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c.1870 French Gilt Bronze and Variegated Red Marble Mantle Clock, Raingo Frères, Paris, No. 320.
Inv. #F141
A large and impressive Victorian mantle clock by the eminent firm Raingo Frères, Paris.
The glazed architectural gilt-bronze case has decorative and beaded moldings, three recessed panels that depict frolicking cherubs amongst scrolling foliage, a detailed, hinged bezel with a ribbon above and an acanthus leaf garland below and is stamped by the maker, 'Raingo, 320'. The whole stands on a red variegated marble base.
The large white porcelain dial has black Roman numerals for the hours, black Arabic numbers for the five-minute marks, decorative gilt half hour marks, two superbly detailed hands and has the maker's name in red script, 'Raingo Frers, Paris'.
The large eight day time and strike movement has a steel suspension, rack-striking and a heavy starburst pendulum and both the pendulum and backplate are stamped, 'Raingo, 320'.
Height – 21.25in.
Retail Price: On Request.
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c.1895 French Black Marble and Patinated Metal Mystery Clock, Guilmet Ainé.
Inv. #F131
A late Victorian black marble patinated metal and gilt-bronze mystery clock. The black marble case has gilt-incised floral decoration and several gilt-bronze mounts that include ringed lions to the sides, a cast egg and dart bezel with a thick beveled glass and four feet with stylized paw feet to the front. All the case mounts are stamped or inscribed with the case number, '1717'. Above stands a patinated metal Nubian princess. She is supported by a gilt-bronze platform and from her raised arm hangs the pendulum. It has a threaded steel rod with shaped decorative gilt-bronze turnings and a gilt-bronze bob with a heavy beveled clear glass center.
The black marble dial has engraved gilt Roman numerals for the hours and gilt bronze spade hands. The typically large eight day time and strike movement is stamped with both the maker's mark, 'GLT', and the movement serial number, '1466'.
The obvious mystery is why does the pendulum move? There is no apparent connection between it and the movement so what keeps it going? The answer is quite ingenious. The gilt-bronze platform on which the statue stands can oscillate side to side since it is mounted to a thick adjustable arbor that is pivoted top and bottom within the case. Perpendicularly screwed to that arbor is another arm that engages the patented escapement mounted on the front end. As the polished tip of that arm gets pushed over by the escapement it rotates the platform and swings the pendulum. The length of the pendulum, like all clocks, controls the rate of the clock. The platform and statue move so little that it is difficult to see without magnification.
For a more detailed discussion on Mystery clocks see, 'Mystery, Novelty & Fantasy Clocks' by Derek Roberts, pg. 241.
Height - 24.75 in.
Retail Price: On Request.
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c.1880 Swinging Glass Dial Mystery Clock, Robert-Houdin, Paris.
Inv. #F132
A very rare late nineteenth century swinging glass dial mystery clock by the eminent firm Robert-Houdin. The decorative patinated metal base is elaborately ornamented with floral reliefs, stands on large decorative feet at the front and to the sides and supports the two classically attired polychrome female figures joined at the top by a decorative bracket. Mounted to the bracket is the steel rod that carries the adjustable suspension block and pin.
The clock is composed of a glass dial, a grid-iron center mounted with the suspension spring and a dark blue painted sphere with silvered bronze stars that houses the movement. The small eight-day movement has the single winding aperture hidden behind a moveable star while the crutch rises out the back and engages the pin above. Once running the clock rocks side to side pivoting at the point of suspension.
The circular glass dial has a chamfered edge and gilded lettering on a black ground. It has Roman numerals for the hours, is signed by the maker, 'Robert-Houdin, Paris' and has two decorative gilt hands. Housed in the center and accessed by a shutter back is the driving force for the hands. Although there is no apparent connection between the two movements, the motion work in the center of the dial is indeed dependent on the rocking powered from below. As the clock swings a small weighted pendulum falls side to side and delivers the necessary impulse to drive the motion work and in turn the large decorative hands. Since the hands are driven by a very delicate center movement they are perfectly balanced by small cylinders of lead.
Ref: This piece would have been completed by Robert-Houdin Jr. who took over the shop in 1859 and continued into the 20th century.
Height - 26in.
Retail Price: On request
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c.1895 French Gilt-Bronze and Pewter Miniature Mystery Turtle Clock, Planchon à Paris.
Inv. #F116
A very rare late-nineteenth century French mystery turtle clock by Planchon, Paris. The six-sided gilt-bronze case has nicely engraved decorative motifs throughout that include spandrels on top, two bands that wrap around the sides and the makers name, "Planchon a Paris". It sits upon a molded base with prone lions as feet and has a screwed bezel with a mahogany modesty panel above. The two-part case is secured together by three swing latches and has a hinged door below that is stamped on the interior, "Planchon Paris, Made in France" and affords access to the movement. The case is also stamped with both the case-maker's mark and serial number, "EM, 1402" and the movement number 1498.
The engraved pewter tray is removable, set in the bezel above, has Roman numerals for the hours, decorative half-hour marks, a quarter-hour chapter along the inside edge and a decorative center. When the tray is filled with water the floating turtle indicates the time.
The horizontally mounted time-only eight-day movement has a balance wheel escapement, is wound by removing the upper part of the case and has an indexed brass wheel. It duplicates the hour dial, carries a circular magnet and is stamped, "Planchon A Paris, 1402, Made in France".
This particular example is exceptional because of the makers' extraordinary reputations and the fact that it is an unusual form in a diminutive size. 'EM' are the initials for Etienne Maxant. He produced extremely well-detailed work usually inspired by the classical periods.
Height - 3.5in.
Diameter of Tray - 6in.
