A Louis XVI period ormolu and patinated-bronze mantel-clock by Nicolas Charles Du Tertre (Paris, 1715-1793) *SOLD*
The 10cm white re-enamelled dial with roman numerals and gilt metal hands, the back of the movement signed “Chles DuTertre”; the case & dial surmounted with a crowing rooster upon a man’s head together with a bronzed putti reclining whilst reading a scroll; the sub-plinth with foliate ornament raised on bun feet.
France, last quarter 18th century
Height: 30 cm Width: 30 cm
The rooster (Alectryon) shown here represents the God Hermes Psychopomp in escorting the fallen to the underworld. Hermes, himself, deathless and ever young, is considered a god of transitions and boundaries, in mythology he was the trickster who outwits other gods for his own satisfaction or the sake of humankind. His attributes and symbols include the herma, the rooster and the tortoise, etc. The putto shown here is exactly like that of Francois Duquesnoy’s “Genie Funebre” in the Palace of Fontainebleau, France. Illustrated: French Clocks the World Over, Part Two, From Louis XVI style to Louis XVIII- Charles X period by Tardy, Paris Charles-Nicolas Du Tertre (d. before 1778) made the movement for this magnificent clock. He was very important maker and came from a renowned clockmaking family. He was the son of Nicolas-Charles and grandson of Jean-Baptiste Du Tertre I; his uncles were also maître-horlogers. Charles became a master in 1758 and worked with his father at Quai de l'Ecole. He used very fine cases by the best makers including Jean-Joseph de Saint-Germain, the Osmonds, Michel Poisson, J. B. Gaulier and E. Portellette. He supplied movements to the marchand-mercier, Daguerre and was also patronised by royalty and aristocracy. The comte d'Artois, Prince Charles de Lorraine, the marquise De Langeac, Monsieur Grimod de la Reynière, Lalive de Bellegarde and Sollier all owned his work. Among public collections one can find clocks by Charles Du Tertre at the Château de Versailles, in the Musée Nissim-de-Camondo and Mobilier National, Paris; the Rijksmuseum, Amsterdam and at the Victoria and Albert Museum, London. Note: it was common & acceptable practice to re-enamel dials, due to chipping around the winding holes or for dial upgrade during the 19th century, the case partially re-gilt consistent with age.