Barometers Realm

Lucien Vidie granted Louis-Clément Breguet the exclusive right to manufacture aneroid barometers in France beginning on 1 January 1863, based upon the patent of 18 August 1858 known as the bielle oblique system. Together with the patents, Vidie transferred to Breguet the right to use the term “anéroïde”, along with the production documentation and technical foundation that became the basis for a new branch of Maison Breguet. After acquiring these rights, the firm began the active manufacture of barometers not merely for specialised scientific use, but for the broader continental European market, while retaining considerable engineering sophistication and exceptional quality of execution.

The case is crafted from solid oak and its composition is structured around a circular central opening surrounded by an elaborate carved decorative programme featuring oak branches, leaves, and acorns. The upper section terminates in a stylised acanthus leaf beneath which appear symmetrical spiral scrolls. Intertwined oak branches with deeply carved leaves and acorns radiate outward from the central zone, forming an almost wreath-like structure around the instrument. The carving displays pronounced plasticity and a distinctly naturalistic approach: the veining of the leaves, the volume of the acorns, and the curvature of the branches are all carefully articulated. The lateral elements terminate in characteristic scroll-like projections from which additional oak branches emerge, continuing the composition toward the lower section of the case.

The construction consists of two principal elements: a carved front panel and a deep rear box intended to house the substantial barometric mechanism. These components are joined by hinges, allowing the entire front section together with the dial to open upward, thereby providing complete access to the mechanism.

The dial is protected by a flat mineral glass set within a thin brass bezel. The dial itself is made of cardboard mounted upon a metal backing. Its composition is open-worked: the central area forms a large circular aperture through which the entire barometric mechanism remains visible. This opening is framed by a delicate brass insert creating a visual transition between the scale and the inner mechanics of the instrument.

The concentric barometric scale is calibrated in centimetres of mercury over a range from 63 to 80 centimetres and is provided with detailed French weather indications. The lettering is executed in an elegant typographic style characteristic of nineteenth-century French printing, with elongated proportions and delicate strokes. In the lower portion of the dial appears the inscription Baromètre Anéroïde, rendered in a decorative blackletter-inspired script with pronounced Gothic influence. Between the two words is placed the Breguet signature.

During the first years following the transfer of rights from Lucien Vidie, production at Maison Breguet was carried out almost directly according to Vidie’s own models and, in part, even from his original drawings. Over time, however, the company established its own production base and developed a series of exceptionally sophisticated and aesthetically remarkable mechanisms, transforming the aneroid from a technical novelty into an object of engineering art. This particular instrument demonstrates the already mature Breguet style in which the mechanism itself becomes part of the artistic composition and is deliberately placed on display through the open dial.

The internal mechanism represents one of the most expressive constructions of nineteenth-century French aneroid instrument making. At its centre is a large 70 mm vacuum chamber made of nickel silver with concentric corrugated rings, its surface possessing a characteristic silvery sheen. The chamber is tensioned upon a mirror-polished square-section steel rod mounted on substantial steel supports. This rod is fitted with an elaborate brass counterweight of complex form, visually balancing the entire upper section of the construction.

The principal brass lever descending from the upper assembly rests upon a coiled steel spring that balances the entire system. The contrast of materials is particularly striking: the warm gilded brass of the levers and bridges is juxtaposed with the cold brilliance of steel and the silvery surface of the nickel silver chamber.

At the centre of the mechanism is a distinctive brass bridge in the form of diverging rays reminiscent of the Greek letter λ. This bridge supports the undulating plates that hold the pointer arbor. Beneath it lies the principal shaft of the system — made of steel but mounted within brass supports. Motion is transmitted to it by means of a linkage from the main lever and subsequently conveyed to the pointer arbor through a fine steel fusee chain. The use of a chain transmission renders the construction visually extraordinary: the extremely delicate chain creates the impression of almost jewelled mechanics, particularly in combination with the open space of the dial.

The entire construction demonstrates exceptional purity of engineering thought and an almost architectural sense of composition. Every form, material, and line is subordinated simultaneously to mechanical function and aesthetic effect. The polished square steel rod, golden brass levers, silvery nickel silver chamber, delicate fusee chain, and open kinematics together create the rare impression of “living mechanics,” intended not merely to measure atmospheric pressure, but also to inspire visual admiration in the observer.

Taken as a whole, the instrument represents one of the most expressive examples of the early French aneroid barometer from the formative period of Maison Breguet production — an era in which Vidie’s technology still retained a direct connection to scientific experimentation while already assuming the form of a sophisticated decorative-engineering object of high artistic quality.

CLOCK

This French wall clock are built around a Mouvement de Paris mechanism — the standardised Parisian calibre that became the foundation of mass French clock production during the second half of the nineteenth century. Based on the construction of the movement, the architecture of the plates, the striking system, and the overall character of execution, the clocks may be associated with the workshops of Japy Frères, the largest industrial manufacturer of clock movements in France during this period. The clocks represent a characteristic example of the transition of French horology from artisanal manufacture to highly organised industrial production, in which a serially produced movement was combined with an individually crafted artistic case.

