原装红色皮套钥匙圆形手表 - 美国大都会艺术博物馆展品查阅

品名（中）	原装红色皮套钥匙圆形手表
品名（英）	Round watch with key in original red leather case
入馆年号	2019年，2019.283.72
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1780 - 公元 1799
创作地区
分类	钟表业（Horology）
尺寸	5 × 7 1/2 英寸 (12.7 × 19.1 厘米)
介绍（中）	这组由Jayne Wrightsman最近赠送给博物馆的时钟从18世纪中期一直延续到19世纪初，反映了法国钟表制作在古代制度接近尾声时的复杂程度。在十八世纪中叶，法国是制造钟表，尤其是表壳的最重要地点。法国钟表制造商愿意消除其他国家许多钟表制造商拒绝拆除的钟表机械部件，这使得他们的机械占用的空间更少。尽管英国和法国都有类似的时钟，但法国版本的时钟要少得多。十八世纪，卡特尔钟表在法国越来越受欢迎，容纳雕像群的钟表也越来越流行，鼓励钟表制造商创造尽可能少的侵入性机械。其结果是在这个系列中看到了极其详细的装饰案例，展示了Jayne Wrightsman对法国占星术的精细理解
介绍（英）	Spanning from the mid-eighteenth century to the beginning of the nineteenth, this group of clocks recently given to the museum by Jayne Wrightsman reflect the sophistication of French clockmaking towards the close of the ancien régime. In the mid-eighteenth century, France was the most important location for the creation of clocks and, particularly, their cases. French clockmakers were willing to eliminate pieces of a clock’s mechanics that many clockmakers in other countries refused to remove, which allowed their machinery to take up less space. And although similar clocks were created in both England and France, the French versions are far rarer. In the eighteenth century, Cartel clocks and watches became more popular in France, as did clocks that hosted groups of statues, encouraging clockmakers to create the least intrusive mechanics possible. The result is the extremely detailed decorative cases seen in this collection, which demonstrate Jayne Wrightsman’s refined understanding of French horology