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NAPOLEON III THREE-PIECE CLOCK GARNITURE. GILT BRONZE .FRANCE, CIRCA T...

Napoleon III garrison. Ormolu. France, third quarter of the 19th century. LEMAIRE, Auguste (France, 19th century); following models of CARRIER-BELLEUSE, Albert-Ernest (Aisne, 1824-Sèvres, 1887).
Garnish composed of two chandeliers of eight lights each and a clock, all made of gilt bronze. The bases of the three elements present a harmonic and symmetrical but very moved play of curves and projection, which translates into the upper part of the pieces. Each of the chandeliers has a shaft with a clear Rococo memory composed of a base with scrolls flanking a circular shape with rockeries, a pedestal that serves as a seat for female figures, and a top with scrolls and plant elements from which they emerge some pieces for the respective arms of the candelabra (also decorated with scrolls, rockeries, etc.). The clock presents a pedestal on the base, decorated with architectural elements and a scallop or shell as its center, flanked by branches and scrolls; Two other female figures are sitting on this pedestal, flanking the oval piece and topped by flowers and plant motifs that shelter the dial (white, Roman numerals for the hours and Arabic numerals every five for the minutes, Orientalist type hands or Louis XV, remains of writing). The Clockwork Machinery features inscription (A. Lemaire / Paris / RVDu Temple, 21) and serial numbers.
The four gilt bronze figures that decorate the garrison are seated, partially covered with fine robes that stick their folds to the body and move with the "wind", and each one is characterized by the object it carries. In the candlesticks, one carries a bow and animal skin and the other a chalice, an object to illuminate, a brazier or something similar; on the watch, one features a flower crown and the other a bundle of ears of wheat. They could be the four seasons (compare with the caryatids outside the Grand Opera of Vichy) or four allegories (bronze of Harmony or allegory of music, various museums and collections). A garnish like this one was sold at Christie's (September 23, 2010, lot 256) cast on the model of Albert-Ernest Carrier-Belleuse.
Albert-Ernest Carrier Belleuse was a French sculptor and draftsman trained with David d'Angers and at the School of Fine Arts in Paris. He achieved international recognition from his participation in the Salon of the French Artists of 1861 (Third Medal), reaching outstanding works such as various busts of Napoleon III, the fireplace in the great hall of the Paris Opera, etc. His work is preserved in outstanding private collections and in institutions such as the Musée d'Orsay in Paris, the Prado Museum in Madrid, etc .; In addition, we must remember its terracotta and its monuments (such as that of Bernardo O'Higgins in Santiago de Chile). It is also necessary to highlight the publication in 1884 of L \\ 'application de la figure humaine à la decoration et à l \\' ornementation industrielles, an important collection of samples for the decorative arts of the time, and who was appointed director of art for the Manufacture in 1876 Nationale de Sèvres."

· Size: Reloj 20x51x63 cms / Candelabros: Alt 74 cms.
ANTIQUES

Ref.: ZF0610
GILT BRONZE CLOCK AND CANDELABRUM SET. NAPOLEON III, FRANCIA, CA. SECO...

Napoleon III gilded bronze watch. France, towards the second half of the 19th century.
The table clock has a base decorated with animal claws and lion heads, as well as forms that resemble drapery hangings. Above it stands the clock, with volute legs topped by feminine busts with wings framing a face with plant elements, the three in bronze in brown. The circular dial, in gilt bronze, is decorated with fine reliefs, and the numbering is presented in small white plates with Roman numerals. The clock is topped with a vase on Doric capital decorated with garlands and vegetal elements in relief.
The set completes two four-branched candelabra. Bases and feet match those of the watch in all its elements and in the chromatic combination. The foot is decorated with garlands and scrolls, as well as plant elements and animal heads on the arms, accompanied by more rectilinear lines reminiscent of Greek rather than Roman models. The arms of the lights are directed to the sides, and the central one is topped by a vase with flames in the upper part, combining with two others towards the sides to give symmetry to the composition.
The style Napoleon III, also called Second Empire, is a style that was born in France under the reign of Emperor Napoleon III (Paris, 1808 - London, 1873, emperor 1852-1870). In general, it is characterized by a clear influence of the Greek and Roman Antiquity models, but always maintaining a high degree of sumptuousness in all works (elaborate and abundant embossed ornamentation, drapery ...), although there was also a certain eclecticism to inspire the arts also in other styles (Italian and French Renaissance, Neoclassicism ...). The present example is a good example of the Napoleon III style in its classicist version, with rich additions (curtains, masks, chromatic combinations)."

