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拍品专文
Although apparently unsigned, this type of exceptional automaton singing bird cage clock is one of the most famous productions of Pierre Jaquet Droz (1721-1790), the greatest mechanician of the age. An almost identical bird cage clock was perfectly described by the horological writer Elizabeth Doerr as follows: “One of his (Pierre Jaquet Droz’s) most capricious inventions was a clock whose dial formed the base of a full-size bird cage. As the cage was made to hang like a real bird cage, the dial was underneath and seen from below. The cage also contained one or two singing bird automata whose song was made to seem like a conversation between them “. The concept of an automaton imitating live birdsong was evidently a popular one in fashionable circles, and as early as 1754, the duc de Cry recorded in his diary “Je vis avec plaisir une pendule de la Marquise [de Pompadour] avec un serin sifflant plusieurs airs, faite avec soin”.
In the late 18th century when this incredible mechanical object was constructed, it would have been seen as an astonishing, almost magical spectacle. Today, nearly 250 years after it was made, it has lost none of its ability to intrigue and captivate its audience. Naturally, a sumptuous and highly complex object de luxe of such magnificence was solely the preserve of Kings, Princes and the great aristocratic families of Europe, the Middle East and China.
Perhaps only around a dozen similar singing bird cage clocks are known to exist today. They share certain distinctive features including the use of tapered columns with urn capitals, niches in the base incorporating either gilt flower vases or porcelain figures and oval enamel plaques, probably of Swiss manufacture, framed by swagged ormolu mounts often virtually identical to those on the example offered here. The group is exhaustively discussed by Geoffrey de Bellaigue in: ‘The James A. de Rothschild Collection at Waddesdon Manor, Furniture and Gilt Bronzes’, Fribourg, 1974, vol. I, pp. 164-9, cat. 34.
The known 'Pendule de Vestibule' includes the following examples:
one formerly in the collection of Mrs. James A. de Rothschild, sold Christie's London, 20 June 1972, lot 68. one sold from a private collection, Sotheby's Monaco, 26-7 May 1985, lot 1228.
one in the Conservatoire National des Arts et Metiers, Paris.
a pair in the Musée du Serail, Istanbul, originally a gift to Sultan Selim II (reigned 1761-1808).
one in the British Museum, the gift of E.J. Dingwall, 1968.
one in a private collection (illustrated in Connaissance des Arts, Le Dix-Huitime Siecle Français, Paris, 1956, p. 120, fig. A.
one formerly in the collection of Madame Hall, Neuilly-sur- Seine, (illustrated in A. Chapuis and E. Gelis, Le Monde des Automates, Paris, 1928, vol. II, p. 134, fig. 408.
One in the Sandoz Collection, Musée d’Horlogerie du Locle, Chateau des Monts, described and illustrated in: Chefs d’Oevre de la Collection Sandoz, Exhibition Catalogue, 24 May – 31 October 2009, pp. 14-15 and pp. 116-117.
Inscribed on the underside of brass base plates of the cage, the present clock has some fascinating details recording the history of its service and repair inscribed by the clockmakers who have worked on it since 1874. These names include the famous Parisian clock and watchmaker and retailer Gustave Sandoz (1836-1891) who repaired the clock in June 1874. Sandoz worked from premises at Palais Royal 147-148, he exhibited at the "Exposition Universelle de Paris" in 1889, and was awarded a gold Medal at the "Amsterdam Exhibition" in 1883 and took part in the "Barcelona Exhibition" 1888, as "hors concours", were he was President of the Jury. He also was "Officier de la Légion d'Honneur". The clock was repaired again on 1st March 1880 by J. Francotay in Bruxelles and in September 1901 by E. Wehrle. Other dates and names are inscribed up until the 1990s.
Pierre Jaquet Droz
The firm of Pierre Jaquet-Droz, which specialized in these charming birdcage clocks, was originally established at La Chaux-de-Fonds and later at Geneva. Jaquet-Droz, had at one time three production workshops located in La Chaux-de-Fonds, Geneva, and London, he reached the height of its career in 1788. The company was continued by his son Henri-Louis (1752-1791) and carried on under various owners until 1835. A force in Swiss luxury, it produced complicated timepieces and automata such as singing birds and musical snuff boxes. Pierre Jaquet-Droz died in Biel in 1790, at the age of 69. The firm was taken over by his son Henry-Louis and Jean Frédéric Leschot, under the name of Jaquet-Droz & Leschot. He also maintained an active interest in the Société des Arts, studying questions related to the well-being of the Genevese "Fabrique" and seeking solutions to problems which plagued his colleagues and fellow members. Henry-Louis' health was poor, however. Despite a journey undertaken to improve his condition, he died in Naples in November 1791. Subsequently, Jean Frédéric Leschot took over the firm. However, The deaths of his partners and the bad economic situation that had arisen due to the Napoleonic Wars severely hindered Leschot in carrying on in the same manner. He did not actively create new models in the aftermath, only producing variations of those that had been created in the company’s heyday. By 1810 the company appears to have ceased trading. However short-lived it may have been, Pierre Jaquet-Droz and his little company left behind a legacy of complicated and wondrous timepieces and automata.
