Clock with Full-Length Figure of George Washington

French, circa 1820. Porcelain, painted and gilded, with applied bisquit flowers 8 13/16 in. high. Inscribed (with incised mark, under the base of each): 3.   

French Pair “Old Paris” Porcelain Vases with Drapery Decoration, about 1820 Porcelain, painted and gilded 13 1/16 in. high CONDITI...

Pair Footed Fruit Coolers, about 1810-20 Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49) Porcelain, partially transfer printed in sepia and green and gilded Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE / COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615 The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris. Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...

Bowl with Dogwood Blossoms, 1882 John Bennett (1840–1907) Earthenware, painted and glazed 4 in. high, 7 5/8 in. diameter Signed, dated, and inscribed (...

Pier mirror with Reverse Painted, or Eglomisé, Panels, about 1800 New York, New York Eastern white pine, gessoed and gilded, with compo ornament, glass, reverse painted and gilded,...

FAPG 20555D/2 Pair "Fauteuils," or armchairs, en Gondoles, circa 1830-1835 New York Mahogany (secondary woods: ash) Each, 31 1/2 in. high, 21 1/8 in. wide, 21 1/8 in. deep (over...

Magnificent gilt bronze clock signed Barbadienne founder, rouge Royale marble base.

An Exquisite Antique French Period Empire Neoclassical gilt bronze figural clock embellished with figure of a neoclassical woman and bird.

A Large Antique French Empire style figural patinated bronze, gilt bronze and green marble clock depicting two neoclassical figures.

An exceptional and monumental white marble figural sculpture clock, "A Nubian Slaying The Lion" by Jean-Joseph Jacquet (Belgian, 1822–1898), c...

Clock Man - Wind-up clock with key - Spelter, hand-painted We prefer to sell our items in 'uncleaned' condition so that the new owner still has the choice to remove the patina (si...

Rare table clock by Howard Miller Clock Company. From the 1984 "Tempo 21" collection. Navy pyramid base with a cream wavy stem that holds the red and green clock...