Neo-Egyptian Marble & Bronze Clock by E. Hébert & G. Servant, France, Circa 1867

A black and red marble clock in the shape of an Egyptian temple attributed to G. Servant, flanked by double columns inscribed with hieroglyphs and ornated with a winged uraeus, all made in two patina bronze. The clock is surmounted by a patinated bronze sphinx. Resting on four bronze faces wearing the nemes and terminating in lion paw feet. Georges Emile Henri Servant (circa 1828-1890) who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his sphinx clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York (A similar clock is now exposed at the Metropolitan Museum of Art, New York). But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a gold medal for his neo-Greek and Egyptian works (Les Merveilles...

Dial signed H. Houdebine, Fabricant de Bronzes, Rue de Turenne 64, Paris and clockwork signed Japy Frères & Cie – Médaille d’Honneur A very fine neo-Greek style clock set made up of...

Beautiful silvered bronze neo-Greek style bowl in a circular shape, adorned on the body with female masks in the antique style and on the sides with handles in the shape of busts of ...

Rare pair of Greek style candelabras made in patinated bronze and gilded bronze, attributed to G. Servant. Each with ten light arms topped by a heron shaped extinguisher. Decorated with various Greek style motifs such palmets, pine cones ans water leaves. Standing on a small triangular architecture presenting a theatre mask and reposing on a tripod base formed with lion paw feet. Georges Emile Henri Servant (circa 1828-1890), who took over his father in 1855 at their foundry, rue Vieille-du-Temple, in Paris, specialized in the production of neo-Egyptian style clocks, very popular in France since 1860’s, and also the making of Greek style decorative objects. He drew considerable attention to the high quality of his bronzes at the 1855 Paris Universal Exhibition and then at the 1862 London Exhibition. At this time Servant exported up to 40% of his production, principally to the United States, where for instance, his clocks were sold with great success by Louis Tiffany Inc. or Hamann & Roche of New York. But his success came really at the 1867 Paris Universal Exhibition, where he was awarded a Gold Medal for his neo-Greek and Egyptian works (Les Merveilles...

Marked on the dial Furet & Bon, Hrs du Roy, à Paris Measures: Clock – Height 98 cm (38 1/2 in.), width 70 cm (27 1/2 in.), depth 25 cm (9 3/4 in.) Candelabra – Height 116 cm (45 ...

Persian style gilt-bronze mantel clock attributed to A.V. Geoffroy-Dechaume and F. Barbedienne, with arabesques, leaves and palmets decor, surmonted by a pierced gilt-bronze work. The dial with Roman numerals on white enamel cartouches, is supported by two traditional decorative Khmer beasts. Resting on an onyx base with scrolled feet. Our model is very close to a mantel clock designed by the sculptor Geoffroy-Dechaume for the « Maison Delafontaine ». Adolphe-Victor Geoffroy-Dechaume began to work in 1847 for Auguste Maximilien Delafontaine (1813-1892). According to the sculptor’s account books (sketches and pictures reproduced in the exhibit catalog “De plâtre et d’or, Geoffroy-Dechaume, sculpteur romantique de Viollet-le-Duc”, Musée d’art et d’histoire Louis Senlecq, L’Isle-Adam, 1998, p. 88), he provided in 1852 a Persian style clock sketch to the Delafontaine who ask Elmrich to execute it. This clock had been exhibited at the 1855 Paris Universal Exhibition, where Ferdinand Barbedienne could have admired it. This model belongs to the Persian style production of Barbedienne, executed by Geoffroy-Dechaume. This style began with the 1867 Paris Universal Exhibition, where Barbedienne exhibited works inspired by far and middle eastern styles. Among Chinese and Japanese style pieces, Persian style pieces were showed: « exceptional jardinieres of several styles, Persian styles models are a real success that will quickly supersede the Chinese and Japanese styles items ». Ferdinand Barbedienne had focused on Indian and Persian style pieces« that you can find among boxes, cups and other charming items covered with palmettes, like Kashmir fabrics. In the same inspiration, two lapis and turquoise blue background lamps decorated with gilt arabesques, a decoration motif as luxurious as it is simple » Barbedienne kept Chinese and Japanese styles for vases and enameled metal boxes, which had a real success. Adolphe-Victor Geoffroy-Dechaume (1816-1892), French sculptor and silversmith, studies at the drawing free-program school before joining, in 1831, the Paris «Ecole des Beaux-Arts». He will be David d’Angers’ and James Pradier’ pupil. Born in 1810, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Paris one of the principle artistic foundries of his time. Barbedienne specialized in classical reproductions, whose models were exposed in famous European museums. His company’s illustrated catalogues included diverse objects such as busts and ornamental sculpture (clocks, candelabras, cups), sometimes life-sized, and also bronzes for furniture. Apart from his own production, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he was very appreciated by contemporary critics. At the 1851 London exhibition...

This wonderful 1920s Egyptian Revival clock is surmounted with an Assyrian style lamassau (human headed winged lion) and flanked by a pair of reclining sphinx. The clock case etc. is...

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...

This magnificent clock set is signed ‘Le Roy’, most likely for Le Roy et fils. Founded in 1785, Le Roy et fils was an acclaimed French clock-making firm...

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...

Stylish French clock set in the Retour d'Egypt style based on French Empire clocks from the early 19th century. The clock set upon a good rectangular Sienna marble base on which are ...

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...