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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 from CARRIER-BELLEUSE, Albert-Ernest (Aisne, 1824-Sèvres, 1887).
Garrison composed of two candelabra with eight lights each and a clock, all made of gilt bronze. The bases of the three elements present a harmonic and symmetrical but very moving set 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 volutes flanking a circular shape with rockeries, a pedestal that serves as a seat for the female figures, and an upper part with scrolls and plant elements from which emerge some pieces for the respective arms of the candelabra (also decorated with scrolls, rockeries, etc.). The clock has a pedestal on the base, decorated with architectural elements and a scallop or shell as the center of it, flanked by branches and scrolls; Two other female figures are seated on this pedestal, flanking the oval piece and topped by flowers and plant motifs that shelter the dial (white, numeration in Roman for the hours and in Arabic numerals every five for the minutes, Orientalist-type hands or Louis XV, remains of writing). The clockwork 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 tunics that glue their folds to the body and move with the "wind", and each one appears characterized by the object it carries. In the chandeliers, one carries a bow and an animal skin and the other a chalice, an object to illuminate, a brazier or something similar; on the clock, one features a wreath and the other a bundle of ears of wheat. It could be the four seasons (compare with the caryatids on the exterior of the Grand Opera in Vichy) or four allegories (Harmony bronze or allegory of music, various museums and collections). A garnish like this one was sold at Christie's (23 September 2010, lot 256) cast on the Albert-Ernest Carrier-Belleuse model.
Albert-Ernest Carrier Belleuse was a French sculptor and draftsman trained with David d'Angers and at the Ecole des Beaux-Arts in Paris. He achieved international recognition from his participation in the Salon of 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 prominent private collections and in institutions such as the Musée d'Orsay in Paris, the Museo del Prado in Madrid, etc .; Furthermore, we must remember its terracotta and its monuments (such as that of Bernardo O'Higgins in Santiago de Chile). Also noteworthy is the publication in 1884 of L \\ 'application de la figure humaine à la decoration et à l \\' ornementation industrielles, an important sample book for the decorative arts of the time, which was appointed in 1876 art director of the Manufacture Nationale de Sèvres."

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

Ref.: ZF0610
BRONZE TABLE CLOCK. MARQUIS, FARRET AND PONS. FRANCE, 19TH CENTURY.

Table clock. Gilt and blued bronze. Marquis, Farret y Pons, France, 19th century.
Large table clock with blued and gilt bronze case, white dial with black Roman numerals for the hours and black Arabic numerals every five for the minutes, Louis XV style hands and the inscription “MARQUIS / A PARIS” and chime. The piece has a base area decorated with scrolls and opposing plant elements reminiscent of Rococo works (in addition to a relief in the center with children in agricultural tasks) and in which two blued bronze figures lie; the sphere and the mechanism are in the central gilt bronze element, with a vase shape decorated with scrolls, flowers, vegetal and architectural elements of clear classicist memory, finished off with a bouquet of flowers.
Two stamps can be seen on the machinery: the first oval with the inscription "FARRET / A / PARIS", and the second circular with the legend "MÈDAILLE D'OR / PONS / 1827". The watchmaker Honoré PONS was one of the masters who dedicated part of his time to making machinery in Saint-Nicolas d'Aliermont to give life to boxes from other masters whose usual destination was important workshops in Paris. The other stamp that appears on the mechanism reflects one of its triumphs, thus giving the importance it deserves to one of the most important parts of a watch. Farret is a leading watchmaker in the French capital, and he could be the one in charge of finishing the mechanism once the case in which it will go has been chosen, or he may also take care of the exterior decoration of this important piece.
One of the figures is an allegory of a fountain in the manner of classical antiquity, a model that also appears on nineteenth-century French school clocks (a garnish is known in a private collection signed Charpentier & Cie from the Second French Empire period with a figure very similar to the one present in the watch). The other half-naked lady, also in patinated bronze, is reminiscent of models from 19th century French works (especially works by Raingo Frères from the Napoleon III period). The gilt bronze part is also reminiscent of 19th century Parisian works by masters such as Raingo Frères, with clear influence of Louis XV style works on the overall composition. In the Cerralbo Museum in Madrid there is a clock garnish and two candelabra with a box signed by Marquís (inventory numbers 4219, 4220 and 4221), dated in the Second Empire (1852-1870); The French Government preserves in its collections another Louis XVI-style piece also signed by this master, which they call “L'Astronomie” (inventory GML-11406-000). Marquís is considered one of the many bronze foundries based in paris dedicated to creating boxes and figures for watches.
Weight: 55 kg"

· Size: 100x27x80 cms
ANTIQUES

Ref.: ZF0602
GILT BRONZE CLOCK AND CANDELABRUM SET. NAPOLEON III, FRANCIA, CA. SECO...

