Viennese Enameled Silver Table Clock Attributed to Herman Bohm

This 19th century, Austrian table clock is crafted in silver and the complex champleve enamel technique. The base of the clock is a semi-spherical dome inlaid with enamel panels of c...

A work of exceptional detail, this magnificent Viennese clock takes the art form of enameling to new heights. The elaborately fashioned timepiece rests atop the head of a soldier, who stands on a pedestal populated by sphinxes. Exceptional details encase the entire piece, from the rooster finial to the gem-studded base. A hand-painted portrait of the heroic soldier on the reverse completes this stunning piece. Particularly popular during the 19th century, Viennese enamels...

In Renaissance style.

Gilt-bronze clock with enamel numerals attributed to Henri Picard French, circa 1860 Measures: Height 73cm, width 45cm, depth 23cm The elaborate case of this beautiful mantel clock has a large central circular dial with enamel Roman numerals for the hours and engraved on the edge with Arabic numbers for the minutes. The surmount is a gilt bronze group of Father Time, depicted as an elderly male figure seated on a circular globe. The quality throughout is exceptional, demonstrating the very best of 19th century craftsmanship. This clock is after a design by André-Charles Boulle (French, 1642-1732) and similar to examples of equally fine quality and casting known to have been made by 19th Century bronzier Henri Picard (French, fl. 1831-1864), therefore we can attribute the case to Picard. The movement is stamped for Parisian clock...

Small table clock in gilt brass richly decorated with openwork scrollwork, acanthus leaves, flowers, and masks in multicolored enamel. The main faces...

A pretty Antique Silver Gilt and Viennese Enamel Clock. This oval Clock rests on the back of an ostrich, which in turn stands on a domed base. Th...

Walnut wood octagonal box, clock face with Arabic numbers, restored new battery movement.

Stunning Viennese enamel vintage table clock - made of: -- silver -- nacre -- enamel (excellently chiselled) -- onyx -- semiprecious stones Attention: The table clock is par...

Viennese mannerist style enameled silver and rock crystal coupe and cover, by Herman Bohm, last quarter 19th century, the silver mounts to base and cover w...

A Large and Important Louis Philippe Period Gilt-Bronze Three-Piece Clock Garniture. Attributed to the Feuchère family. The clock movement by Hémon. In the Renaissance revival style. Comprising a clock and a pair of nine-light candelabra. The clock case of architectural out-shape with cherubic term figures supporting a rectangular pediment centred by an urn. The sides of the clock tower cast in relief with strapwork and foliage. The dial inset with enamel Roman numeral chapters. The twin-barrel clock movement with tic-tac escapement, silk suspension and countwheel strike to bell. Pendulum and winding key. The candelabra as twin-handled vases supporting tiered branches with candle nozzles. Modelled en suite with naturalistic scrolls and foliage. Surmounted by finials modelled as an eagle toying with a serpent. The scrolled handles flanked by cherubic figures and serpents. The bodies fronted by bacchic masks and supported on socles bearing angels. France, Circa 1835. The clock movement signed ‘HEMON A PARIS’. The clockmaker Claude Hémon was established at rue de St. Martin circa 1810-1820. Dimensions, the clock: Height : 106 cm 42 inches Width : 58 cm 23 inches Depth : 38 cm 15 inches Weight : 72 kg Dimensions, the candelabra: Height : 104 cm 41 inches Width : 36 cm 14 inches Depth : 36 cm 14 inches Weight : 28 kg (each) This magnificent clock garniture of palatial size is designed in the Renaissance revival style and dates to the Louis Philippe period. Executed in sculptural gilt-bronze with leaves, scrolls, masks and exotic birds, the naturalistic ornament represents an elaborate system of allegories and mythological iconography which recall the influence of Italian Mannerist art in France. The distinctive design reflects a new style which replaced the neoclassism of the French Empire period. With the fall of Napoleon Bonaparte, artists and designers sought a new decorative vocabulary with which to aggrandise the Bourbon restoration. With the French revolution and Louis XVI’s execution still within living memory, it seemed too soon for a revival of the style of the Grand Siècle. Instead they looked further back to the time of François I, whose patronage of Italian artists had brought the Renaissance to France. The idea of a renaissance revival appealed to the new Bourbon monarchs and their patronage ignited great creativity in the arts. The reigns of Louis XVIII and Charles X, who were brothers of the late King, Louis XVI, and later of Louis Philippe I, nicknamed the Citizen King, coincided with the enlightenment and the dawn of the industrial age. Great technical progress was made in metallurgy and casting which raised the art of bronze making to new heights in the hands of great masters such as Pierre-Philippe Thomire (1751-1843) and Pierre- Jean-François Denière (1774-1866). The renaissance provided a rich and varied source book in architecture, furniture and other decorative arts for designers such as Claude Aimé Chenavard (1798-1838) whose Album de l’ornemaniste (1835) became a reference work. Léon Feuchère (1804-1857) also produced drawings of interiors, silver, bronzes and furniture and was a scion of the prominent family of bronze castors established by his grandfather Pierre-François Feuchère (1737-1823) who had worked as a gilder for the bronze caster Pierre Gouthière before setting up a bronze foundry that would become one of the largest in Paris under the management of his son Lucien-François (d. 1841) and grand-son Armand (1797-1866). A number of drawings by Léon Feuchère have recently been discovered by the Rijksmuseum and probably belonged to the collection of Louis-Philippe-Albert, duc d’Orléans, comte de Paris (1838-1894). Louis-Philippe-Albert was the grandson of the French king, Louis-Philippe I (1773-1850), who granted him the title of comte de Paris, and the son of Ferdinand-Philippe, duc d’Orléans (1810-1842). Ferdinand-Philippe was an important collector and sponsored many young artists to create metalwork objets d’art, notably a celebrated surtout de table made by Claude-Aimé Chenavard and Jean-Jacques Feuchère (1807-1852), a cousin of Armand and Léon. Principally remembered as a sculptor, Jean-Jacques Feuchère trained in the family foundry and designed small objects, cigar boxes...