Paul Soyer Mantel Clocks

Tiffany & Co. Renaissance Revival Architectural Mantel Clock France, circa 1885–1900 Impressive late 19th century Renaissance Revival architectural mantel clock retailed by Tiff...

Exceptional Italian grandfather clock in the French Rococo Revival style, dating to the early 20th century, masterfully crafted from richly stained wood and adorned with highly elabo...

This clock set is designed in the Egyptian Revival style, which was in vogue in Europe and America in the 19th century. The fashion was kick-started by Emperor Napoleon I’s campaign in Egypt in 1798-1799. This led to the publication of ‘Le Description de l’Égypte’ (The Description of Egypt) in 1809 (and a second edition in 1830), which documented various aspects of Egyptian culture, including the pyramids, antiquities, ancient and modern buildings, Egyptian clothing...

Antique mantel clock was retailed by J.E. Caldwell & Co., an opulent and highly prestigious luxury jeweler and silversmith founded in Philadelphia in 1839. While the dial is sig...

A TIFFANY & CO. EGYPTIAN REVIVAL MANTLE CLOCK, AMERICAN, 1880s, a bronze ormolu and marble clock made by L. Marti et Cie for Tiffany & Company, marked on clock face, "Tiffany & Co." ...

Attributed to Emile Herbert, French, 1828-1893. Comprising a central clock and a pair of flanking lidded vases, the clock on a red and black marble base with Pharaoh busts...

The clock having domed trapezoidal case, dome with bronze relief to front depicting a partial gilt Egyptian goddess, Isis, flanked by cobras and lotus scrolls, red marble ribbed columns to sides, clock face with gilt egg-and-dart border, gilt hands and mounts, clock face engraved BIGELOW KENNARD & CO. BOSTON, double-barrel clock movement by Achille Brocot, down to chained sphinx protruding from lower case, raised on stepped plinth. This vintage mantle clock...

An elegant neoclassical bronze portico clock. The patinated bronze with gilt bronze accents with round white porcelain dial. The four columns on each side with a plinth base at the...

A magnificent 19th century French Renaissance Revival patinated bronze mounted carved walnut "Day and Night" mantel clock.  The dial with Roman numerals flanked by allegorical figures of night and day after Michelangelo. France, circa 1870 Maker: Victor Paillard The movement stamped: Vr. Paillard, Paris. Rodier Paris Stamp & Medaille Dor', 1837 Dimensions: Height 22" (56 cm) Width 37" (94 cm) Depth 9" (22 cm) Victor Paillard (1805-1886) designed and made various bronze decorative and functional objects including chenets, lighting and clocks. He also cast bronzes for some of the most important sculptors of the day including Barye, Carrier-Belleuse and Pradier He opened his first workshop in the 1830s at 105, boulevard Beaumarchais and 6, rue Saint-Claude and by the 1850s was employing around 100 people. His success at numerous international exhibitions including the 1851 Great Exhibition (where he displayed a bronze of the Standing Sappho after Pradier) further enhanced his reputation Day and night by Michelangelo: Though never finished, the tomb of Giuliano de' Medici in the Medici Chapel is the only one of Michelangelo great architectural-sculptural projects to be realized in a form approaching completion. Built between 1520 and 1534, it is widely held to be one of Michelangelo's most stunning achievements. The pose of the central figure on the tomb of Giuliano de' Medici, arms resting at his sides and legs comfortably apart, and its open composition suggest a cheerful Duke, generous in both mind and spirit. In fact, the figure holds in his hand several coins, as if an intended gift. Light plays freely on his beautiful face, yet the figure is lacking in energy and seems to wilt under the burden of the Roman armor...

An Egyptian revival timepiece in a gilded and bronzed case. The four pillared eight day movement with a cylinder escapement is housed in a drum case, mounted behind a crisp white ena...

