An Ormolu-Mounted Sevres Style Porcelain 'JEWELED' Turquoise-Ground Clock Set

19th C. Ormolu Mounted Berlin KPM Porcelain Clock Set. Circa 1890 KPM porcelain clock set, c.1890 Candelabra Height: 32.5" Clock Height: 29.5" The Royal Porcelain Factory in Berlin (German: Königliche Porzellan-Manufaktur Berlin, abbreviated as KPM), also known as the Royal Porcelain Manufactory Berlin and whose products are generally called Berlin porcelain, was founded in 1763 by King Frederick II of Prussia (known as Frederick the Great). Its actual origins, however, lie in three private enterprises which, under crown patronage, were trying to establish the production of "white gold" (i.e. porcelain) in Berlin from the mid-18th century onwards. The company logo is a cobalt blue sceptre, which is stamped (painted prior to 1837) on every piece. All painted pieces produced by KPM are signed by the painter. KPM is still producing to this day; each piece of dishware and decorative porcelain is entirely unique. KPM has produced a number of dishware forms and porcelain figurines throughout its history. Some forms have hardly changed their shape in over 200 years of production. Frederick the Great, who, as the owner, jokingly referred to himself as his own "best customer", was under the spell of the Rococo style during his life; a culmination of this artistic style can be seen in his castles.To this day, the most successful designs of the 1930s are the Urbino, Urania and Arkadia (originally a tea set designed in honor of KPM's 175th anniversary) created by Trude Petri...

19th Century French ormolu-mounted pink ground porcelain clock. Measures: H: 15" L: 12" D: 6".

19th Century French Ormolu mounted marble clock by Houdebine. France, Circa 1855 Henri Houdebine founded his company in 1845. He gained a great reputation in the making of cloc...

Pair Of French Ormolu Mounted Sevres porcelain centerpiece, Early 19th Century. L: 14-1/2" H: 8" W: 7" The Manufacture nationale de Sèvres is one of the principal European porcelain factories. It is located in Sèvres, Hauts-de-Seine, France. It is the continuation of Vincennes porcelain...

A patinated & gilt bronze empire striking mantel clock set pendule Au Vase. France Circa 1810. The case modeled as a vase with swan handles topped by Cupid in a chariot drawn by cockerels, on oval...

A French Japonaise Ormolu & Champleve Enamel Five-Piece Clock Garniture France, Circa 1860 Comprising a mantel clock, a pair of vases and a pair of three-light candelabra, each with blue and turquoise ground and decorated with tropical flowers, the dial dated ' 3. AUGUST. / 1824 / 1874 ' The clock: 14.3/4 in. (37.5 cm.) high, 8 in. (20.3 cm.) wide, 7 in. (17.8 cm.) deep The candelabra: 12 in. (30.5 cm.) high The vases: 111/4 in. (29.8 cm.) high Champlevé is an enamelling technique in the decorative arts, or an object made by that process, in which troughs or cells are carved, etched, die struck, or cast into the surface of a metal object, and filled with vitreous enamel. The piece is then fired until the enamel fuses, and when cooled the surface of the object is polished. The uncarved portions of the original surface remain visible as a frame for the enamel designs; typically they are gilded in medieval work. The name comes from the French for "raised field", "field" meaning background, though the technique in practice lowers the area to be enamelled rather than raising the rest of the surface. The technique has been used since ancient times, though it is no longer among the most commonly used enamelling techniques. Champlevé is suited to the covering of relatively large areas, and to figurative images, although it was first prominently used in Celtic art for geometric designs. In Romanesque art its potential was fully used, decorating caskets, plaques and vessels, in Limoges enamel and that from other centres. Champlevé is distinguished from the technique of cloisonné enamel in which the troughs are created by soldering flat metal strips to the surface of the object. The difference between the techniques is analogous to the woodworking techniques of intarsia and marquetry. It differs from the basse-taille technique, which succeeded it in the highest quality Gothic work, in that the bottoms of the recesses for the enamel are rough, and so only opaque enamel colours are used. In basse-taille the recesses are modelled, and translucent enamels are used, for more subtle effects, as in the 14th century Parisian Royal Gold Cup. Enamel was first used on small pieces of jewellery, and has often disintegrated in ancient pieces that have been buried. Consistent and frequent use of champlevé technique is first seen in the La Tène style of early Celtic art in Europe, from the 3rd or 2nd century BC, where the predominant colour was a red, possibly intended as an imitation of red coral (as used on the Witham Shield), and the base was usually bronze. The "Insular Celts" of the British Isles made especially common use of the technique, seen as highlights on the relief decoration of the Battersea Shield and other pieces. However this was technically not true enamel in the usual sense of the word, as the glass was only heated until it became a soft paste before being pushed into place. This is sometimes informally known as "sealing-wax" enamelling, and may be described as "glass inlay" or similar terms. True enamelling technique, where glass paste is put into place and fired until it liquifies, was learnt from the Romans. The earliest literary description of enamel is from the Greek sophist Philostratus III, who wrote in his Icones (Bk I, 28), describing polychrome horse-harness: "It is said that the barbarians in the Ocean pour these colours on heated bronze and that they adhere, become as hard as stone and preserve the designs that are made on them". Celtic curvilinear styles were highly effective in enamel, and were used throughout the Roman period when they largely disappear in other media. The Staffordshire Moorlands Pan is a 2nd-century trulla with large enamel roundels in four colours of enamel, commissioned by or for Draco, a soldier, possibly a Greek, as a souvenir of his service on Hadrian's Wall. It is one of a group of similar enamelled vessels found in Britain and northern Gaul. Smaller items from similar contexts include brooches and other jewellery, and mounts for horse harness as described by Philostratus. Around the end of the Roman Empire new forms arose: the terminals of the increasingly fancy penannular brooches...

