Sevres Style Gilt Bronze & Pink Porcelain Mantel Clock, France, circa 1880

An Ormolu-Mounted Sevres Style Porcelain 'JEWELED' Turquoise-Ground Clock Set By Range Freres. LATE 19TH CENTURY, THE CLOCK FACE INSCRIBED RAINGO FRÉRES A PARIS, THE MOVEMENT STAMPE...

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...

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 C. French Champleve Enamel over gilt bronze mounted sevres porcelain Plateau. Measures: L: 14-1/4" W: 9-1/2" H: 2-1/4” 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 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...

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...

Marks to movement: ELR, 1903, R73 to underside of lid. Origin: French Date: circa 1900 Dimension: 17 1/2 x 12 x 6 1/2 inches.

This Sèvres style clock is an elegant piece of late 19th century design, which will make a wonderful addition to a mantelpiece. It has been beautifully cast in bronze and gilded (orm...

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...

The combination of sumptuous, lustrous ormolu and finely decorated Sevres style porcelain makes this mantel clock an exceptional piece. Built in France and retailed by the prestigiou...

A fine and elaborate gilt bronze and Sèvres-style porcelain mantel clock. French, circa 1870. A fine and elaborate gilt bronze and Sèvres-style porcelain mantel clock with a fo...

An ornate gilt bronze-mounted Sèvres-style blue ground mantel clock. French, circa 1880. An ornate gilt bronze-mounted Sèvres-style blue ground mantel clock, the shaped rectan...