Page 108 - Pascal Izarn catalogue 2024
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1767 with Pierre Delacroix9 and received maître fondeur in 1777. Thus, of the descendants of Jean Lemoigne, only Jean-Jacques and (Jean-Pierre)
Étienne left a trace in the history of gilded bronze. To distinguish himself Étienne Lemoigne signed his works E.L..
It is to Jean-Jacques Lemoigne that we must credit the authorship of the model of this successful clock, whose box flanked by two inverted consoles is
topped most often by a beautiful cassolette with rams’ heads, which reflects the influence of Jean-Baptiste Osmond. Four examples were discovered in
the workshop of François Rémond (1747-1812), maître-doreur in 1774:
3 June 1779: « Doit M. Laporte (un confrère ?) pour dorure au mat d’une pendule à cassolette, modèle de Lemoine, le tout en cuivre 204 livres »
(“Owing to M. Laporte (a colleague?) for the matt gilding of a cassolette clock, model of Lemoine, all in copper 204 livres”)
9 December 1779, to Daguerre: « pour dorure au mat d’une pendule à cassolettes modèle de Lemoine, 168 livres »
(“for the matt gilding of a Lemoine model cassolette clock, 168 livres”)
9 March 1782: « doit M. Lepine (un confrère) pour dorure au mat d’une pendule à cassolette de Lemoine, 132 livres »
(“owing to Mr. Lepine (a colleague) for the matt gilding of a cassolette clock by Lemoine, 132 livres”)
19 October 1782, to the same: « pour dorure au mat d’une pendule à consoles de Lemoine »
(“for matt gilding of a console clock by Lemoine”)
Most of the known cases have a watchmaker’s movement. These were created for the marchand-mercier Dominique Daguerre (circa 1740-1796), often
by Robert Robin (1742-1799), maître in 1767, or Renacle-Nicolas Sotiau (1749-1791), maître in 1782. Daguerre resold them to his very fine clientele in
Paris and Versailles, notably the royal family.
Christian BAULEZ
Conservateur général honoraire du Patrimoine
1 J.-D. Augarde, Les Ouvriers du Temps, Geneva, 1996, p. 262.
2 J.-D. Augarde, ‘Une nouvelle vision du bronze et des bronziers sous le Directoire et l’Empire’, L’Objet d’Art, no. 398, January 2005, p. 70 and 76.
3 Verlet, Les bronzes dorés français du XVIIIe siècle, Paris, 1987, p. 422.
4 R. de L’Espée, ‘Die Osmond, ein Familienbetrieb und seine Produktion’, in Vergoldete Bronzen, Munich, 1986, t. II, pp. 538- 547.
5 A.N., M.C., ET/CVI/397, patent of 5 August 1764.
6 A.N., M.C., ET/IV/674, contract of 20 May 1768.
7 A.N., M.C., ET/CVI/405, patent of 12 January 1766.
8 A.N., M.C., ET/CVI/397, patent of 30 September 1764.
9 A.N., M.C., ET/CVI/413, patent of 30 August 1767.
10 C. Baulez, ‘Le luminaire de la princesse Kinsky’, Estampille L’Objet d’Art, May 1991, pp. 84-99.
A LOUIS XVI GILT-BRONZE MOUNTED PAINTED
WHITE CARRARA MARBLE MANTEL CLOCK,
THE DIAL SIGNED ROBIN À PARIS, THE ENAMEL
SIGNED BY THE ENAMELLER COTEAU – CIRCA
1785
Height: 62.5 cm. (24 ½ in.) Width: 50.3 cm. (19 ¾ in.) Depth: 19.3 cm. (7 ½ in.)
Joseph Coteau (1740-1812)
PROVENANCE
Raphael Collection, sold Christie’s London, 18 May 1927, lot 108
Founès Collection, sold Galerie Charpentier, Paris, 27 June 1935, lot 76
COMPARATIVE LITERATURE
Other clocks of this model with the marble painted include:
- One formerly sold by my gallery, illustrated in P. Kjellberg, Encyclopédie de la
pendule Française, Paris, 1997, p. 256 D (the dial unsigned)
- One sold Etude Rouillac, Vendôme, 25 April 1993 (signed Drouot à Paris)
- One sold from the collections of Maurice Ségoura, Christie’s New York, 19
October 2006, lot 29 (signed De Belle)
- One sold Artcurial, Paris, 8 July 2014, lot 92 (signed Filon à Paris)
A model with the painted marble replaced by gilt bronze mounts is in the
Victoria and Albert Museum, London (inv. M.31-1934), illustrated in La Pendule
Française dans le monde, 2, Paris, 1981 (5th edn.), p. 36 (the dial unsigned).
