Mantel Garniture
Retailer
Tiffany & Company
(American, founded 1837)
Artist
Maker unknown
(French)
Date1875-1885
MediumSlate, marble, bronze, brass, wood, and glass
DimensionsClock: 18-1/2 x 21 x 7-3/4 in.
Obelisks: 20-1/2 x 7-3/4 x 5-1/8 in.
Obelisks: 20-1/2 x 7-3/4 x 5-1/8 in.
ClassificationsFURNISHINGS
Credit LineMuseum Purchase
Object number2000.21.1-4
DescriptionMantel garniture comprising a clock, two obelisks and clock key. Clock ornamented with bronze rams heads on either side and bronze sphinx on top. Front surface of clock and obelisks feature incised polychrome (mostly gold and silver gilt). " Egyptian" motifs (faux hieroglyphs). On clock, winged-figure spandels center a circular glazed door over a chapter ring with Roman numerals. Clock & obelisks rest on footed, flared bases each ornamented with gilt, and an incised winged bird.On View
Not on viewCollections
Copyright<a rel="license" href="http://creativecommons.org/licenses/by-nc/4.0/"><img alt="Creative Commons License" style="border-width:0" src="https://i.creativecommons.org/l/by-nc/4.0/80x15.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nc/4.0/">Creative Commons Attribution-NonCommercial 4.0 International License</a>.
Label TextIn the period after the Civil War, clock mantel garnitures became increasingly complex. This garniture, with its liberally adorned, freely stylized Egyptian motifs-a sphinx, winged orbs, and faux hieroglyphs flanked by obelisks-would have graced a formal room. Clocks such as this were largely produced in Paris and sold to wealthy Americans by firms such as Tiffany & Company.
Throughout the nineteenth century, decorative arts expressed the Western world's fascination with Egyptian archaeology. However, this garniture represents a popular rather than an archaeological interest in Egyptian art. The design may have been specifically inspired by the obelisk of Alexandria, which the Egyptian government gave to New York City in 1881. Installed in Central Park, Cleopatra's Needle fueled an interest in Egyptian art that had blossomed earlier in the nineteenth century after Napoleon's Egypt campaign.
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