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Boulle style clock with garniture; France, late 19th century.Gilt bronze, ebonised wood and
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Description
Boulle style clock with garniture; France, late 19th century.
Gilt bronze, ebonised wood and marquetry.
Measurements: 42 x 46 x 13 cm.
French garniture from the end of the 19th century, formed by a table clock and two ornamental cups of the same size. The three pieces are made of ebonised wood. The clock face is round, with Roman numerals in cobalt blue on white. The clock's structure is characterised by a very characteristic moulding in which fluid, honeycombed lines predominate and follow the aesthetic pattern of the decoration on the inside of the piece. The side cups follow the same design as the central piece in terms of decoration. They are topped by cups whose typology derives from a classical aesthetic, with an absence of decoration, but showing clear and simple lines. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
Gilt bronze, ebonised wood and marquetry.
Measurements: 42 x 46 x 13 cm.
French garniture from the end of the 19th century, formed by a table clock and two ornamental cups of the same size. The three pieces are made of ebonised wood. The clock face is round, with Roman numerals in cobalt blue on white. The clock's structure is characterised by a very characteristic moulding in which fluid, honeycombed lines predominate and follow the aesthetic pattern of the decoration on the inside of the piece. The side cups follow the same design as the central piece in terms of decoration. They are topped by cups whose typology derives from a classical aesthetic, with an absence of decoration, but showing clear and simple lines. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
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Boulle style clock with garniture; France, late 19th century.
Gilt bronze, ebonised wood and marquetry.
Measurements: 42 x 46 x 13 cm.
French garniture from the end of the 19th century, formed by a table clock and two ornamental cups of the same size. The three pieces are made of ebonised wood. The clock face is round, with Roman numerals in cobalt blue on white. The clock's structure is characterised by a very characteristic moulding in which fluid, honeycombed lines predominate and follow the aesthetic pattern of the decoration on the inside of the piece. The side cups follow the same design as the central piece in terms of decoration. They are topped by cups whose typology derives from a classical aesthetic, with an absence of decoration, but showing clear and simple lines. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
Gilt bronze, ebonised wood and marquetry.
Measurements: 42 x 46 x 13 cm.
French garniture from the end of the 19th century, formed by a table clock and two ornamental cups of the same size. The three pieces are made of ebonised wood. The clock face is round, with Roman numerals in cobalt blue on white. The clock's structure is characterised by a very characteristic moulding in which fluid, honeycombed lines predominate and follow the aesthetic pattern of the decoration on the inside of the piece. The side cups follow the same design as the central piece in terms of decoration. They are topped by cups whose typology derives from a classical aesthetic, with an absence of decoration, but showing clear and simple lines. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
12th September - Private Clocks Collection Day I
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