MAISON DENIERE (Guillaume Denière, 1815-1901 successor in 1844 of Jean-François Denière, 1775-1866), Manufacturer of artistic bronzes in Paris - Remarkable ceremonial mantel clock in very finely chiseled and gilded bronze with the subject of " Science "Or" The Study "represented as childlike figures" languaget » and « writing " executed from two models created around 1795 by Charles-Gabriel Sauvage, known as Lemire (1747-1827). These flank a richly worked architectural boundary stone topped with a Covered ornamental vase.Set with a ribbon laurel torus,its stepped base is embellished with a couple of dovess frolicking perched on a cartouche decorated with a delicate motif of Sentimental trophy. Theatricalized by a patterned side base Rockery, It is raised on a white marble counter-plinth decorated on its undulating profile with a threading pearls in gilded bronze. The whole resting on six spinning top feet with foliate decoration. White enamelled dial with Roman and Arabic numerals signed " Denier/Ft of Bronzes/ in Paris"-Model called " Science » (n° 168) in the Sales Catalogue in 1903 models of art and furniture bronzes, of great decoration coming from the said House.
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A Neo-classical theme reinvented by Maison Denière:
Just like Adolphe Blanqui in 1851, we are immediately " seized » by " the sculptural beauty (..) exuberant, of a vigor, of an extraordinary brilliance » of this sumptuous timepiece « of large manufacturing » born by Maison Denière (1815-1901).
Listed in one of the Sales Catalogs of the “ Models of Bronzes of Art and Furnishing, .. of Great Decoration (..) » of this prestigious Parisian establishment (Paris, Hôtel Drouot, sale of February 10,11, 13 and 1903, XNUMX) under no. 168 ( Louis XVI Style Clock, Two Children, Science, Cast on Antique), she illustrates the emeritus know-how of these manufacturers of Art Bronzes (Jean-François then Guillaume Denière). In their century, worthy and " faithful representatives of French taste", they knew" to meet the demands of enlightened amateurs » (H.Legrand, 1857) conjugate with as many iNTELLIGENCE that of virtuosity topics popular iconographic, referentset centuries-old ornamental repertoires. In 1877,, the art critic Louis Enault noted: » Very well versed in the practice of industrial arts and, guided by an already long experience, Mr. Denière, having in full ownership numerous models, has searched the various periods (…), and he took the most beautiful types to create a collection that one can say is unique today, He combines and marries them with each other with as much skill as taste" "while knowing how to combine elegance and grace to a very high degree"( The Industrial Arts: Vienna, London, Paris ). Enlightened, these creative modalities innervate the work that we present.
Summoned by a lush Covered vase with finery rocaille ( grenade button, twisted channels, godrons;handles detached from cross windings, half-shells; face mask barbu simian) inspired by the “ Regular of Vases »(1730) by Edme Bouchardon (1698-1762), the body of this watch piece knowingly elaborated is organized around the pendulum bushel. Embellished not without panache on its architectural form de palmettes and acanthus florets, leafy garlands, falls flowery ou with bell-shaped bases, the latter, worked on a guilloche background of reasons Louis XIV (interlacing, valance) welcomes the white enamel dial. Set with a call bead stringing, it indicates the hours, minutes in Roman and Arabic numerals by two openwork needles and, like the movement, bears the signature of " DENIERE/ Ft de BRONZES/IN PARIS »- Home " who occupies(a)-and still occupies for the Lover of Antique Watchmaking- « a prominent place in the world of arts" .