A Napoleon III gilt-bronze and onyx centre table, By Maison Marnyhac, Paris. Signed to the edge of the stretcher 'MAISON MARNYHAC 1. RUE DE LA PAIX PARIS'. This opulent centre...

An exceptional late 19th century gilt bronze-mounted Louis XVI style commode. By Henry Dasson A marble top above a frieze set with three drawers with pierced laurel decoration,...

Rare Late 19th Century Gilt Bronze Mounted Louis XV Style Tulipwood and Marquetry Side Cabinet By François Linke Index Number 176 The serpentine marble top above a conformi...

A pair of ormolu mounted marquetry pedestals. After a model by Francois Linke. Each with a marble top above bombé sides inlaid with loose floral bouquets, the angles mounted with lion-pelts suspending laurel swags and drapery, on short foliate-clasped cabriole legs with paw-cast sabots. François Linke: ‘Modèle Tête De Lion’ Laurel-festooned in celebration of 'abundance through labor' and hung with lion-pelts recalling Hercules's labors , there is perhaps no greater admired nor more frequently imitated master work of French furniture than Jean-François Oeben's and Jean-Henri Riesener's celebrated Bureau du Roi...

An Important and Palatial French Louis XV Style 19th Century Gilt-Bronze and White Marble Cherub Mantel Clock, attributed to Alfred-Emmanuel-Louis Beurdeley, the casting and gilding by Graux-Marly, Paris, the movement by P. Marti et Cie. The large and impressive marble and two-tone finely chased gilt-bronze (Ormolu) and white marble body, with its original superb quality mercury satin-gilt and burnished gilt (ciselé et doré au mat), surmounted by two reclining cherubs amongst clouds, one holding a triumphant floral wreath, the other a floral bouquet strand, flanked to each side by floral swags and attributes of Love, with kissing doves, on a shaped base with a further cloud-borne cherub, above a scrolling foliate frieze and garlands of flowers, with a bow, a quiver, trumpets and arrows protruding through within the clouds, raised on toupie feet. The beautifully decorated circular white enamel dial with gold fleur-de-lis' jewels, with Roman and Arabic numerals, signed "Graux Marly, Paris - Rue du Parc-Royal, 8". The bell striking movement stamped: "S. Marti et Cie. Médaille de Bronze". Circa: Paris, 1870's. The Jules Graux's Foundry was based at 8 rue du Parc-Royal from 1860, they exhibited at the last national exhibition in Paris in 1849 and again Paris in 1855. At the London exhibition of 1862 their entry was described as, "bronzes d'ameublement, cheminée et garniture de cheminée, lustres, vases, statues, groupes, objets de service de table, gueridon de malachite." They are recorded as exporting 35% of their production and as having made bronzes for the Hotel de la Commission. They also contributed to the Paris exhibition of 1867. By 1870 his sons M Graux-Marly took over the business from their father and, from then on, their works were stamped GRAUX-MARLY or GRAUX-MARLY FRÈRES. The foundry in renown for producing high-quality bronze castings, chasing and gilding, including clocks, candelabra, statuettes and other fine decorative works of art. Jules Graux - Graux-Marly Fondeurs also cast bronzes for many of the most renowned sculptors of the day, including but not limited to Jean-Baptiste Carpeaux (French, 1827-1875), James Pradier - born Jean-Jacques Pradier (Swiss/French, 1790-1852), Emmanuel Frémiet (French, 1824-1910), Albert-Ernest Carrier-Belleuse (French, 1824-1887), Alfred Emmanuel Louis Beurdeley (French, 1847-1919) as well as reproducing important and popular antique, from the Renaissance and later models. Related Literature: P. Kjellberg, Les Bronzes du XIX Siecle, Les Editions de