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Lot Essay
COMPARATIVE LITERATURE:
JOSEPH FANELLI AND CHARLES TERWILLIGER, A CENTURY OF FINE CARRIAGE CLOCKS, CLOCK TRADE ENTERPRISES 1987, PP. 90-91
A. KENNETH SNOWMAN, THE MASTER JEWELLERS, LONDON 1990, PP. 61-72
LUCIEN FALIZE, L'ORFEVREUE ET LA BIJOUTERIE AU CHAMPS DE MARS, GAZETTE DES BEAUX ARTS, PARIS 878
KATHERINE PURCELL, CATERING FOR EVERY TASTE, APOLLO, FEBRUARY 1991
THE FALIZE FAMILY JEWELLERY BUSINESS BEGAN WITH ALEXIS FALIZE (1811-1898). ALEXIS CAME TO PARIS IN 1833 WHERE HIS PRODIGIOUS TALENT FOR DRAWING AND DESIGNING PRECIOUS AND ARCHITECTURAL ORNAMENTS ENABLED HIM TO START THE BUSINESS IN 1838 IN PALAIS ROYALE. HE WAS CHIEFLY NOTABLE FOR REVIVING THE CLOISONNé ENAMEL TECHNIQUE IN THE JAPANESE TASTE AND FOR PRODUCING AMBITIOUS NEO-RENAISSANCE PIECES. BORN INTO THE BUSINESS IN 1837, HIS SON LUCIEN TRAINED UNDER HIS FATHER STUDYING AND RESEARCHING TECHNIQUES FOR MAKING ENAMELS, JEWELLERY AND OTHER WORKS OF ART THAT WERE ALREADY ON DISPLAY IN THE LOUVRE. ON HIS FATHER'S RETIREMENT IN 1876 LUCIEN TOOK OVER THE BUSINESS.
THE PRESENT CLOCK IS ALMOST CERTAINLY THE SAME TIMEPIECE THAT WAS EXHIBITED AT THE EXPOSITION UNIVERSELLE IN 1878 IN PARIS. IT WAS GIVEN THE NAME ANGELUS AND DESCRIBED IN THE GAZETTE DES BEAUX-ARTS AS UNE CHARMANTE PETITE HORLOGE D'IVOIRE, MONTé EN OR ET ARGENT, DANS LE STYLE DU XIIIE SI/AELE ET LE BEAU PENDANT DE COL INSPIRé DES JOLIES COMPOSITIONS D'ADRIEN COLLAERT.
LUCIEN FALIZE HAD AN OBSESSIONAL INTEREST IN IN THE TECHNIQUES AND DECORATIVE STYLES OF THE EARLY 16TH CENTURY. HE STUDIED OLD TECHNIQUES FOR ENAMELING AND CLEARLY INCREASED HIS KNOWLEDGE OF THIS PERIOD GREATLY AS MUCH OF IT HAS BEEN REFLECTED IN THE PRESENT CLOCK'S DECORATION. ANOTHER EXCELLENT EXAMPLE THAT REFLECTS HIS DEDICATION TO THIS TYPE OF WORK IS A GOLD, ENAMEL, SILVER AND HARDSTONE TABLE CLOCK IN THE PERMANENT COLLECTION AT THE METROPOLITAN MUSEUM OF ART, NEW YORK.
THE PRESENT CLOCK IS A TOUR DE FORCE OF ATTENTION TO DETAIL AND ORIGINALITY, THE SILVER STRAPS THAT QUITE LITTERALLY HOLD THE CASE TOGETHER ARE SECURED BY GOLD STUDS. THE SILVER-GILT INTERWOVEN DRAGON PANELS IN THE DIAL CENTRE AND IN THE CENTRE OF THE TOP OF THE CASE ARE A WONDERFUL EXAMPLE OF CRAFTSMANSHIP AND BEAUTIFUL DESIGN. THE BEAUTIFULLY CRAFTED SILVER LATCH FOR THE SMALL DOOR IN THE REAR OF THE CLOCK IS FORMED AS A GROTESQUE AND BEARS EVEN THE CLOSEST SCRUTINY UNDER A LOOP.