On both sides, they are staged wisely seated on robust and Roll-up side consoles adorned with becoming fabrics, two childish figures exquisitely chiseled. Seized in a studious attitude, one foot placed on scholars folios stacked or on a bulky iron structure, one -a little boy-, his right hand riveted to a reed pen, applies to writing/drawing on a tablet which he holds firmly on his bent left leg;'other- la hair tied with a ribbon (little girl?)- seems captivated by the pages of a book nestled on her knee law. Forming a pendant, these vigilant toddlers with tender and sweet faces resume, adapted to this watch piece symbolizing in view of the aforementioned Catalogue " Science " and, further " The Study »- two famous works of the Neo-classicism French from the last third of the 18th century: The Child Drawing et The Reading Child, du sculptor Charles-Gabriel Sauvage, known as Lemire (1747-1827). From these subjects modeled by the artist around 1795 for the Dihl and Guérhard porcelain factory (1781-1828), The Louvre Museum in Paris holds bronze proofs lost wax castings (0A 11223 and 11224) made during the years 1810-1820 by one of the most eminent Parisian bronze chasers of this period, Pierre-Philippe Thomire (1751-1843).
With these iconographic references, Maison Denière thus intended to perpetuate the great tradition of clocks with an edifying subject in the heart of an elitist 19th century. -Study and Philosophy"," Arts and Sciences", “Reading and Literature" ,…- of which The fortune within the watchmaking production of the reign of Louis XVI was never denied. But this, in view of the models initiated by their illustrious predecessors (Robert Osmont, Jean-Louis Prieur,..), with a touch of light and unusual fantasy likely to seduce in these prosperous times a clientele more fond of gallant jousts than of scholarly ones. Belted on its molded profile with an opulent ribbon torus of grained laurel, la The base of the pendulum is thus animated by the presence of a couple of doves chiseled with virtuosity. frolicking, wings spread, near a crown decked out of wild flowerss flourished, ces Volatile Venusians are perched on a cartouche rectangular.Framed by undulating ribbons, of a acanthus floret, the latter is adorned with a delicate Sentimental trophy (bow, quiver with arrow fletching, torch with flaming brand tied with a knotted ribbon). Adjusted to the aesthetic sensibility of the time, These feminine decorative motifs of Louis XVI obedience nuance the “didactic” scope of this ceremonial clock of poetic tenderness.
Theatricalized by a vigorous lateral base with ample patterns rocaille de rudent shell with seeds,This sculptural timepiece rests on a molded white marble counter-base edged with a stringing beads and with six leafy spinning tops.
Formal amplitude, plastic beauty, erudition and inventiveness are the key words of this remarkable timepiece signed by Maison Denière, whose production was praised by a contemporary in these terms:
» (..) Nothing comes out of the Maison Denière where the most difficult judgment could find fault. Composition, design, chiselling, everything is perfectly irreproachable, and it is a feast for the Amateur and the man of taste to browse through these clocks, these candelabras, these torches which follow one another and never recur (..) » (Octave Lacroix, 1873).
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Related literature: Blanqui, Adolphe,Letters on the London World's Fair…, Paris: Capelle, 1851;- Paris, Hôtel Drouot, Sales Catalog (February 10, 11, 13, 1903 - First part) of “Models of Bronzes of Art, Furnishing, Lighting and large Decoration (..) from the Maison Denière (..), Paris: 1903;- Enault, Louis, Industrial Arts: Vienna, London, Paris, 1877, Vol. I, chap.III, p.17 et seq.;-Lacroix, Octave, International Exhibition, London, 1872. Report of the Higher Commission, 1873;-Legrand, Henri, Album, Paris, 1857;-A.Lefebure, Louvre Museum, New acquisitions of the Department of Decorative Arts, 1985-1989, Paris, RMN, 1990, pp.229-231.
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High quality Parisian work in the Louis XVI style by Maison Denière in Paris. Second half of the 1860th century, circa 1870-XNUMX.
Marks and Signatures: Dial signed: “ DENIERE /Ft of Bronzes/ IN PARIS"- Numbered movement with house stamp “DENIERE/A PARIS”
Material: Gilded bronze; White marble; Enamel and glass.
Size: H: 61 cm; W: 58 cm; D: 21 cm. Pendulum without counter-base: H.: 53 cm; - W.: 57 cm; - D: 17 cm
Good condition. Original mercury gilding. Small erosions on the front corners of the marble counter-base.
DENIERE Guillaume (1815-1903) - Important Fireplace Set with Children Louis XVI-inspired in white marble and chiseled gilded bronze, based on 1870th century models. Napoleon III period, circa XNUMX.Superb mantel clock in chiseled and gilded bronze with subject.
