André-Charles Boulle (1642-1732) stands out among his contemporaries not only for his exceptional craftsmanship but for designing the models for his furniture and bronzes.
Although many furniture makers designed their own furniture, like Pierre Gole (about 1620–1684) and Alexandre-Jean Oppenordt (about 1639–1715), there were also specialised draughtsmen, like Jean Bérain (1640–1711), Daniel Marot (1661–1752) and later Gilles-Marie Oppenord (1672–1742).
For the embellishment of commissioned pieces of furniture, precious woods were carefully chosen, but for the marquetry patterns and details in gilt bronze, such as masks and handles, a great variety of visual sources were used.
The use of pre-existing, engraved models had been common since the 16th century, and their designers and engravers invited clients to freely explore and use them.
Notable examples include, aside from the prints depicting the ornaments conceived by Bérain, the acanthus scrolls of Paul Androuet du Cerceau (1623–1710) and the masks drawn by Georges Charmeton (1623–1674).
Designing clocks and barometers was different to designing chests of drawers, cabinets and tables, as clock cases had to incorporate mechanisms.
This may seem at first a time proven issue, but already in the 18th century several clockmakers complained that standard cases often did not allow for the easy mounting of mechanisms.
For complex clocks and barometers, a collaboration with the furniture designer was necessary (F15).
Several drawings for clocks can be associated with Boulle. The best known is the design for a wall clock and bracket, executed in red chalk, in the Musée des Arts décoratifs in Paris.
As was common with Boulle’s drawings, first the right half was completed in red chalk, then the sheet of paper was folded and put through a press to obtain a counterproof on the left half.
Subsequently, the drawing was finished and further details were added and elaborated. The folding marks that can been seen on the back of the drawing suggest it was sent to a client.
The source for the figure of Time on the wall clock was identified by Th.H. Lunsingh Scheurleer and published in the Burlington Magazine in 1936.
It was discovered that the model was based on a woodcut print, after a drawing by the Italian artist Pordenone (about 1484–1539), and was known through a woodcut then attributed to Ugo da Carpi (active 1502–32), but now to Niccolò Vicentino (active about 1540–50), published by Andrea Andreani in Mantua in 1604.
The identification of the source for this figure, which Boulle used several times for his clocks, including two in the Wallace Collection (F41 and F43), suggests its presence in his personal collection. We now know that the figure of Time was modelled for Boulle by the sculptor François Girardon (1628–1715).
Like all Boulle furniture, none of the clocks that were made in his workshop bear his signature.
Attributions to his workshop are sometimes based on documentary evidence but more often the result of stylistic analysis.
A good example of the latter is contained in the description of a clock, 'une belle pendule' by Boulle, in the catalogue of the 1787 sale of the Desmaretz collection: ‘This clock of good shape and in good taste in its ornaments, is considered as one of the good works of this famous ébéniste’. No certainty is expressed here, but a plausibility.
This is important to keep in mind, as since the 18th century opinions have differed in matters of attribution of specific works to Boulle and his workshop.
The only clock with the figure of Time placed on top that is known today is part of the Royal Collection, though in this case, contrary to the cited description, the clock and barometer are combined in a single case.
Boulle circulated many models for furniture, clocks and gilt bronzes in his famous series of prints, published in Paris by Jean Mariette (1660–1742). These prints were for a long time difficult to date.
It has already been established that none of the models date to after 1708, but the acquisition of the series in early 1709 by a representative of the Duke of Württemberg suggests that the series was most likely issued in 1708.
Four different clock models are depicted in plate two of the Boulle series: three wall clocks and one longcase clock. They clearly demonstrate Boulle’s creativity in proposing various options for clock cases executed in precious materials and decorated with gilt-bronze ornaments.
Clocks where occasionally integrated into larger cabinets or bookcases, and standing or longcase clocks were also part of the production of the Boulle workshop.
However, longcase clocks could be incorporated into larger cabinets, too, as the example in the Wallace Collection demonstrates (F429).
The study of Boulle’s use of prints for his creations is certainly possible but hampered by a fire in his workshop in 1720, which destroyed a large part of his collection of prints and drawings.
The remainder was described by Mariette after Boulle died in 1732 and subsequently sold at auction but without a printed catalogue.
This article was written by Peter Fuhring, who specialises in the history of ornament and design. He is the former Ottema Kingma Chair for the History of the Decorative Arts at Radboud University and previously worked for the Fondation Custodia.