Z Sierra Art Decoration Clocks

Louis XVI style mantel clock. Biscuit, metal, glass. Crosnier, Paris, France, circa 1900. It has defects. A table clock made of bisque porcelain with metal fittings, featuring a wh...

Clock with sculpture. Bronze, stone. Coupier Fila and Provart, Paris, France, late 19th century. Bronze sculpture depicting a boy sitting on a rock formation, raising one bare foot ...

Wall clock. Gilt bronze. France, 19th century. Gilt bronze wall clock of the type known as a "cartel" due to its shape, featuring Parisian movement and a white dial with Roman numer...

Table clock. Bronze. 1990s, modeled after August Moreau. In working order. at origin Table clock with a raised base and gilt-bronze legs following 19th-century models and a white ...

Garnish, clock and two candlesticks. Gilt bronze. Henri Picard and Victor Paillard. Paris, France, 1831-1864. With markings (base, back). A gilded bronze clock with two four-light...

Table clock, Aníbal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris machinery and a case made of mercury-gilded bronze. in mercury-gilded bronze, with a rectangular base on four rectangular base on four legs (the front ones decorated with scrolls and decorated with scrolls and ending in claws), decorated with a series of mouldings in relief with vegetal and architectural elements. vegetal and architectural elements in relief. The dial The dial (metal with Roman numerals for the hours) is set within a square shape, on which sits the male figure that decorates the piece. A bearded man, dressed in armour (a muscular loriga or cuirass) and a cape fixed over one shoulder with a fibula, resting his left arm on the helmet holding a rolled-up document, and with his left hand document, and with his left hand he holds a Roman standard (another Roman standard (another is broken, under his foot). Note, to the right and next to a sword, a vase full of rings. vase full of rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman who was well known for his Carthaginian general and statesman, well known for his the ancient Roman Empire. No He was often depicted as counting the rings of fallen Roman knights in the fallen Roman knights at the battle of Cannas (216 BC). , as can be seen in the sculpture by sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman banner. Roman standard. With these two elements (vase with rings and with rings and a banner) is also shown on a table clock...

Garnish with clock and candelabra in porcelain and gilt bronze. France, 19th century. Mechanism in perfect working order. Fireplace garnish composed of a clock and two five-light candelabras, all three pieces made by combining gilt bronze, with relief elements and round bulges and cold-chiseled details, and porcelain decorated with low-temperature enamels, including gold enamel. The porcelain pieces follow models from the Sèvres National Manufacture of the 18th century, with large pictorial cartouches on a cobalt blue background adorned with golden plant motifs. The set follows a historicist design that combines baroque and neoclassical elements with enamelled scenes of Rococo inspiration, representing landscapes and scenes with mythological themes alluding to the arts and the goddess Venus. The clockwork is stamped “Chles. MT”, with serial number 17420. The main glazed porcelain plates are signed DP Boncher. The clock follows an architectural structure, with an oval base with a prominent front in plan, raised on four molded feet in the shape of a top, on which a large ornamental vase is placed. This plinth has a distinct pinto and, above it, a main body as a façade, with a circular pediment that houses the clock face. This includes black enamelled Roman numerals on white medallions with a gold border, arranged around the central representation of a putti reclining among clouds, holding a floral garland and accompanied by musical instruments. Among the medallions that house the numbers, a small jeweled decoration that evokes pearls and embedded rubies, which is echoed in the secondary areas of the body of the piece and also the vase, always combined with delicate golden filigrees. On both sides of the sphere are two female portraits of ladies from the 18th century, in oval frames. Below, a classically inspired scene with a muse holding musical instruments, probably Euterpe or Erató, accompanied by a putti reading a sheet of music. On the sides of the clock body, two large curved rectangular plates house highly pictorial enameled landscapes, worked with the same miniaturist precision as the rest of the enameled cartouches. These are landscapes of romantic heritage, again inspired by the 18th century, with ideal settings for a twilight atmosphere, featuring classical ruins. The vase that tops the body of the clock has a hemispherical tank, shoulders ending in an edge, an openwork truncated conical neck, which opens smoothly towards the shoulders, and a domed lid, also openwork. The handles are figurative, in bronze, with two female sisters crowned with flowers, of clear Greco-Latin inspiration, worked in a round shape. In the tank, the vase houses two enameled porcelain cartouches, the front one with two putti and a dove - a symbolic allusion to Venus - and the back one with musical instruments. The design of the clock is completed by two thick bronze S-shaped plant braces, under the vase, and counter moldings and plant motifs cast in relief and cold chiseled, combining matte and polished finishes. The candelabras follow a similar design, with large vases of neoclassical design on pedestals, in this case cylindrical, raised on four low feet of turned design. The bases house porcelain cartouches with scenes of putti related to the arts; In one of them we see two putti practicing painting, and in the other two others in a scene related to classical lyric poetry, with one putto writing while the other, holding a lyre, raises a laurel wreath above his head. The cartouches that occupy the front of the candelabra vases...

