Table clock. Marble, bronze. Japy Freres; Boursier. Paris, France, circa 1849-1

Table clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. Working. Table clock with Paris machinery in working order that has a rectangular light marble base with the front slightly forward to allow space for the clock case. It has a white dial, Louis XVI type hands and Roman numerals for the hours and Arabic numerals five by five for the minutes. This part is sheltered in a golden marble pedestal, which has a base of Greek fretwork...

Wall clock. Gilt bronze. France, 19th century. Gilt bronze wall clock of the type known as a "cartel" due to its shape, featuring Parisian movement and a white dial with Roman numer...

Two cups on pedestals and a clock. The French style known as Louis XVI is characterized by its inspiration in classicism and covers approximately from 1760 to 1789. In the 19th cent...

Garnish with clock and candelabra in porcelain and gilt bronze. France, 19th century. Mechanism in perfect working order. Fireplace garnish composed of a clock and two five-light candelabras, all three pieces made by combining gilt bronze, with relief elements and round bulges and cold-chiseled details, and porcelain decorated with low-temperature enamels, including gold enamel. The porcelain pieces follow models from the Sèvres National Manufacture of the 18th century, with large pictorial cartouches on a cobalt blue background adorned with golden plant motifs. The set follows a historicist design that combines baroque and neoclassical elements with enamelled scenes of Rococo inspiration, representing landscapes and scenes with mythological themes alluding to the arts and the goddess Venus. The clockwork is stamped “Chles. MT”, with serial number 17420. The main glazed porcelain plates are signed DP Boncher. The clock follows an architectural structure, with an oval base with a prominent front in plan, raised on four molded feet in the shape of a top, on which a large ornamental vase is placed. This plinth has a distinct pinto and, above it, a main body as a façade, with a circular pediment that houses the clock face. This includes black enamelled Roman numerals on white medallions with a gold border, arranged around the central representation of a putti reclining among clouds, holding a floral garland and accompanied by musical instruments. Among the medallions that house the numbers, a small jeweled decoration that evokes pearls and embedded rubies, which is echoed in the secondary areas of the body of the piece and also the vase, always combined with delicate golden filigrees. On both sides of the sphere are two female portraits of ladies from the 18th century, in oval frames. Below, a classically inspired scene with a muse holding musical instruments, probably Euterpe or Erató, accompanied by a putti reading a sheet of music. On the sides of the clock body, two large curved rectangular plates house highly pictorial enameled landscapes, worked with the same miniaturist precision as the rest of the enameled cartouches. These are landscapes of romantic heritage, again inspired by the 18th century, with ideal settings for a twilight atmosphere, featuring classical ruins. The vase that tops the body of the clock has a hemispherical tank, shoulders ending in an edge, an openwork truncated conical neck, which opens smoothly towards the shoulders, and a domed lid, also openwork. The handles are figurative, in bronze, with two female sisters crowned with flowers, of clear Greco-Latin inspiration, worked in a round shape. In the tank, the vase houses two enameled porcelain cartouches, the front one with two putti and a dove - a symbolic allusion to Venus - and the back one with musical instruments. The design of the clock is completed by two thick bronze S-shaped plant braces, under the vase, and counter moldings and plant motifs cast in relief and cold chiseled, combining matte and polished finishes. The candelabras follow a similar design, with large vases of neoclassical design on pedestals, in this case cylindrical, raised on four low feet of turned design. The bases house porcelain cartouches with scenes of putti related to the arts; In one of them we see two putti practicing painting, and in the other two others in a scene related to classical lyric poetry, with one putto writing while the other, holding a lyre, raises a laurel wreath above his head. The cartouches that occupy the front of the candelabra vases...

A stunning and most impressive French 19th century Louis XVI st. Marble and Ormolu clock, by Chaumont & Languereau. This large scale clock is raised by six Ormolu toupie shaped feet ...

An impressive French early 19th century ormolu and white Carrara marble clock. The clock is raised by elegant scrolled foliate supports with dolphin heads. The rectangular white Carr...

A spectacular and very important French early 19th century Louis XVI st. white Carrara marble and ormolu clock by Raingo Frères. The clock is raised by elegant topie shaped feet with fine wrap around berried laurel bands below the white Carrara marble base with rounded sides decorated with richly chased pierced intertwined berried laurel and blooming flower bands, and a finely detailed central plaque depicting charming cherubs playing musical instruments. Above are two exquisite patinated bronze maidens sitting on a mottled support with lovely foliate designs each draped in wonderfully executed garments and holding a wreath and flowers with a charming winged cherub extending his arms up. At the center is the elegant enameled dial with Arabic hour numerals amidst lovely floral garlands and numbers indicating the date at the border with delicate pierced ormolu hands with a remarkable pieced foliate design at the back. Above is the lightly curved fluted top crown with a stunning array of richly chased branches and blooming flowers in a superb satin and burnished finish. All original gilt and patina throughout. Raingo Fréres, established in 1813 in Paris, specialized in the high precision clock...

An elegant and high quality French 19th century Louis XVI st. white Carrara marble, ormolu and patinated bronze clock, signed Jean, A Rennes. The clock is raised by four fine topie s...