Lion Clock In Gilt Bronze And Patinated Bronze

Lion clock in gilded bronze and patinated bronze. The patinated bronze lion carries on its back a fabric which supports the movement of the clock inscribed in a gilded bronze case decorated with a row of pearls, a garland of laurels, a knotted ribbon and which is surmounted by a jar. The lion rests on a base with neoclassical motifs: a large laurel garland, fluting, an interlacing frieze. Movement signed “Beffara in Paris” After a drawing by François Vion Louis XVI period Usual restorations H. 30 x W. 17.5 x D. 10 cm The clock that we are studying today has a precise, documented history , which is rare in the world of art objects. Understanding and knowing the actors who participated in its development, the interest it aroused and observing today that it still fascinates its contemplators, is all the more appreciable and adds real added value to the work . Thus, the clock was designed according to a drawing by François Vion. This is number 22 preserved in the “Collection of drawings – Clock models – years 1755-1780” in the INHA library (Jacques Doucet collections). The clock is extremely faithful to the design, whether in terms of its base or the compositional details of the lion (compared to other very similar clocks which differ slightly). This is a real “model” as evidenced by other examples almost identical to our pendulum. Indeed, the Mobilier National keeps a lion clock with an interesting provenance. It comes from the collection of the Prince de Condé at the Palais Bourbon (today apparently presented to the Ministry of Finance). The latter has been widely reproduced in reference books such as “Les bronzes du Mobilier National – Pendules et cartels” by Ernest Dumonthier, “Vergoldete Bronzen” by Hans Ottomeyer and Peter Proschel, and in the catalog of the exhibition “Les pompes of power” by Jean-Jacques Gautier (also on display at the exhibition). Another very close one is kept at the Pavlosk Palace in Saint Petersburg, another sold at Sotheby's under lot number 67 on November 27, 2018. Some details change such as the material of the lion (gilded bronze or patinated bronze), the circumference of the dial in marcasite, etc. François Vion is a bronze worker with high quality work, master in 1764. He seems to be specialized in clock cases. We can cite as a famous work the clock with the three Graces created for the Countess du Barry for the Château de Fontainebleau in which he participated. Jean-Dominique Augarde cites him among the “most brilliant artists” in his book “The Workers of Time”. Our lion clock is part of a broader taste for clocks with animal decorations. The menagerie counts among its favorite figures: the rhino, the elephant, the horse, the wild boar, the dragon, the dromedary, and of course the lion. If the animal is the authentic subject of the clock, it is put forward in the foreground and almost comes to negate the presence of the clockwork part. As a real sculpture, Osmond, Saint-Germain, Caffieri, Violet and Vion have presented it. Developed under Louis XV, the lion during the reign of Louis XVI is presented more “relaxed” around knots, ribbons and garlands of flowers.