Ref.11889
JULIUS GROSCHKUS (active in the second half of the 19th century), Mahogany grandfather clock with exotic decoration

This mahogany grandfather clock was made by the workshop of Julius Grotschkus in Berlin. This German master cabinetmaker of the second half of the 19th century is renowned for the quality and variety of his historicist creations. Supported by two atlantes with African features, this mahogany grandfather clock has two gilt-bronze weights. The brass dial is richly decorated with finely incised acanthus leaves. Above the dial, Cupid emerges from the clouds, his left foot on the globe, holding a cup. On either side are two inscriptions: "Time is running out" and "Time heals." The gold background of the engraved composition represents the dawning sunrise, a symbol of the passage of time. The African atlantes supporting the clock's body are of exceptional quality. Positioned on either side of a niche housing the clockwork mechanism's weights, their stooped posture conveys remarkable grace, and their facial features are rendered with lifelike realism. The depiction of this pair underscores the significance of the German Empire's colonial expansion during this period and may suggest that this imposing piece was created for a clientele whose wealth originated in these territories. Julius Groschkus's clientele consisted primarily of an urban bourgeois elite who had amassed fortunes through the rapid industrialization of the German Empire. Groschkus's talent was widely recognized in his time, as evidenced by the plaque affixed to the clock, which mentions his status as a master woodworker, "Hof Tischlermeister."

Ref.14906
Edmond Chauffrey, Indo-Chinese cabinet with mother-of-pearl marquetry and relief enamelled stained glass

Combining Far Eastern aesthetics and techniques with French craftsmanship, this 19th-century Indo-Chinese cabinet is a testimony to French taste for the blending of styles. As early as the reign of Louis XV, ornamanists were already creating Rocaille-style bases for antique Chinese porcelain vases. During the second half of the 19th century, the vogue for Japonisme encouraged cabinetmakers and decorators to combine ancient Asian elements with contemporary creations. The undulating cornice of this cabinet echoes the architectural motifs of Asian temples, featuring at its center a dragon mask made from carved wood. The entire piece is richly decorated with mother-of-pearl marquetry, displaying a remarkable diversity of motifs: court scenes, soldiers, landscapes, vegetal elements, wild birds, and butterflies both rendered with great naturalism. The ensemble is of Indo-Chinese origin with the exception of the stained-glass panels signed by Edmond Chauffrey. The Bordeaux-based master glassmaker began his career in 1856 at the famous Vieillard manufactory as a porcelain painter. In 1878, he founded the Chauffrey workshop and specialized in the production of decorative stained glass, catering primarily to the upper bourgeoisie of Bordeaux. Around 1885, when the renowned ceramicist Amédée de Caranza left his position as head of the Vieillard workshop, Edmond Chauffrey was entrusted with promoting Caranza’s relief enamel technique. He thus became the only one to make use of the Caranza process. This technique gives this Japonist stained glass decoration its distinctive presence. Inspired by Japanese prints, the vegetal motifs and butterflies retain their vivid colors, while the relief creates a striking contrast with the mother-of-pearl marquetry. As a testament to the admiration inspired by his creations — such as this extremely refined cabinet — the jury of the Bordeaux Exhibition awarded the master glassmaker a gold medal in 1885. Upon Edmond Chauffrey’s death in 1926, his sons took over the workshop.