Profusely decorated with the symbols of love and fidelity, this allegorical clock of exceptional quality was most likely produced for one of the French Imperial residences or a personage in the inner circle of Emperor Napoleon.

The extremely fine chasing of the ormolu and movement by the preeminent horologists Robin indicate that this clock was an important commission by a distinguished maker and the cases of a number of related clocks are attributed to the bronzier André-Antoine Ravrio. A closely related example was in Napoleon’s study at the Palais Élysée in 1809 and is currently preserved with the Mobilier National (illustrated here). This example features a swan on the frieze in place of the love hearts and based on its quality attributed to Andre-Antoine Ravrio (E. Dumonthier, “Les Bronzes du Mobilier National, Pendules et Cartels”, 1911, pl. 39). A further clock identical to our own, illustrated here (but lacking cyphers to the love hearts) is currently preserved in the château de Reuil-Malmaison (illustrated H. Ottomeyer/ P. Pröschl et al, Vergoldete Bronzen, München 1987, pl. 5.9.1, p.354) and was in the collection of Madame Mère, Napoleon’s mother at the hôtel de Brienne in Paris, today the Ministry of War. The presence of these clocks in the private apartments of both Napoleon and his mother as well as one recorded in 1807 in the Tuileries suggest that a number of examples of this model were commissioned for the Imperial residences and it is possible that our clock was included in this. An identical example to our own is currently preserved in the New York Historical Society Museum (inv. INV.235) and was a gift of the architect Goodhue Livingston (1867-1951). A further closely related example with a simpler dial, different feet and without cyphers was offered Sotheby’s, London, 1^st July 1977, lot 44 and another example with movement by Coquet was offered Prunier, Louviers, 6 July 2014, lot 174. A related mantel clock attributed to Ravrio circa 1810 depicting Eros riding a chariot drawn by hounds is of similar composition to our own and the execution of the chariot and chasing on the hounds appears to be from the same hand (sold Sotheby’s, New York, 10 November 2006, lot 129). A comparable clock of this model was supplied to “boudoir d’argent” of the Empress Josephine in the Élysée Palace in 1807 and it would appear therefore that a number of chariot clocks of related models to our own and attributed to Ravrio were delivered to Napoleon’s family, in particular at the Élysée, between 1805 and 1810.

THE DESIGN
The pictorial language of the clock is an elaborate allegory of love. Venus, Goddess of Love is seated in a chariot driven by Cupid and drawn by swans, animals whose beauty has long been associated with the goddess. Her left hand cradles a dove, a symbol of love and she looks towards her paramour Adonis; between them stands a dog, the symbol of fidelity. The frieze of the clock is decorated with love hearts bearing Venus and Adonis’s cypher and motifs indicative of the more dangerous side of love; Cupid’s workshop where he is forging his arrows and sharpening them on an anvil. Though chariot clocks had started to appear from the end of the 16^th century, they reached the zenith of their appeal towards the end of the 18^th century. With a beautifully-enamelled dial set into the chariot’s wheel decorated with ‘Etruscan’ palmettes, Venus and Adonis dressed in classical garb and a winged sphynx adorning the chariot, the clock displays a novel interpretation of neoclassicism with a faithful adherence to the ornamental grammar of Rome, Greece and Egypt.

THE MAKERS
Maître in 1777, André -Antoine Ravrio (1759-1814) was extremely well-connected in the decorative arts world of Paris and was a nephew of the celebrated ébénistes Roger Vandercruse, known as Lacroix and Jean-Henri Riesener. His father André Ravrio was also a fondeur and in 1774 Ravrio was recommended by Pierre-Philippe Thomire to the comte d’Artois. He reached the height of his success in the Empire period and supplied a number of bronzes to the Empress Josephine before becoming Napoleon’s chief bronzier in 1810, after which he produced a variety of objects in ormolu and patinated-bronze for a number of Imperial residences in both France and Italy. Amusingly Ravrio was also notable as a composer of poems, songs and vaudevilles.
The Robin dynasty of clockmakers were among the preeminent horologists in France in the late 18^th and early 19^th centuries. Robert Robin (1742-1799) had been Clockmaker to Louis XVIII and the business was continued by his two sons who produced this movement; Nicholas-Robert Robin (1775-1816), who later became horloger to Louis XVIII and his brother Jean-Joseph Robin (1781-1858).