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Galerie Léage
Robert Osmond
MANTEL CLOCK WITH ROTATING DIALS
A gilt bronze clock, with an antique vase on a a column and a snake wrapped around it.
Height: 20 inches – 51 cm Width: 9 inches – 23,5cm Depth: 9 inches – 23,5 cm
description
Robert Osmond (1711-1789)
Born in Normandy at Canisy, near Saint-Lô in 1711, Robert Osmond trained in the workshop of Louis Regnard, foundry master in earth and sand and was received founder-chaser in 1746. Recognized by his peers, he was appointed juror of his corporation in 1756.
In 1753 his nephew Jean-Baptiste Osmond (1742-after 1790) left Normandy to join him. The latter, received master in 1764, worked after that date with his uncle. Their collaboration was so close that it is difficult to distinguish between the contributions of the one and the other. Robert Osmond's activity took place between the end of the 1740s and the mid-1770s, when in 1781 he was appointed as a former master founder. Jean-Baptiste, who continued to direct the
workshop after the departure of his uncle, soon encountered difficulties and went bankrupt in 1784. His uncle Robert died in 1789.
Bronzers and prolific chasers, first illustrated in the rocaille style in the early 1760s, the Osmond were able to adapt to the new neoclassical style. Even though they have produced all kinds of furnishing bronzes (firedogs, wall-lights and inkstand), they are best known for having left their name on a fairly large number of clocks and cartels whose movements were entrusted to the greatest clockmakers of the time like Jacques Lepaute, Ferdinand Berthoud, Julien Le Roy, Jacques Lepaute, Robert Robin.
Their works were particularly prized by great collectors and aristocrats. Thus, the famous financier Beaujon and the Duke of Choiseul-Praslin owned clocks and cartels of their production. Also working for one of the greatest marchand mercier of the 18th century, Lazare Duvaux, they handed over to Louis XV works for the castle of Saint-Hubert and the Tuileries. Evocative of the Osmonds’ talent, this mantel clock illustrates the inventiveness to early adapt to neoclassicism, using ancient vases, handles in the form of Greek key, truncated columns and laurel garlands while being able to soften them thanks to the presence of a snake rolling delicately around the pedestal. The chasing of this last one exemplifies the excellence of these artists’ work, having reached the highest level of mastery in their art.
Born in Normandy at Canisy, near Saint-Lô in 1711, Robert Osmond trained in the workshop of Louis Regnard, foundry master in earth and sand and was received founder-chaser in 1746. Recognized by his peers, he was appointed juror of his corporation in 1756.
In 1753 his nephew Jean-Baptiste Osmond (1742-after 1790) left Normandy to join him. The latter, received master in 1764, worked after that date with his uncle. Their collaboration was so close that it is difficult to distinguish between the contributions of the one and the other. Robert Osmond's activity took place between the end of the 1740s and the mid-1770s, when in 1781 he was appointed as a former master founder. Jean-Baptiste, who continued to direct the
workshop after the departure of his uncle, soon encountered difficulties and went bankrupt in 1784. His uncle Robert died in 1789.
Bronzers and prolific chasers, first illustrated in the rocaille style in the early 1760s, the Osmond were able to adapt to the new neoclassical style. Even though they have produced all kinds of furnishing bronzes (firedogs, wall-lights and inkstand), they are best known for having left their name on a fairly large number of clocks and cartels whose movements were entrusted to the greatest clockmakers of the time like Jacques Lepaute, Ferdinand Berthoud, Julien Le Roy, Jacques Lepaute, Robert Robin.
Their works were particularly prized by great collectors and aristocrats. Thus, the famous financier Beaujon and the Duke of Choiseul-Praslin owned clocks and cartels of their production. Also working for one of the greatest marchand mercier of the 18th century, Lazare Duvaux, they handed over to Louis XV works for the castle of Saint-Hubert and the Tuileries. Evocative of the Osmonds’ talent, this mantel clock illustrates the inventiveness to early adapt to neoclassicism, using ancient vases, handles in the form of Greek key, truncated columns and laurel garlands while being able to soften them thanks to the presence of a snake rolling delicately around the pedestal. The chasing of this last one exemplifies the excellence of these artists’ work, having reached the highest level of mastery in their art.
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