A black marble mantle clock, circa 1880, American, with maker's…
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A black marble mantle clock, circa 1880, American, with maker's mark for Ansonia, with architectural styling, with a visible escapement, the enamel dial with Roman numerals enclosed by a gilded bezel and set within a plinth with a volute and triangular pediment and raised on an extended base, decorated with engraved embellishments and black and white mottled marble inlay; with key. Height 38 cm. Width 35 cm. Depth 13 cm

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  • 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.
  • Bezel - On a clock or watch, the bezel is the metal frame into which the watch or clock glass is fitted. In clocks, the bezel may include a hinge and a flange, in effect a door to the face of the clock. In jewellery the bezel is a band of metal with a projecting lip that holds the gemstone in its setting.
  • 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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