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Attributed to Denière, After the Model by Jean-François Forty, circa 1870
Attributed to Denière, After the Model by Jean-François Forty, circa 1870
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Attributed to Denière, After the Model by Jean-François Forty, circa 1870

A FRENCH ORMOLU AND PATINATED BRONZE PENDULE À CERCLES TOURNANTS

Details
Attributed to Denière, After the Model by Jean-François Forty, circa 1870
A FRENCH ORMOLU AND PATINATED BRONZE PENDULE À CERCLES TOURNANTS
Modelled with two seated putti supporting a neoclassical urn, the domed cover with acanthus finial above two enamel rotating dials, with twin-barrel movement, platform lever escapement and rack striking to bell, the front centred by a cameo portrait of Queen Marie-Antoinette and the back with a cameo portrait of Louis XVI, on a shaped base centred with pierced rinceaux panels, on eight toupie feet
28 in. (71 cm.) high; 20 in. (51 cm.) wide; 8 ¼ in. (21 cm.) deep
Provenance
Anonymous sale; Sotheby’s, New York, 25 April 2012, lot 107 ($42,500).
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

The present clock can be attributed to the Denière manufactory on the basis of a preparatory drawing for a clock by Jean-François Forty (illustrated in L. Tardy, French Clocks The World Over, Paris, 1981, vol. II, p. 86.) which was in their collection in the 19th century. From this drawing, which bears their stamp, Denière is known to have made a number of clocks of which the present lot, with its refined neoclassical design and exquisitely chased mounts, is likely an example. Another clock of slightly different proportions by an unidentified maker is illustrated in H. Ottomeyer, P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 427, fig. 6.13.17. However, the close resemblance of the present lot to Forty’s drawing reinforce its ties to the famed manufactory, whose work was of the highest order.

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