Clock with Napoleon III garrison in gilt bronze. France, towards the second half of the 19th century.
The table clock features a base decorated with animal claws and lion heads, as well as shapes that resemble rich cloth hangings. Above it stands the clock, with scrolled legs topped by female busts with wings framing a face with plant elements, all three in bronze in a brownish tone. The circular sphere, in gilded bronze, is decorated with fine reliefs, and the numbering is presented on small white plates with Roman numerals. The clock is finished off by a vase on a Doric capital decorated with garlands and vegetal elements in relief.
Two four-armed candelabra complete the set. Bases and feet match those of the clock in all its elements and in the color 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 that are reminiscent of Greek more than Roman models. The arms of the lights are directed to the sides, and the central one is topped by a vase with flames at the top, combining with two others to the sides to give symmetry to the composition.
The Napoleon III style, also called the 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 models of both Greek and Roman Antiquity, but always maintaining a high degree of sumptuousness in all the works (elaborate and abundant ornamentation in relief, draperies ...), although there was also a certain eclecticism as the arts were also inspired by other styles (Italian and French Renaissance, Neoclassicism ...). This example is a good example of the Napoleon III style in its classicist version, with rich additions (draperies, masks, color combinations)."

· Size: 42x37x83 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

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

French table clock with Allegory of Sciences, 19th century.
Belgian marble and gilt bronze. France.
The white dial with Roman numerals features Breguet hands and part of the movement in sight. It is housed in protective glass, decorated with a band of pearls and highlighted by a magnificent gilt bronze plant decoration that extends above and below. The watch case is made of striking black Belgian marble, set on four scrolling legs and with chamfered corners to accommodate more decorative bronzes.
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 various deposits in 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 from 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 on which there are several books, documents and a globe. The two ladies, dressed in tunics and made of patinated bronze, represent the Sciences.
Clocks of sculptural conception such as the present used to be known as "French type" as opposed to English. The eighteenth century was the time when watchmaking combined the technical advances of that time with superb artistic works, characteristics that continued throughout the nineteenth century. It was common to choose works similar to the present one to normally decorate fireplaces, but also tables and dressers in palaces and important residences. Both the movements and the materials used to make these watches were expensive and required highly skilled workmanship, resulting in authentic jewels.
Allegories were a frequent theme in the decoration of sumptuary works of art in the 19th century, under the influence of Neoclassicism. In general, minor deities were chosen to decorate 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
Sold

FRENCH BRONZE MANTLE CLOCK. 19TH CENTURY.

Table clock. Ormolu. Signed Dumont, Paris, 19th century.
Table clock with white dial, Roman numerals for the hours and vertical lines for the minutes, gilt 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. On these stands a pedestal formed by two parts (the lower one larger than the upper one), decorated with a series of scenes in relief, as well as two burning hearts crossed by two arrows and surrounded by a garland of flowers, and plant palmettes. . On the sphere there 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 on his back, a short sword hanging from his waist and presents a series of objects (helmet…) at his feet. On that stepped base, the reliefs show various figurative mythological themes: Apollo punishing Marsyas for defying him by touching the aulos; two taps flanking a center of leaves and other elements; two ladies before a man seated in what could be a temple (perhaps Diogenes); a procession of putti playing horns and pushing a chariot drawn by lions in which Cupid appears seated.
The identity of the figure sitting on top of the table clock is related to classical mythology, given the aesthetics of the piece and the relief decoration on the front. Clearly, it is not about the Archangel Saint Michael, and it could be an Allegory of Summer (because of the branch it shows), a Wind, or some minor divinity of the Roman pantheon. This theme, with a classical influence but focused on characters who do not star in the great myths or the best-known moments, was common in the decorative arts of the 19th century. An exception to this rule, in the present case, would be the punishment of Marsyas, an unusual topic given its nature, considered unsuitable for an interior, since decorum was always prioritized.
In Europe, it was the adoption and improvement of the pendulum in the 17th century that radically changed the evolution of clocks. 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 for the figures and luxurious materials with which the boxes were adorned and, thanks to the technical advances carried out in the country, also for the quality of the mechanisms.
Regarding the use of gilt bronze, this material played a leading role in the decoration of French interiors from, above all, the end of the 17th century and up to the 19th century. Its quality was due, above all, to a high degree of specialization of the workshops responsible for its production and to a rigid system of norms that regulated the two guilds that had the exclusivity of this material: that of "fondeurs-ciseleurs" (foundries and chisellers) and that of “ciseleurs-doreurs” (smelters and gilders)."

