A Fine Napoléon III Gilt-Bronze and Sèvres Style Three-Piece Clock Garniture
A Fine Napoléon III Gilt-Bronze and Sèvres Style Cobalt Blue Ground 'Jewelled' Porcelain Three-Piece Clock Garniture Comprising a mantel clock and...
DimensionsHeight: 62 cm (25 in)
A Fine Napoléon III Gilt-Bronze and Sèvres Style Cobalt Blue Ground ‘Jewelled’ Porcelain Three-Piece Clock Garniture
Comprising a mantel clock and a pair of five-light vase candelabra.
The clock surmounted by an urn fine painted with putti and flanked by acanthus scrolls. The porcelain dial similarly painted. The rounded rectangular base of the clock inset with finely painted panels included a central plaque of Venus and Cupid, portraits of court beauties and the sides with rounded porcelain panels of parkland vistas. The twin-barrel clock movement with strike on bell. The candelabra en suite with vase bodies on cylindrical bases and leaf wrapped branches.
Height: 64 cm | 25 inches
Width: 40 cm | 16 inches
Diameter: 18 cm | 7 inches
Height: 60 cm | 25 inches
Width: 18 cm | 7 inches
Depth: 18 cm | 7 inches
France, Circa 1870.
Gilt-Bronze and Porcelain
The Sèvres Porcelain Manufactory was founded to the east of Paris in the disused Royal Château of Vincennes, late in 1739-40. and moved to the village of Sèvres, west of Paris in 1756, en route to King Louis XV’s palace of Versailles.
Here it was also adjacent to Louis’s mistress Madame de Pompadour’s own château at Bellevue. She was delighted with the factory’s new location – as she knew she could entice Louis to take a greater interest in it when it was so near their own residences. Indeed, the King became such a keen patron of the factory that, when it ran into financial difficulties, he bought out the shareholders and became the sole proprietor. The factory remained a royal enterprise until the French Revolution, when it was nationalised.
The popularity of the Louis XV style during the nineteenth century led to a number of companies in and around Paris, creating exceptional Sèvres-Style porcelain based on eighteenth century models and to the same exceptional quality. Often these pieces were of exhibition quality and scale, and finely painted by the best studio painters of the day such as Robert, Desprez and Poitevin.