAINT-GERMAIN AND THE PENDULE AU CHINOIS
With its central drum case supported by two kneeling Chinamen and surmounted by a putto wearing an ostrich-plumed crown, this clock is emblematic of Asia (E. Maser and C. Ripa, Baroque and Rococo Pictorial Imagery, New York, 1971, cat. no. 103).
Jean-Joseph de Saint-Germain produced and signed a number of ormolu clock-cases of this form with small differences. This includes a clock in the Metropolitan Museum of Art (F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. II, cat. no. 183), another from the collection of Otto Kahn, sold Christie's, Monaco, 20 June 1994, lot 112, and a further example sold, Le Pavillon Chougny, Christie's, London, 9 December 2004, lot 385.
THE GILLE DYNASTY OF HORLOGERS
Pierre II Gille, son of the maître horloger Pierre François Gille, worked with his father before establishing his own workshop. Elected maître in 1746, he produced clocks, always of excellent quality, which were set in cases supplied by Paris' leading fondeurs and bronziers such as Osmond, Vion and Saint-Germain.
JOHN WEBB
The collection of Mrs Cragg was assembled by her father, the celebrated dealer, cabinet-maker and upholsterer John Webb (1799-1880), who was one of the most significant figures in the London art world of the 19th Century. His clients included the Prince Regent and the 3rd Marquess of Hertford to whom he sold French furniture and objets. He also manufactured several copies for the Hertford collection such as the writing-table of Maximilian II Emmanuel, Elector of Bavaria, now in the Wallace Collection. Henry Cole paid tribute to him in 1880 in a long obituary in the Times: 'In the course of frequent journeys abroad, Mr John Webb purchased some precious works of art. His precise appreciation of genuine workmanship of different periods, together with his knowledge (...) enabled him to bring together many rare objets d'art' (C. Wainwright, 'The Making of the South Kensington Museum', Journal of History of Collections, 2002, p. 63).