JOSEPH FANELLI AND CHARLES TERWILLIGER, A CENTURY OF FINE CARRIAGE CLOCKS, CLOCK TRADE ENTERPRISES 1987, PP. 90-91
A. KENNETH SNOWMAN, THE MASTER JEWELLERS, LONDON 1990, PP. 61-72
LUCIEN FALIZE, L'ORFEVREUE ET LA BIJOUTERIE AU CHAMPS DE MARS, GAZETTE DES BEAUX ARTS, PARIS 878
KATHERINE PURCELL, CATERING FOR EVERY TASTE, APOLLO, FEBRUARY 1991
THE FALIZE FAMILY JEWELLERY BUSINESS BEGAN WITH ALEXIS FALIZE (1811-1898). ALEXIS CAME TO PARIS IN 1833 WHERE HIS PRODIGIOUS TALENT FOR DRAWING AND DESIGNING PRECIOUS AND ARCHITECTURAL ORNAMENTS ENABLED HIM TO START THE BUSINESS IN 1838 IN PALAIS ROYALE. HE WAS CHIEFLY NOTABLE FOR REVIVING THE CLOISONNé ENAMEL TECHNIQUE IN THE JAPANESE TASTE AND FOR PRODUCING AMBITIOUS NEO-RENAISSANCE PIECES. BORN INTO THE BUSINESS IN 1837, HIS SON LUCIEN TRAINED UNDER HIS FATHER STUDYING AND RESEARCHING TECHNIQUES FOR MAKING ENAMELS, JEWELLERY AND OTHER WORKS OF ART THAT WERE ALREADY ON DISPLAY IN THE LOUVRE. ON HIS FATHER'S RETIREMENT IN 1876 LUCIEN TOOK OVER THE BUSINESS.
THE PRESENT CLOCK IS ALMOST CERTAINLY THE SAME TIMEPIECE THAT WAS EXHIBITED AT THE EXPOSITION UNIVERSELLE IN 1878 IN PARIS. IT WAS GIVEN THE NAME ANGELUS AND DESCRIBED IN THE GAZETTE DES BEAUX-ARTS AS UNE CHARMANTE PETITE HORLOGE D'IVOIRE, MONTé EN OR ET ARGENT, DANS LE STYLE DU XIIIE SI/AELE ET LE BEAU PENDANT DE COL INSPIRé DES JOLIES COMPOSITIONS D'ADRIEN COLLAERT.
LUCIEN FALIZE HAD AN OBSESSIONAL INTEREST IN IN THE TECHNIQUES AND DECORATIVE STYLES OF THE EARLY 16TH CENTURY. HE STUDIED OLD TECHNIQUES FOR ENAMELING AND CLEARLY INCREASED HIS KNOWLEDGE OF THIS PERIOD GREATLY AS MUCH OF IT HAS BEEN REFLECTED IN THE PRESENT CLOCK'S DECORATION. ANOTHER EXCELLENT EXAMPLE THAT REFLECTS HIS DEDICATION TO THIS TYPE OF WORK IS A GOLD, ENAMEL, SILVER AND HARDSTONE TABLE CLOCK IN THE PERMANENT COLLECTION AT THE METROPOLITAN MUSEUM OF ART, NEW YORK.
THE PRESENT CLOCK IS A TOUR DE FORCE OF ATTENTION TO DETAIL AND ORIGINALITY, THE SILVER STRAPS THAT QUITE LITTERALLY HOLD THE CASE TOGETHER ARE SECURED BY GOLD STUDS. THE SILVER-GILT INTERWOVEN DRAGON PANELS IN THE DIAL CENTRE AND IN THE CENTRE OF THE TOP OF THE CASE ARE A WONDERFUL EXAMPLE OF CRAFTSMANSHIP AND BEAUTIFUL DESIGN. THE BEAUTIFULLY CRAFTED SILVER LATCH FOR THE SMALL DOOR IN THE REAR OF THE CLOCK IS FORMED AS A GROTESQUE AND BEARS EVEN THE CLOSEST SCRUTINY UNDER A LOOP.