Ref.03222
Exceptional large clock with the Fô dogs

Brown patina bronze, the base in Red Griotte marble. This magnificent clock was made in France around 1880 out of authentically Chinese bronzes. Two large Foo Dogs, made in China at the start of the 19th century, stand on their hind legs, and support the pendulum with their forelimbs. The pendulum mechanism sits inside a Chinese bronze vase that was specifically cut at its base and reused to make up the body of this clock. It is decorated all over its surface with engraved ornaments. Two dragons carved in relief are placed on the front of this vase and surround the clock's dial. On the back, there is a cockerel with its wings spread, with its head carved in relief. The extremely high quality bronze and the very skilful use of composition makes this clock very original. This clock is typical of a technique that was popular towards the end of the 19th century, which derived from a profound taste in the Far East. This technique involved reusing authentically Chinese elements on European designed objects, which were intended to be used on the most luxurious interiors. The clock's magnificence makes us reflect on the fact that it was made by a true amateur of Chinese Art. The dial's numerals are made out of enamel and are true Chinese numerals. The clock hands feature a dragon which is the result of excellent chiselling skill. These different elements are of French craftsmanship, as is the pendulum featuring an animal with tentacles. The pendulum is signed “ L.M et Cie, Médaille de bronze” (L.M and Cie, Bronze Medal), which confirms that it is off French craftsmanship and was made around 1880.

Ref.15160
Claude MICHEL, known as CLODION (after), Bacchante, late 19th Century

This marble sculpture of a bacchante was executed in the 19th century after a model attributed to Clodion. The sculptor Claude Michel, known as Clodion (1738-1814), was descended on his mother’s side from the Adam dynasty, a family of renowned sculptors throughout the 18th century. He learned sculpture at the model school of the French Royal Academy of Painting and Sculpture; in 1759, upon the death of his uncle Lambert Sigisbert Adam, who probably contributed to his training, he became a student of Jean-Baptiste Pigalle. He was a resident of the Royal School of Protected Students and stayed at the French Academy in Rome. He enjoyed his Roman stay so much that he extended it for several years before returning in 1773-1774. Highly appreciated under the reign of Louis XVI, Clodion had a particular fondness for mythological subjects. Our sculpture represents a young woman walking, holding bunches of grapes in her hand. Her whole body, in a twist, forms an arc: her head is raised to her right while the top of her torso, led by her right arm, turns to her left; finally, her left leg faces the viewer, while her right leg, slightly bent, seems to hold her back on that side. She can be likened to a figure of a maenad or bacchante. Indeed, her exalted expression, flowing hair, dancing gait, and nudity just barely covered by a drape held by a strap bring her closer to this image. Furthermore, she carries bunches of grapes, a quintessential Bacchic symbol, while others have fallen at her feet; an overturned amphora perhaps symbolizes the intemperance characteristic of the Dionysian world. The sculptor paid great attention to the expression of her face, with its fine features, and to detail: the young woman notably wears bracelets on each arm that echo her strap; the amphora at her feet is adorned with a frieze of posts in low relief. In ancient mythology, bacchantes were the priestesses of Bacchus who celebrated Dionysian mysteries and festivals, or the companions of the god, who marched with his retinue. Bacchantes were considered sensual and having an unrestrained sexuality; our sculpture, with its sensuality and dancing character, echoes this reputation. This figure of a bacchante is attributed to Clodion. In fact, the sculptor executed several terracottas on this subject, including one titled Bacchante Running with Fruits in Her Tunic (circa 1780-1785, terracotta, private collection), and another Bacchante Running (between 1803 and 1804, terracotta, 38 × 15 × 18.5 cm, Paris, Cognacq-Jay Museum). Several bronze castings of this statue are known. This material particularly highlights the sensuality of the woman and all the details of the sculpture.