Watch

Watchmaker: Daniel Vauchez French

Not on view

French enthusiasm for ballooning was sparked by the June 4, 1783, ascent of a hot air balloon made by the Montgolfier brothers, Joseph (1740–1810) and Etienne (1745–1799). On September 19 of the same year, a Montgolfier balloon with crew of a sheep, a duck, and a rooster was launched at Versailles in the presence of King Louis XVI (1754–1793) and Queen Marie Antoinette (1755–1793).[1] The first human flight, which took place a few weeks later in Paris on November 21, was witnessed by Benjamin Franklin (1706–1790), among others. By January 10, 1784, the members of the French Académie Royale des Sciences were invited by Louis XVI’s director of buildings and gardens, Charles-Claude La Billarderie, Comte d’Angiviller (1730–1810), to a competition for a commemorative monument to the achievement of flight. The proposed monument was to be erected in the Tuileries Palace in Paris.[2] The monument was never completed, but a model for it, one of two submitted by the sculptor Claude Michel, known as Clodion (1738–1814), survives. Depicting the Montgolfiers’ balloon, heralded by a trumpet-blowing genius and attended by putti bearing straw and lighted torches with which to ignite the flame that heated the air in the balloon, the Metropolitan Museum’s model is one of the gems of the Museum’s collection of eighteenth-century French terracottas (44.21a, b).[3]



The Museum’s watch, although a more modest novelty, nevertheless demonstrates how great early attempts at human flight captured the French imagination. In the enameled scene on the back of the Museum’s watchcase, two men precariously perched atop ladders secure a balloon, which is about to be launched by three men on the ground. One of the three men wields a lighted torch that identifies the balloon as a true montgolfiere, the French word for a hot-air balloon.



Daniel Vaucher (or Vauchez; born 1716, active 1767–90), was a master watchmaker in Paris in 1767. His shop is recorded to have been located in the rue Saint-Pierre aux Boeufs between 1769 and 1790. His son Jean-Henri-David Vaucher became a master clockmaker in 1779 and a member of the Juraude, a governing body of the Corporation des Horlogers de Paris, in 1786. He is recorded as having been located on rue Saint-Pierre aux Boeufs from 1790 to 1791 [4] and described not as a watchmaker, however, but as a maker of gold and silver watchcases (monteur des boites).[5] It seems that Jean-Henri-David was apparently involved with the infamous affair of the queen’s necklace.[6]



The rue Saint-Pierre aux Boeufs evidently vanished around the same time in 1837 when the tenth-century church of Saint-Pierre aux Boeufs was demolished in order to enlarge the open space on the north side of the Notre-Dame Cathedral, Ile Saint-Louis, Paris.[7] The nearby Place Dauphine, on the northwest end of the island, was the location of some of the best watch- and clockmakers in eighteenth-century Paris, including Ferdinand Berthoud (1727–1807), Abraham Breguet (1747–1823), Julien Le Roy (1686–1759), and Pierre Le Roy (1717– 1785).[8 ]The Cité was thus a prestigious location for a watchmaker, and it seems likely that the Metropolitan Museum’s watch, seven watches belonging to the Musée du Louvre, Paris,[9] two watches in the Musée International d’Horlogerie, La Chaux-de-Fonds, Switzerland,[10] and one watch in the Musée Paul Dupuy, Toulouse, France,[11] variously signed “Vaucher AParis,” “Vauchez AParis,” or “Vauchez en la Cité AParis,” were all sold by Daniel or Jean-Henri-David Vaucher at some point during this same time period.



The movement of the Metropolitan Museum’s Vaucher watch is a standard type made during the second half of the eighteenth century with full plates, a fusee, and a verge escapement, the back plate with a balance bridge and silver figure plate for the regulation of its balance spring. It was customary for eighteenth-century watchmakers in France and England to number their products consecutively, and it is often possible to estimate the date of a watch by its number. Thus, it is important to note that in author Catherine Cardinal’s careful descriptions of the seven Vaucher watches in the Musée du Louvre, the enameled gold cases of the watches with lower numbers bear full sets of Parisian goldsmiths’ marks, and that those with higher numbers, like the Metropolitan Museum’s watchcase, bear no maker’s marks at all.[12] The explanation for this observation probably lies in a passage in L’art de conduire et de regler les pendules et les montres, first published in Paris in 1759 by the illustrious clockmaker Ferdinand Berthoud, in which he bemoans the fact that Parisian sellers of horology were purveyors of watches with poor-quality Genevan movements in French cases, their movements signed with the names of respected French watchmakers.[13]



It is only a single step further to import both case and movement and to sell the product under the name of a French watchmaker. With this in mind, examination of the Metropolitan Museum’s Vaucher watch, as well as another in the Museum’s collection,[14] signed “Bordier à Genêva,” reveals that, while the subject of the scenes on their enameled cases differs, the two scenes are stylistically comparable, and neither case is marked. Further, the movements are nearly identical, except for the ornament of the figure plates and the balance bridges, which in the Bordier watch incorporates the initials “PABF” in its openwork design of the balance bridge. As there were numerous watch and clockmakers named Bordier in Geneva, these initials may have identified the true makers of the watch as Pierre IX Bordier (1712– 1789) and his brother Ami II (1722–1811), or Pierre, Ami, Bordier et Fils.[15] The use of identifying initials in the table of a balance bridge or a balance cock was not unique to the Bordiers; they can also be found in both Swiss and English watches beginning in the second half of the eighteenth century.



The greater interest in the Metropolitan Museum’s Vaucher watch lies, however, in the probable date of its creation as a novelty, for example, as a reflection of the passion of the moment. That moment can be dated with reasonable certainty: 1783, when the Montgolfiers launched their first balloon, or shortly thereafter, when wholly Swiss-made watches were being sold in Paris under French names. The practice is hard to document, but it would continue until well into the nineteenth century.



This watch was in the collection of Frederick George Hilton Price before it appears in the Morgan watch collection in 1912.[16]



Notes (For key to shortened references see bibliography in Vincent and Leopold, European Clocks and Watches in the Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2015)



[1] Gillispie 1983, p. 20.

[2] Furcy-Raynaud 1925–26, pp. 217, 419–20.

[3] Wardropper 2011, pp. 200–202, no. 69.

[4] Tardy 1971–72, vol. 2, p. 631.

[5] See Diderot and d’Alembert 1765, p. 308, for this specialization.

[6] Tardy 1971–72, vol. 2, p. 631.

[7] Hillairet 1954, p. 15.

[8] Chapiro 1991, pp. 144–48.

[9] Cardinal 1984b, pp. 187–88, nos. 239, 240; pp. 189–90, nos. 244, 245; p. 191, no. 249; pp. 194–95, no. 256; and p. 196, no. 258.

[10] Musee International d’Horlogerie 1974, pp. 73, 75.

[11] Hayard 2004, p. 244.

[12] Cardinal 1984b, pp. 194–95, no. 256, and p. 196, no. 258.

[13] Cardinal 1984a, p. 53.

[14] Acc. no. 89.2.83.

[15] Patrizzi 1998, pp. 111, 113; see also Gibertini 1964, p. 221, for dates (1775–89) when watches were signed in this way.

[16] Williamson 1912, pp. 68–69, no. 64, and pl. xxvi.

Watch, Watchmaker: Daniel Vauchez (French, born 1716, active 1767–90), Case: partly enameled gold set with pearls, gold bezel with diamonds set in silver; Dial: white enamel with openwork brass hands; Movement: brass and steel, Swiss, Geneva,  for French market

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