A FINE FRENCH BRASS GORGE CASED SMALL REPEATING ALARM CARRIAGE CLOCK WITH LIMOGES ENAMEL PANELSUNSIGNED, PARIS, CIRCA 1875The eight-day two train gong striking movement with frosted silvered platform lever escapement regulated by sprung split bimetallic balance and alarm mechanism planted between the plates at eleven o'clock sounding on the same gong, the backplate stamped with serial number 7027 to lower left-hand corner, the rectangular deep maroon almost black enamel dial with gilt star rosette to centre, contrasting gilt and white Roman numerals to chapter ring and gilt brass hands, the upper spandrel areas decorated in translucent polychrome enamel with Renaissance inspired stylised foliate scroll strapwork and the lower margin centred with an Arabic numeral alarm setting dial flanked by bird inhabited conforming leafy scrollwork, the brass gorge case with hinged carrying handle over large bevelled top glass, trip-repeat button to front rail and channel-moulded uprights, the sides inset with fine enamel panels depicting winged clothed putti serenading lovebirds with a pan pipes and a flageolet, the rear with pin-hinged bevel glazed door, on ogee-outline base; with original tooled Morocco leather covered protective carrying case.The clock 10cm (4ins) high with handle down, 7cm (2.75ins) wide, 6cm (2.375ins) deep. The exquisite dial and side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance inspired subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even, if possible, exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective.
A FINE FRENCH BRASS GORGE CASED SMALL REPEATING ALARM CARRIAGE CLOCK WITH LIMOGES ENAMEL PANELSUNSIGNED, PARIS, CIRCA 1875The eight-day two train gong striking movement with frosted silvered platform lever escapement regulated by sprung split bimetallic balance and alarm mechanism planted between the plates at eleven o'clock sounding on the same gong, the backplate stamped with serial number 7027 to lower left-hand corner, the rectangular deep maroon almost black enamel dial with gilt star rosette to centre, contrasting gilt and white Roman numerals to chapter ring and gilt brass hands, the upper spandrel areas decorated in translucent polychrome enamel with Renaissance inspired stylised foliate scroll strapwork and the lower margin centred with an Arabic numeral alarm setting dial flanked by bird inhabited conforming leafy scrollwork, the brass gorge case with hinged carrying handle over large bevelled top glass, trip-repeat button to front rail and channel-moulded uprights, the sides inset with fine enamel panels depicting winged clothed putti serenading lovebirds with a pan pipes and a flageolet, the rear with pin-hinged bevel glazed door, on ogee-outline base; with original tooled Morocco leather covered protective carrying case.The clock 10cm (4ins) high with handle down, 7cm (2.75ins) wide, 6cm (2.375ins) deep. The exquisite dial and side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance inspired subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even, if possible, exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective.
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