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Lot Essay
Jean-Charles Pochon, Paris, worked at Enclos St-Martin des champs, 1780.
This clock, entitled L'Etude et la Philosophie was an enormously successful and popular model in the late 18th century. It derives from a drawing in a catalogue produced by François Rémond, circa 1785, which incorporates figures supplied to the Sèvres factory for reproduction in biscuit porcelain by the sculptor Simon-Louis Boizot. Rémond was one of the most celebrated ciseleurs-doreurs during the reign of Louis XVI and counted amongst his distinguished clientèle the comte d'Artois and the princesse Kinsky. Between February 1784 and October 1787, Rémond sold at least thirty-two versions of this model to Dominique Daguerre (J.D. Augarde, Les Ouvriers du Temps, 1997, p. 175). In 1788 Daguerre delivered three of these clocks, with movements by Sotiau, to Louis XVI at the château de Saint-Cloud.
Three virtually identical clocks are in the Royal Collection at Buckingham Palace. One with a movement by Lépine and very possibly a Dubuisson enamelled dial is illustrated in J.Harris, G.de Bellaigue and O.Millar, Buckingham Palace, New York, 1968, p. 165. The other two, both with movements by Sotiau, one with figures in patinated-bronze and the other with figures in biscuit porcelain are illustrated, Cedric Jagger, Royal Clocks-The British Monarchy and its Timekeepers 1300-1900, London, 1983, pp. 154-155; of these, at least one was acquired by George, Prince of Wales for the East Ante Room at Carlton House, before being moved via Vulliamy to Windsor Castle in 1828 (see H. Roberts, For The King's Pleasure The Furnishing and Decoration of George IV's Apartments at Windsor Castle, London, 2001, fig.213). A fourth is at Versailles (see, H.Ottomeyer, P.Pröschel et al., Vergoldete Bronzen, Munich 1986, Vol. I, p. 295, figs. 4.17.5, 4.17.6.); a fifth is in the Quirinale Palace, illustrated, A. Gonzalez-Palacios, Il Patrimonio artistico del Quirinale, Gli Arredi Francesi, Milan, 1996, p.308.
This clock, entitled L'Etude et la Philosophie was an enormously successful and popular model in the late 18th century. It derives from a drawing in a catalogue produced by François Rémond, circa 1785, which incorporates figures supplied to the Sèvres factory for reproduction in biscuit porcelain by the sculptor Simon-Louis Boizot. Rémond was one of the most celebrated ciseleurs-doreurs during the reign of Louis XVI and counted amongst his distinguished clientèle the comte d'Artois and the princesse Kinsky. Between February 1784 and October 1787, Rémond sold at least thirty-two versions of this model to Dominique Daguerre (J.D. Augarde, Les Ouvriers du Temps, 1997, p. 175). In 1788 Daguerre delivered three of these clocks, with movements by Sotiau, to Louis XVI at the château de Saint-Cloud.
Three virtually identical clocks are in the Royal Collection at Buckingham Palace. One with a movement by Lépine and very possibly a Dubuisson enamelled dial is illustrated in J.Harris, G.de Bellaigue and O.Millar, Buckingham Palace, New York, 1968, p. 165. The other two, both with movements by Sotiau, one with figures in patinated-bronze and the other with figures in biscuit porcelain are illustrated, Cedric Jagger, Royal Clocks-The British Monarchy and its Timekeepers 1300-1900, London, 1983, pp. 154-155; of these, at least one was acquired by George, Prince of Wales for the East Ante Room at Carlton House, before being moved via Vulliamy to Windsor Castle in 1828 (see H. Roberts, For The King's Pleasure The Furnishing and Decoration of George IV's Apartments at Windsor Castle, London, 2001, fig.213). A fourth is at Versailles (see, H.Ottomeyer, P.Pröschel et al., Vergoldete Bronzen, Munich 1986, Vol. I, p. 295, figs. 4.17.5, 4.17.6.); a fifth is in the Quirinale Palace, illustrated, A. Gonzalez-Palacios, Il Patrimonio artistico del Quirinale, Gli Arredi Francesi, Milan, 1996, p.308.