A Large and Important Louis Philippe Period Gilt-Bronze Three-Piece Clock Garniture. Attributed to the Feuchère family. The clock movement by Hémon. In the Renaissance revival style. Comprising a clock and a pair of nine-light candelabra. The clock case of architectural out-shape with cherubic term figures supporting a rectangular pediment centred by an urn. The sides of the clock tower cast in relief with strapwork and foliage. The dial inset with enamel Roman numeral chapters. The twin-barrel clock movement with tic-tac escapement, silk suspension and countwheel strike to bell. Pendulum and winding key. The candelabra as twin-handled vases supporting tiered branches with candle nozzles. Modelled en suite with naturalistic scrolls and foliage. Surmounted by finials modelled as an eagle toying with a serpent. The scrolled handles flanked by cherubic figures and serpents. The bodies fronted by bacchic masks and supported on socles bearing angels. France, Circa 1835. The clock movement signed ‘HEMON A PARIS’. The clockmaker Claude Hémon was established at rue de St. Martin circa 1810-1820. Dimensions, the clock: Height : 106 cm 42 inches Width : 58 cm 23 inches Depth : 38 cm 15 inches Weight : 72 kg Dimensions, the candelabra: Height : 104 cm 41 inches Width : 36 cm 14 inches Depth : 36 cm 14 inches Weight : 28 kg (each) This magnificent clock garniture of palatial size is designed in the Renaissance revival style and dates to the Louis Philippe period. Executed in sculptural gilt-bronze with leaves, scrolls, masks and exotic birds, the naturalistic ornament represents an elaborate system of allegories and mythological iconography which recall the influence of Italian Mannerist art in France. The distinctive design reflects a new style which replaced the neoclassism of the French Empire period. With the fall of Napoleon Bonaparte, artists and designers sought a new decorative vocabulary with which to aggrandise the Bourbon restoration. With the French revolution and Louis XVI’s execution still within living memory, it seemed too soon for a revival of the style of the Grand Siècle. Instead they looked further back to the time of François I, whose patronage of Italian artists had brought the Renaissance to France. The idea of a renaissance revival appealed to the new Bourbon monarchs and their patronage ignited great creativity in the arts. The reigns of Louis XVIII and Charles X, who were brothers of the late King, Louis XVI, and later of Louis Philippe I, nicknamed the Citizen King, coincided with the enlightenment and the dawn of the industrial age. Great technical progress was made in metallurgy and casting which raised the art of bronze making to new heights in the hands of great masters such as Pierre-Philippe Thomire (1751-1843) and Pierre- Jean-François Denière (1774-1866). The renaissance provided a rich and varied source book in architecture, furniture and other decorative arts for designers such as Claude Aimé Chenavard (1798-1838) whose Album de l’ornemaniste (1835) became a reference work. Léon Feuchère (1804-1857) also produced drawings of interiors, silver, bronzes and furniture and was a scion of the prominent family of bronze castors established by his grandfather Pierre-François Feuchère (1737-1823) who had worked as a gilder for the bronze caster Pierre Gouthière before setting up a bronze foundry that would become one of the largest in Paris under the management of his son Lucien-François (d. 1841) and grand-son Armand (1797-1866). A number of drawings by Léon Feuchère have recently been discovered by the Rijksmuseum and probably belonged to the collection of Louis-Philippe-Albert, duc d’Orléans, comte de Paris (1838-1894). Louis-Philippe-Albert was the grandson of the French king, Louis-Philippe I (1773-1850), who granted him the title of comte de Paris, and the son of Ferdinand-Philippe, duc d’Orléans (1810-1842). Ferdinand-Philippe was an important collector and sponsored many young artists to create metalwork objets d’art, notably a celebrated surtout de table made by Claude-Aimé Chenavard and Jean-Jacques Feuchère (1807-1852), a cousin of Armand and Léon. Principally remembered as a sculptor, Jean-Jacques Feuchère trained in the family foundry and designed small objects, cigar boxes...

The central decoration of two lovers in a landscape. The base with a freely painted floral bouquet within a rococo cartouche. The arcuated top with a landscape.