拍品 124
124
A LOUIS XVI ORMOLU AND WHITE MARBLE LYRE CLOCK
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A LOUIS XVI ORMOLU AND WHITE MARBLE LYRE CLOCK

BY AUBERT L'AÎNÉ, CIRCA 1785

細節
A LOUIS XVI ORMOLU AND WHITE MARBLE LYRE CLOCK
BY AUBERT L'AÎNÉ, CIRCA 1785
The later and restored circular white-enamelled Roman dial signed Aubert Lné A Paris with Arabic chapters and floral garlands, the movement with thick circular brass plates and baluster pillars, twin spring barrels, later verge escapement now with silk-suspended pendulum, large countwheel planted on the backplate with strike on a later bell, the backplate signed J.B. Baillon AParis, the foliate-wrapped, spirally-fluted and beaded supports hung with fruiting garlands and surmounted by a mask within a sunburst, the stepped rectangular base with rounded ends, centred by a classical figure on a chariot and flanked by floral garlands, above a foliate edge and on gadrooned toupie feet
28 ½ in. (71 cm.) high; 13 ½ in. (34 cm.) wide; 6 ½ in. (16.5 cm.) deep
來源
Acquired from Bouet, Paris, 10 May 1924.
注意事項
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

拍品專文

Jean-Jacques Aubert, Paris, horloger du Roi in 1737.

An unattributed drawing for a lyre-form clock is in the Metropolitan Museum of Art, and illustrated in M. L. Myers, French Architectural and Ornamental Drawings of the Eighteenth Century, New York, 1992, p. 204, no. 121 (60.692.8). This design appears to be based upon lyre-clocks executed in Sèvres porcelain, which were first produced at the Sèvres Manufactory in 1785. An idea of the enduring popularity of lyre-form clocks in general is revealed by the activities of the clockmaker D.D. Kinable, who was the largest buyer of such cases from the Sèvres factory, buying thirteen between 1795 and 1807.