Antique French Boulle Mantel Clock On Stand c.1870
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This is a beautiful antique French red tortoiseshell and cut brass Boulle mantel clock on stand, circa 1870 in date.
This clock has a fabulous brass and enamel dial and a bell striking movement. The case and stand is of beautiful Boulle, which is red tortoiseshell with cut brass inlaid decoration, and it is applied with scrolled ormolu mounts.
The movement is stamped: A Bernoud Paris C.D with the serial number 459.
It is rare to find a Boulle clock with its original Boulle plinth, and even rarer to find one with the Boulle work in such pristine condition.
The clock is complete with original pendulum, bell and key.
The clock movement has been expertly restored and is in working order.
Dimensions in cm:
Height 44 x Width 28.6 x Depth 17 - Clock with Plinth
Height 37 x Width 23 x Depth 12 - Clock
Height 7 x Width 28.6 x Depth 17 - Stand
Dimensions in inches:
Height 1 foot, 5 inches x Width 11 inches x Depth 7 inches - Clock with Plinth
Height 1 foot, 3 inches x Width 9 inches x Depth 5 inches - Clock
Height 3 inches x Width 11 inches x Depth 7 inches - Stand
André-Charles Boulle(1642 – 1732), was the French cabinetmaker who is generally considered to be the preeminent artist in the field of marquetry. His fame in marquetry led to his name being given to a fashion of inlaying known as Boulle (or in 19th-century Britain, Buhl work).
Boulle appears to have been originally a painter, since the first payment to him by the crown of which there is any record (1669) specifies ouvrages de peinture. He was employed for many years at Versailles, where the mirrored walls, the floors of wood mosaic, the inlaid paneling and the marquetery furniture in the Cabinet du Dauphin were regarded as his most remarkable work. These rooms were long since dismantled and their contents dispersed, but Boulle's drawings for the work are in the Musée des Arts Décoratifs, Paris.
His royal commissions were numerous, as we learn both from the Comptes des B timents du Roi and from the correspondence of Louvois. Not only the most magnificent of French monarchs, but foreign princes and the great nobles and financiers of his own country crowded to him with commissions, and the mot of the abbé de Marolles, Boulle y lourne en ovale, has become a stock quotation in the literature of French cabinetmaking.
Ormolu (from French 'or moulu', signifying ground or pounded gold) is an 18th-century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze.The mercury is driven off in a kiln leaving behind a gold-coloured veneer known as 'gilt bronze'.
The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of nitrate of mercury is applied to a piece of copper, brass, or bronze, followed by the application of an amalgam of gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object.
No true ormolu was produced in France after around 1830 because legislation had outlawed the use of mercury. Therefore, other techniques were used instead but nothing surpasses the original mercury-firing ormolu method for sheer beauty and richness of colour. Electroplating is the most common modern technique. Ormolu techniques are essentially the same as those used on silver, to produce silver-gilt (also known as vermeil).
Angelica Kauffman, RA (1741 - 1807)
was a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome. Though born as "Kauffmann", Kauffman is the preferred spelling of her name in English; it is the form she herself used most in signing her correspondence, documents and paintings.
While Kauffman produced many types of art, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting, was considered the most elite and lucrative category in academic painting during this time period. Under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes.
Despite the popularity that Kauffman enjoyed in British society and her success as an artist, she was disappointed by the relative apathy that the British had towards history painting. Ultimately she left Britain for the continent, where history painting was better established, held in higher esteem and patronized.
The works of Angelica Kauffman have retained their reputation. By 1911, rooms decorated with her work were still to be seen in various quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait. There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek atMunich, in Kadriorg Palace, Tallinn (Estonia).
is a hard and durable wood with a satinlike sheen, much used in cabinetmaking, especially in marquetry. It comes from two tropical trees of the family Rutaceae (rue family). East Indian or Ceylon satinwood is the yellowish or dark-brown heartwood of Chloroxylon swietenia.
The lustrous, fine-grained, usually figured wood is used for furniture, cabinetwork, veneers, and backs of brushes. West Indian satinwood, sometimes called yellow wood, is considered superior. It is the golden yellow, lustrous, even-grained wood found in the Florida Keys and the West Indies.
It has long been valued for furniture. It is also used for musical instruments, veneers, and other purposes. Satinwood is classified in the division Magnoliophyta, class Magnoliopsida, order Sapindales, family Rutaceae.
Our reference: 06163w
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