· Size: 35x12x49 cms.
ANTIQUES

Ref.: ZF0125
MAHOGANY GRANDFATHER CLOCK, WILLIAM WEBSTER, 1711-1770.

English grandfather clock (type called "grandfather") with mahogany case. William Webster, 1711-1770.
Floor clock with a box made of mahogany wood: a base on four legs raises the part that hides the pendulum from view, both decorated with a simple molding that frames the frisage work it presents; the upper part consists of columns in the corners under a curved top with openwork plant elements on red fabric, which are also presented in the pagoda-shaped top that crowns the piece, under three spheres with a gilt metal needle.
The front of the watch, which covers the movement and is protected by a lockable door, is divided into two parts. The upper one consists of a small dial, framed by vegetal 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 chime is in operation. The lower one houses the main sphere, with the hours in Roman separated by fleurs-de-lis and the minutes in Arabic; inside, seconds hand in Arabic numerals, square for the calendar and identification plate of the place of manufacture and of the master who made it. The three holes it presents identify it as a clock with a quarter hour chime.
Grandfather clocks could become popular thanks to a series of improvements in their operation, carried out around 1670. As for the term with which this type of clocks are known when they are of English manufacture, it seems to be due to a song from 1876, being before called "long case clocks".
William Webster (apprenticeship 1710-1770) founded a family that made magnificent watches for nearly two hundred years and is known by his last name. An apprentice to John Barnet, he then worked with Thomas Tompion until he became independent and became part of the Worshipful Company of Clockmakers, beginning his work in Exchange Alley (London) in 1711. The plate on the sphere, already mentioned, shows us the manufacture of the watch in this London workshop."

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

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

Table clock. Ormolu. XIX century.
Table clock made of gilded bronze with a powerful base, enhanced by legs decorated with classicist-inspired plant and architectural motifs and a series of details on the front (scrolls in the chamfered corners, scrolls and a center with a globe from which light radiates and a parchment, with inscriptions on both), in addition to bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal a parchment has been placed for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area there is a male figure, dressed in costumes 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 texts in italics in French, etc.).
The allusion to science is clear when presenting in 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 both in the gentleman of a certain age, as it should be in a ruler or people of a certain social class.
The best examples of table clocks in bronze were made in France during the 19th century, or so it was considered. This is due to the care with which the manufacture of applications and elements in bronze was organized and legislated, the technique of mercury gilt bronze, and the participation in the process of creation of leading artists who were in charge of the designs of the figures. and decorative motifs (likewise, it was not strange to make figures inspired by or more directly copying great works of the History of Art). The resulting clocks were highly prized, being used to decorate the interiors of prominent palaces and residences.
Machinery in working order."

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
MANTLE CLOCK. BRONZE, MARBLE. 19TH CENTURY.

Table clock. Marble and bronze. XIX century.
Table clock with Paris box machinery made of marble and bronze and with porcelain plates applications with rococo souvenir scenes. The white dial features an inscription (Hoffman Fres. / Rues des enfans rouges 4. / A Paris) and Roman numerals for the hours. Above it is a male figure accompanied by an anchor. The staggered base is decorated with gilt bronze elements with a clear classicist memory and the mentioned plates. Porcelain decoration is a possible adaptation.
Machinery in operation
Weight: 30 kg."

· Size: 49x22x71 cms
ANTIQUES

Ref.: ZE286
FRENCH CLOCK. REPRESENTATION OF ARABIC MAN

Calamine
XIX century"

· Size: 44x66 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z5312
GILT BRONZE CLOCK. 19TH CENTURY. IN WORKING ORDER.

