Hunter Clock
Johann Huggler (1834–1912)
Brienz, Switzerland
Late 19th century
Walnut
This figural clock, signed by Johann Huggler of Brienz, represents a refined example of Swiss Black Forest carving in the late nineteenth century. The composition centers on a seated hunter positioned above the clock dial, his rifle resting diagonally across his figure. The sculptural framework integrates the timepiece within an elaborate naturalistic setting associated with Alpine hunting culture.
The hunter is rendered with careful attention to physiognomy and costume. His feathered hat, flowing beard, pipe, and layered garments are articulated with finely incised detail, while the rifle is carved with ornamental precision. Oak leaves, pine cones, and woodland foliage form a dense decorative surround. The enamel dial, inset within the carved structure, contrasts with the warm tonalities and developed patina of the walnut.
The base is carved in high relief with representations of a rabbit and a marmot set within scrolling naturalistic forms, reinforcing the Alpine context of the scene and reflecting the detailed observation of wildlife characteristic of Brienz carving.
Huggler frequently modeled his hunter figures on his own likeness, a practice noted in the Brienz carving tradition and reflected in the individualized facial features of the present work. Among the most accomplished sculptors of the Brienz school, Huggler exhibited at major international expositions, including the Exposition Universelle in Paris (1867 and 1900) and the World’s Columbian Exposition in Chicago (1893). Signed examples such as this demonstrate the technical mastery and sculptural ambition that established Swiss Black Forest carving on an international stage.
Hunter Clock
Johann Huggler (1834–1912)
Brienz, Switzerland
Late 19th century
Walnut
This figural clock, signed by Johann Huggler of Brienz, represents a refined example of Swiss Black Forest carving in the late nineteenth century. The composition centers on a seated hunter positioned above the clock dial, his rifle resting diagonally across his figure. The sculptural framework integrates the timepiece within an elaborate naturalistic setting associated with Alpine hunting culture.
The hunter is rendered with careful attention to physiognomy and costume. His feathered hat, flowing beard, pipe, and layered garments are articulated with finely incised detail, while the rifle is carved with ornamental precision. Oak leaves, pine cones, and woodland foliage form a dense decorative surround. The enamel dial, inset within the carved structure, contrasts with the warm tonalities and developed patina of the walnut.
The base is carved in high relief with representations of a rabbit and a marmot set within scrolling naturalistic forms, reinforcing the Alpine context of the scene and reflecting the detailed observation of wildlife characteristic of Brienz carving.
Huggler frequently modeled his hunter figures on his own likeness, a practice noted in the Brienz carving tradition and reflected in the individualized facial features of the present work. Among the most accomplished sculptors of the Brienz school, Huggler exhibited at major international expositions, including the Exposition Universelle in Paris (1867 and 1900) and the World’s Columbian Exposition in Chicago (1893). Signed examples such as this demonstrate the technical mastery and sculptural ambition that established Swiss Black Forest carving on an international stage.
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