A LOUIS XVI STYLE GILT-BRONZE MOUNTED MAHOGANY RÉGULATEUR DE PARQUET AFTER THE 18TH CENTURY MODEL BY BALTHAZAR LIEUTAUD AND PHILIPPE CAFFIÉRI PARIS, EARLY 20TH CENTURY

the clock surmounted by a figure of Apollo, the white enamel dial signed FERDINAND BERTHOUT to the front, the twin-train movement with the stamp of Etienne Maxant and signed Etienne Maxant Breveté, 4 Rue Saintonge, Paris and numbered 17924,  the dial case flanked by two doors providing access to the movment, two side doors opening to the pendulum case, the laurel and berried wreath centering the front glazed panel with number 270 to the reverse from the bronze master model.  Two original keys. 

C. Payne, François Linke, pp. 184-185, pl. 200, for a watercolor sketch of a clock by François Linke and pl. 201, for an illustration of it.

F. J. B. Watson, Louis XVI Furniture, Academy Editions, 1973, plate 51; and J. Focarino, Furniture in the Frick Collection, Vol. V, pp. 314-332; and P. Arizzoli-Clementael, Versailles Furniture of the Royal Palace 17th and 18th Centuries, Vol. II, p. 38-39, for illustrations and discussions of the 18th century model by Balthazar Lieutaud and Philippe Caffiéri.

Overall in good condition. Gilt-bronze and brass mounts have been extensively cleaned in the past resulting in a soft yellow color. Tarnishing to gilt-bronze. Traces of bronze cleaner. The usual scratches, dents and nicks to veneer in places consistent with age and use.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

As discussed by Christopher Payne, an original version of this clock was exhibited at the Exposition d'Art Français du XVIIIe Siècle, catalogued by L. Roger-Miles, Galerie Jamarin, Paris, 1916 catalogue number 123. The inspiration to remake this clock in the 19th century may well have been various loan exhibitions. An original model of this ' pendule-gaine,' veneered in ebony, was loaned by the Musée Conservatoire national des arts et métiers. Now at Versailles, it was shown in a line engraving in the Exposition rétrospective de l'union centrale des arts décoratifs , Paris 1882, De Champeau & Others, 'Les arts du bois,' pub. Quantin, 1883, p. 100. Six years after this loan, in 1888, the kingwood and tulipwood veneered example, now in the Frick Collection, was shown at the Hotel de Chimay 'Exposition de l'art français sous Louis XIV et sous Louis XV ,' lent by the Vicomte de Saint-Georges, and again at the Petit Palais Musée Retrospectif at the Exposition Universelle of 1900. This long-case clock is a copy of the example made by Weisweiler, with the signature of Beneman added possibly when the clock was repaired. Reputedly owned by Marie-Antoinette, the clock and its companion barometer were originally sold in November 1793 for 7,899 livres 19 sous to 'Citoyen Breton cadet.'

Etienne Maxant was located at 4 Rue Saintonge, Paris between 1880 and 1905 and is known to have supplied movements to most of Francois Linke's long case clocks.  See a long case clock by Linke index number 551sold Christie's October 25, 2007, lot 407.  A clock similar to the present lot by Francois Linke, index number 768, sold in these rooms, October 24, 2007 lot 351. 

Although aparently unsigned, the cabinetry is of the highest Parisian standard.  The is further illustrated by the well chosen mahogany veneer inlaid on an oak carcass with bolt heads filled with wax.