A large and rare Louis XV Ormolu Cartel Clock attributed to Charles Cressent circa 1740-45, the movement signed Herve a Paris

Dial sprayed and otherwise good condition. Putto and flower on propert right side of dial detaches. Lower section of proper right side with drillhole, originally probably with ormolu element. One element on other side secured with later screw. A few small vacant screwoles to drum. Reverse lacking door to mechanism. Front door lacking glass. Ormolu with some very light rubbing and some tracks of surface dirt in crevices. In very good overall condition.
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.
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On this large and rare cartel clock, Cressent explores the theme of love scared by time (l’amour effrayé par le temps). The model is discussed at length by Alexandre Pradère in Charles Cressent, Dijon, 2003, pp. 188-198, in which he describes this model as being Cressent’s most rococo and asymmetric work.

Cressent conducted three sales of his stock in Paris, in 1749, 1757 and 1765. The 1749 sale included a cartel clock of this model:

“No 47. Une pendule à face de bronze, le corps de bois en marqueterie, sa composition représente un Tems volant avec sa faulx, prêt à trancher le fil de la vie à un enfant qui est dans un rocher, qui en apercevant le Tems, abandonne son carquois & son arc, l’effroi qui paroît sur le visage de cet enfan, fait un effet des plus singuliers. Les ornemens qui renferment le cartel, sont d’un goût tout extraordinaire à toutes les pendules, faites par les gens les plus expérimentés en cet art, pourquoi l’on peut se flatter de l’approbation des connoisseurs : elle porte trois pieds de haut [38.5 in.] , & est dorée d’or moulu… 1300 L.”

The clock sold well, for 1300 livres, and two further examples were included in the 1757 sale:

“No 151. – Une pendule à face de bronze, le corps de bois de chêne; la composition représente un Tems Volant avec sa faux, prêt à trancher le fil de la vie à un enfant qui est dans un rocher qui, en appercevant le Tems, abandonne son carquois et son arc; l’effroi qui paroît sur le visage de cet enfant fait un effet des plus singuliers. Les ornemens qui renferment le cartel sont de bon goût, dorés d’or moulu, avec mouvement; elle porte trois pieds de haut.
No 152. – Une autre pendule, de même que la précédente, selon les modèles que le sieur Cressent a employé dans celui-ci, dorée d’or moulu, avec son mouvement.”

At least five cartel clocks of this model are known today. Four of these are listed in Pradère, op. cit., p. 300, nos. 231-234. These include one in the Palace of Het Loo, Netherlands, given in 1835 by Wilhelmine of Prussia to her husband William I of Holland. The others are in the Rijksmuseum, Amsterdam (movement also signed by Hervé), William Rockhill Nelson Gallery of Art, Kansas City (signed Willemin à Metz), and one formerly in the collection of the Earls of Harrington at Elvaston Castle (sold Sotheby's London, November 22, 1963, lot 59), signed Lespinasse.

A cartel of this model, the movement signed Guiot, was included in the sale of the collection of Blondel de Gagny following his death in 1776 (lot 1026, sold for 80 livres). Another, possibly the same, the movement also signed by Guiot, was sold 15 December 1784, lot 213 and resold following the death of Boullogne de Préninville in 1787 (lot 274, 532 livres, acquired by Legere). Another example, possibly again the same one, with movement by Guiot, is recorded in the inventory following the death of Charles Godefroy de la Tour d’Auvergne, duc de Bouillon in 1771, no. 540 appraised at 500 livres. Guiot (André-Georges Guyot) was one of the principal clockmakers working with Cressent. He died before 1748 which would suggest a likely date for this model of the early to mid 1740’s. This is supported by the presence of a signature on the Het Loo example Buzot janvier 1742.

Charles Cressent (1685-1768)

The son of François Cressent, Sculpteur du Roi, Charles Cressent was born into a family of highly talented and successful craftsmen on December 16, 1685. He studied with André-Charles Boulle and, after marrying the widow of Joseph Poitou, ébéniste to the Regent, Philippe d'Orléans in 1719, he became one of the most sought-after furniture makers in Paris. He delivered pieces not only for French royalty and members of the high aristocracy such as the marquis de Marigny and the duc de Richelieu, but also to José I of Portugal and the Elector of Bavaria. He was one of the very few furniture makers who made his own ormolu mounts and managed to make a profitable career not only as ébéniste but also as fondeur-ciseleur. As noted above, records show that he executed a number of clock cases. He did not outsource any of the work related to manufacturing his clock cases and guarded his innovative designs with great care from other makers such as François Goyer, who were sometimes caught plagiarizing the works of the leading craftsmen of the day, such as Cressent himself.

Jean-Baptiste Hervé (1700-1780)

Hervé, maître in 1726 and recorded in Place Dauphine and Place des Trois-Marie after 1772, was one of the principal clockmakers working with Cressent. His clients included the comte de Forcalquier and the comtesse de Montmorency.