Retail Price: On Request.
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c.1885 Gilt-bronze and Porcelain Mantle Clock by
Bourdin, Paris.
Inv. #F17
The Louis XVI style gilt-bronze and porcelain case with blue ground is signed
Bourdin on the porcelain column, the movement and the dial. The gilt-bronze
case is stamped Masselotte along the bottom edge. The fluted porcelain column
and the urn are both decorated with gilt scrollwork and are flanked by nicely
modeled cherubs. All sit upon a double base with a decorative frieze. The
dial is white porcelain with very finely lettered blue numerals. The two-train
eight day movement has an anchor escapement and strikes on a bell. This
model was originally designed by Osmond, an eighteenth century bronzer.
Height 18in.
For similar models see Le Pendule Francais, page 231; Vergolten Bronzen,
pg. 177
Retail Price: On Request. |
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c.
1885 Monumental Gilt-Bronze, Silvered and White Marble Annular Dial Clock.
Inv. #F35
This extremely large gilt-bronze, silvered and white marble annular dial
clock features Urania, the muse of astronomy. The large gilt-bronze female
figure sits on one side of the clock with her foot casually extending over
the edge. She indicates the time, with pointer, on the single multipiece
annular ring which rotates in the silvered and star studded sphere supported
by a white marble plinth. Also housed in the sphere is the eight-day time-only
movement with a balance wheel escapement. The top half of the sphere is
removed to afford access to wind and regulate the clock. Both the figure
and the sphere sit upon a large white marble base supported by four bold
feet. This clock is surprisingly large and impressive when viewed in person.
The original by Lepaute is in Le Chateau de Fontainebleau and is pictured
in their catalogue.
Height - 27in.
Retail Price: On Request. |
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c.1885
Gilt-Bronze Mantel Clock signed Tiffany and Company, New York.
Inv. #F38
Personifying the Triumphe of Love, a very nice quality Louis XVI style gilt-bronze
French mantel clock commissioned and signed by Tiffany and Company, New
York. Flanking the dial and representing both Love and War are two well-cast,
appropriately garbed ormolu cherubs, Cupid and Mars. The finely lettered
porcelain dial has a Roman numeral hour's chapters, an Arabic minute chapter,
is signed 'Tiffany & Compy, New York' in extremely small and precise lettering
and has gilt-bronze cast hands. It also has the unusual and still unexplained
feature of having a '2' lettered directly above the twelve. The eight-day
two-train movement strikes on a bell, has the fast/slow through the dial
and is stamped 'Tiffany & Compy, 851'. It still retains its original pendulum
as the bob is also numbered 851. The clock stands upon four stylized lion's
feet. This model was first designed by the bronzer Vion in 1770 and is in
his pattern book. For similar period models see Vergoldete Bronzen, pg.
180, La Pendule Francais, pages 238 and 291 and French Bronze Clocks, pg.
114.
Height - 10.25in.
Retail Price: On Request. |
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c.1885
French Gilt-Bronze, Porcelain and White Marble Column Clock, Etienne Maxant,
Paris.
Inv. #F39
This is a very nice Victorian mantel clock that, like its rare period predecessor,
personifies Love and Friendship. The light blue, white and gilt porcelain
column stands in the center and houses the clock. The small porcelain dial
has black lettering, roman numerals for the hour chapter and Arabic numbers
for the minute chapter, gilt-bronze hands and is signed 'Fd. Berthoud, a
Paris'. It was common practice for the Victorian makers who were interested
in making accurate copies of period pieces to keep the period makers' names
on the dials. A partially draped gilt-bronze maiden leans upon the porcelain
column. In one hand she supports the portrait of Charles X while in the
other are two flaming hearts representing eternal love. On the other side
is a small boy playing with a dog, a symbol of fidelity. The whole stands
upon a molded white marble base that is adorned with gilt-bronze mounts
backed by patinated plaques. The two-train twin-barrel movement is accessed
through a glass door on the back, has a balance wheel escapement and strikes
on a bell. The movement is stamped EM for Etienne Maxant who is listed 1880-1905.
We've owned several clocks by Etienne Maxant, all of which were very high
quality copies of period models. This clock is a copy of a very rare model
in which approximately ten are known to exist.
Height - 13.5 in.
Retail Price: On Request.
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c.
1885 Victorian Patinated and Ormolu Shield Form Clock and Barometer Set.
Inv. #F42X
The matching Empire-style shield shaped patinated cases are adorned with
extremely well cast ormolu mounts which include laurel branches, winged
figures, cast engine-turned bezels and are each topped by burnished globes.
The white porcelain clock dial has black lettering, Breguet style hands
and gold dots for the five-minute markers. The barometer dial is also white
porcelain with black lettering and indicates barometric pressure between
27 and 29. The clock has a twin-barrel eight-day movement that strikes on
a bell and a silk-thread suspension. The case designs are clearly from the
empire period and the quality is equivalent to that found on pieces of the
empire period, but we feel the pair was made in the late nineteenth century.
Such pieces were often manufactured by firms such as Henry Dasson to supply
an increasing population of wealthy clientele whose tastes harkened back
to the classical periods. The great demand for classically influenced designs
combined with the rarity of certain exceptional pieces presented an opportunity
for the prominent bronzers. They copied pieces that were universally admired.
The difference between these exceptional copies and normal Victorian pieces
is that these extraordinary pieces were made exactly as the originals including
fire gilding the bronze to achieve the proper color and luminescence. Matching
pairs were usually special ordered and complete pairs are considered exceedingly
rare. The original model is pictured in Tardy, Volume II, page 342.
Height 16in. Width 10.5in.
Retail Price: On Request. |