xviiie siècle – -Translation – Keybot Dictionary

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  Les organes de régulati...  
Preuve était faite, au milieu du XVIIIe siècle, que les échappements courants existants n’étaient pas à même d’offrir une précision dans la durée.
Come the mid-eighteenth century, it became clear that existing escapements were unable to offer precision over a prolonged period.
  L’horlogerie ou la tent...  
Cet authentique crâne humain ayant appartenu à « un homme d’une trentaine d’années ayant vécu au XVIIIe siècle » a été incrusté par les bijoutiers Bentley & Skinner, basés à Piccadilly, de 8 601 diamants pour un total de 1 106,18 carats sertis sur une couche de platine qui recouvre tout le crâne (sauf les dents, authentiques, laissées en l’état).
One (in)famous object proves beyond doubt that Art, Watchmaking and Luxury share this common (burial) ground, and that is Damien Hirst’s skull (2007). A timepiece it is not, but it is the work of a jeweller with the additional and incomparable aura of the pure objet d’art. This platinum cast of an authentic, eighteenth-century human skull – that of a man in his thirties – was set with 8,601 diamonds for a total 1,106.18 carats by Mayfair jewellers Bentley & Skinner (the teeth are original). A memento mori estimated at £50 million that weighs heavy on our minds. The high price of Vanity and a record watchmaking has yet to beat.
  Jaquet Droz – Eclosion ...  
Deux printemps auparavant, Jaquet Droz imaginait sa première création féminine de la collection «Automate», la Lady 8 Flower. Emblème d’expertise horlogère, cette pièce fascinante abrite un papillon émaillé, reflet du haut savoir-faire ornemental de la Maison, établie depuis le XVIIIe siècle.
Two springs ago Jaquet Droz conceived its first creation for ladies in the Automata collection—the Lady 8 Flower. A symbol of watchmaking expertise, this fascinating piece encases an enamel butterfly that illustrates the exceptional ornamental skill which the brand has been cultivating since its foundation in the 18th century. Today’s new Lady 8 Flower, embellished with even more jewels, is a mechanical chef-d’œuvre that leaves both mind and soul spellbound, caught up in the whirling lotus flower and the enchanting nirvana portrayed on the dial. Assembled by hand in the Jaquet Droz workshop in La Chaux-de-Fonds, this exclusive timepiece epitomizes the artistry for which the brand is known.
  Les organes de régulati...  
Montre anglaise à double boîtier signée Edward Whithaker, Londres, début du XVIIIe siècle. Musée de Cluses © Charles Savouret
Double-case English watch signed Edward Whithaker, London, early 18th c. Musée de Cluses © Charles Savouret
  Le top 10 des chronogra...  
Quel est le comble du chic selon Hublot ? Assortir sa montre au cuir de ses chaussures. La maison horlogère réitère son partenariat avec le fameux bottier italien Berluti en dévoilant une version très élégante de son chronographe Classic Fusion. King Gold et cuir de veau Berluti bordeaux s’y marient à merveille, jusque sur le cadran de la montre confectionné en cuir Scritto orné, sur le bracelet, d’écritures inspirées de calligraphies du XVIIIe siècle. Les poignets les plus fins ne pourront cependant pas toujours s’autoriser ce petit plaisir de dandy : le boîtier affiche un très généreux diamètre de 45 mm !
What, in Hublot’s books, is the height of elegance? Answer: a watch to match one’s shoes. The brand reiterates its partnership with famed Italian bootmaker Berluti for a supremely elegant version of the Classic Fusion chronograph. King Gold makes the perfect counterpart for the burgundy Berluti calfskin on the dial and strap. The “Scritto” pattern of the leather is inspired by eighteenth-century calligraphy. This Classic Fusion is, however, reserved for gentlemen whose wrist can carry off the generous 45mm diameter of the case!
  Métiers d’arts – FHH Jo...  
La nouvelle collection Métiers d’Art Les Aérostiers de Vacheron Constantin est un hymne aux premiers aventuriers du ciel qui, vers la fin du XVIIIe siècle, ont tenté avec courage de défier les lois de la gravité. La collection, réalisée d’après des dessins historiques, rend hommage à cinq vols en montgolfière réalisés en France entre 1783 et 1785.
Vacheron Constantin's Les Métiers d’Art Les Aérostiers collection is a tribute to the adventurers who, at the end of the eighteenth century, dared to defy the laws of gravity. Copied from historic drawings, the dials beautifully render five hot-air balloons that took to the skies in France between 1783 and 1785.
  A Dubaï, on aime racont...  
