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Early in his career, Gouthière created a number of models that could be customized for various clients, as this clock and the other small clock have been. The example here is made of wood originally painted in imitation of lapis lazuli but now covered by a thick layer of dark blue paint, while the other clock is made of semi-precious stones, using lapis lazuli for the column and agate for the covered vase. Both clocks are signed and dated on their circular bases, under the frieze of acanthus leaves, with an engraved inscription similar to the one found on the Pittsburgh ewer (see the pair of ewers).

The attribution of these two clocks is based primarily on the authenticity of the signature and the similarity of the chasing to that on other pieces made by Gouthière in the 1760s.

The mounts on these two ewers bear many features that recur in Gouthière’s work, among them, the naturalistic chasing of the veins of the leaves, the highly expressive human and animal figures, and the extremely fine stippling used for the textures of the bodies and faces. Also noteworthy is the matte gilding, a specialty of Gouthière’s, on everything but details such as the dolphins’ eyes, the ribbon bows, and the draperies, which are burnished.

These ewers were purchased in Paris in 1799 by Tsar Paul I for St. Michael’s Castle in Saint Petersburg. When they were delivered, on October 8, 1799, they were accompanied by a small pot-pourri vase. The set was displayed in the tsar’s bedroom, where he was assassinated on March 23, 1801, and kept at the Imperial Hermitage until October 6, 1823, when Tsar Alexander I had them transferred to the Peterhof Palace outside the city.

Gouthière made this knob for one of the most lavish French eighteenth century buildings, the pavilion of Louveciennes, designed by the architect Claude-Nicolas Ledoux for Madame Du Barry, Louis XV’s mistress. Although the pavilion can no longer be viewed in its original splendor — the interior decoration was removed and sold to various collectors after the French Revolution — rare elements like this knob made for its Salon en Cul-de-Four, as well as Jean-Honoré Fragonard’s four panels depictingThe Progress of Love, painted for the same room and now in The Frick Collection, attest to the building’s former glory.

Each myrtle leaf, a symbol of the goddess Venus, is rendered in unique detail, forming an extraordinary lacework of leaves that contrasts with the smooth surface of the interlinked D and B of the royal mistress’s initials. The knob alone confirms the recollection of the painter Élisabeth Vigée Le Brun, who, reflecting on her time spent in Du Barry’s residence decades earlier, wrote: “the locks [at Louveciennes] could be admired as masterpieces of the goldsmith’s art.”

Gouthière’s name appears in the 1794 inventory of the estate of Jean-Baptiste-Charles-François, Marquis of Clermont d’Amboise. The marquis may have commissioned these vases from Gouthière in the early 1770s before he left for the court of Naples, where he was ambassador from 1775 to 1784. This reference, combined with meticulous examination, allows for confirmation of the attribution.

With deeply marked features, notably protruding cheekbones and animated eyebrows, the bearded male, probably a river god, has the remarkable expressiveness so characteristic of Gouthière’s figures. The face has slightly open lips that are fleshy and well defined. The treatment of the hair and beard is especially lively, with thick curls molded and chased with stippling, the recessed parts matte gilded so as to enhance the effect of these very visible sections of the gilt bronze.

The swans emerging from large shells are equally impressive in their naturalism. The feathers on the large birds’ necks and breasts are created by chased stippling of various sizes, along small irregular grooves probably cast in the mold; they contrast with the upper part of the shell, which is a slightly bulging fan shape with alternating matte and burnished ribs. The beaks identify these birds as mute swans, a species common in Europe. Their eyes express fury: about to attack, they unfold their wings on either side of the porcelain pots. Their mood is also indicated by their slightly open beaks, which are edged with a burnished line.

It was probably an artisan working in Paris under the direction of the architect François-Joseph Bélanger who carved these rare and original vases, with bottoms in the form of a cul-de-lampe, echoing the knob forms on the tops of the lids. Unable to stand, they had to be supported by a mount, which was created by Gouthière after designs by Bélanger.

At the sale of the Duke of Aumont’s collections, the pair was sold to Marie Antoinette. We have no details of their royal journey, except that they appeared in 1793 at the Muséum du Louvre. They reappear at an auction sale in Paris in 1837, where they were acquired by the Duke of Cambacérès, Peer of France and future grand master of ceremonies to Napoleon III, before passing through several private collections in France and the United States.

This capital epitomizes the relationships Gouthière had with the most inventive architects of the time, the purity of the neoclassicism he developed under their guidance, and the extravagance of the objects he created for his most illustrious patrons. The capital was made to crown an antique porphyry column owned by the Duke of Aumont, who, during the second half of the eighteenth century, assembled a prestigious collection of marble columns and hardstone vases. These objects were highly sought after by the most refined collectors in Europe since the Renaissance.

