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Bayard wall clock made in France
Bayard wall clock made in France
Bayard wall clock made in France
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Beautiful Bayard wall clock made in France in the 1950s. It features a laminated wood green case (Formica/Laminex) and an Art Deco dial. This clock can give a sophisticated touch to any room. This is a mechanical clock and has to be manually winded once a week to operate. It is in very good condition with only small age-related traces.
Lot of 4 vintage table clocks made in Germany (Blessing, Mauthe, & Ruhla) and Czechoslovakia (Prim). All are in full working order. Each of them need to be manually winded once a day to operate.
Blessing: made in Germany in the 1950s, this mechanical alarm clock features Art Deco elements (hour marks, clock hands, clock base) and also the International Style aesthetics. Kept in very good vintage condition.
Mauthe: made in Germany in the 1940s, this is an Art Deco mechanical alarm clock. The case, in beige, is in sharp contrast to the black dial. At the top and in the lower area, the golden accents complete the sober and elegant image of this clock. Although is kept in a good overall condition, there are some very discrete scratches on the glass; also the phosphorus on the hour and minute hands of the clock have some minor defects.
Prim: made in Czechoslovakia in the 1970s, this is a metal case mechanical alarm clock. Kept in very good condition, this item is characterized by a minimalist, beautiful, modern look.
Ruhla: made in Germany in the 1970s, this mechanical alarm clock features a bright orange plastic case and a black dial with bold, prominent, hour marks. A beautiful and highly collectible table clock, featuring an Atomic/Space Era aesthetics.
If your delivery address is not in the European Union, Iceland, Liechtenstein, Norway, or Switzerland, please be advised that import duty is not included in the prices you see online
Clockmaking was the economic engine of the small village of Saint Nicholas D’Aliermont in Normandy for over two hundred and fifty years, beginning with the arrival of Charles-Antoine Croutte in 1725. Son of a clockmaker, Charles-Antoine succeeded so well in attracting workers to the village that 25 years later in 1750, Saint Niicholas counted 8 production shops and 27 on the eve of the French revolution in 1789.
In 1867, Albert Villon established his clockmaking shop in Saint Nicholas and began creating small ‘domestic’ alarm and mantel clocks, utilizing Japy Frères’ famous enamel dials. Villon identified his clocks by includiing his initials A.V. on the back and added his logo, the “lion passant” or walking lion which became the trademark for over eighty years.
In 1896, Albert Villon associated himself with Paul Duverdrey and Joseph Bloquel and the three of them created the company known as Albert Villon, Duverdrey et Bloquel which operated under that name until Villon’s death in 1902.
It was then rebaptized Duverdrey & Bloquel and in 1928, the brand name Bayard was retained. Bayard was chosen in reference to a character of French history known as the Chevalier de Bayard, who was without fear and without reproach.
From 1928 to about 1932, many of the clocks produced were stamped with both names – Duverdrey & Bloquel – Bayard mostly on the clock mechanism and finally only Bayard was kept along with the logo of the walking lion. Interestingly, people still confuse the Bayard lion with the car manufacturer Peugeot’s lion even though the two of them are dramatically different in design.
With the increasing mechanization of the manufacturing process, Bayard clocks were mass produced and exported to the four corners of the world during the 1930’s – a feat in itself. They also produced models for private brands such as Tribaudeau and the Manufrance catalogue. Many of the clocks produced by Duverdrey & Bloquel did not have identification marks on the case, only on the clock’s internal mechanism which makes identification sometimes a bit tricky. This is especially true for clocks that were manufactured for export.
The most easily recognizable Bayard clock is the one with the enamel dial and Roman numerals that was produced in varying sizes and case finishes.
This model ranged from the small “bijou” ladies clock in a leather carrying case, to a desk clock to the large mantle clock with a marble case weighing over 3 kgs.
The model on the left is one of Bayard’s best- known and most popular. Produced around 1937, its chrome case and stylized numbering made it into a best-seller. It was also sold in brass, porcelain and stamped Bayard & Bayard . It was a completely new model of clock for the manufacturer.
Aqua bowl designed by Per Lütken for Holmegaard. This model is part of the Akva series, which was a huge success and remained in production for more than two decades between 1953 and 1974. Signed and identified on the bottom, “HOLMEGAARD PL”. Also on bottom has the production number, 15737. Has a small chip on the rim and some age-related marks. However, all in all it is in a good vintage condition. A rare piece made from hand-blown crystal (just a small part of this series was made from crystal and not from glass). The Akva series includes items sold under different trade marks and line names: Askebaeger, Dukling, Fiona, Hellas, Lysestage, Menuet, Rondo, Selandia, Thule, Umanak, Surf etc.
