A gilt-bronze and Sèvres-style porcelain clock garniture,c.1880, the clock surmounted by a Sèvres-style urn and cover, decorated in gilt and enamel on a bright blue ground, the gilt-bronze clock ornately cast with foliage, stiff leaves and lion mask handles, the matched candelabra with scrolled sconces and gilt-bronze bases, clock 41cm highcandelabrum 51.5cm high (3)Condition ReportLarge areas of restoration and repair to porcelain. to No bell, key or pendulum. Candelabrum matching. Movement not tested.
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A Napoleon III ebony and ormolu-mounted boulle-inlaid cabinet,c.1870, French, by Mathieu Befort (1816-1880), the doors decorated with musical trophies, weapons, garden tools and masks, the central panel set with a figure emblematic of Autumn, stamped to the carcass 'Befort Jeune',187cm wide50cm deep171cm high Condition ReportIn need of extensive restoration, losses to the brass and tortoiseshell elements knock and losses to the ebonised veneers and other damages. Solid bronze mounts appear largely present.
After Andrea del Verrocchio,late 19th century, Scipio Africanus, a bronze relief plaque, 34cm wide8cm deep51cm highCondition ReportGeneral light surface wear, knocks and scratches. Some rubbing. Dirt and patina. Some slight tarnish and discolouration. Some knocks, scratches and marks to reverse, but overall appears in fair order.
An Empire ormolu clock, c.1810, French, the case surmounted by the figure of Psyche being driven by Cupid in a chariot led by butterflies, the white convex enamelled dial signed 'Lemoine', flanked by putti and raised on sphinx supports, a plinth base and turned feet, fitted with a French silk suspension movement, 36cm wide 12cm deep 43cm highLiterature: Elke Niehüser, 'French Bronze Clocks', p.126, figs.205 and 206, and p.242, fig.934.Condition ReportCupid a little loose. Psyche's torso doesn't sit entirely flush when viewed from the back. Some other slightly loose elements. Some dings, dents, knocks, surface wear and scratches. Has possibly seen some recent repair/ restoration. Ticks and strikes when wound, however this is no guarantee of full working order and we would recommend inspection by a professional. No key or pendulum present. Scratches and chips to enamel dial. Please see photos for reference to cosmetic condition.
A bronze Sukhothai-style figure of Buddha Shakyamuni, probably 15th or 16th century, Thai, depicted seated in bhumisparsa mudra, on a triangular base,25cm wide16cm deep35cm highCondition ReportLeft thumb missing. Finial missing. Pitting and casting imperfections. Dings, scratches and marks. Dirt and dust. Rubbing and wear.
A Regency rosewood centre table,the rectangular top with a crossbanded border, over four frieze drawers with unusual brass handles and a cast gilt-bronze border, on turned supports linked by a turned stretcher and outscrolled legs,122cm wide80.5cm deep73cm highCondition ReportSmall area of edge veneer to top loose.One handle detached, drop present, back plate missing.Small area of bronze frieze moulding loose.Veneer beneath scrolls of turned supports missing to three of the four.
A pair of marble column table lamps,each with a corresponding metal shade,51cm wide51cm deep91cm high (2)Condition ReportPAT test failed. Wires cut and in need of re-wiring. Signed 'Marco Gabbi'. Tarnish and discolouration to bronze. Some scratchhes and rubbing to marble in places. Brass column beneath shades a little bent. Some knocks and scratches to shades. Overall appear in good cosmetic order.
A gilt-bronze candelabrum, 19th century, French, cast with fruiting vine and a basket of flowers, on an open base,36cm wide36cm deep60cm highCondition ReportWear and loss to gilding. General knocks, surface wear, scratches, tarnish and discolouration. Some ever so slightly misshapen areas. Of heavy gauge. Drilled for electrical wiring. Of sectional form, with screw actions functional.
A marquetry, rosewood and ebonised bureau plat,19th century, the top with a leather inset within a floral marquetry and crossbanded ebony border, over a shaped frieze with conforming marquetry and end drawers, and square scrolled supports with gilt-bronze mounts,124cm wide70cm deep77cm highCondition ReportLeather inset rubbed.Marquetry border with losses.
A Regency footstool,c.1820, the square upholstered top on four gilt-bronze hoof supports with anthemion detail,39cm wide39cm deep17cm highCondition ReportThe upholstery is possibly original, if not certainly 19th century, with holes, wear, fading rubbing and moth damage. Holes, tears and fraying to calico. Loss, tarnish and discolouration to gilding and bronze. Evidence of glue repair beneath one foot. General knocks, wear and tear commensurate with age and use.