In the late 18th century when this incredible mechanical object was constructed, it would have been seen as an astonishing, almost magical spectacle. Today, nearly 250 years after it was made, it has lost none of its ability to intrigue and captivate its audience. Naturally, a sumptuous and highly complex object de luxe of such magnificence was solely the preserve of Kings, Princes and the great aristocratic families of Europe, the Middle East and China.
Perhaps only around a dozen similar singing bird cage clocks are known to exist today. They share certain distinctive features including the use of tapered columns with urn capitals, niches in the base incorporating either gilt flower vases or porcelain figures and oval enamel plaques, probably of Swiss manufacture, framed by swagged ormolu mounts often virtually identical to those on the example offered here. The group is exhaustively discussed by Geoffrey de Bellaigue in: ‘The James A. de Rothschild Collection at Waddesdon Manor, Furniture and Gilt Bronzes’, Fribourg, 1974, vol. I, pp. 164-9, cat. 34.
The known 'Pendule de Vestibule' includes the following examples:
one formerly in the collection of Mrs. James A. de Rothschild, sold Christie's London, 20 June 1972, lot 68. one sold from a private collection, Sotheby's Monaco, 26-7 May 1985, lot 1228.
one in the Conservatoire National des Arts et Metiers, Paris.
a pair in the Musée du Serail, Istanbul, originally a gift to Sultan Selim II (reigned 1761-1808).
one in the British Museum, the gift of E.J. Dingwall, 1968.
one in a private collection (illustrated in Connaissance des Arts, Le Dix-Huitime Siecle Français, Paris, 1956, p. 120, fig. A.
one formerly in the collection of Madame Hall, Neuilly-sur- Seine, (illustrated in A. Chapuis and E. Gelis, Le Monde des Automates, Paris, 1928, vol. II, p. 134, fig. 408.
One in the Sandoz Collection, Musée d’Horlogerie du Locle, Chateau des Monts, described and illustrated in: Chefs d’Oevre de la Collection Sandoz, Exhibition Catalogue, 24 May – 31 October 2009, pp. 14-15 and pp. 116-117.
Inscribed on the underside of brass base plates of the cage, the present clock has some fascinating details recording the history of its service and repair inscribed by the clockmakers who have worked on it since 1874. These names include the famous Parisian clock and watchmaker and retailer Gustave Sandoz (1836-1891) who repaired the clock in June 1874. Sandoz worked from premises at Palais Royal 147-148, he exhibited at the "Exposition Universelle de Paris" in 1889, and was awarded a gold Medal at the "Amsterdam Exhibition" in 1883 and took part in the "Barcelona Exhibition" 1888, as "hors concours", were he was President of the Jury. He also was "Officier de la Légion d'Honneur". The clock was repaired again on 1st March 1880 by J. Francotay in Bruxelles and in September 1901 by E. Wehrle. Other dates and names are inscribed up until the 1990s.
Pierre Jaquet Droz
The firm of Pierre Jaquet-Droz, which specialized in these charming birdcage clocks, was originally established at La Chaux-de-Fonds and later at Geneva. Jaquet-Droz, had at one time three production workshops located in La Chaux-de-Fonds, Geneva, and London, he reached the height of its career in 1788. The company was continued by his son Henri-Louis (1752-1791) and carried on under various owners until 1835. A force in Swiss luxury, it produced complicated timepieces and automata such as singing birds and musical snuff boxes. Pierre Jaquet-Droz died in Biel in 1790, at the age of 69. The firm was taken over by his son Henry-Louis and Jean Frédéric Leschot, under the name of Jaquet-Droz & Leschot. He also maintained an active interest in the Société des Arts, studying questions related to the well-being of the Genevese "Fabrique" and seeking solutions to problems which plagued his colleagues and fellow members. Henry-Louis' health was poor, however. Despite a journey undertaken to improve his condition, he died in Naples in November 1791. Subsequently, Jean Frédéric Leschot took over the firm. However, The deaths of his partners and the bad economic situation that had arisen due to the Napoleonic Wars severely hindered Leschot in carrying on in the same manner. He did not actively create new models in the aftermath, only producing variations of those that had been created in the company’s heyday. By 1810 the company appears to have ceased trading. However short-lived it may have been, Pierre Jaquet-Droz and his little company left behind a legacy of complicated and wondrous timepieces and automata.