PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 1
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PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 3
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 4
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 5
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 6
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 7
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 8
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV - photo 9

PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV

Lot 11
20.11.2024 16:00UTC +01:00
Classic
Sold
€ 60 480
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1329891
Lot 11 | PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV
Estimate value
€ 60 000 – 100 000
PENDULE À MUSIQUE « AUX ARTS » D’ÉPOQUE LOUIS XV
SIGNATURE DE JEAN-JOSEPH DE SAINT-GERMAIN, LE CADRAN SIGNÉ GILLE L'AINÉ, VERS 1750
En bronze ciselé et doré, le cadran émaillé blanc signé 'GILLE LAINE / A PARIS' surmonté d'une figure d'amour astronome, flanqué de deux amours personnifiant la Musique et la Poésie ceint de feuilles d’acanthe et rinceaux fleuris, reposant sur une caisse à motif de croisillons, terminé par des pieds à enroulements, signée 'St.GERMAIN' sur le pied arrière droit, le mouvement signé 'Gille L'ainé A Paris / n°1032', la caisse inférieure renfermant un mécanisme musical à cylindre et carillons, jouant apparemment cinq airs composés par Jean-Joseph Mouret (1682-1738) ; petits éclats au cadran
H. 70 cm. (27 ½ in.) ; L. 37 cm. (14 ½ in.) ; P. 20 cm. (7 ¾ in.)
Jean-Joseph de Saint-Germain, reçu maître-fondeur en 1748.
Pierre Gille, dit Gille l'Aîné, reçu maître horloger en 1746.




Provenance

The Alexander collection, vente Christie's, New York, 30 avril 1999, lot 86.Collection privée européenne.



Literature

H. Ottomeyer, Vergoldete Bronzen, vol. I, Munich,1986, p. 126, fig. 2.8.10.J.D. Augarde, 'Jean-Joseph de Saint-Germain: Bronzier (1719-1791)', in L'Estampille/l'Objet d'Art, N° 308, décembre 1996, pp. 63-82.
Bibliographie comparative :
Tardy, La pendule française dans le monde, 1re partie, des origines à la transition Louis XV-Louis XVI, Paris, 1987 p. 189 et p. 276.P. Kjellberg, Encyclopédie de la pendule française du Moyen Âge au XXe siècle, Paris, 1997, pp. 116-117, fig. F.



Further details

A LOUIS XV GILTBRONZE MUSIC CLOCK SIGNED BY JEAN-JOSEPH DE SAINT GERMAIN, THE DIAL SIGNED BY GILLE L'AINÉ, CIRCA 1750

Jean-Joseph de Saint-Germain (1719-1791), who became maître-fondeur in 1748, enjoyed the privilege of being an ‘ouvrier libre’ which allowed him to work as both a cabinetmaker and a bronze maker. His erudition set him apart from most of his colleagues. Although he certainly received a rudimentary education, including the basics of reading, writing and arithmetic, he had a passion for natural history, particularly botany and mineralogy, to the point of building up a fairly extensive cabinet of curiosities. In 1784, he published a Manuel des végétaux rangés selon le système de Linné (Manual of plants classified according to Linnaeus' system), a work that enabled him to be admitted, two years later, to the Académie royale d'agriculture et de physique d'Orléans.

This passion left a deep mark on his work, enabling him to develop a highly naturalistic style, particularly in the rendering of plant species, which can often be identified with precision. It is also reflected in the subjects of his works, as illustrated by his famous rhinoceros mantel clock (Musée du Louvre, inv. OA 10540). The allegorical subject of our clock also reflects the artist's erudition. Several other examples of this model are known, flanked by three putti, an astronomer on the top and a musician and a poet on both sides, although there are slight variations between them. The Musée Carnavalet holds a similar example, except for the celestial globe in the upper part, replacing the veil behind the astronomer putto (inv. MB447). The dial is signed ‘BALTHAZARD A PARIS’. Another clock of the same model is illustrated in Tardy, La pendule française dans le monde, 1ère partie, des origines à la transition Louis XV-Louis XVI, Paris, 1987 p. 189 and p. 276.

Pierre I François Gilles (1690-1765) signed his dials ‘GILLE LAINÉ’, while his son Pierre II Gilles (1723-1784) used the signature ‘GILLE LAINÉ Fils’. Talented clockmakers, they specialized in making complex musical clocks that could play several tunes. In the 18th century, several clocks bearing the signature ‘Gille L'aîné’ were mentioned in the collections of the Marquis de Brunoy, the Duc de Gramont, the Prince de Condé and Auguste II de Saxe.

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