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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.
Corner sideboard with rolling shutters. Can be used as a TV stand or minibar and is made in Germany, in the late 1940s or early 1950s. The contrast between the dark brown and acacia color are specific for the German furniture design of that period and creates a nice chromatic game. The sides and top are decorated with brass rods. Inside, the rolling shutters hide behind a double wall when open (so the storage space is completely void). The piece was recently restored and is in very good shape.
Beautiful daybed made in Norway, at Swan Mobler, in the 1960s. The legs and structure are made of solid teak. The bed features an end table finished with teak veneer, teak is finished veneer. At the opposite end, an extension allows you to re-position the cushions. Both the mattress and pillows were the original upholstery. The bed presents only small signs of wear. This is a special piece, characterized by simplicity and minimalism. Due to its non-intrusive aspect, this daybed can be accommodated in room and can become your favorite reading place.
Spectacular and rare “Unika” series vase, signed by Per Lütken and produced at Holmegaard. Dated 1946, this crystal cut piece is made by sandblasting. This technique allowed that stylish vertical game of slim lines that defines this vase. Both the production date and the look put this piece between the Art Deco and Mid-Century aesthetics, being one of those objects that points the break with the past and the affirmation of a new style. The piece is not signed but – attention! – none of the the “Unika” vases were signed and – in this particular case – the lack of a signature is an additional guarantee of the authenticity of the piece.