Napoleon III period clock; Paris 19th century.
Gilt and partially silvered bronze.
With stamp on the base: E. Sebenier, Paris.
Measurements: 63 x 31 x 24 cm.
Clock made in bronze that presents a singular structure, that is based on four legs finished off at the foot with a feline claw and in the upper part with faces of winged women, that serve as caryatids since they support the entablature that gives base to the upper zone. In the central area, between the faces of these caryatids of orientalist aesthetics, is the clock face, with cartouches for Roman numerals in black. Above the dial is a round sculptural group consisting of a lady in classical costume and a small child who looks at her in surprise. The sculpture bears the signature of Pierre-Eugène-Émile Hèbert (France, 1828 - 1893). Son of the sculptor Pierre Hébert, Émile began his training with his father, and later expanded it as a pupil of Jean-Jacquez Feuchère. He was a regular participant in the Paris Salon between 1846 and 1893, and his works exhibited there included "Always and Never" (1863) and "Oedipus" (1869). He also took part in the Universal Exhibition held in Paris in 1855, where he presented a small sculpture entitled "Girl Saving a Bee". He also carried out some important commissions for public sculptures, such as his two allegorical statues in stone, "The Comedy" and "The Drama", for the façade of the Théâtre du Vaudeville in Paris. He worked on a wide range of subjects, including allegories, literary and mythological themes, oriental characters, mainly Egyptian, and even genre scenes. His work also includes designs for commemorative medals. Specialising mainly in small-format bronze sculpture, many of his works were intended for export, most of which are now to be found in the United States and Great Britain. He is also represented at the Musée d'Orsay in Paris, the Courtauld Institute of Art in London, the National Gallery in Washington D.C., the High Museum of Art in Atlanta and the Cantor Center at Stanford University in California.