Chez Ferdinand Berthoud, célèbre horloger du XVIIIe siècle, c’est toute l’épopée des chronomètres de marine au temps où le calcul des longitudes en mer dépendait de ce précieux instrument qui est narrée à l’envi.
It’s a fact confirmed at Dubai Watch Week, currently taking place in the shadow of the twin Emirates Towers, where almost every presentation becomes a reminder of how tightly woven the brand is in the fabric of watchmaking, and with archives to prove it. The door to centuries of tradition is thrown wide open, enticing us in on the first leg of this horological odyssey. Thus audiences were treated to a vivid account of the life of Heinrich Moser, founding father of H. Moser & Cie, and his bold journey to the St Petersburg of Tsar Nicolas I, where he rose to fame and fortune. A story left hanging in 1917 when Moser was forced out of Russia by the October Revolution, until 2015 when the brand was brought back to life by the very people singing its praises in Dubai. In the heat of the action, no-one thought to mention a crucial episode in its history under Straumann – a specialist in dental implants that revived the brand in 2006. An entire decade swept under the carpet in order to keep the narrative flowing. At Ferdinand Berthoud, named after the renowned eighteenth-century watchmaker, we heard adventures from the high seas and the days when sailors relied on marine chronometers to calculate longitude; a means of driving home the point that after two hundred years by the wayside, the first watch to have seen daylight under the Berthoud name in the twenty-first century is heir to this pioneering age. Two mirrors reflecting to infinity.
  Hublot – Big Bang Bavar...  
Un hommage ensuite à l’histoire. Le bracelet de la Big Bang Bavaria rappelle le « Lederhose », la culotte courte en cuir originaire de Bavière, habit traditionnel du montagnard depuis le XVIIIe siècle.
Centuries of expertise and tradition lie behind the Big Bang Bavaria strap. Firstly, the craftsmanship of a family that has been passing down its passion for leather from father to son since 1683. The Big Bang Bavaria strap is reminiscent of the “Lederhosen”, the short leather breeches that originated in Bavaria and have been the traditional clothing of the mountain people since the 18th century. Just like the garment from which the strap draws inspiration, it is cut in deer leather and hand-embroidered with a pattern only possible to create on deer leather. Traditional sewing gives a 3D effect to the leather tanned using the Meindl tradition.
  François Junod, le sorc...  
« Je dessine tout le temps. Et, parfois, je retrouve une idée dix ans plus tard dans un tiroir. » Cet imaginaire, prétend-il, ne saurait être capté ou nourri par l’informatique : « Je ne peux pas dessiner avec une souris. » De plus, l’inspiration est imprévisible : il raconte comment, à la faveur d’une visite à un musée de Bâle, il eut l’idée de réunir une tabatière du XVIIIe siècle avec une table de magicien pour permettre l’apparition et la disparition de petits oiseaux.
This is almost a contradiction in terms, coming from someone for whom drawing is an essential stage in the creative process. “I never stop. Sometimes I come across a sketch from ten years ago, tucked away in a drawer.” He is convinced a computer could never capture the ideas forming in his imagination: “I can’t draw with a mouse.” There’s no knowing when inspiration might strike, either: a visit to a museum in Basel gave him the idea to combine an eighteenth-century snuffbox with a magician’s table from which birds appear and disappear.
  Ferdinand Berthoud – FH...  
Ferdinand Berthoud est l’auteur de nombreuses inventions au XVIIIe siècle : la pendule à calendrier perpétuel équation (1752) et le premier chronomètre marin (1760). Passionné par l’histoire de la navigation astronomique, le CEO de Chopard, Karl-Friedrich Scheufele, acquiert le nom Ferdinand Berthoud en 2006 et crée la marque en 2015.
Ferdinand Berthoud was the author of numerous inventions in the eighteenth century, including the perpetual calendar equation clock (1752) and the first marine chronometer (1760). Fascinated by the history of celestial navigation, Karl-Friedrich Scheufele, Chopard CEO, acquired the Ferdinand Berthoud name in 2006 and established the brand in 2015. Its timepieces are a contemporary interpretation of the grand era of marine horology.
  Salon QP à Londres, un ...  
