Important Boulle clock

Important Boulle clock

Height: 115.5 cm.
Dial and movement signed "MOISY à Paris,
for Jean Moisy (1714-1782) Paris".
Paris, around 1700 - 1720.

This large pendulum clock is a masterpiece among the ornamental clock cases from the workshop of André-Charles Boulle (1642-1732). The design for this clock was published by Boulle as "Pendule propre pour une chambre" on the second plate of the Nouveaux Desseins de Meubles et Ouvrages de Bronze et Marqueterie, which was published by Mariette in Paris around 1725-1730. The present clock differs from the design by additional elements such as two Medusa masks. At this time, this type of clock was placed on a console and used as a wall clock in a state room.

The case is veneered with ebony, tortoiseshell and brass inlays and is crowned by an attachment in the shape of an Etruscan oil lamp, the handle of which ends in a chimera head. Striking bronze corner decorations in the form of ascending volutes adorn the upper part of the case. Starting from these volutes, strips of fine Boulle marquetry with leaf and acanthus motifs run along the base. Between these two strips is the glazed door, behind which is the central decorative element of the clock: a gilded bronze relief depicting the Rape of Cybele. Cybele is highlighted in a particularly decorative way on the black background. Saturn is shown on the clock as he takes hold of Cybele, his outstretched wings supporting the chapter ring. The depiction of the god Saturn as Father Time in combination with the earth goddess Cybele can also be interpreted as the abduction of time or beauty, which is to be understood in the sense of vanitas. The design of the relief may have been inspired by the well-known contemporary sculptural group on the same theme, created by Thomas Regnaudin (1622-1706) between 1675 and 1687 for the Orangerie at Versailles. The engraved brass chapter ring bears enameled Roman numerals. The case rests on a solid base which encloses a semi-circular barometer that decorates the base like a lamb's cross. Magnificent, finely engraved bronzes of outstanding quality in the form of two Egyptian sphinxes extend the sides of the base. The placement of the sphinxes in Boulle's design is particularly original, as the figures rest on bronze feet that resemble trestles of fire and are half-set into the sides of the lower case. The bronze decoration also includes two Medusa masks flanking the barometer and four spiral feet. These are part of the characteristic repertoire of Boulle furniture fittings. The back of the case is decorated with an elaborate marquetry tableau in the style of Bérain, suggesting that the clock was intended to be placed in front of a mirror. This particular model was possibly created for François Michel Le Tellier (1641-1691), the Marquis de Louvois, Louis XIV's Minister of War and Superintendent. The inventory of the marquis's estate, drawn up in August 1690, described a clock that was kept in his bedroom at the Hôtel de Surintendance in Versailles and was valued at 200 livres: "[...] une pendule sonnante faite par Thuret avec sa boeste d'écaille marquetterie et ornements de cuivre doré" (a striking pendulum clock by Thuret with a marquetry tortoiseshell case and gilded copper ornaments). This clock reappeared a few years later in the inventory of the estate of Louvois' widow Anne de Souvré (1646-1715), where it was listed under the number 809: "Une grande pendule à baromètre sonnant par Thuret dans sa boete de marqueterie d'écaille et cuivre doré ornée de sphinx et autres ornements de bronze doré d'or moulu dans sa boete faite par Boulle 400 livres" (A large striking pendulum clock with barometer by Thuret in a case of marquetry tortoiseshell and gilt copper, decorated with sphinxes and other gilt bronze ornaments, in a case made by Boulle, 400 livres).

Other archival sources confirm the identification of the present pendulum type as the "Louvois" model. The inventory of Boulle's workshop from 1715 records the following: "Une pandulle semblable à celle de M. de Louvois avec son pied à dorer 600 livres et trois autres pandulles semblables et d'un même dessein faites quend à la marqueterie et valant 300 livres" (A pendulum clock similar to that of Mr. de Louvois, with a foot to be gilded, 600 livres, and three other similar pendulums of the same design with marquetry, worth 300 livres). The inventory of Boulle's estate from 1732 contains "n° 14 une boéte contenant les modèles de la boeste de pendulle de Mr . De Louvois" (No. 14: a box containing the models of the pendulum clock cases of Mr. de Louvois). These sources prove that this model of pendulum clock was still in fashion several decades after the original design for the Marquis de Louvois and had become a classic of French design, so to speak. The Louvois model of the pendulum only very rarely appears in estate inventories or auction catalogs from the 18th century. An example with a movement by Rabby was offered at the auction of the Randon de Boisset collection in 1777; another was purchased from Lazare Duvaux by the Marquis de Marigny for 840 livres in December 1759: "N° 2949. Pendule et baromètre tenant ensemble, de marqueterie de Boulle, garnis en bronze doré d'or moulu" (No. 2949. Pendulum clock and barometer in one, with Boulle marquetry, decorated with gilt bronze mounts). Jean Moisy (1714-1782), the creator of the movement, was one of the most important clockmakers in 18th century Paris. In 1753, at the age of 39, Moisy was officially recognized as a master by the Parisian guild. He systematically numbered all the movements that left his workshop. The present movement bears the number 490. Moisy worked with the best craftsmen of his time, such as the bronze casters Jean-Jacques Caffiéri (1725-1792) and Robert Osmond (1711-1789), as well as the ebenists Jean-Pierre Latz (c. 1691-1754), Antoine Foullet (1710-1775) and Balthazar Lieutaud (d. 1780). King Louis XV commissioned two clocks from Master Moisy for the Château de Saint-Hubert. Moisy's clocks, which were sold through the influential Marchands-Merciers of the time, became the property of the French aristocracy and the wealthy bourgeoisie. Owners of Moisy watches included the Duc de Praslin, the Prince de Talmont and the Duc d'Enville, as well as wealthy bankers such as Randon de Boisset, Marin de La Haye and Paris de Montmartel. It was most probably one of the great Marchands-Merciers of the mid-18th century who had this magnificent case from Boulle's workshop fitted with a precious movement by Moisy.

Annotation:
There are several comparable examples of this Boulle clock in museums. In the Musée Royal d'Art et d'Histoire in Brussels there is a comparable clock with movement by Gaudron; in the Museum of Art Cleveland there is a similar clock with movement by Balthazar Martinot (1636-1714) with the inventory no. 1967.153; in the Fondation Gandur pour l'Art Geneva there is a clock with the movement by Nicolas Gribelin (1637-1719) with the inventory no. FGA-AD-HORLO-36. Comparable clocks can also be found in various collections, such as a private collection in Milan, the Frick Collection New York and Châteaux de Versailles et de Trianon Versai...