The case is executed in solid oak and forms a complex carved composition structured around the circular central dial opening. The upper section terminates in a carved stylised acanthus leaf beneath which appear symmetrical spiral scrolls. Elaborate oak branches with deeply carved leaves and acorns radiate outward from the central body, forming a wreath-like structure surrounding the clock. The carving is executed with pronounced plasticity: the leaves display deeply modelled veins, rounded edges, and the characteristic heavy form associated with oak foliage. The lateral elements terminate in scroll-like projections from which further intertwined branches emerge. The lower section continues the vegetal motif, forming an almost enclosed garland of oak leaves and acorns around the circular central assembly. The entire decoration is executed in the characteristic naturalistic carving style of French interior clocks from the second half of the nineteenth century, with subtle influences of Neo-Rococo and rural “forest style” motifs.

Structurally, the case consists of two sections: a carved front panel and a deep rear box intended to house the movement and pendulum. These elements are joined by hinges, allowing the front section together with the dial and bezel to open upward, thereby providing complete access to the Mouvement de Paris mechanism. Such a system is characteristic specifically of French wall clocks of this type and greatly facilitated servicing, winding, and regulation. Additionally, a separate service door is incorporated into the rear section of the case, allowing rapid access to the pendulum, striking mechanism, and suspension without opening the entire front assembly.

The dial is protected by convex mineral glass mounted within a substantial bronze bezel fitted on hinges. The bezel opens sideways, providing access to the hands, winding apertures, and regulation system. Of particular interest is the internal reflective bronze ring of the bezel surrounding the dial. Its surface is decorated with a complex ornament composed of concentric zones: the outer band bears rhythmic vertical fluting creating an effect of radiant light, while the inner portion is adorned with a finely stippled ground. Under illumination, this ring creates a characteristic golden reflection around the dial, enhancing the visual depth of the entire composition.

The dial itself is likewise made of bronze. At its centre is a richly engraved decorative medallion featuring symmetrical vegetal ornament including rocaille scrolls, acanthus elements, and stylised floral motifs radiating around the axis of the hands. The ornament is engraved and chased in such a way that the surface actively interacts with light, creating a complex play of reflections across the gilded metal. On either side of the centre are two winding apertures: one intended for winding the going spring and the other for the striking mechanism.

The outer circumference of the dial forms a minute scale with engraved markers and Arabic numerals from 5 to 60 in five-minute increments. The scale is placed upon a narrow bronze ring and carefully integrated into the overall dial composition without disturbing the dominance of the central decorative field.

The principal hour scale consists of twelve separate enamel cartouches made of copper coated with white enamel. Each medallion has an elongated rectangular form with softly rounded edges and a subtly convex surface. Upon them are painted Roman numerals in a deep cobalt-blue colour executed with broad painterly strokes displaying the characteristic irregularity of hand application. The contrast between the vivid blue enamel and the warm gilded bronze ground creates the decorative palette typical of French clocks of this period, combining the luxury of metal with the purity of enamel surfaces.

The hands are made of heat-blued steel, giving the metal a rich dark blue hue. Their form displays characteristic French elegance: elongated and slender, with gentle widenings and delicate spear-shaped terminals. Through bluing, the hands are not only protected from corrosion but also stand in striking contrast against the golden dial background and the white-and-blue enamel cartouches.

The clock is powered by a classic French Mouvement de Paris mechanism of approximately 4½ pouces (≈120 mm) calibre — one of the most widespread and standardised mechanisms of the second half of the nineteenth century, serially manufactured for mantel, portico, and table clocks. The term Mouvement de Paris refers not to a specific manufacturer, but to a unified type of French mechanism developed in Paris and its surroundings during the 1830s–1840s. Its principal feature was the interchangeability and standardisation of dimensions, allowing different factories (Japy Frères, Vincenti, Marti, and others) to mass-produce movements for clock assemblers. In essence, it constituted the “industrial language” of the French clockmaking industry.

The movement is constructed between two circular brass plates connected by steel pillars. Energy from the mainspring is transmitted through the gear train to the escape wheel, which interacts with the regulating system. The operating principle is classical: the escapement meters energy to the pendulum, ensuring an even rate of motion.

This mechanism incorporates the Brocot regulation system, invented by Achille Brocot around 1860. It consists of a regulating screw (brought through the dial above XII) and a specially designed pendulum suspension. By turning this regulator with a key, the length of the suspension may be altered, thereby accelerating or slowing the rate without direct intervention upon the pendulum itself.

Taken together, the clocks represent an expressive example of French interior horological art of the Second Empire period, in which the industrial Mouvement de Paris mechanism is combined with a meticulously executed artistic case and a rich decorative programme based upon the interplay of oak carving, bronze, enamel, and blued steel.