HOUSE DENIERE (Jean-François Denière, 1775-1866 and Guillaume Denière, 1815-1901 successor in 1844), Manufacturers of Art Bronzes in Paris - important remarkably chiseled Fireplace called or inspired by the models created byin collaboration with listed in the Catalogs of Sale of models of art and furniture bronzes, large decoration from Maison Denière (…) from February-March 1903 (Paris, Hôtel Drouot) under nos. 69, 580-581. Quality Parisian work from Louis XV-Rocaille style from the first half of the 1840th century. End of the Louis-Philippe era-beginning of the Second Empire, circa 1850-XNUMX.
MAISON DENIERE (Guillaume Denière, 1815-1901 successor in 1844 of Jean-François Denière, 1775-1866), Manufacturer of Art Bronzes in Paris – Remarkable Ceremonial Fireplace Clock in very finely chiseled and gilded bronze on the subject of “Science” or “ Study” represented in the form of childish figures “reading” and “writing” executed according to two models created around 1795 by Charles-Gabriel Sauvage, known as Lemire (1747-1827). These flank a richly crafted architectural marker topped with a covered ornamental vase. Set with a ribboned laurel torus, its protruding base is embellished with a pair of frolicking doves perched on a goldworked cartouche of a delicate sentimental Trophy motif. Dramatized by a lateral base with Rocaille motifs, it is raised on a white marble counter-base decorated on its undulating profile with a thread of gilded bronze pearls. All remaining on six spinning top legs with foliage decoration. White enameled dial with Roman and Arabic numerals signed “Denière/ Ft de Bronzes/ à Paris” – Model called “La Science” (n° 168) in the Sales Catalog in 1903 of models of Art and Furnishing Bronzes, Large decoration coming from the said House.
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A Neo-classical theme re-invented by Maison Denière:
Just like Adolphe Blanqui in 1851, we are immediately “seized” by “the exuberant (..) sculptural beauty, of extraordinary vigor and brilliance” of this sumptuous horological piece of “great manufacturing” created by the Maison Denière (1815-1901) .
Listed in one of the Sales Catalogs of “Models of Art and Furnishing Bronzes, … of Great Decoration (..)” of this prestigious Parisian establishment (Paris, Hôtel Drouot, sale of 10, 11 and 13 February 1903) under number 168 ( Louis XVI Style Clock, Two Children, Science, Cast on Old), it illustrates the distinguished know-how of these manufacturers of Art Bronzes (Jean-François then Guillaume Denière). In their century, worthy and “faithful representatives of French taste”, they knew how “to meet the demands of enlightened amateurs” (H. Legrand, 1857) to combine with as much intelligence as virtuosity popular iconographic subjects, references and secular ornamental repertoires . In 1877, the art critic Louis Enault noted: “Very versed in the practice of industrial arts and, guided by already long experience, Mr. Denière, having full ownership of numerous models, has explored the various eras (.. .), and he took the most beautiful types to create a collection that we can say is unique today, He combines and marries one with the other with as much skill as taste” “while knowing how to combine with a very high degree of elegance and grace” ( Industrial Arts: Vienna, London, Paris). Illuminated, these modalities of creation innervate the work that we present.