Table clock with Muse and writers. Blued and gilded bronze, Paris movement. France, 19th century. Perfectly working mechanism. Table clock in blued and gilt bronze with Paris mac...

Cross-shaped chest clock. Silver. 17th century. It presents restorations. Portable clock in the shape of a cross with an openwork exterior showing Christian figurative scenes and the movement inside, a dial with a golden band with Roman numerals for the hours, a single needle and an engraved decoration around it, also with a religious theme; on the back, the back of the movement can be seen, with a delicate decoration, also openwork and based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. Outside, we find ourselves on one side with Christ crucified, flanked by the Virgin Mary and Saint John, and the figures are surrounded by a delicate composition based on vegetable scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. Working. The two candelabras follow a model highly appreciated in the 19th century of a bronze figure of a bacchante (a common figure in the procession of the classical god...

Travel clock with case. Metal, glass, leather, etc. XIX century. Case with lid at the top and front with a transparent glass sheet, upholstered on the inside, containing a travel cl...

Louis XVI clock garrison and chandeliers. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, around 1780 or 1790 and later. Bibliography:...

Table clock, Apollo. Bronze, marble. Model of Lenoir-Ravrio, Louis-Stanislas(1783-1846). Paris, around 1820. Table clock composed of a staggered rectangular base made of red veined...

Table clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. Working. Table clock with Paris machinery in working order that has a rectangular light marble base with the front slightly forward to allow space for the clock case. It has a white dial, Louis XVI type hands and Roman numerals for the hours and Arabic numerals five by five for the minutes. This part is sheltered in a golden marble pedestal, which has a base of Greek fretwork...

Pocket watch, Lz MAURIN. Gilded metal, enamels, etc. XIX century. Pocket watch with a white dial with Roman numerals for the hours and, for the minutes, in Romans every fifteen an...

Pocket watch, Jaqs Blanc. gold, enamel, etc. Possibly towards the end of the 18th century. Pocket watch with a white dial and Arabic numerals for the hours and lines and Arabic num...

Pocket watch, Deroches Brothers. Gilded metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass part and a composition ...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the last third of the 18th century. Has faults. Pocket watch in a case decorated with enamels on the back (inside a pearl band you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts...

Clock garnish and two candlesticks. Bronze, rouge griotte marble. France, 19th century, following Clodion's models. Set or garnish consisting of a table clock and two candlesticks ...

Clock. Palo santo, rosewood, golden bronze. France, 19th century, modeled after Charles Cressent (France, 1685-1768). Wooden box grandfather clock in which palo santo, rosewood an...

The style Henry II ("Henri II") was the name given to an artistic style emerged in France in the 19th century and was inspired by the Renaissance of this country making a series of f...

Table clock made of gilded bronze with a powerful base, enhanced with legs decorated with vegetal and architectural motifs of classicist inspiration and a series of details on the fr...