Neo-Egyptian Marble Clock Attributed to G. Servant, France, Circa 1870

Very fine floral and decorated Restauration period ormolu clock, figuring two baluster columns joint together by a floral arch, and topped by a crown of roses. Roman numbers indicate...

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...

Dial signed Polti Frères Measures: With base or glass: Height 61 cm (24 in.), width 51,5 cm (20.3 in.), depth 23.5 cm (9,2 in.) Without base: Height 52 cm (20,5 in.), width 42 cm (16.5 in.), depth 12.5 cm (4.9 in.) Important philhellenic clock in burnished and amati gilded bronze, finely chiseled, representing on the terrace a couple elegantly dressed in "the turkish style", and richly decorated with foliage, scrolls and flowers. The feet, decorated with water leaves, rest on an oval wooden base covered with a globe. The theme of the clock comes from The Giaour, a fragment of a Turkish Tale, an English poem by Lord Byron published in may 1813 which tells the thwarted love of a Venetian, the Giaour – term by which the Turks designate infidels and especially Christians – and of Leila, a slave belonging to Hassan’s seraglio, military leader of a Turkish province. The betrayal of Leila discovered, she will be thrown into the sea and her lover will avenge her by killing Hassan, then taking refuge in a monastery. Symbol of prestige and modernity, the decorative clocks are a reflection of the taste of the era of a wealthy bourgeoisie and may be the subject of diplomatic gifts or between individuals. Beyond the purely decorative aspect of such objects, watchmaking in the 19th century is part of a subtle mix of political, historical and literary references. This philhellenic movement converning the West finds a particular echo in France, one of the countries with the United Kingdom and Russia having suported the Greeks during their war of independance (1821-1830) to free oneself from the grip of the Ottoman Empire. Many clocks...

Signed on the dial A. Beurdeley Paris Mechanism signed J LEFEBVRE FILS PARIS Rare Louis XVI style clock in mercury-gilded and patinated chiseled bronze and white marble. In the form...

Egyptian Revival Grande Sonnerie clock from the Biedermeier period. It features animated workmen that swing an anvil, pump bellows while making a 'clac...

Mantel clock in patinated and gilt bronze, with red and black marble, in the Egyptian Revival style of the 19th century. The composition features a standing female Egyptian figure h...

Egyptian Revival Bronze and Marble Mantel Clock Egyptian revival mantel clock housed in a polishes black slate and marble stepped case, decorated with winged uraeus and hieroglyphs, surmounted by a patinated bronze sphinx wearing nemes and resting on lions paw feet. Enamel dial with Arabic numerals and original ‘blued’ steel hands. Eight day French movement with anchor escapement striking the hours and halves on a silvered bell. The backplate signed Societe Clusienne S.C.A.P.H. Cluses and numbered 4144. C.1870 Societe Clusienne were based in Cluses near to the Swiss border in France. The case attributed to G.Servant Georges Emile Henri Servant ( 1828-1890) succeeded his father at their foundry at Rue Vieille-du-Temple, Paris in 1855. He specialised in the production of Neo-Egyptian style clocks. He was noted for the high quality of his bronzes at both the Paris Universal Exhibition 1855 and the London Exhibition in 1862. Many of his clocks were exported to the United States where his Sphinx clocks...

An Egyptian Revival Black Marble Clock Circa 1860s made by the renowned clock and jewellery makers Hamilton and Inches of Edinburgh with Royal ...