François-Joseph Bélanger, who probably designed the capital, was inspired by an antique column that also belonged to the duke. A large marble ball (now lost) was originally placed on top. Today, only the preparatory drawing for the catalogue engraving gives an idea of the superb contrast of colors between the gilt bronze and the various marbles used.

At the sale of the Duke of Aumont’s collections, the complete column was acquired by Louis XVI for the enormous sum of 6,999 livres (about twice the annual salary of a teacher). The king purchased it for the future “Muséum” du Louvre (now the Musée du Louvre), which opened in 1793 and still houses the column and capital.

This vase, similar in shape and material to another vase in this exhibition, fetched a much lower price at the sale of the Aumont’s collection. It was sold to Louis XVI, who was prepared to spend three times more for the vase with female figures. Clearly, the cataloguers for the sale thought this vase was of inferior quality since their assessment was less laudatory. The vase is not described, like the previous lot, as one of “high quality,” and the gilt-bronze ornamentation is simply judged to be “adequate.” This judgment is, however, surprising because the rams’ heads are particularly expressive and naturalistic: it might even be possible to identify them as Pyrenean goats. Their hair is exceptionally lively — simply chased on the noses and ears, in contrast to the tight tufts elsewhere on the heads; the latter were cast in the mold and subsequently chased, gilded, and partially burnished. The extraordinary horns, alternately burnished and matte gilded to imitate nature more closely, lend an element of sophistication and luxury.

In 1777, Gouthière was asked to create several items for Marie Antoinette’s small Cabinet Turc at the Château de Fontainebleau. This prestigious commission included these firedogs, a chimneypiece, a chandelier, a pair of wall lights, and a shovel and tongs, the handles of which featured “African heads.” Only the firedogs and chimneypiece (still in situ at the Château de Fontainebleau) have survived.

Firedogs were designed and used as the decorative facade of an andiron, a metal support that holds burning wood in a fireplace. The design of these examples, in the shape of seated dromedaries, was in keeping with the oriental decorative theme of the Cabinet Turc, which was meant to transport the queen into a world of fantasy, sensuality, and refinement. The bases are decorated with an elegant arabesque frieze characteristic of the neoclassical style favored by the queen.

Two renowned sculptors worked in collaboration with Gouthière on the fireplace for the large salon of the Duchess of Mazarin’s hôtel particulier on Quai Malaquais. For the firedogs, Philippe-Laurent Roland modeled the two eagles of Jupiter — with their wings outspread and each holding a thunderbolt and a salamander — before the groups were chased and gilded by Gouthière. For the chimneypiece (now lost), Jean-Joseph Foucou modeled the two large figures of satyresses, which were then chased and fully gilded by Gouthière. The proud and stern portrayal of the two eagles contrasted with the feminine characteristics of the chimneypiece. An eighteenth-century version of this chimneypiece with gilt and patinated bronze satyresses is now in the Fragonard Room at The Frick Collection.

These candelabra, among Gouthière’s last commissions for the Duke of Aumont, are a true tour de force. The extremely detailed chasing lends a naturalistic appearance to the swirling ivy and grapevines decorating the vases’ shoulders, as well as to the individual pomegranates, pears, and other fruits that spill from the cornucopias that form each candleholder. At the same time, the rough texture of the goats’ ridged horns contrasts with the silky appearance of their wool. Gouthière’s superb chasing was embellished by his unique gilding techniques, which included dorure au mat, or matte gilding, that can be seen here on the goat’s heads and on the many leaves on the candleholders.

What distinguishes these candelabra is the contrast of the bronzes made by Gouthière — whose craftsmanship is comparable to that of a goldsmith — with the simplicity of the white vases. These were considered in the Aumont sale catalogue to be of Meissen porcelain, although they appear in the section titled “old white Japanese porcelain.” Regardless of what Aumont knew about the porcelain, he valued these vases highly enough to have commissioned such exquisite mounts for them.

At the time of the Duke of Aumont’s death, Gouthière had nine items in his workshop including this pair of vases (originally Chinese garden seats) that had not yet been delivered to his greatest client and patron. However, he managed to complete the mounts before the sale of the duke’s collections, when the two vases were acquired by Louis XVI for an astonishingly high sum (7,501 livres).

Gouthière created the mounts after a design by François-Joseph Bélanger, whose composition of arabesques, rinceaux, snakes, and harpies was at the height of fashion in the 1780s. Gouthière’s interpretation of the architect’s complex design demonstrates his mastery of the medium of gilt bronze. For example, to imitate a snake more faithfully, the skin on top of the snakes is chased to create small scales, while the undersides are chased with larger ones. Gouthière’s naturalism is just as remarkable on the harpies, whose numerous feathers are pared back (dégraissés) to give them lightness, then chased to make them look as lifelike as possible. Gouthière demonstrates his virtuosic mastery by creating these complex mounts while avoiding any piercing of the porcelain.