Topped with a luxuriant Vase covered with Rocaille finery (pomegranate bud, twisted channels, gadroons; detached handles with scrolls of crossettes, half-shells; mascaron with simian bearded features) inspired by the “Book of Vases” (1730) by Edme Bouchardon ( 1698-1762), the body of this consciously crafted watch piece is organized around the bushel of the clock. Embellished not without panache on its architectural form with palmettes and acanthus florets, foliage garlands, floral falls or bell-shaped bases, the latter, crafted on a guilloche background with Louis-Quatorzian motifs (interlacing, lambrequin) accommodates the white enameled dial. Set with a beautiful thread of pearls, it indicates the hours and minutes in Roman and Arabic numerals by two openwork hands and, like the movement, bears the signature of “DENIERE/ Ft de BRONZES/A PARIS” – Maison “which occupies (a ) – and still occupies for the Antique Watchmaking Lover – “an eminent place in the world of the arts”
On either side, two exquisitely chiseled childish figures are depicted sitting sedately on robust scrolling side consoles trimmed with becoming fabrics. Seized in a studious attitude, one foot placed on stacked scholarly folios or on a voluminous ironwork, one – a little boy -, her right hand riveted to a calamus, applies herself to writing/drawing on a tablet which he holds firmly on his folded left leg; the other – her hair surrounded by a ribbon (little girl?) – seems captivated by the pages of a work nestled on her right knee. Forming a pendant, these vigilant toddlers with tender and sweet faces resume, adapted to this watch piece symbolizing in view of the aforementioned Catalog “La Science” and, further on “L’Etude” – two notorious works of French Neo-classicism from the last third of the 18th century: The Child Drawing and The Child Reading, by the sculptor Charles-Gabriel Sauvage, known as Lemire (1747-1827). Of these subjects modeled by the artist around 1795 for the Dihl and Guérhard porcelain factory (1781-1828), the Louvre Museum in Paris holds lost wax cast bronze proofs (0A 11223 and 11224) made during the years 1810-1820 by one of the most eminent Parisian bronzier-engraver of this period, Pierre-Philippe Thomire (1751-1843).
With these iconographic references, Maison Denière thus intended to perpetuate in the heart of an elitist 19th century the great tradition of clocks with edifying subjects -Study and Philosophy”, “Arts and Sciences”, “Reading and Literature”,… – whose fortune within the watchmaking production of the reign of Louis XVI was never denied. But this, in view of the models initiated by their illustrious predecessors (Robert Osmont, Jean-Louis Prieur,..), with a touch of light and unusual fantasy conducive to seducing in these prosperous times a clientele more enamored of gallant than scholarly jousts Surrounded on its molded profile with an opulent ribboned torus of grained laurel, the base with projections of the clock. comes alive with the presence of a pair of doves carved with virtuosity, frolicking, wings spread, near a crown adorned with blooming country flowers, these volatile Venusians are perched on a rectangular cartouche. Framed by undulating ribbons. an acanthus floret, the latter is adorned with a delicate sentimental trophy (bow, quiver with fletched arrows, torchiere with flaming brand linked by a knotted ribbon). Adjusted to the aesthetic sensitivity of the time, these feminine decorative motifs of Louis XVI nuance nuance the “didactic” scope of this ceremonial clock with poetic tenderness.
Dramatized by a vigorous lateral base with ample Rocaille motifs of rough-edged shell with seeds, this sculptural horological piece remains on a counter-base in molded white marble hemmed with a thread of pearls and equipped with six foliaged spinning top legs.
Formal amplitude, plastic beauty, erudition and inventiveness are the key words of this remarkable watch piece signed by Maison Denière, the production of which a contemporary was to praise in these terms:
» (..) nothing comes out of Maison Denière where the most difficult judgment can find reason to correct. Composition, drawing, carving, everything is perfectly impeccable, and it is a celebration for the Amateur and the man of taste than to browse these clocks, these candelabras, these torchères which follow one another and never recur (..)” (Octave Lacroix , 1873).
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Related literature: Blanqui, Adolphe, Letters on the Universal Exhibition of London…, Paris: Capelle, 1851; – Paris, Hôtel Drouot, Sales Catalog (February 10, 11, 13, 1903 – First part) of “Models of Art, Furnishing, Lighting and Large Decoration Bronzes (..) from Maison Denière (..), Paris: 1903; - Enault, Louis, Les Arts Industriels: Vienne, Londres, Paris, 1877, Vol I, chap.III, p.17 and seq.;-Lacroix, Octave, International Exhibition, London, 1872.Report of the Superior Commission, 1873;-Legrand, Henri, Album, Paris, 1857;-A.Lefebure, Musée du Louvre, New acquisitions from the Department of Objects of Art, 1985-1989, Paris, RMN, 1990, pp.229-231.