Au rang des pièces exceptionnelles qui faisaient leur première apparition publique à Londres, à noter également l’Opus 14 de Harry Winston, la Legacy Machine Perpetual de MB&F et la Montblanc 1858. Quelques marques nouvellement apparues sur le marché avaient aussi choisi QP pour leur galop d’essai. Parmi elles, la zurichoise Brüggler, qui propose des montres hautement personnalisables, la britannique Dennison, fraîchement relancée et, surtout, Czapek & Cie, qui compte Jean-François Mojon comme motoriste et Ferdinand Berthoud, du nom d’un horloger célèbre du XVIIIe siècle à qui le coprésident de Chopard Karl-Friedrich Scheufele a voulu donner une deuxième vie avec des montres d’exception à l’instar du premier Chronomètre FB1.
On the Tudor stand, a giant chunk of ice held captive the brand’s latest offering, the North Flag which is driven by Tudor’s very first in-house movement, the MT5621. Just along from there, and proving the above point, was Shinola, a brand launched in 2011 in Detroit, a welcome counterpoint to the tribulations of a city declared bankrupt two years ago. The company has set up, from scratch, a watch factory in the erstwhile nerve centre of the American automotive industry. Here it assembles the quartz movements that it sources from Swiss manufacturer Ronda, which also trains the staff of the Detroit firm. Shinola, whose 450 employees manufacture not only watches but also high-end bicycles and leather goods, is part of the industrial renaissance that is helping restore the prestige of “Made in America” goods in a city many had given up for lost.
  Chopard, la consécratio...  
Entretemps, cette montre qui inaugure le lancement d’une marque au nom d’un des plus célèbres horlogers du XVIIIe siècle, connu pour ses chronomètres de marine alors indispensables pour la navigation en haute mer, gagnait l’Aiguille d’or, récompense suprême du Grand Prix d’Horlogerie de Genève.
Prior to this, the self-same timepiece, the first offering from a brand that is named after one of the eighteenth century’s most illustrious watchmakers, a man whose marine chronometers proved essential to navigators at high sea, carried off the Aiguille d’Or, the highest award given by the Grand Prix d’Horlogerie de Genève. “This distinction crowns a fabulous project that we began five years ago,” comments Chopard Co-President Karl-Friedrich Scheufele, in Dubai. “It confirms our vision and proves we have achieved our goal to produce, under the Ferdinand Berthoud name, contemporary watches that are nonetheless true to Berthoud’s pioneering mindset, and to do so independently of Chopard.”
  Astral Ludwig Oechslin ...  
Le Vatican a besoin d’un spécialiste, d’accord pour venir restaurer bénévolement l’un de ses joyaux, une pièce astronomique du XVIIIe siècle d’une rare complexité connue sous le nom d’« horloge Farnese ».
It is this disconcerting approach that constitutes Ludwig Oechslin’s hallmark from his earliest days. There was nothing to indicate that watchmaking was his predilection, since he spent years studying social sciences, and especially because at that time the mechanical watch had a poor reputation. Nevertheless his insatiable curiosity meant that nothing was ruled out. Attracted by mathematics and physics and something of a handyman, Ludwig Oechslin concluded that the measurement of time could certainly satisfy his quest for knowledge while putting food on the table. Just when the trade of horological constructor was on the verge of disappearing, killed off by industrialisation and the quartz crisis, he enrolled as an apprentice in Lucerne determined to learn the mysteries of a condemned profession. But perhaps not entirely condemned, because the Vatican was looking for a volunteer specialist to restore one of its masterpieces, an extremely complex 18th-century astronomical clock known as the Farnese clock. Ludwig Oechslin rose to the challenge. It did not matter that the restoration demanded knowledge of the intricacies of astronomical timepieces, because anything could be learned — or, if necessary, self-taught.
  Il est grand temps – FH...  
Il est construit selon une architecture unique de 15 ponts et 3 semi-ponts. C’est une composition caractéristique des chronomètres de marine du XVIIIe siècle. Comment expliquer la transmission par un système fusée-chaîne ?
The first thing that strikes any observer of the Chronométrie Ferdinand Berthoud FB 1.3 is its movement, and particularly its unique architecture with 15 bridges and three half-bridges – a construction typical of eighteenth-century marine chronometers. And because a picture is worth a thousand words, don’t try and explain the fusee-and-chain transmission; just flash the 44-mm diameter/13-mm thickness of the case whose portholes allow a view of the mechanics inside.
  Vianney Halter – FHH Jo...  
Quel point commun entre l’approche rétrofuturiste de l’artisan-créateur Vianney Halter, les travaux de l’historien Roger Smith, fin connaisseur de l’horlogerie londonienne du XVIIIe siècle, et la contribution décisive dans le développement des horloges atomiques du binôme Giovanni Busca/Pascal Rochat ?
