Chinese Cloisonne Mantle Clock with Lady Portrait Pendulum
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A Chinese cloisonne mantle clock, circa 1970s, the brass and glass case with overall cobalt ground cloisonne designs, having eight slender pillars, and a low dome with a gilded urn finial, a white porcelain dial with Roman numerals, with gong strike, and pendulum featuring a portrait bust of a lady, with key, height 45.5 cm, length 34.5 cm, width 15.5 cm
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- Finial - An architectural decoration, found on the upper parts of of an object. On furniture they are usually found on pediments, canopies and shelf supports. On smaller ceramic or silver items, such as spoons, they may decorate the top of the item itself, or the lid or cover where they provide a useful handle for removal.
Finials have a variety of shapes and forms. They may be urn-shaped, baluster shaped round or spiral, but usually taper into an upper point. Many real life shapes may also be used as finials, such as pineapples, berries, pinecones, buds, lotus and acorns. Sometimes animals such as a lion are depicted, or fish and dolphins. - Circa - A Latin term meaning 'about', often used in the antique trade to give an approximate date for the piece, usually considered to be five years on either side of the circa year. Thus, circa 1900 means the piece was made about 1900, probably between 1895 and 1905. The expression is sometimes abbreviated to c.1900.
- Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.
For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.
Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.
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