Late 18th Century More Clocks

The clock is in excellent and perfect working condition. In addition, it was recently cleaned and serviced by a professional clockmaker who specializes in maintaining museums in Poland.

This elegant portico clock crafted in transitional Louis XVI – Empire style from ormolu, white and black marble, is signed on the dial “Arnoux à Paris”. Decorative motifs of Louis XV...

18th century Colin Croll Scottish drumhead tall case clock in mahogany case with banded veneer panels. The case clock has brass face 8-day time and strike movement with silvered dial...

Portico clock signed “Persevalle à Reims” This refined portico clock crafted in transitional Louis XVI – Empire style from ormolu and black marble is signed on the dial “Persevalle à Reims”. The Empire style was based on elements of the Roman Empire and its culture, which had been rediscovered starting in the eighteenth century. Bronze was the main material used in Empire style timepieces and both the patina and ormolu techniques were vastly used for ornamentation during this period. As for the source of inspiration for decorative motifs of Louis XVI style, it was coming from nature and antiquity thus many characteristic elements would reoccur in architecture, interior decoration and furniture. Many ornaments were borrowed from flora, and this love for nature appeared into decoration by the presence of a wreath of roses, baskets, palmettes, bows and ribbons. The portico clock is mainly crafted from black marble and ormolu bronze embellishments, which with their minimalistic touch compliments one another. As mentioned before, the source of inspiration for this portico clock derived from antiquity. The columns which are a key feature of portico clocks are constructed in Greco-Roman architecture. The two front black pillars are made in Tuscan style with gilded capital and base, they are also entwined with an acanthus spiral around the pillar. The back columns, in contrast to the front one, are square and has only a face adorned with a gilded bronze floral garland. The four columns are connected on top with an entablature with a cylinder-shaped dial in the middle cast from bronze. The entablature is adorned on both sides with gilded lyres and flower vases. The dial of the clock is signed ‘Persevalle à Reims’ and consists of blue Breguet-style hands that indicate hours laid out in Roman numerals and minutes in Arabic numerals on the enamel dial. The Breguet hands have a circle with a filled crescent shape on the side and have been featured its founder's watch hands for over two centuries now. This unique shape is sometimes referred to by the French word for apple, pomme. Above the dial is situated a small black marble plinth and a marble medicis vase...

A Louis XV style marble mantel clock. Enamel dial with Roman numerals, signed with a red inscription "Seigneurez A Paris", finely pierced, engraved gold-plated hands, a broken arch (...

"Late 18th Century - Kinable A Paris" Along a winding dirt path, the blind Belisarius carries his young guide. The boy has been bitten by a snake, which remains coiled around his bleeding leg. With his right arm wrapped limply around Belisarius's neck and his eyes closed, the youth balances precariously between life and death. Belisarius's eyes are also closed, but guided by his stick he moves forward with determination and purpose. He rises heroically against the spectacular sunset, a monumental figure creating a powerful outline against the sky. But the flaring sunset also signals a chill night and the uncertainty of the path ahead. Belisarius was a popular Byzantine general of the Roman Empire whose promising career was sabotaged by the jealous Emperor Justinian I. In 1767, a novel by Jean-François Marmontel revived interest in Belisarius. In Marmontel's novel, the emperor has the heroic general blinded, reducing Belisarius to begging. He is eventually rediscovered and aided by former officers and his family. This dramatic tale of patriotism, injustice, and redemption was widely embraced in revolutionary and post-revolutionary France and was a popular subject for artists--including Jacques-Louis David (François Gérard...

