An impressive gilt brass mounted Parian porcelain mantel timepiece 'The Three Graces' The movement signed for Le Roy, Paris, late 19th century The circular eight-day movement with replaced platform lever escapement regulated by sprung bimetallic balance and stamped 6785 to backplate, the 2.5 inch circular convex white enamel Arabic numeral dial indistinctly signed LE ROY, A PARIS to centre and with scroll-pierced gilt hands within engine-turned hinged convex glazed bezel, the case modelled with a large two-handled urn with military trophies to the convex top section over repeating medallion decorated collar flanked by acanthus scroll handles with dial between, standing via fluted socle onto a circular moulding plinth decorated with a band scrolling foliage to waist, the foreground applied with three standing scantily clad Classical female figures draped with floral encrustations, the whole on rectangular plinth base inset with gilt brass frieze panels relief decorated with cherubs cavorting within billowing clouds to each side over cast cavetto moulded shallow skirt, (damage and losses to case), 66cm (26ins) high. The firm of 'Le Roy & Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who was in-turn succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left the Palais Royal and moved to Boulevard de La Madeleine from where it continued trading in the hands of various successors well into the twentieth century. The figural form of the current lot is based on an Imperial era Roman marble sculpture (after a Hellenistic original) housed in the in the collection of the Louvre, Paris. Condition report disclaimer
An impressive gilt brass mounted Parian porcelain mantel timepiece 'The Three Graces' The movement signed for Le Roy, Paris, late 19th century The circular eight-day movement with replaced platform lever escapement regulated by sprung bimetallic balance and stamped 6785 to backplate, the 2.5 inch circular convex white enamel Arabic numeral dial indistinctly signed LE ROY, A PARIS to centre and with scroll-pierced gilt hands within engine-turned hinged convex glazed bezel, the case modelled with a large two-handled urn with military trophies to the convex top section over repeating medallion decorated collar flanked by acanthus scroll handles with dial between, standing via fluted socle onto a circular moulding plinth decorated with a band scrolling foliage to waist, the foreground applied with three standing scantily clad Classical female figures draped with floral encrustations, the whole on rectangular plinth base inset with gilt brass frieze panels relief decorated with cherubs cavorting within billowing clouds to each side over cast cavetto moulded shallow skirt, (damage and losses to case), 66cm (26ins) high. The firm of 'Le Roy & Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who was in-turn succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left the Palais Royal and moved to Boulevard de La Madeleine from where it continued trading in the hands of various successors well into the twentieth century. The figural form of the current lot is based on an Imperial era Roman marble sculpture (after a Hellenistic original) housed in the in the collection of the Louvre, Paris. Condition report disclaimer
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
