Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860 | ANTIQUES.CO.UK |
 

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    antique french gilt bronze clock with portrait plaque of molière c.1860

    Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860
    • Antique Antique French Gilt Bronze Clock with Portrait Plaque of Molière c.1860

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    This is a superb antique French gilt bronze mantel clock with Bleu Celesteporcelain panels in theSevres manner, circa 1860 in date.

     
    The case crowned with two cherubs holding laurels one holding a mask emblematic of theatre, flanking an oval Bleu Celesteporcelain panelof the playwrightMolière.
     

    The base decorated with ormolu flowers is raised on turned feet and inset withSevresplaques decorated with cherubs.
     
    The circular dial has Roman and Arabic numerals and the clock has an 8 day striking movement complete with count wheel strike and bell, stamped with Miroy Freres to back and is complete with original key bell and pendulum
     
    This incredible clock is a must have for any collector of ornamental and decorative pieces.
     

    Condition:
     
    The clock is in excellent working condition the movement having been cleaned and serviced, the ormolu case having been polished, please see photos for confirmation.
     
     
     
    Dimensions in cm:
     
    Height 34 x Width 52 x Depth 14
     
    Dimensions in inches:
     
    Height 1 foot, 1 inch x Width 1 foot, 8 inches x Depth 5 inches
     

    Our reference: A1840
    Ormolu - Gilt Bronze(from French 'or moulu', signifying ground or pounded gold) is an 18th-century English term for applying finely ground, high-caratgoldin amercuryamalgamto an object ofbronze.The mercury is driven off in akilnleaving behind a gold-coloured veneerknown as'gilt bronze'.
     
    The manufacture of true ormolu employs a process known as mercury-gilding orfire-gilding, in which a solution ofnitrate of mercuryis applied to a piece ofcopper,brass, or bronze, followed by the application of anamalgamof gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object.
     
    After around 1830 because legislation had outlawed the use of mercury other techniques were used instead.Electroplatingis the most common modern technique. Ormolu techniques are essentially the same as those used onsilver, to producesilver-gilt..
     