· Size: 42x37x83 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6765
FRENCH MANTEL CLOCK DEPICTING ALLEGORY OF THE SCIENCES, XIX CENTURY.

French desktop clock with Allegory of Sciences, 19th century.
Belgian marble and gilt bronze. France.
The white dial with Roman numerals features Breguet needles and part of the movement in sight. It is inside a protective glass, decorated with a band of pearls and highlighted with a magnificent vegetal decoration of gilt bronze that extends up and down. The watch case has been made in a striking Belgian black marble, located on four legs of rollers and with chamfered corners to place more decorative bronzes on them.
The choice of stone is determined by the magnificent result of contrasting gold and black. The so-called "Belgian marble" or "Noir Belge" refers to a type of limestone of that color extracted from several deposits of that country that was already known and used in Roman Antiquity but whose use was massive as a background for stone works hard or intarsia of the Renaissance and later. Since the middle of the 20th century, its exploitation has been decreasing due to the progressive difficulty of accessing the few remaining veins of the material, and its use is already restricted to the most exclusive creations.
At the top, two female figures flank a table covered by a cloth in which there are several books, documents and a globe. The two ladies, dressed in robes and made in patinated bronze, represent the Sciences.
Clocks of sculptural conception like the present used to be known as "French type" as opposed to the English. The eighteenth century was the time when watchmaking combined the technical advances of then with superb artistic works, characteristics that continued in force throughout the nineteenth century. It was common to choose works similar to the present one to normally decorate chimneys, but also tables and dressers in palaces and residences of importance. Both the movements and the materials used in the realization of these watches were expensive and required very skilled labor, giving rise to authentic jewels.
The allegories were a frequent theme in the decoration of sumptuous works of art in the nineteenth century, under the influence of Neoclassicism. In general, minor divinities were chosen for the decoration of these elements of social distinction, hence the frequent appearance of “putti” or allegories of the arts or sciences or of concepts such as time."

· Size: 73x25x87 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6311
FRENCH BRONZE MANTLE CLOCK. 19TH CENTURY.

Table clock. Ormolu. Signed Dumont, Paris, 19th century.
Table clock with white dial, Roman numeration for hours and vertical lines for minutes, gilded bronze hands and signature in black letters (Dumont à Paris). The body has small legs that raise it slightly, decorated with moldings of different widths and diameters. Above these stands a pedestal formed by two parts (the lower one larger than the upper one), decorated with a series of embossed scenes, in addition to two burning hearts crossed by two arrows and surrounded by a wreath of flowers, and vegetable palms . On the dial is a winged, young male figure, who holds a branch in one of his hands and a stick with leaves and fruits in the other, carries a quiver with arrows behind his back, a short sword hanging from the waist and presents a series of objects (helmet ...) at your feet. On that staggered base, the reliefs show several mythological figurative themes: Apollo punishing Marsias for challenging him by touching the howls; two taps flanking a center of leaves and other elements; two ladies before a man sitting in what a temple could (perhaps Diogenes); a courtship of putti playing tubes and pushing a car pulled by lions in which Cupid appears sitting.
The identity of the figure sitting on the top of the table clock is related to classical mythology, given the aesthetics of the piece and the embossed decoration of the front. Clearly, it is not about the Archangel Saint Michael, it may be an Allegory of Summer (by the branch it shows), a Wind, or some minor divinity of the Roman pantheon. This theme, of classic influence but centered on the characters that do not star in the great myths or the most known moments, was common in the decorative arts of the nineteenth century. Exception to this rule, in the present case, would be the punishment of Marsias, an unusual subject given the nature of the same, considered unfit for an interior, since decorum was always given priority.
In Europe it was the adoption and improvement of the pendulum in the seventeenth century that changed the evolution of watches radically. From that moment, a technological evolution began that led the English and French master watchmakers to be the most valued in the following centuries. The latter were recognized and appreciated by the figures and the luxurious materials with which the boxes were decorated and, thanks to the technical advances carried out in the country, also for the quality of the mechanisms.
As for the use of overdosed bronze, this material played a leading role in the decoration of French interiors from, above all, the end of the 17th century until the 19th century. Its quality was due, above all, to a high degree of specialization of the workshops responsible for its production and a rigid system of regulations that regulated the two unions that had the exclusivity of this material: that of “fondeurs-ciseleurs” (smelters and chisellers) and that of "ciseleurs-doreurs" (smelters and gilders)."