What do the retro-futuristic timepieces of artisan-watchmaker Vianney Halter, research by historian Roger Smith, one of the foremost authorities on eighteenth-century London watchmaking, and watershed developments in atomic clocks by Giovanni Busca and Pascal Rochat have in common? Answer: the prestigious Prix Gaïa.
  Jaquet Droz – FHH Journal  
Lancement de la Grande Seconde, pièce inspirée d’une montre de poche créée au XVIIIe siècle. Elle devient vite une icône.
Launch of the Grande Seconde, a piece inspired by a pocket watch created in the 18th century. It rapidly becomes an icon.
  Vianney Halter ou la pa...  
Mais pour tout passionné de garde-temps, y pénétrer, c’est comme se plonger dans l’antre d’un inconditionnel de la mécanique faite à l’ancienne. La référence à Antide Janvier, célèbre horloger français du XVIIIe siècle, n’a d’ailleurs rien de fortuit.
Manufacture Janvier in Sainte-Croix (Vaud) is a 1950s industrial building that stands slightly apart at the edge of the village. The common of mortals probably wouldn’t give it a second glance. But for those in the know, to step inside is to enter the lair of a man whose eyes light up at the sight of a mechanical movement made the traditional way. The reference to Antide Janvier, a renowned eighteenth-century French watchmaker, is with good reason. Vianney Halter, for this is his workshop, is quick to acknowledge the one thing that put him where he is today: “I came to watchmaking out of a love of vintage timepieces.” Indeed, he started out as a restorer of antique watches in Paris before accepting his friend François-Paul Journe’s invitation to leave France for Switzerland. “In Paris, I was working with next to nothing. The legacy of past generations of watchmakers and industrial expertise had simply disappeared. In Switzerland, I saw that there was still hope.”
  Les organes de régulati...  
Preuve était faite au milieu du XVIIIe siècle que les échappements courants existants n’étaient pas à même d’offrir une précision dans la durée. S’ils parvenaient à battre des records, leur conception relevait d’un travail d’art impossible à véritablement reproduire. À une époque où l’idée d’industrialisation et de reproductibilité commençait à faire son chemin dans les esprits, les échappements anciens, difficiles à réaliser ou peu précis, n’avaient plus lieu d’être. Vers 1750, tous les maîtres horlogers, qu’il s’agisse du Français Pierre Leroy, du Suisse Ferdinand Berthoud, ou des Anglais comme John Arnold et Thomas Earnshaw, étaient convaincus que l’échappement libre, autrement dit l’organe de transmission ayant le moins de contact avec l’oscillateur, était la solution du futur pour créer des instruments de mesure du temps durablement précis.
It became clear, come the mid-eighteenth century, that existing escapements were unable to offer precision over a prolonged period. Their design permitted exploits and records but implied a degree of intricacy which made them effectively impossible to reproduce. In an age when thoughts were turning to industrialisation and serial production, these old escapements, either because they were difficult to make or because they lacked in precision, had done their time. By 1750, all the great master watchmakers, whether Pierre Leroy in France, Ferdinand Berthoud in Switzerland or England’s John Arnold and Thomas Earnshaw, were convinced that the detached escapement, i.e. one which has the least contact with the balance, was the way forward if they were ever to build mechanisms that would measure time with lasting precision.
  La FHH accueille F.P. J...  
La grande signature horlogère F.P. Journe – Invenit et Fecit participe naturellement à ces projets avec ses créations dont la technique et l’esthétique font honneur aux grands maîtres du XVIIIe siècle.
Actively assisted by its partner-brands, since its creation in 2005 the Fondation de la Haute Horlogerie has continued to develop new projects to inform, train, recognise the values of Fine Watchmaking and organise events. An outstanding name in watchmaking, F.P. Journe – Invenit et Fecit contributes to these projects with timepieces whose technical and aesthetic qualities are worthy of the eighteenth century’s great masters.
  François-Paul Journe, l...  
En pur autodidacte, il cherche, il tâtonne, il rêve de mécanismes subtils. Il n’a que 20 ans, mais il se passionne pour les créations des grands maîtres du XVIIIe siècle. En 1978, il achève sa première montre de poche à tourbillon, en 1979 le mécanisme d’un Planétaire pour Asprey, à Londres, commandé par les ateliers Brun à Paris.