    Molière
     
    Jean-Baptiste Poquelin, known by his stage name French: 15 January 1622 – 17 February 1673), was a French playwright and actor who is considered to be one of the greatest masters of comedy in Western literature. Among Molière's best known works are The Misanthrope, The School for Wives, Tartuffe, The Miser, The Imaginary Invalid, and The Bourgeois Gentleman.
    Born into a prosperous family and having studied at the Collège de Clermont (now Lycée Louis-le-Grand), Molière was well suited to begin a life in the theatre. Thirteen years as an itinerant actor helped him polish his comic abilities while he began writing, combining Commedia dell'arte elements with the more refined French comedy.
    Through the patronage of aristocrats including Philippe I, Duke of Orléans—the brother of Louis XIV—Molière procured a command performance before the King at the Louvre. Performing a classic play by Pierre Corneille and a farce of his own, The Doctor in Love, Molière was granted the use of salle du Petit-Bourbon near the Louvre, a spacious room appointed for theatrical performances. Later, Molière was granted the use of the theatre in the Palais-Royal. In both locations he found success among Parisians with plays such as The Affected Ladies, The School for Husbands and The School for Wives. This royal favour brought a royal pension to his troupe and the title Troupe du Roi ("The King's Troupe"). Molière continued as the official author of court entertainments.
    Though he received the adulation of the court and Parisians, Molière's satires attracted criticism from moralists and the Catholic Church. Tartuffe and its attack on perceived religious hypocrisy roundly received condemnations from the Church, while Don Juan was banned from performance. Molière's hard work in so many theatrical capacities took its toll on his health and, by 1667, he was forced to take a break from the stage. In 1673, during a production of his final play, The Imaginary Invalid, Molière, who suffered from pulmonary tuberculosis, was seized by a coughing fit and a haemorrhage while playing the hypochondriac Argan. He finished the performance but collapsed again and died a few hours later.
    Molière was born in Paris, the son of Jean Poquelin and Marie Cressé, the daughter of a prosperous bourgeois family. He lost his mother when he was ten and he did not seem to have been particularly close to his father. After his mother's death, he lived with his father above the Pavillon des Singes on the rue Saint-Honoré, an affluent area of Paris. It is like that his education commenced with studies in a Parisian elementary school; this was followed with his enrollment in the prestigious Jesuit Collège de Clermont, where he completed his studies in a strict academic environment and got a first taste of life on the stage.
    In 1631, Jean Poquelin purchased from the court of Louis XIII the posts of "valet de chambre ordinaire et tapissier du Roi" ("valet of the King's chamber and keeper of carpets and upholstery"). His son assumed the same posts in 1641. The title required only three months' work and an initial cost of 1,200 livres; the title paid 300 livres a year and provided a number of lucrative contracts. Poquelin also studied as a provincial lawyer sometime around 1642, probably in Orléans, but it is not documented that he ever qualified. So far he had followed his father's plans, which had served him well; he had mingled with nobility at the Collège de Clermont and seemed destined for a career in office.
    In June 1643, when Molière was 21, he decided to abandon his social class and pursue a career on the stage. Taking leave of his father, he joined the actress Madeleine Béjart, with whom he had crossed paths before, and founded the Illustre Thétre with 630 livres. They were later joined by Madeleine's brother and sister.
    Illustration after Pierre Brissart for the printed text of 'L'Étourdi, ou le Contretemps
    The new theatre troupe went bankrupt in 1645. Molière had become head of the troupe, due in part, perhaps, to his acting prowess and his legal training. However, the troupe had acquired large debts, mostly for the rent of the theatre (a court for jeu de paume), for which they owed 2000 livres. Historians differ as to whether his father or the lover of a member of his troupe paid his debts; either way, after a 24-hour stint in prison he returned to the acting circuit. It was at this time that he began to use the pseudonym Molière, possibly inspired by a small village of the same name in the Midi near Le Vigan. It was also likely that he changed his name to spare his father the shame of having an actor in the family (actors, although no longer vilified by the state under Louis XIV, were still not allowed to be buried in sacred ground).
    After his imprisonment, he and Madeleine began a theatrical circuit of the provinces with a new theatre troupe; this life was to last about twelve years, during which he initially played in the company of Charles Dufresne, and subsequently created a company of his own, which had sufficient success and obtained the patronage of Philippe I, Duke of Orléans. Few plays survive from this period. The most noteworthy are L'Étourdi, ou le Contretemps (The Bungler) and Le Docteur Amoureux (The Doctor in Love); with these two plays, Molière moved away from the heavy influence of the Italian improvisational Commedia dell'arte, and displayed his talent for mockery. In the course of his travels he met Armand, Prince of Conti, the governor of Languedoc, who became his patron, and named his company after him. This friendship later ended when Conti, having contracted syphilis from a courtesan, turned towards religion and joined Molière's enemies in the Parti des Dévots and the Compagnie de Saint Sacrement.
    In Lyon, Mademoiselle Du Parc, known as Marquise, joined the company. Marquise was courted, in vain, by Pierre Corneille and later became the lover of Jean Racine. Racine offered Molière his tragedy Théagène et Chariclée (one of the first works he wrote after he had abandoned his theology studies), but Molière would not perform it, though he encouraged Racine to pursue his artistic career. It is said that soon thereafter Molière became angry with Racine when he was told that he had secretly presented his tragedy to the company of the Hôtel de Bourgogne as well.
    Molière was forced to reach Paris in stages, staying outside for a few weeks in order to promote himself with society gentlemen and allow his reputation to feed in to Paris. Molière reached Paris in 1658 and performed in front of the King at the Louvre (then for rent as a theatre) in Corneille's tragedy Nicomède and in the farce Le Docteur Amoureux with some success. He was awarded the title of Troupe de Monsieur (Monsieur being the honorific for the king's brother Philippe I, Duke of Orléans). With the help of Monsieur, his company was allowed to share the theatre in the large hall of the Petit-Bourbon with the famous Italian Commedia dell'arte company of Tiberio Fiorillo, famous for his character of Scaramouche. (The two companies performed in the theatre on different nights.) The premiere of Molière's Les Précieuses Ridicules (The Affected Young Ladies) took place at the Petit-Bourbon on 18 November 1659.
     
    Les Précieuses Ridicules was the first of Molière's many attempts to satirize certain societal mannerisms and affectations then common in France. It is widely accepted that the plot was based on Samuel Chappuzeau's Le Cercle des Femmes of 1656. He primarily mocks the Académie Française, a group created by Richelieu under a royal patent to establish the rules of the fledgling French theater. The Académie preached unity of time, action, and styles of verse. Molière is often associated with...

    Antiques.co.uk Ref: 8YG5YNC52

    Width (cm):
    52
    Height (cm):
    34
    Depth (cm):
    14
    Price: £3,750.00

    Please note that this price may NOT include delivery charges which the seller may charge extra for.

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