· Size: 35x12x49 cms.
ANTIQUES

Ref.: ZF0125
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MANTLE CLOCK. MEISSEN, GERMANY, 18TH CENTURY

Table clock Meissen, Germany, 18th century.
Glazed porcelain, metal, glass.
The base of the watch has lines with pronounced curves and outstanding movement, in line with Rococo works of the eighteenth century, and has been enhanced with flowers of various colors and sizes. On it, stands a rock and a cluster of clouds. In these two elements have been placed three swans, two ladies, two small Cupids (one with a dove) and, finishing the set, a female figure sitting on a car and accompanied by another child Cupid. Under the car, the white dial of the clock is placed, with Roman numerals for the hours and in Arabic numerals (every five) for the minutes.
The lady with the diadem sitting in the car is the goddess Venus, and the swans are the animals that pull her vehicle. The Goddess of Beauty according to classical mythology is a common theme in the arts of the eighteenth century, noting also the influence of Neoclassicism on the features of the figures. Note, however, the presence of Rococo elements in the table clock.
This sculptural group, made of glazed porcelain, had to be really popular at the Meissen Factory among its luxury clients, since several examples have been preserved in private collections around the world (many, however, without having been converted to clock). This center was the first, in all Europe, to achieve the real hard-paste porcelain formula (1708, Ehrenfried Walther von Tschirnhaus), beginning its production and its long history in 1710, always emphasizing the quality of its work and his figures and variety of designs."

· Size: 46x33x60 cms.
ANTIQUES

Ref.: ZF0138
BRONZE MANTLE CLOCK. 19TH CENTURY.

Table clock. Bronze. XIX century.
Table clock made of gilt bronze featuring a white dial with Roman numerals for the hours and Arabic numerals every five for the minutes, Louis XV hands and a golden frame around. On a base that combines pebbles and openwork scrolls, a series of curved shapes that follow the same composition are placed, contrasting undulations within a triangular shape, and in these three half-naked children's figures are placed carrying objects (the two below hold a garland of flowers; the one above looks through a telescope or telescope).
Stylistically, it shows a clear influence of French Rococo from the 18th century, slightly modified with some changes to adapt the style to the tastes of the 19th century (presence of symmetry, clean lines, etc.). The Louis XV style was an eighteenth-century French artistic period that is considered the beginning of Rococo and showed no influence of Neoclassicism until approximately the last third of the eighteenth century. During the 19th century, Rococo's influence often appeared both in French cabinetmaking and in other decorative arts."

· Size: 56x21x53 cms.
ANTIQUES

Ref.: ZF0496A
MAHOGANY GRANDFATHER CLOCK, WILLIAM WEBSTER, 1711-1770.

English floor clock (type called "grandfather") with mahogany case. William Webster, 1711-1770.
Floor clock with box made of mahogany wood: a base on four legs raises the part that hides the pendulum in sight, both decorated with a simple molding that frames the work of frisage it presents; The upper part consists of columns in the corners under a curved finish with openwork elements on red cloth, which are also presented in the pagoda-shaped top that crowns the piece, under three spheres with a needle in metal overdosed.
The front of the watch, which covers the movement and is protected by a door with key lock, is divided into two parts. The upper one consists of a small dial, framed by plant moldings in the same arrangement as the lower part, and consists of a needle to indicate if the clock is in silent mode or if the sound is in operation. The lower one is home to the main sphere, with the hours in Romans separated by fleur de lis and the minutes in Arabic numerals; inside, second hand in Arabic numerals, square for the calendar and identification plate of the place of manufacture and the teacher who made it. The three holes it presents identify it as a clock with the sound of quarters of an hour.
The floor clocks could be popularized thanks to a series of improvements in the operation of the same, made around 1670. As for the term with which they are known this type of watches when they are made in English seems to be due to a song of 1876, being before called "long case clocks".
William Webster (apprenticeship from 1710-1770) founded a family that was dedicated to making magnificent watches for almost two hundred years and is known by his last name. John Barnet's apprentice, then worked with Thomas Tompion to become independent and become part of the Worshipful Company of Clockmakers, beginning his work at Exchange Alley (London) in 1711. The dial plate, already mentioned, places the manufacture of the Watch in this London workshop."

