BACK TO GALLERY
Galerie Léage
Gilles L'Aîné
Mantel clock in celadon, with cockerels and rotating dial
Chased and gilt bronze, celadon
China and France
Bronze circa 1775 and celadon 1600-1644
Gilles l'Aîné (movement by), Celadon clock with rotating dial, circa 1775 and late Ming period
Height: 49,5 cm – 19 1⁄2 inches Width: 40,5 cm – 16 inches Depth: 32 cm – 12 2/3 inches
description
The art of the marchands merciers
This mantel clock belongs to a highly distinctive category of luxury objects conceived under the impetus of Parisian marchands-merciers during the reign of Louis XVI. Far from being mere intermediaries, these dealers acted as true artistic directors, orchestrating collaborations between clockmakers, bronziers and suppliers of exotic materials. The present clock is emblematic of this system: its conception relies on the combination of an imported Chinese celadon vessel, an inventive rotating dial mechanism, and an elaborate gilt-bronze mounting, all unified into a coherent and striking ensemble. The recurrence of closely related examples—now preserved in major public and private collections—confirms that this was a deliberately developed model rather than an isolated creation.
The success of this type is well documented through comparable clocks attributed to leading clockmakers such as André Hory, Louis Ourry, the Lepautes, Henry Martinot or Denis Masson, and through surviving examples at Versailles and in prominent collections of the 19th and 20th centuries. Archival sale descriptions from the 1770s and 1780s further attest to the circulation and desirability of these urn-shaped clocks with rotating dials and cockerel mounts. Such consistency strongly suggests the intervention of one of the great marchands-merciers of the period—figures such as Simon-Philippe Poirier, Dominique Daguerre, Claude-François Julliot or Pierre Lebrun—who were uniquely positioned to source rare ceramics, commission refined bronzes and supervise the final assembly of these ambitious works.
Chinese celadon
Central to the appeal of this model is the use of Chinese celadon. By the second half of the 18th century, Parisian collectors had developed a pronounced taste for monochrome ceramics, particularly celadons imported from China. Their soft green glaze, admired for its depth, subtle translucency and associations with jade, resonated perfectly with the emerging neoclassical sensibility, which favored restrained palettes and refined surfaces. In contrast to polychrome porcelains, celadon offered a sober yet luxurious ground that allowed gilt-bronze mounts to stand out with exceptional clarity. Its integration into French clocks reflects both the enduring fascination with the Orient and a highly selective approach to exoticism, privileging rarity and material quality over overt decoration.
The gilt-bronze mounts play a decisive role in transforming the celadon vessel into a clock of architectural presence. Executed with great virtuosity, they frame and articulate the ceramic form while providing both structural and symbolic emphasis. The rotating dial, discreetly integrated into the bronze band encircling the body of the vase, further exemplifies the ingenuity prized by contemporary amateurs, combining technical sophistication with visual discretion.
A symbolic décor
A particularly striking feature of this model is the presence of crowing cockerel heads. Although relatively uncommon in clockmaking, the cockerel occupies a central place in French iconography. Long associated with vigilance, pride and combativeness, it also carries strong national connotations as an emblem of France. As a solar animal announcing the dawn, the cockerel is symbolically linked to time, light and renewal—meanings that resonate especially well within the context of a timekeeping object. During the reigns of Louis XV and Louis XVI, this motif extended beyond royal symbolism to embody the idea of a powerful and triumphant nation, making it particularly suitable for luxury objects intended for an elite and politically aware clientele.
Through the synthesis of a marchand-mercier–driven model, the refined taste for celadon, and a richly charged symbolic motif, this clock exemplifies the highest level of Parisian decorative arts in the 1770s. It stands at the crossroads of technical invention, global exchange and intellectual symbolism, offering a compelling illustration of how luxury objects were conceived, marketed and appreciated on the eve of the French Revolution.
This mantel clock belongs to a highly distinctive category of luxury objects conceived under the impetus of Parisian marchands-merciers during the reign of Louis XVI. Far from being mere intermediaries, these dealers acted as true artistic directors, orchestrating collaborations between clockmakers, bronziers and suppliers of exotic materials. The present clock is emblematic of this system: its conception relies on the combination of an imported Chinese celadon vessel, an inventive rotating dial mechanism, and an elaborate gilt-bronze mounting, all unified into a coherent and striking ensemble. The recurrence of closely related examples—now preserved in major public and private collections—confirms that this was a deliberately developed model rather than an isolated creation.
The success of this type is well documented through comparable clocks attributed to leading clockmakers such as André Hory, Louis Ourry, the Lepautes, Henry Martinot or Denis Masson, and through surviving examples at Versailles and in prominent collections of the 19th and 20th centuries. Archival sale descriptions from the 1770s and 1780s further attest to the circulation and desirability of these urn-shaped clocks with rotating dials and cockerel mounts. Such consistency strongly suggests the intervention of one of the great marchands-merciers of the period—figures such as Simon-Philippe Poirier, Dominique Daguerre, Claude-François Julliot or Pierre Lebrun—who were uniquely positioned to source rare ceramics, commission refined bronzes and supervise the final assembly of these ambitious works.
Chinese celadon
Central to the appeal of this model is the use of Chinese celadon. By the second half of the 18th century, Parisian collectors had developed a pronounced taste for monochrome ceramics, particularly celadons imported from China. Their soft green glaze, admired for its depth, subtle translucency and associations with jade, resonated perfectly with the emerging neoclassical sensibility, which favored restrained palettes and refined surfaces. In contrast to polychrome porcelains, celadon offered a sober yet luxurious ground that allowed gilt-bronze mounts to stand out with exceptional clarity. Its integration into French clocks reflects both the enduring fascination with the Orient and a highly selective approach to exoticism, privileging rarity and material quality over overt decoration.
The gilt-bronze mounts play a decisive role in transforming the celadon vessel into a clock of architectural presence. Executed with great virtuosity, they frame and articulate the ceramic form while providing both structural and symbolic emphasis. The rotating dial, discreetly integrated into the bronze band encircling the body of the vase, further exemplifies the ingenuity prized by contemporary amateurs, combining technical sophistication with visual discretion.
A symbolic décor
A particularly striking feature of this model is the presence of crowing cockerel heads. Although relatively uncommon in clockmaking, the cockerel occupies a central place in French iconography. Long associated with vigilance, pride and combativeness, it also carries strong national connotations as an emblem of France. As a solar animal announcing the dawn, the cockerel is symbolically linked to time, light and renewal—meanings that resonate especially well within the context of a timekeeping object. During the reigns of Louis XV and Louis XVI, this motif extended beyond royal symbolism to embody the idea of a powerful and triumphant nation, making it particularly suitable for luxury objects intended for an elite and politically aware clientele.
Through the synthesis of a marchand-mercier–driven model, the refined taste for celadon, and a richly charged symbolic motif, this clock exemplifies the highest level of Parisian decorative arts in the 1770s. It stands at the crossroads of technical invention, global exchange and intellectual symbolism, offering a compelling illustration of how luxury objects were conceived, marketed and appreciated on the eve of the French Revolution.
SEND AN EMAIL
+33 1 45 63 43 46