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Maison Millet
A Louis XVI Style Gilt-Bronze and Wedgwood Porcelain Cartel Clock and Companion Barometer
£68,000
A Louis XVI Style Gilt-Bronze and Wedgwood Porcelain Cartel Clock and Companion Barometer, by Maison Millet, Paris, after the model attributed to Pierre...
Dimensions
Height: 130 cm (52 in)Width: 26 cm (11 in)
Depth: 15 cm (6 in)
PrintDescription
A Louis XVI Style Gilt-Bronze and Wedgwood Porcelain Cartel Clock and Companion Barometer, by Maison Millet, Paris, after the model attributed to Pierre Gouthière.
The clock dial is signed ‘Robin,’ and the barometer dial is signed ‘Radiguet / A PARIS.’ The gilt-bronze is stamped ‘MB’ for Maison Millet.
The present cartel clock and matching barometer are based on a model attributed to the bronzier Pierre-Joseph-Désiré Gouthière (d. 1813), originally from the Château de Saint-Cloud and now part of the permanent collection at the Musée du Louvre (OA 5493 and OA 5494).
French, Circa 1880.
In the second half of the 19th century, furniture and works of art, once the preserve of the aristocracy and often literally made for royalty, were transferred, often through war and revolution, to state museum collections, many via pioneering private collectors. Before this time, there were very few museums.
Gouthière, Pierre Carcany, Musée du Louvre, Département des Objets d’art du Moyen Age, de la Renaissance et des temps modernes, OA 5494 – https://collections.louvre.fr/ark:/53355/cl010098663 – https://collections.louvre.fr/CGU
The examples in the Louvre (shown in an old black and white photograph), attributed to the bronzier Pierre Gouthière and the horloger Carcany, were made circa 1785 for a member of Louis XVI’s court, very possibly for Queen Marie Antoinette herself. By the mid-19th century, they were at the Château de Saint-Cloud, perhaps in the Salon of Empress Eugenie. With the fall of the Second Empire, they were transferred to the Musée du Louvre, where they were properly documented, photographed, published, and exhibited.
The fashion for the Ancien Régime and ‘tous les Louis’ drove a new breed of collectors, such as Sir Richard Wallace and Henry Clay Frick. Public exhibitions of royal furniture and works of art gave contemporary makers the opportunity to examine these masterpieces up close for the first time. Makers competed to produce the most magnificent replicas, and versions of these clocks and barometers were exactingly made during the late 19th century. The originals are priceless, and the most prized replicas, both then and now, were made by Beurdeley, Dasson, and as here Millet.
Date
Circa 1880
Origin
France
Medium
Gilt-Bronze and Porcelain Mounted
Signature
The gilt-bronze stamped ‘MB’ for Maison Millet.
MAISON MILLET
Millet, Blaise (1829 – 1906)
Millet, Théodore (1856 – ?)
Blaise Millet founded Maison Millet in 1853 with workshops in the ancient Saint-Pierre-Amelot Passage in the 11th arrondissement of Paris. He began his career modestly, fitting bronzes to furniture and became a member of the trade association the Réunion des fabricants de bronzes in 1867. As the firm expanded, he was joined in his trade by his son Théodore and their workshops moved to rue saint Sabin.
Millet produced fine quality meubles de luxe, specialising in meubles et bronzes d’art, genre ancien et moderne, with an accent on the Louis XV and XVI styles. The firm’s work covered a wide range of furniture, including authorised copies of eighteenth-century styles.
Mm. Millet Père et Fils were awarded a gold medal at the 1889 Paris Exposition universelle, where the jury noted that although their first creations were copies from the past, they should now be complimented for making modern work inspired by the past. Especially admired was a four-sided display case in gilded bronze based on Jacques Caffieri’s famous astronomical clock made for King Louis XV at Versailles. Several of Millet’s craftsmen were also honoured at the exhibition led by H. Brion, foreman of the all-important bronze workshop.
The extraordinary Caffieri-inspired four-side vitrine in solid gilt-bronze shown by Millet at the 1889 Paris Exhibition.
By the time of the 1900 Paris Exposition universelle, Blaise Millet had retired, the workshops employed one hundred and fifty people and had relocated to larger premises at 23 boulevard Beaumarchais. At that exhibition Millet won a grand prix for an Art Nouveau bedroom suite which incorporated a dressing mirror with gilt-bronze figures modelled by Claudius Maroton.
The Art Nouveau bedroom suite shown by Millet at the 1900 Exhibition and 1905 Salon des industries du mobilier.
The suite was shown again at the 1905 Salon des industries du Mobilier. The Gazette du mobilier noted that Mr. Millet was observed in deep conversation with the King of the Belgium at the exhibition. In 1902 the firm was authorised by the director of the Palace of Versailles to replicate Marie-Antoinette’s celebrated Grand cabinet à bijoux. That same year, Théodore Millet agreed to join the French Committee for Exhibitions Abroad, and having already participated in the Chicago World’s Fair in 1893, attended the St. Louis World’s Fair, an exhibitor and member of the jury.
Around the time of Blaise Millet’s death, in 1905 and 1906 auctions were held at Hotel Drouot of Millet’s furniture and bronzes, as well as modern and antique paintings and furniture, ‘provenant de la Maison Millet’. However, the firm continued trading and Théodore Millet was made a chevalier de la Légion d’honneur, showing at the 1905 and 1908 Paris Salon des industries du Mobilier.
François Linke had made furniture for the Millet in 1890s, and the two firms were compatriots exhibiting in St. Louis. With the gradual cessation of business, Millet turned to François Linke who bought amongst other pieces, the master model for the Caffieri’s astronomical clock which Millet had exhibited in St. Louis in 1904. By 1907, Millet’s still had showrooms advertising bronzes, furniture, objets d’art and lighting equipment at 48, rue Notre-Dame-des-Victoires and carried on trading until 1918.
Bibliography:
Ledoux – Lebard, Denise. Les Ébénistes du XIXe siècle, Les Editions de L’Amateur, (Paris), 1984; pp. 484-486.
Meyer, Jonathan. Great Exhibitions – London, New York, Paris, Philadelphia, 1851-1900, Antique Collectors’ Club, (Woodbridge, UK), 2006; pps. 276, 317, 320.
Mestdagh, Camille & Lécoules, Pierre. L’Ameublement d’Art Français, 1850-1900, Les Editions de L’Amateur, (Paris), 2010.
Payne, Christopher. Paris Furniture – the luxury market of the 19th century, Éditions Monelle Hayot, (Paris), 2018; pp.469-474
C. Dreyfus, Musée du Louvre, pl. LV, no. 392 & 393, for the illustration of the 18th century examples attributed to Gouthière.
C. Mestdagh, L’ameublement d’art français: 1850-1900, Paris, 2010, fig. 258., p. 221.