· Size: Alt. 255 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z5541
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GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Ormolu. XIX century.
Table clock made of gilded bronze with a powerful base, enhanced with legs decorated with plant and architectural motifs of classicist inspiration and a series of details on the front (volutes in the chamfered corners, scrolls and a center with a globe from which radiates light and a parchment, with inscriptions in both), as well as bands of simple architectural elements and smooth spaces to enhance those decorations. On this pedestal has been placed a parchment for the sphere (white, with Roman numerals for the hours and lines for the minutes, breguet-type needles), surrounded by a garland. In this area a male figure is placed, dressed in suits reminiscent of the Renaissance, holding a drawn sword; In addition, a series of elements have been placed on the part of the sphere (a globe, documents with cursive texts in French, etc.).
The allusion to the sciences is clear when presenting at such a prominent point the documents with the respective texts and the sphere. The detail of the sword refers to the war. Thus, it would be a figure that would unite wisdom and action, uniting in the gentleman of a certain age both, as it should be in a ruler or people of a certain social class.
The best examples of bronze table clocks were made in France during the 19th century, or so it was considered. This is due to the care with which it was organized and legislated the manufacture of applications and elements in bronze, the gold bronze technique to mercury, and the participation in the creation process of front-line artists who were in charge of the designs of the figures and decorative motifs (likewise, it was not unusual to make figures inspired by or more directly copying great works of Art History). The resulting clocks were much appreciated, being destined to decorate interiors of palaces and residences.
Machinery in working order."

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
FRENCH CLOCK. REPRESENTATION OF ARABIC MAN

Calamine
XIX century"

· Size: 44x66 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z5312
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WALL CLOCK WITH MUSIC BOX, 19TH CENTURY.

Carved wood wall clock with metal disc music box, 19th century.
Clock divided into two parts: the upper one, flanked by columns on moldings, features a dial with Roman numerals and a chromatic set in silver and gold with engraved details reminiscent of Gothic models; the lower one, flanked by pilasters and with a vegetal motif inspired by baroque works, presents a door that hides the pendulum and the mechanism of the music box. The mixture of decorative styles in the work is characteristic of the furniture of the nineteenth century, at which time the music box would be a technological novelty of great importance."

· Size: 37x22x95 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z3152
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

Wall clock "Henri II" style, 19th century.
The dial, in white, has Arabic numerals and is protected by glass. The watch case, made of carved wood, shows a decoration based on architectural elements (diamond tips, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and vegetal motifs on the that there is a gap to see the pendulum, which is highlighted by a decoration in gilded metal. The style Enrique II ("Henri II") was the name given to an artistic style emerged in France in the nineteenth century and that was inspired by the Renaissance of this country making a series of furniture with the type of decoration we see in the present work. It was so successful that it was recovered in the Neo-Renaissance style, which lasted well into the twentieth century."

· Size: 38x18x126 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z0484
CUPID MANTLE CLOCK 19 TH CENTURY

Table clock; France, 19th century.
Gold metal and patinated.

French table clock of the 19th century, with a sculptural design, composed of a base, the clock itself and the large sculpture that accompanies it, with a round shape. It is a classic "putto", a representation of Cupid child in the form of a half-naked boy, winged, with the bow and arrows tied behind his back and a torch in his hand, a common attribute in his iconography. Next to the figure, with a great sweetness, naturalistic and full of grace, the clock case is placed, open on its front and back to show us, through beveled glass panels, the movement of the pendulum. This box presents a profusely ornamented classical architectural structure, with mock hangings, garlands of fruits, various decorative elements properly architectural and a wrinkled upper ribbon, a motif taken directly from the neoclassical ornamental background. The dial features Arabic numerals in black on a white background, and features fretwork baroque style hands in gold tone. The set stands on an asymmetrical pedestal, wider on the left side to fit the size of the sculpture, adorned with elements of gilded bronze applied: four feet of top, a molding of contario and two plates of openwork plant design."