A pair of Empire gilt and patinated bronze candelabra,19th century, French, each in the form of a classical female holding two torches, raised on a square plinth base set with an anthemion,22cm wide11cm deep47cm high (2)Condition ReportSconces loose in places, light knocks and dents, one bobeche missing its rim, gilding worn and lightly scratched, cracks to the casting on the drapery, possibly from the manufacturing process, overall good decorative.
Table clock: Louis XV style; circa 1870.Gilt bronze.Paris movement.Measures: 38 x 27 x 14 cm.Ornamental table clock in the historicist style, made of gilt bronze. Its design is directly inspired by examples from the Rococo period, from the mid-18th century, hence the absolute pre-eminence of the decorative aspect over the structure, which can barely be seen, being completely overwhelmed by the stems, leaves, flowers and scrolls that decorate the piece. The piece sits on a rectangular base, richly ornamented with acanthus leaves, which is structured around the perimeter. The base is supported by four sinuous legs that give way to the body, where the box is located. This area is dominated by the presence of a large dial with black Roman numerals and gilt hands, although it is worth noting that the lower part of the dial shows a grid-like design, as do the sides, a stylistic characteristic that was common during this period. The upper part of the clock is topped with a crown defined by a bouquet of flowers.
Clock; Napoleon III period, late 19th century.Bronze.It has Paris machinery.Measurements: 62 x 33,5 x 26,5 cm.Clock made in bronze that presents a structure of geometric volumes with sharp, clean edges. The piece is supported by four bronze legs in the shape of a lion's claw, which are joined to the base by means of plant ornaments. In the central part of the base is a face, whose forehead is crowned with a scallop, showing the classical inspiration of the clock's ornamentation. The base is crowned with a crowned finish, where the central body is placed, with knockers on the sides that end in lion's heads. In the main area, the designs are found in the areas reserved for the corners, while in the centre is the clock case, with black Roman numerals and a bronze plate superimposed on them, leaving small inscriptions for each number. The upper area is finished off with a large crest.
Table clock; Louis XVI, late 18th century.Gilt bronze, porcelain plates and white marble.Measurements: 55.5 x 42 x 11.5 cm.Clock from the Empire period with a marble base supported by six legs ornamented with geometric motifs, four at the front and two at the rear. The rectangular base has a profile of projecting and projecting edges, ornamented with bronze appliqués of classical inspiration, based on vegetal elements. From the base, two columns support the round clock case, which has a border with a mask and musical instruments in the centre, while the upper part is topped with a large goblet. At the top of the columns are garlands that surround a border with a cameo-like profile in the centre.
Elizabethan style table clock; circa 1840.Gilt bronze.Measurements: 53 x 42,5 x 14 cm.Elizabethan style table clock, made in gilded bronze and conceived as a free-standing sculpture raised on an elaborate stepped pedestal. The base is prismatic, with wavy edges that reveal the heritage of the style, with turned feet, chiselled details and a central fan-shaped palmette that comes from the ornamental background of the neoclassical period, which was common at this time. The upper level or body rises above the base and is notable for its representation of an aesthetic pattern based on palmettes and vegetal elements. The upper area has a prismatic design with clean geometric forms. At the top is a sculpture of a young lady leaning on the clock case, with black Roman numerals and openwork hands. On the other side of the clock, a figure of a man holds a book while raising his hand, indicating that he is reciting.
Boulle style clock; France, late 19th century.Gilt bronze, ebonised wood and brass marquetry. Similar to tortoiseshell.Measurements: 51 x 30 x 18 cm.The clock has a gilt dial, with Roman numerals enamelled in cobalt blue on porcelain, and stands on a bracket decorated to match, also with marquetry. The set consists of a clock and bracket, modelled on André Charles Boulle's designs, made around 1800. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
Empire style clock; 19th century.Gilt bronze and agate.Measurements: 38 x 24 x 10.5 cm.Clock from the Empire period with an agate structure resting on four chamfered bronze legs ornamented with geometric motifs. The rectangular base has a highly expressive finish caused by the grain of the material itself. Two columns on each side of the base support the round clock case at the top, which is adorned with a bronze garland of flowers that starts at the bottom of the base. The white dial has black Arabic numerals and gold-coloured hands. The columns have figurative bronze ornaments at the top, as does the clock case, which is topped with the shape of an eagle with its wings spread.
Pair of goblets, following Empire models, late 19th century.Marble and gilded bronze.Measurements: 21 x 8,5 x 6 cm(x2).Pair of ornamental goblets in historicist style, whose forms are inspired by the Empire style. They consist of an ovoid vessel in white marble, and the rest of the pieces are in gilded bronze, cast in relief and with cold chiselled details. The base is typically Empire, prismatic, sharp-edged and smooth, and the foot is placed directly on it, consisting of a tight laurel wreath, worked in the synthetic and refined style typical of the period around 1800. The bronze ornamentation is particularly notable for the quality of the chiselling, which reproduces the texture of the leaves with great expressiveness. The ovoid shape of the body is surmounted by an intermediate neck that forms the junction with the vessel, which is ovoid and follows classicist models. Also of note is the figurative representation in bronze of the body, in which we can see the figure of a lady in full movement, wearing classical clothes, so that it is likely to represent a maenad.