94
Étienne left a trace in the history of gilded bronze. To distinguish himself Étienne Lemoigne signed his works E.L..
It is to Jean-Jacques Lemoigne that we must credit the authorship of the model of this successful clock, whose box flanked by two inverted consoles is
topped most often by a beautiful cassolette with rams’ heads, which reflects the influence of Jean-Baptiste Osmond. Four examples were discovered in
the workshop of François Rémond (1747-1812), maître-doreur in 1774:
3 June 1779: « Doit M. Laporte (un confrère ?) pour dorure au mat d’une pendule à cassolette, modèle de Lemoine, le tout en cuivre 204 livres »
(“Owing to M. Laporte (a colleague?) for the matt gilding of a cassolette clock, model of Lemoine, all in copper 204 livres”)
9 December 1779, to Daguerre: « pour dorure au mat d’une pendule à cassolettes modèle de Lemoine, 168 livres »
(“for the matt gilding of a Lemoine model cassolette clock, 168 livres”)
9 March 1782: « doit M. Lepine (un confrère) pour dorure au mat d’une pendule à cassolette de Lemoine, 132 livres »
(“owing to Mr. Lepine (a colleague) for the matt gilding of a cassolette clock by Lemoine, 132 livres”)
19 October 1782, to the same: « pour dorure au mat d’une pendule à consoles de Lemoine »
(“for matt gilding of a console clock by Lemoine”)
Most of the known cases have a watchmaker’s movement. These were created for the marchand-mercier Dominique Daguerre (circa 1740-1796), often
by Robert Robin (1742-1799), maître in 1767, or Renacle-Nicolas Sotiau (1749-1791), maître in 1782. Daguerre resold them to his very fine clientele in
Paris and Versailles, notably the royal family.
Christian BAULEZ
Conservateur général honoraire du Patrimoine
1 J.-D. Augarde, Les Ouvriers du Temps, Geneva, 1996, p. 262.
2 J.-D. Augarde, ‘Une nouvelle vision du bronze et des bronziers sous le Directoire et l’Empire’, L’Objet d’Art, no. 398, January 2005, p. 70 and 76.
3 Verlet, Les bronzes dorés français du XVIIIe siècle, Paris, 1987, p. 422.
4 R. de L’Espée, ‘Die Osmond, ein Familienbetrieb und seine Produktion’, in Vergoldete Bronzen, Munich, 1986, t. II, pp. 538- 547.
5 A.N., M.C., ET/CVI/397, patent of 5 August 1764.
6 A.N., M.C., ET/IV/674, contract of 20 May 1768.
7 A.N., M.C., ET/CVI/405, patent of 12 January 1766.
8 A.N., M.C., ET/CVI/397, patent of 30 September 1764.
9 A.N., M.C., ET/CVI/413, patent of 30 August 1767.
10 C. Baulez, ‘Le luminaire de la princesse Kinsky’, Estampille L’Objet d’Art, May 1991, pp. 84-99.
A LOUIS XVI GILT-BRONZE MOUNTED PAINTED
WHITE CARRARA MARBLE MANTEL CLOCK,
THE DIAL SIGNED ROBIN À PARIS, THE ENAMEL
SIGNED BY THE ENAMELLER COTEAU – CIRCA
1785
Height: 62.5 cm. (24 ½ in.) Width: 50.3 cm. (19 ¾ in.) Depth: 19.3 cm. (7 ½ in.)
Joseph Coteau (1740-1812)
PROVENANCE
Raphael Collection, sold Christie’s London, 18 May 1927, lot 108
Founès Collection, sold Galerie Charpentier, Paris, 27 June 1935, lot 76
COMPARATIVE LITERATURE
Other clocks of this model with the marble painted include:
- One formerly sold by my gallery, illustrated in P. Kjellberg, Encyclopédie de la
pendule Française, Paris, 1997, p. 256 D (the dial unsigned)
- One sold Etude Rouillac, Vendôme, 25 April 1993 (signed Drouot à Paris)
- One sold from the collections of Maurice Ségoura, Christie’s New York, 19
October 2006, lot 29 (signed De Belle)
- One sold Artcurial, Paris, 8 July 2014, lot 92 (signed Filon à Paris)
A model with the painted marble replaced by gilt bronze mounts is in the
Victoria and Albert Museum, London (inv. M.31-1934), illustrated in La Pendule
Française dans le monde, 2, Paris, 1981 (5th edn.), p. 36 (the dial unsigned).
94