· Size: 32x15x48 CMS.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6242
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Garrison in gilded bronze and white marble in Louis XVI style, 19th century.
Composed of two cups on pedestals and a clock. The first ones are the same: on four circular legs, a polygonal base is placed on which there is a low striated column decorated with two strings of pearls in its lower area; above, a tall stemmed cup with two handles in the shape of vegetable stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, has the white dial and numerals in Arabic numerals, in addition to needles of the type called Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, appears between the columns and the decorative chains.
The French style called Louis XVI is characterized by its inspiration in classicism and covers, roughly, from 1760 to 1789. In the nineteenth century many artistic movements of the past were recovered, among which the aforementioned due to his inspiration, very in line with the Neoclassicism of the moment."

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6190
COMTOISE CLOCK, FRANCE, 19TH CENTURY. .

Real Morez pendulum clock with box, France, 19th century.
Magnificent standing clock with box decorated in engraved wood and polychrome with floral motifs. The pendulum is highlighted by a plaque on which are shown plant elements in various colors on a golden background. The dial, with Roman numerals and decorated needles, is highlighted with another gold plate with plant decorations in various colors."

ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6189
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MANTEL CLOCK. ORMOLU BRONZE, MACHINERY WITH THREAD ESCAPEMENT. FRANCE,...

Table clock Gilded bronze, machinery with thread leakage. France, around 1825
Table clock with machinery with thread escape and golden bronze box. On four legs of circular base, stands the piece, which has a rectangular base decorated with smooth areas, an elaborate composition to the front (cupids, flowers, etc.) and others in light relief with classicist architectural elements, and a second body narrower in which the sphere appears (inserted in a rectangular "box", white to the outside with Roman numerals for hours and lines for minutes, breguet needles, and a center in gilded bronze decorated with delicate geometric elements; a decoration on the front with flowers, plant elements, garlands and torches arranged in symmetrical composition, behind, a piece in transparent glass allows you to see the machinery), a tall pedestal with a fruit bowl on top and a lower pedestal with a cupid supported on it. On the part of the sphere, there is a wreath of flowers with a butterfly on top.
In Europe it was the adoption and improvement of the pendulum in the seventeenth century that changed the evolution of watches in a radical way. From that moment, a technological evolution began that led the English and French master watchmakers to be the most valued in the following centuries. The latter were recognized and appreciated by the figures and the luxurious materials with which the boxes were decorated and, thanks to the technical advances made in the country, also by the quality of the mechanisms.
Regarding the use of the gilded bronze, this material played a leading role in the decoration of French interiors from, above all, the late seventeenth century and until the nineteenth century. Its quality was due, above all, to a high degree of specialization of the workshops responsible for its production and a rigid system of rules that regulated the two guilds that had the exclusivity of this material: that of "fondeurs-ciseleurs" (smelters and chisels) and that of "ciseleurs-doreurs" (smelters and gilders).
In operating state."

· Size: 24x10x28 cms.
ANTIQUES

Ref.: ZF0423
PAIR OF GILDED BRONZE CANDELABRA. 19TH CENTURY.

Candlesticks couple. Ormolu. XIX century.
Pair of candlesticks of five lights each, which have been made in gilded bronze. The base, raised on four legs disguised with vegetal elements and scrolls, presents a decoration combining architectural elements with leaves and stems; the foot is formed by two stems with leaves, and from it a nucleus from which the arms for the candles arise, all curved (except the center one) and decorated with more leaves and lines resembling stems. The back is flat to be able to place them near a wall. Sitting at the base are two half-naked children's figures: one holds a bunch of grapes and has a wreath of branches and bunches on its head; the other has a glass and a bunch of grapes. These two children provide the reference to classical mythology that is common in works of the nineteenth century: in the present case, they allude to the god Bacchus or Dionysus."

· Size: 26x18x58 cms.
ANTIQUES

Ref.: ZF0496B
SPHERICAL BALL DESCK CLOCK. 19TH CENTURY.

Ball table clock. Metal, glass, stone. S. XIX.
Table clock with the sphere inside a transparent glass ball, showing the numerals in Arabic for hours. It has an elaborate system that allows a certain movement and legs turned in metal on an onyx base."

ANTIQUES

Ref.: ZF0237