Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880
Antique French Ormolu Pink Sevres Porcelain Clock c1880

Antique French Ormolu Pink Sevres Porcelain Clock c1880

c. 1880 France

Offered by Regent Antiques

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This is a lovely antique French ormolu, gilded bronze, mantel clock with a profusion of powder pink porcelain inset panels in the Sevres manner, circa 1880 in date.

The movement is stamped JBD, which stands for Jean-Babtiste Delettrez, the case is surmounted by gilded artichoke finials with a entral porcelain mount with elegant painted flower arrangements and musical instruments.

The front panel is decorated with cherubs and the bow side panels with flowers and musical instruments.
The white enamel dial has Roman numerals supported by a gilded repeating lotus leaf bezel.

It has an eight day movement striking the hours and half hours on a silvered bell.

The clock stands on an elaborately deeply chased acanthus moulded skirt base with foliate scroll gilded mounted toupe feet with a matching stand.

The clock is complete with pendulum, bell and key.

This incredible clock is a must have for any collector of ornamental and decorative pieces.


In excellent working condition, the movement having been cleaned and serviced, and the ormolu case polished, in our workshops.

Dimensions in cm:

Height 39 x Width 29 x Depth 16

Dimensions in inches:

Height 1 foot, 3 inches x Width 11 inches x Depth 6 inches
(Antoine) Jean-Baptiste Delettrez (1816–1887) was a renowned 19th-century French clockmaker.

Delettrez and Achille Brocot, son of the respected clockmaker Louis-Gabriel Brocot, established the clockmaking company "Brocot et Delettrez" in Paris on 20 October 1851, with premises at 62 Rue Charlot. Their speciality was a range of clocks based on the innovations of Brocot père and his other son Antoine, but generally of Achille's greatly advanced original design, some having a unique single-arm double-wheel escapement, some having a temperature-compensated pendulum, some having two dials, one of which showed the time and the other which showed a calendar and often other information such as phases of the moon, times of sunrise & sunset in Paris, etc.

The firm was awarded a 1st class prize at the Paris World Exposition of 1857 for a commercial clock of this type.

This innovative and fruitful partnership continued until the death of Brocot in 1878, after which event Delettrez continued on his own. His typical later product was a conventional 8-day mantle clock that struck the hours and half-hours, still based on the standard Brocot escapement and suspension that he had helped to refine. These elegant and much-admired timepieces were typically made to order for retailers, including several in Britain, with dials carrying the name of the retailer rather than that of their maker, but whose mechanism was stamped with the cartouche (JBD).

He married his cousin Caroline Delettrez in Paris on 2 April 1845. They had two sons, Louis and Jules, both of whom later carried on the family tradition of metalworking, the former as a manufacturer of bronze objects d'art and the latter as a goldsmith.

Ormolu (from French 'or moulu', signifying ground or pounded gold) is an 18th-century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze.The mercury is driven off in a kiln leaving behind a gold-coloured veneer known as 'gilt bronze'.

The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of nitrate of mercury is applied to a piece of copper, brass, or bronze, followed by the application of an amalgam of gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object.

No true ormolu was produced in France after around 1830 because legislation had outlawed the use of mercury. Therefore, other techniques were used instead but nothing surpasses the original mercury-firing ormolu method for sheer beauty and richness of colour. Electroplating is the most common modern technique. Ormolu techniques are essentially the same as those used on silver, to produce silver-gilt (also known as vermeil).

Sevres Porcelain
traces its roots in France to early craftsmen who had small manufacturing operations in such places as Lille, Rouen. St. Cloud, and most notably Chantilly. It is from Chantilly that a cadre of workers migrated to the Chateau de Vincennes near Paris to form a larger porcelain manufactory in 1738.

French King Louis XV, perhaps inspired by his rumoured relationship with mistress Madame de Pompadour, took an intense interest in porcelain and moved the operation in 1756 to even larger quarters in the Paris suburb of Sevres. Sevres was also conveniently near the home of Madame de Pompadour and the King's own Palace at Versailles.
From the outset the king's clear aim was to produce Sevres Porcelain that surpassed the established Saxony works of Meissen and Dresden. Though the French lacked an ample supply of kaolin, a required ingredient for hard-paste porcelain (pate dure), their soft-paste porcelain (pate tendre) was fired at a lower temperature and was thus compatible with a wider variety of colours and glazes that in many cases were also richer and more vivid. Unglazed white Sevres Porcelain "biscuit" figurines were also a great success. However, soft-paste Sevres Porcelain was more easily broken. Therefore, early pieces of Sevres Porcelain that remain intact have become rare indeed.

The Sevres Porcelain manufactory always seemed to be in dire financial straits despite the incredibly fine works it produced. In fact, the king's insistence that only the finest items be created may have contributed to the difficulties. Only a limited number of European nobility could afford the extravagant prices demanded for such works. King Louis XV and eventually his heir, the ill-fated Louis XVI, were obliged to invest heavily in the enterprise. Ultimately, the Sevres Porcelain Factory produced items under the name of "Royal" and thus the well-known Sevres mark was born. King Louis XV even mandated laws that severely restricted other porcelain production in France so as to retain a near monopoly for his Sevres Porcelain. The king even willingly became chief salesman for the finest of his products, hosting an annual New Year's Day showing for French nobility in his private quarters at Versailles. He eagerly circulated among potential buyers, pitching the merits of ownership and policing the occasional light-fingered guest.
Sevres Porcelain may have indeed given the makers of Meissen and Dresden a run for their money by the end of the 18th Century but for the French Revolution. By 1800, the Sevres Porcelain Works were practically out of business due to the economic devastation of the new French Republic.

About the time when Napoleon Bonaparte named himself Emperor of France (1804), a new director was named for the Sevres Porcelain Manufactory. Alexandre Brongniart, highly educated in many fields, resurrected Sevres Porcelain. Soft-paste porcelain was eliminated altogether thanks to the earlier discovery of kaolin near Limoges. For four decades until his death, Brongniart presided over monumental progress for Sevres Porcelain, catering not only to Napoleon himself, but at last to include the more financially profitable mid-priced market in the emerging middle class.

Our reference: 06147
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Regent Antiques

Regent Antiques
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