Ormolu bronze mantel clock flanked by a troubadour and musical instruments, signed 'Ferdinand Berthoud a Paris'. The end of the 18th and beginning of the 19th century was a crucial time in which new technological advances helped to make watches more accurate and more portable. During the 1790s, the production of gilded bronze increased considerably as working conditions improved. The freedom of trade initiated by the French Revolution allowed many casters to develop large factories. The new factory environment gave them a chance to execute all stages of bronze work including drawing, casting, gilding, assembly, and trade of art objects. While the bronzers took creative liberty in creating all kinds of clocks in contrast to the noble and rigorous structure carried by the movement of neoclassicism. Under the reign of Empire, the case designs started gradually to develop away from a proportionate and strict classicism towards a baroque style and revival style. The rediscovery of medieval civilization was one of the intellectual curiosities of the beginning of the 19th century, with much input from the Ancien Régime and its institutions, rites and the medieval churches in which family ceremonies occurred. This early nineteenth-century figural mantel clock is surmounted by a medieval musician. To be more precise, it is a french troubadour. Troubadours were known for composing and performing lyric poetry for the nobility back during medieval times. The clock is featuring a chiselled bronze troubadour, dressed in medieval fashion while holding a flute, playing a tune from sheet music called "Du Troubadour" that is resting on top of the rectangular clock case. In addition to that, the clock features a gilt bronze lute or vielle resting on a small stool on the opposite side of the clock’s case. The white enamel dial features the inscription Berthoud and is underlined by a bronze entourage chiselled with palmette motif, plus encompassed by c-scrolls and wreaths. The original hands are in blued steel and encircled by Roman numerals indicating hour next to Arabic numerals indicating minutes. The small details that adorn the hexagonal plinth are reliefs, depicting two water fountains or basins on both sides with a lyre in between. The sculpted image of a lyre raised above the background features also foliage garlands tied on top with ribbons. The clock rests on seven spinning feet. The clock was made in the well-known workshop of the Berthoud’s family that was recognized for their excellent work by the King. Berthoud Clockmakers History. Ferdinand Berthoud was a horologist and author of extensive treatises on timekeeping as well as a Swiss clockmaker serving the king of France, that produced many marine clocks, including a weight-driven version that inspired the first American sea-going clock. He was born in Plancemont, Switzerland, the son of an architect and judiciary. In 1741 he began a three-year apprenticeship as a clockmaker under his brother, Jean-Henri. He made his first marine chronometer in 1754 (sent for trial in 1761) and in 1764 was appointed a member of the Royal Society, London and Horloger Mécanicien de Sa Majesté et de la Marine ayant l'inspection de la construction des Horloges Marines. In 1769, Ferdinand Berthoud sent for his nephew Pierre-Louis Berthoud (1754–1813), commonly known as Louis Berthoud, a talented young watchmaker and clockmaker, inviting him to come to Paris from Couvet, Switzerland, to pursue his apprenticeship. Louis helped Ferdinand manufacture and repair the sea clocks...

This antique mantel clock was created in Paris at the end of 18th century. The main body of the mantel clock is made of white marble along with Napoleon red marble fragment at the base,which makes the mantel clock look rich and lavish. On top of the clock is located a marble sphere and throughout the piece are visible gilt bronze strips...

The clock is in excellent and perfect working condition. In addition, it has been cleaned and maintained by a professional watchmaker specializing in museum maintenance. The eight-da...

A fabulous and quite important 18th century Louis XVI period Carrara marble and dore bronze mantle clock, signed F. Berthoud, Paris. The body of the clock is exceptionally cast and f...

An 18th century walnut cylindrical cased mantel timepiece, signed Wray of London, the 6ins diameter white enamel dial with Roman and Arabic numerals, to ...

Georgian mahogany bracket clock by Hector Simpson, London. Georgian bracket clock in a finely figured flame mahogany case standing on a r...

A fine George III period mahogany longcase clock of excellent colour, patination and proportions, circa 1780-1790 Surmounted with three ball and spike brass finials, the inverted ...

Italian, late 18th century watch holder with Father Time. The robed figure of Father Time is standing on a raised plinth with rocks and a koi fish or carp....

Scottish mahogany eight day tall case clock with three sphere brass finials, a swan neck satinwood inlay patera pediment, intricately carved fretwork, over an arched door with flanki...

English bracket in red lacquer with chinoiseries and bronze finials, late 18th century Signed in dial ''Jhon Waldron Cornhill London'' Movement cleaned and restored. Eight days movem...

A Louis XVI period mantel (fireplace) clock by Bruel of Paris Constructed in Carrara marble and ormolu, rising from an ormolu dressed elliptical base supported by bronze toupie feet, the figures of Psyche and Cupid rest on a rocaille ground, housing the eight day twin train clock...

English Mahogany tall case clock with brass finials, arched bonnet with brass fluted columns, gilt ormolu and chased polished steel fa...