Remarkable carving of all the gilt bronze sconces for this vase clock which can be considered as the best in this model.
On either side of the white enamel dial, two vestals, one displaying a crescent moon for the night, the other a sun for the day.
At its top, the neck of the vase hosts a frieze of four putti illustrating the seasons.
Each of the handles, finely decorated with vine leaves, begins with a bearded man's head and ends with an owl's head in its windings. Owl, symbol of wisdom and knowledge.
Under the dial, at the edge of the pedestal, a beautiful laurel wreath, held by a ribbon, completes this anthology of finely chiseled and gilded bronze decorations.
The pedestal, surrounded by a frieze of water leaves, rests on a square plinth, itself embellished with an applied decoration simulating a painting representing a languid Cupid, spectator of the passage of time.
On both sides, foliage and palm leaves.
The set rests on four rave feet in gilded bronze.
We find the same vestals, handles, bearded heads on two clocks by Claude Galle illustrated in the Vergoldete Bronzen p 365, plate 5.12.10 and 5.12.12.

The dial is signed Frisard à Rouen, for Charles Henry Frisard (1779-1820), Master watchmaker based rue du Grand Pont in Rouen, from 1798 to 1820.
Considered a watchmaking genius from the school of Rouen, he died of a serious illness at the age of 41.

Empire period.

Attributed to Claude Galle.

Very good state of conservation.
Original gilding.

Dimensions:
Height  43 cm

Claude GALLE (1759-1815)
Considered one of the most important bronzers of the end of the 18th century and the beginning of the 19th century, Claude Galle is today a reference for bronze in the neoclassical style. From the beginning of his career, he became a collaborator of famous founders such as Antoine-André Ravrio and Jean Hauré. This allows him to participate in the development of bronzes for the furniture of the crown. Under the Consulate, he quickly became Philippe Thomire's main competitor. It provides the imperial furniture storage, thus furnishing the castles of Compiègne and Fontainebleau. Retiring in 1813, he was replaced by his son Gérard-Jean. His productions, once very popular with the English and Russians, inspired bronzers such as Andreï Voronikhin (1759-1814) and Friedrich Bergenfeldt (1768-1822). He died in 1815 after having produced works that are the pride of major collections.

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