Lot of 2 table clocks (Junhans, Jerger) made in Germany in the 1960s. Both clocks features the International Style lines and shapes and are characterized by a clean, functional, minimalist design. Both are in full working order. Each of them need to be manually winded once a day to operate.
Jerger: The company was founded by the clockmaker Wilhelm Jerger (1845–1921) in 1866 and was active for 34 years before merging with the Uhrenfabrik Villingen. Jerger Clock's history is especially interesting today because around 1900 there was a dispute in the German horolitas about which firm, Jerger or Junghans, had first made Amerikanerwerke (American type movements). Jerger proved the first, and the Grand Duke of Baden awarded Jerger the Zähringer Löwenorden (The Order of the Lion) for his services to Baden.
Junhans: Junghans Uhren GmbH is a German watch and clock manufacturer. The company was founded in 1861 and is located in Schramberg, Baden-Württemberg. By 1903, Junghans had the largest watch and clock factory with over 3000 employees. Beginning in the 1950s, the Bauhaus designer Max Bill created clocks and watches for Junghans and the relationship lasted many years. A remarkable example of his work is a wall clock he designed in 1956/57 that is in the collection of The Museum of Modern Art (New York). In 1962 Bill also created mechanical wristwatches for Junghans – impressive timepieces, not only for their aesthetic design, but also their precision. In the late 1980s, Junghans introduced the first radio-controlled table clock on the world market. In 1990 the first radio-controlled wristwatch, called the MEGA 1, followed. In 1995 Junghans presented a solar powered watch with ceramic housing. Together with the Japanese clock maker Seiko, Junghans developed a globally oriented wristwatch that automatically sets the local time in respective time zones.
Beautiful Murano sommerso vase in green and purple. The piece is made in the 1950s and is kept in very good condition, showing no visible deterioration. It has the original label.
When thinking of Murano glass, it is highly unlikely that we think of sand, yet this rare material is at the base of all glass production. Glass is firstly a mix of siliceous sand, soda, lime and potassium, which is put to melt inside an oven at a temperature of around 1.500 Celsius. After it has become flexible enough, it is removed with a pipe that will be used to blow the glass out while the glassmaker shapes and models it. The forms and colors given to each piece depend on the tools and chemicals used during its production. The techniques are also important..
One of the most common techniques is “Sommerso”, which in Italian literally means “submerged”. This technique is used to create several layers of glass (usually with different contrasting colors) inside a single object, giving the illusion of “immersed” colors that lay on top of each other without mixing. This is done by uniting different layers of glass through heat and repeatedly immersing them in pots of molten colored glass. This technique is quite recognizable: it is characterized by an outer layer of colorless glass and thick layers of colored glass inside it, as if a big drop of color had been captured inside the transparent glass. When one first sees these objects, it seems almost impossible to conceive such beautiful colors being locked so perfectly inside what would seem solid glass, and then undoubtedly one begins to wonder how ever did they manage to achieve such a complex game of shapes and colors right in the middle of a clear glass object.
Beautiful controlled bubbles (bullicante) ashtray made of glass in Murano, Italy, in the 1960s. Hand blown, this pice features the shape of a flower in an amazing shade of translucent emerald green.
The quality and tradition that characterize Murano’s finest glass furnaces have always been worthy of the highest appreciation. This prestige is due mostly to the glass masters’ hard work and dedication, which are the very core of Murano’s most famous trade. Glassmaking has been passed on from one generation to the next one, with constant innovations and timeless originality. The loyalty and respect with which this trade is treated is possibly the key to Murano’s success. Glass masters all over the island have always worked with endless vitality, and this creative vein is evident in every glass artwork that comes out of any furnace, with improved techniques and bewildering effects.
The “bullicante” effect is amongst the most famous glass making techniques and it is seen quite often around the island of Murano. If you’ve had the fortune of strolling along the streets of Venice, you would have noticed beautiful glass pieces with small air bubbles trapped in the inside, possibly stopping to wonder how that seemingly impossible effect is achieved. This peculiar effect is obtained by placing a piece of molten glass inside a metallic mold with spikes, very much resembling a pineapple’s texture. These spikes cause small holes on the surface creating a pattern all around the glass piece. After it’s been left to cool down for a few moments, the whole piece is submerged in molten glass again. This second layer completely covers the first one. However, thanks to the thick consistency of glass, the holes previously impressed on the first layer are not covered, thus causing air to be trapped between both layers of glass. This process can be repeated several times, creating a pattern as complicated as the glass master wishes. This technique gives not only a sense of depth to the whole object, but also an incomparable decorative effect, famous for its originality.