Pair of candlesticks for trimmings; XIX century.Marble and gilt metal.Measurements: 32 x 17,5 x 10 cm (x2).Pair of candlesticks made in marble and gilt metal. Both pieces have the same design which is supported on four conical legs with filigree in the upper area. These give way to a square marble base, on which the concentric foot of the candelabra is placed. The lower part of the candelabra is decorated with a gadrooned ornamentation, while the upper part is surmounted by small leaves that overlap each other. The marble shaft of the candelabra is small and cylindrical, quickly giving way to the upper structure that holds the lights. This area is made of bronze and has the lighters located on the sides, while the centre is decorated by a structure with a rich ornamental pattern of vegetalised elements.
Boulle style clock with garniture; France, late 19th century.Gilt bronze, ebonised wood and marquetry.Measurements: 42 x 46 x 13 cm.French garniture from the end of the 19th century, formed by a table clock and two ornamental cups of the same size. The three pieces are made of ebonised wood. The clock face is round, with Roman numerals in cobalt blue on white. The clock's structure is characterised by a very characteristic moulding in which fluid, honeycombed lines predominate and follow the aesthetic pattern of the decoration on the inside of the piece. The side cups follow the same design as the central piece in terms of decoration. They are topped by cups whose typology derives from a classical aesthetic, with an absence of decoration, but showing clear and simple lines. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.
Portico clock; Napoleon III, late 19th century.Ebonised wood and marquetry.In need of repair and restoration.Loss of the pendulum.Measurements: 52 x 26.5 x 15 cm.Napoleon III period table clock of baroque inspiration, with a clearly architectural structure that combines a base, four columns of Solomonic turning and entablature with frieze, cornice and pediment with a profile of mitred curves. The sphere between the two front columns is made of bronze on the outer perimeter and has a carefully worked relief with vegetal elements in the form of a garland. The interior has Roman numerals in black on a white background and bregue-style waters. Both the base and the entablature are decorated with classicist motifs worked in classical marquetry.
Napoleon III period clock; Paris 19th century.Gilt and partially silvered bronze.With stamp on the base: E. Sebenier, Paris.Measurements: 63 x 31 x 24 cm.Clock made in bronze that presents a singular structure, that is based on four legs finished off at the foot with a feline claw and in the upper part with faces of winged women, that serve as caryatids since they support the entablature that gives base to the upper zone. In the central area, between the faces of these caryatids of orientalist aesthetics, is the clock face, with cartouches for Roman numerals in black. Above the dial is a round sculptural group consisting of a lady in classical costume and a small child who looks at her in surprise. The sculpture bears the signature of Pierre-Eugène-Émile Hèbert (France, 1828 - 1893). Son of the sculptor Pierre Hébert, Émile began his training with his father, and later expanded it as a pupil of Jean-Jacquez Feuchère. He was a regular participant in the Paris Salon between 1846 and 1893, and his works exhibited there included "Always and Never" (1863) and "Oedipus" (1869). He also took part in the Universal Exhibition held in Paris in 1855, where he presented a small sculpture entitled "Girl Saving a Bee". He also carried out some important commissions for public sculptures, such as his two allegorical statues in stone, "The Comedy" and "The Drama", for the façade of the Théâtre du Vaudeville in Paris. He worked on a wide range of subjects, including allegories, literary and mythological themes, oriental characters, mainly Egyptian, and even genre scenes. His work also includes designs for commemorative medals. Specialising mainly in small-format bronze sculpture, many of his works were intended for export, most of which are now to be found in the United States and Great Britain. He is also represented at the Musée d'Orsay in Paris, the Courtauld Institute of Art in London, the National Gallery in Washington D.C., the High Museum of Art in Atlanta and the Cantor Center at Stanford University in California.
Morez clock; France, 19th century.Brass, gilt bronze and sheet metal.In need of overhaul and restoration.Parts missing.Measurements: 46 x 28 x 15 cm.Wall clock made of bronze with a square structure, richly ornamented with vegetal elements, and the face of a lady wrapped in rays of light in the upper area which ends in the shape of a semicircular arch. The white dial has black Roman numerals and gold-coloured openwork hands. These clocks are known as Morez, the name of a village in France, as this is the place of origin of their manufacture, although it should be noted that the production of these pieces also moved to Morbier. The production of these clocks began in the 17th century, and experienced a second splendour in the mid-19th century, when the advances of industrialisation allowed for technical improvements and greater speed in the manufacturing process. They are exceptional clocks, as the striking mechanism is on the right-hand side and the movement on the left.
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