Table clock. Ormolu. XIX century.
Machinery in working order.
Table clock with box made of gilt bronze, and Paris machinery in working order. The base is raised on legs decorated with vegetal and architectural elements of clear classicist influence, which is also present in the motifs that decorate the rectangular area of this area. The figures, a young couple seated on a rock formation with ruined plants and classical elements, are dressed in 19th-century fashion (note in particular the fineness of the lady's mantilla). The dial has Roman numerals for the hours and lines for the minutes, and a vegetal decoration around it; On the back, a transparent glass plate allows you to see the machinery.
Compare with pieces like the one dated to the middle of the 19th century, entitled "La Müsica", which is in the Museum of Romanticism (Madrid); or the one signed by Le Roy & Fils (from Paris), from the first half of the 19th century, from the Cerralbo Museum in Madrid (Confidence Hall); and others kept in private collections.
In general, 19th century French bronze clocks are considered outstanding pieces (especially regarding the cases), due to the care taken by the government to organize and legislate the manufacture of applications and elements in bronze, the bronze technique mercury gold, and the participation in the process of creation of leading artists who were in charge of the designs of the figures and decorative motifs (also, it was not strange to make figures inspired by or more directly copying great works of the History of Art) . The resulting clocks were highly prized, being used to decorate the interiors of prominent palaces and residences. Due to this, in the rest of Europe, inspiration in these examples for the creation of pieces was frequent. Weight: 18 kg."

· Size: 48x16x58 cms
ANTIQUES

Ref.: ZF0673
WALL CLOCK WITH MUSIC BOX, 19TH CENTURY.

Wall clock in carved wood with metal disc music box, 19th century.
Clock divided into two parts: the upper part, flanked by columns on moldings, presents a dial with Roman numerals and a chromatic game in silver and gold with engraved details reminiscent of Gothic models; the lower one, flanked by pilasters and with a plant motif inspired by Baroque works, has a door that hides the pendulum and the mechanism of the music box. The mixture of decorative styles in the work is characteristic of furniture from the 19th century, a time when 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.

"Henri II" style wall clock, 19th century.
The sphere, 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 points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs on the that there is a hole to see the pendulum, which is highlighted by a gilt metal decoration. The Henry II style ("Henri II") was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance in this country, making a series of furniture with the type of decoration that we see in the present work. It was so successful that it was revived in the Neo-Renaissance style, which lasted well into the 20th century."

· Size: 38x18x126 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z0484
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Garnish in gilt bronze and white marble in the 19th century Louis XVI style.
Composed of two glasses on pedestals and a clock. The first ones are the same: on four circular legs, a polygonal base is placed on which a low striated column is presented decorated with two strings of pearls in its lower area; above it, a tall stemmed goblet adorned with two handles in the shape of vegetable stems. The clock stands on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white dial and numerals in Arabic numerals, as well as hands of the type called Louis XVI and is topped by a vase. The pendulum of the clock appears between the columns and the decorative chains, which has been shaped like the sun.
The French style called Louis XVI is characterized by its inspiration in classicism and covers, approximately, from 1760 to 1789. In the nineteenth century numerous artistic movements of the past were recovered, among which the mentioned one stood out due to its inspiration, very much 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. .

Morez-type royal pendulum clock with case, France, 19th century.
Magnificent grandfather clock with a box decorated in engraved and polychrome wood with floral motifs. The pendulum is highlighted by a plaque showing various colored vegetal elements on a golden background. The dial, with Roman numerals and decorated hands, is highlighted by another golden plate with vegetal decorations in various colors."

· Size: 49x23x233 cms
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6189
POCKET WATCH, FRÈRES ESQUIVILLON & DE CHOUDENS (CA. 1765-1830). PARIS,...

Pocket watch, Frères Esquivillon & De Choudens (ca. 1765-1830). Paris, France, 19th century.
Saboneta-type pocket watch with the exterior decorated in enamels (an architectural composition with a certain exotic air) and a white dial with numerals in Roman for the hours and in Arabic numerals every five for the minutes, and an inscription relative to its origin (they refer to it a series of engravings on the machinery). “Frères Esquivillon & De Choudens” worked in Paris between around 1765 and 1830, creating highly valued pieces that are currently preserved in numerous private collections and in institutions such as the Metropolitan Museum in New York."

· Size: 6x1x6 cms.
ANTIQUES

Ref.: Z2298