A French silver and enamel Gothic style table clock with phases of the moon, modeling attributed to Lucien-Clement Steiner, Tiffany & Co., Paris, dated 1878

in the form of a Gothic tower, the time dial with champlevé red enamel chapter ring centered by a sunflower and poppy, the moon phase dial with stars and planet on matching ground, surrounded by sad and happy moon faces above salamander and frog, one side with an owl, the other with a cock, both surrounded by zodiac signs, base with scenes of the four seasons, crocketed and tile roof, mounted on shaped red marble base

time dial lacks crystal, movements not running, case otherwise good condition with some restoration to enamel chapter ring
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The base mounted with a circular plaque inscribed: Offert a Monsieur De La Fosse en 1878 Par Le Comte & La Comtessa Pinêt.

Tiffany's prompt success following the opening of their store in New York in 1837 encouraged the company's expansion with another shop in Paris in 1850, at 79 rue de Richelieu. Edward C. Moore, Tiffany's principal designer of silver, studied what was new in European silver showcased by the International exhibition in Paris of 1855. His 37 page sketchbook, now in the company's archives, shows the origins of many of Tiffany's designs of the 1850's and 1860'su1. 

At the Paris International exhibition of 1878, Tiffany's caused a sensation with an eclectic collection `remarquable par l'exellence de ces produits'u2, including items in the new technique of mixed metals that came to symbolize their production. Samuel Bing, the collector and dealer whose Paris shop, L'Art Nouveau, gave the movement its name, was a longtime admirer of Tiffany and friend of Edward Moore, who was awarded the Legion D'honneur at the Paris Universal exhibition of 1889. At the same exhibition Lucien Falize, exhibitor and judge, championed the firm's work "I persist in finding beautiful, new and curious that which they have brought us”u3.

A gold and hard stone clock by Falize of 1881, which relates to the one now offered for sale, in its shape and gothic inspiration is in the collections of the Metropolitan Museum of Art, New Yorkυ4. Lucien Falize exhibited clocks in gothic style of a `perfection si complete' at the 1878 exhibition where he won a gold medal bringing him to the attention of Edward Moore, and probably influencing Tiffany’s production. It is known that employees moved between the companies, such as Georges le Saché, one of the most famous draughtsmen employed by Lucien Falize, who also worked for Tiffany. 

Leopold-Clement-Amedee Steiner (1853-1899), son of the French sculptor Emmanuel-Amboise, was a pupil of the French National Ecole des Beaux Arts and exhibited at the annual Salon des Artists between 1876 and 1898. He worked for other silversmiths, such as Ernest Vever, father of the famous Art Déco jeweler Henri, for whom he produced silver statues at the Paris Universal Exhibition of 1889υ5. At the same exhibition he was also awarded a gold medal. Steiner received many commissions including work for the Palais Rothschild in Vienna, and the city of Paris. He made one of the four magnificent gilt-bronze models of Pegasus, entitled La renommée de la guerre, on the Pont Alexandre III. He modeled and signed a gilt version of this same clock that was offered at the Sotheby's Paris, Important European Silver, Gold Boxes and Vertu auction on November 25, 2010, lot 119.

Literature: 1. Charles H. Carpenter Jr & Mary Grace Carpenter, Tiffany silver, New York, 1978, pp. 12-13. 

2. Rapport de l'exposition Universelle de Paris, 1878, Groupe III - classe 24. Rapport sur l'orfèvrerie, Paris, 1880

3. Exposition universelle internationale de 1889 à Paris. Rapport du jury international, Groupe III - Classe 24 - orfèvrerie, Paris, 1890. 

4. Museum number: 1991.113 a-f

5. Lucien Falize, 'Exposition universelle de 1889, les industries d'art, orfèvrerie d'art', La Gazette des Beaux Arts, Août 1889