Late 18th Century More Clocks

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

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...

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....

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 (...

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...

Excellent fire-gilded Empire bronze mantel clock: structure in the form of a rectangular, stepped pedestal that tapers at the front corners, on four spindle feet, with relief ornamen...

This striking mantel clock is a fine example of the Empire style, a period characterized by its grandeur and inspiration from classical antiquity. The clock showcases a masterful com...

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...

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 ...

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...

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

An exquisite 19th-century Louis XV-style mantel clock, showcasing a harmonious blend of Neoclassical and Rococo influences. This elegant timepiece features a finely crafted white ena...

"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...

This exquisite mantel clock exemplifies the refined aesthetic and masterful craftsmanship of the French Empire period. Crafted primarily from marble, this clock showcases a harmonio...

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...