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Table clock, France, first quarter of the 19th century — view 1 of 4
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Clocks · Clock

Table clock, France, first quarter of the 19th century

DocumentedDocumented from an auction catalogue; attribution as stated by the auction house.
Maker / attribution
Unrecorded in source
Date
19th century
Country of origin
France
Object type
Clock
Materials / technique
bronze
Lot
Lot 0BB4707513
Credit line
Auction lot record: lot 108, 23rd November - Decorative & Oriental Art, Setdart Auction House (2026), via Invaluable
Catalogue title (original)
Table clock; France, first quarter of the 19th century. Mercury-gilded and blued bronze. Movement from Paris, stamped “Pons.” Silk thread suspension. (English)

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Record summary

Catalogued by Invaluable auction listings (lot Lot 0BB4707513), this is a clock, made in France, dated 19th century. The Atlas places it in the Precision & Scientific Horology period (1750 – 1850) of its Clocks collection. Materials and techniques recorded by the source: bronze. The record is illustrated with 4 photographs.

Assembled from the source record's structured fields. Dates and attributions are given as the source states them; where a field is missing the Atlas leaves it blank rather than estimating.

Catalogue description

Lot description — Setdart Auction House

Table clock; France, first quarter of the 19th century. Mercury-gilded and blued bronze. Movement made in Paris, stamped “Pons.” Silk thread suspension. Measurements: 46 x 33 x 12 cm. This clock combines elaborate mercury-gilded bronze work with blued bronze elements, creating a chromatic contrast that enhances its sculptural presence. Its design reflects the aesthetic of French decorative clockmaking that developed during the first quarter of the 19th century, a period in which the neoclassical tradition inherited from the Napoleonic Empire coexisted with a growing interest in exoticism and references to ancient cultures. The composition is dominated by the figure of a young woman depicted in a serene pose, dressed in attire inspired by antiquity and holding a banner topped by an elaborate canopy. The treatment of the face and limbs in dark-toned, blued bronze reflects an aesthetic technique widely used in French bronze casting of the period, known as “bronze au noir.” At her side is a cornucopia, a classical symbol of abundance and prosperity, while the clock face blends harmoniously into the sculptural composition, becoming part of the work’s ornamental and symbolic narrative. The body of the clock rests on a solid architectural base decorated with classically inspired reliefs, whose plant motifs and moldings evoke the ornamental motifs characteristic of the Empire style. The quality of the modeling, the richness of the chiseling, and the exceptional finish of the mercury gilding attest to the mastery of the Parisian workshops of the time, renowned for producing clocks intended for both the aristocracy and the European upper middle class. During the first quarter of the 19th century, France established itself as the leading European center for the production of ornamental table clocks. Following the rise of the Empire style, promoted during the reign of Napoleon Bonaparte, these objects transcended their utilitarian function to become symbols of prestige and refinement, combining advances in watchmaking with the excellence of bronze sculpture.

Historical context

Precision & Scientific Horology (1750 – 1850)

Harrison solves longitude; Mudge invents the lever; Breguet's Paris workshop defines the modern watch.

The age of the deadbeat escapement, compensated pendulums and observatory regulators. Domestic clocks spread through the middle classes: English longcase and bracket clocks, French gilt-bronze mantel clocks, Viennese Biedermeier wall clocks, Black Forest painted-shield clocks, and the first American shelf clocks.

Read the period in the timelineMore clocks from this periodEarlier: Early Modern Horology

Atlas type guide

Bracket, table and spring-driven clocks

Spring-driven clocks freed timekeeping from the hanging weight. The coiled mainspring, documented from the fifteenth century, made portable table clocks possible; to even out its declining force, makers used the fusee, a conical pulley connected to the barrel by a gut line or chain. Renaissance table clocks from Augsburg and Nuremberg — drum-shaped, square or tower-shaped in gilt brass — were luxury scientific objects, often with astronomical dials and alarms.

After the pendulum, English makers developed the bracket clock: a wooden case with a carrying handle, a short pendulum with a verge escapement, and often repeating work to sound the hours on demand at night. Later examples use the anchor escapement. In the nineteenth century, 'table clock' became a broad term for spring clocks of every nationality.

What to look for

  • A fusee in the movement (cone-shaped pulley) and the type of line — gut or chain.
  • Verge escapement with a short bob pendulum, often with a decoratively engraved backplate.
  • Repeat cords or buttons that make the clock strike again on demand.
  • Gilt-brass engraved cases and horizontal dials on Renaissance pieces.
  • Case shapes: inverted bell, bell top, break-arch, lancet or balloon.

Dating clues

  • Drum and tower table clocks: c. 1520–1650.
  • Ebony veneered English bracket clocks with verge escapements: c. 1670–1800.
  • Engraved backplates were usual on English clocks until c. 1800, then generally plain.

General guidance written by the Atlas editors about this kind of object. It is not a statement about this particular piece; for that, rely on the source record above and on physical examination.

Read next:FuseeVerge escapementAnchor (recoil) escapement

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