l'Amateur, Paris, page 660. Beurdeley, Alfred Emmanuel Louis (French, 1847-1919): Work at first with his father in Paris and eventually succeeded him. He kept the shop at rue Louis-Le-Grand and had worked at Nos. 20 ˆ 24 rue Dautancourt. The business continued in its traditional style with very few variations, until it was closed in 1895 and the remaining contents of the company were sold at the Galerie Geroges Petit. Beurdeley exhibited at the 1878 Exhibition. LITERATURE AND REFERENCES: Tardy, The Most Beautiful French Clocks, Paris, 1994, pp. 162-163 for illustrations of similar eighteenth century dial know as à la dauphine by Cotteau and Dubuisson. Ottomeyer/Proschel, Vergoldete Bronzen I, Munich, 1986. The model of this clock can be found in the Beurdeley sale in 1895, 6-9 May: Catalogue of Furniture and Works of Art made in the workshop and under the direction of M.A. Beurdeley, lot number 46, described as Pendule de style Louis XV, en marbre blanc, avec groupes d'amours dans le goût de Boucher, tenant des guirlandes de fleurs en bronze ciselé et doré au mat. Le socle en marbre blanc est enrichi de rinceaux et de guirlandes en bronze doré Haut. 68 cent. Larg. 68 cent. It was acquired by M. Martin Fuld for 1600 francs or. This model can also be found in the Catalogue des modèles pour bronzes d'art, meubles de style et de grande décoration provenant de la Maison A.Beurdeley, from 19-22 October, 1897 under the lot number 50, described as: Pendule Louis XVI...

An exceptional 19th Century marble top ormolu mounted side cabinet, finely hand carved with richly patinated timbers comprising of birds eye maple and amboyna, beautifully line inlai...

This exceptional pair is in very good condition each with a top centered by A half Panera and with a bound ribbed edge, above a case fitted with a Central drawer over a cupboard door...

Beautiful 18th century Rococo manner gilt bronze mantel clock with elegant Sèvres style bleu / navy colored porcelain. The porcelain is very delicately hand painted with a landscape on one side of the vases and figures on a staircase on the other. Gorgeous gold details on a deep blue and jeweled background. The clock has a painting on the top with 2 ladies...

This superb quality Sevres style porcelain and ormolu clock garniture consists of three vases, one of which has been mounted with an exquisite jewelled clock dial. This set comprises...

This beautiful mantel clock has been designed in an 18th century Rococo style, which was popularised by the Sèvres Porcelain Manufactory. The clock has been expertly cast in bronze a...

An exceptional French bronze ormolu mounted turquoise jeweled Sèvres Porcelain clock set by Raingo Fres, Paris, circa 1880. Comprising...

A high quality gilt bronze and Turquoise Sèvres style jeweled Porcelain clock set. The clock surmounted by a covered urn and flanked by lion masks on each side, en suite with a pair of painted turquoise porcelain vases...

A magnificent 19th century French Louis XVI style gilt bronze mounted Sevres style porcelain mantel clock. The clock case surmounted by a twin handled, porcelain urn painted with landscape and jeweled decoration, over the arched case...

Of porcelain mounted ormolu, the clock's dial marked 'Raingo Fres, Paris', the central clock decorated with a scene of traditional 19th century courtship, the two flanking candelabra...

A sophisticated Napoleon III Sèvres Porcelain mounted ormolu clock set by Grohé Paris with ram’s mask mounted ovoid clock case supported by twin putti terms on a shaped base set with...

A French Sevres style cobalt blue lyre clock with finely cast ormolu sunburst and floral swagged mounts with jewelled bezel, pretty floral ...