A French Empire Ormolu Bronze Mantle Clock after Percier et Fontaine

A French Japonisme parcel-gilt patinated bronze and Japanese Imari Porcelain clock garniture, circa 1880. In the manner of Edouard Lievre. Mounted with bronze dragons and elephant heads, very finely made. The clockworks stamped H...

An exceptional French bronze ormolu mounted turquoise jeweled Sèvres Porcelain clock set by Raingo Fres, Paris, circa 1880. Comprising of a clock in vase form and a pair of five-l...

French Empire ormolu-mounted vitrine cabinet pedestal, circa 1840. Very good quality bronze mounts of typical Empire period heads. Very useful pedestal vitrine combination tha...

Patriotic French patinated bronze eagle and malachite clock on granite base, 1889. Very nice clock with patinated bronze flying eagle sitting on a round malachite globe-form clock. Unique piece. Clock with Roman numeral numbers sitting on a large natural granite carved boulder...

Antique (early 19th century) French ormolu bronze mantel clock in the Empire style depicting neoclassical maiden with child.

French Empire period ormolu and patinated bronze mantel clock representing Ceres. The crowning of Ceres is a stunning clock of very fine quality and with totally original fire gilded...

A very fine French empire style patinated and gilt bronze mantel clock with neoclassical scene. Stock number: CC59.

Ormulu pendule with depiction of friendship and love Paris (Lepaute, Thomire) fire-gilt bronze Empire around 1815 Dimensions: H x W x D: 44 x 36 x 13 cm French pendulum movement with eight days duration. Thread suspension and lock disc striking movement with strike on bell on the half and full hour. White enamel dial with Roman hour numerals and Breguet hands. Signature: LePaute & Fils / Hrl. du Roi (Pierre-Basile Lepaute (1750 - 1843) with his son Pierre-Michel Lepaute (1785-1849); from 1811 in joint workshop). Description: The extremely high quality pendulum shown here takes up a profound theme: Friendship, which combines with love and can thereby outlast time and death. As it is typical for the epoch of classicism, personifications and symbols are taken from the fund of ancient mythology and art and then developed further. The main figure is a young woman in an antique, girded garment, standing barefoot and with crossed legs next to an altar, on which she is leaning with her left elbow. She gracefully bows her head towards a tempestuously approaching Cupid, grasps his right hand with her left and draws him to her bosom, the seat of the heart. The delicate ambivalence of flying towards and being held culminates in the trustingly intimate look that the two cast at each other. The young woman personifies friendship, the winged Cupid love. As a sign of their intimate connection, two burning hearts appear on the altar next to the two, framed by the puffed scarf, which are closely bound together by a chain of flowers. Next to them, on the altar slab, one can see an erected book with the title "Amitie" (French: amitie, friendship). Supporting the book is a pomegranate held by a ring of pomegranate flowers. The bursting seeds spill out of the cracked skin. Since ancient times, the pomegranate and its blossoms have been dedicated to the goddess Persephone, symbolizing the underworld and death, but also life and fertility. The myrtle interwoven in the pomegranate flower wreath of "friendship" also has a far-reaching symbolic power: the plant was dedicated to the goddess Aphrodite, stands for virginity, and was and is therefore obligatory in the bridal wreath...