Journe, who only recently turned 60, started out in watchmaking at 14, although this was hardly an epiphany. “When I started at the watchmaking school in Marseilles [where he was born], it was a case of any port in a storm,” he says with a smile, hinting at a less than glorious school record. “I was expelled after two years. I then enrolled at the Paris watchmaking school but it’s really in my uncle’s restoration workshop that I became aware of this whole world of collectors.” The very ones who now avidly await his every invention, though nothing could have been further from his mind when he settled down to work, an autodidact feeling his way through the subtle mechanisms that would haunt his dreams. Just 20 years old, he was already entranced by the work of the eighteenth century’s master horologists. He completed his first tourbillon pocket watch in 1978. A year later, Ateliers Brun in Paris commissioned him to design a planetarium mechanism for Asprey in London. “When I started making watches, the only thing I cared about was to get them to work,” he recalls. It wasn’t long before collectors were pressuring him for more. A constant-force tourbillon pocket watch in 1982, a pocket chronometer with automatic winding in 1986, a planetary pocket watch in 1987, a sympathique clock in 1988… with each new piece, François-Paul Journe honed his talent, explored the world of complications and, in 1989, said au revoir to Paris and set off for Sainte-Croix in Switzerland, where he opened a movement manufacturing firm with Denis Flageollet and Vianney Halter. Seven years later he set up his own company, TIM SA, supplying complicated calibres – Chronograph, Striking, Mysterious or Sympathique – to a number of Fine Watch firms. City born and bred, the fresh air and countryside of Vallée de Joux were not for him, and so he upped sticks for the hustle and bustle of Geneva.
  Les organes de régulati...  
À la suite de la mise au point de ce ressort fin comme un cheveu et formé en spirale au niveau du balancier, les horlogers ont modifié les instruments existants pour qu’ils puissent recevoir cette invention. Sans véritable modification dans la construction des garde-temps existants, elle apportait une amélioration considérable de la précision de marche diurne. Une fois que les horlogers de l’époque ont compris l’importance de disposer d’un organe de régulation doté d’oscillations le plus isochrones possible, ils ont pu se pencher sur l’échappement le plus à même de garantir une régularité de mouvement du balancier, quelle que soit la position de l’instrument qui en était équipé. À l’aube du XVIIIe siècle, le fameux siècle des Lumières émaillé de progrès scientifiques de premier ordre, les horlogers les plus créatifs pouvaient raisonnablement nourrir l’ambition de révolutionner leur métier pour créer une machine capable, grâce à sa précision mécanique, de rivaliser avec l’horloge céleste considérée alors comme divinement invariable…
Watchmakers began to incorporate Huygen’s spiral spring, no thicker than a human hair and mounted on the balance wheel, into existing timepieces and were able to make substantial improvements to daily rate with effectively very few mechanical modifications. Once watchmakers of the day had realised the importance of having a regulating organ whose oscillations were as isochronous as possible, they turned their attention to finding an escapement which would enable a regular motion of the balance wheel, however the timepiece in question was positioned. At the dawn of the eighteenth century – the Age of Enlightenment with its multiple scientific advancements – the most imaginative watchmakers could reasonably aspire to revolutionise their domain with a machine whose precision would be such that it would rival even the great celestial clock whose regularity was believed to be the work of God’s hand.
  Londres – FHH Journal  
Et toutes deux redonnent vie à une figure marquante de l’histoire horlogère : Ferdinand Berthoud, horloger mécanicien du roi de France au XVIIIe siècle, et Francizek Czapek, horloger polonais fondateur en 1839 à Genève de Patek, Czapek & Cie.
Two new brands chose SalonQP in London to make their first public appearance. Both revive an important figure in horological history, namely Ferdinand Berthoud, watchmaker to King Louis XV of France, and Francizek Czapek, a Polish watchmaker and founder, in 1839 in Geneva, of Patek, Czapek & Cie. Introducing Czapek & Cie.
  François Junod, le sorc...  
« Les automates ont toujours eu un côté magique, presque sorcier, à commencer par ceux des Égyptiens actionnés par du sable qui faisaient apparaître des divinités. » Il précise qu’à l’époque des premiers automates en Europe au XVIIIe siècle, dont ceux du Suisse Jaquet-Droz, l’Église catholique les voyait d’un très mauvais œil.
François Junod’s self-confessed fascination with kinetics inspired him to reconstitute, frame by frame, images taken by the late nineteenth-century English photographer Eadweard Muybridge, the first person to break down movement, including horses in motion, and capture it on film. Every corner of the workshop is filled with animated sculptures, as though an army of Giacometti figures had suddenly broken free of their pedestals. “There’s something magical, wizardly almost, about automatons, starting with the Ancient Egyptians’ sand-driven devices through which the divinities were materialised.” The first European automatons, including those by Jaquet-Droz, appeared in the eighteenth century and, as Junod reminds us, roused the disapproval of the Catholic church.