A MAGNIFICENT AND IMPERIAL TRIBUTE GILT-BRASS MUSICAL AND AUTOMATON TABLE CLOCK QING DYNASTY, QIANLONG PERIOD

6 3/4 inch dial with well pierced gilt-steel hands and paste-set bexel, a painted automaton scene above galleons sailing through choppy water while equestrian figures pass by on a bridge above flanked by trees and chinoiseries figures against a mirrored background, the principal three train fusee movement with six pillars, verge escapement, bell striking and playing one of six tunes on nine bells with twelve hammers, the blackplate engraved with Neo-Classical decoration, a further fusee movement above for driving the automaton work at the sides and on the upper section of the vase, the museum and automaton work released at will or at the conclusion of the hour strike, the richly gilded case surmounted by a gilt tree a cover a chased urn set with bands of coloured pastes and open at the front to reveal waterfall rods, flanked by grotesque mask fountain spouts with further waterfall rods, the whole raised on a rockwork base with lizards on the upper corners and a mirrored aperture at the front with automaton figures passing by, the whole within a formal balustrade, the rectangular central section set with a band of further pastes, overlaid at the front, around the dial, with a fruiting vine mask, angled corners set, at the top, with elaborate corbels and urn finials and inset with blue-painted metal frets, the sides decorated with faux doors with elaborate pediments below mirrored apertures with columns and a painted proscenium arch within which further figures pass by, the rear similarly decorated and with a door giving access to the mechanism, a frieze of chinoiserie fret on a red ground around the base, the whole within a further balustrade with urn corner finials, the plinth decorated with foiled glass roundels within a leaf scroll frieze and raised on elephant feet divided by swags of fruit; with a red painted wood stand with a gilt-brass gadrooned border, raised on paw feet, keys

The clock contains two separate movements. The lower is a three train movement: one train to drive the clock itself (i.e. the hands), one to drive the hourly strike and the third to play the music and rive the ship automaton directly above the dial. The upper movement (wound through the arcade) drives the two side automaton scenes and the glass rods providing the fountain effect. Both movements were originally very dirty but were in good 'untouched condition'. They have both been cleaned and overhauled with no parts needing to be replaced apart from routine rebushing. The music has been made to play well by replacing three bells and tuning the rest of the set. The case has its original fire gilding. It has been dismantled completely and each piece washed and the case reassembled. A few small pieces (for instance of the frame around the scene above the back door) have had to be cast and gilded to match the original. Some new leaves have been made for the tree at the top. This has not been gilded as it never has been. Two of the leaves from the tree have broken off and can be soldered back. All the painted scenes and figures have been professionally restored. They have been filled where necessary, cleaned, touched up and revarnished. Two pieces of agate have been replaced in the back door. Various rectangular pieces of amber have been cut to fit the vase of the pilasters. A few other stones have been cut to replace those missing around the bezel and below the frieze. Some blue glass panels have been replaced. Fourteen new 'barley-sugar' glass rods have been made for the circular assembly and one of the long rods to the sides. Twelve new driving rods and pinions have also been made. To conclude, the clock is in good original condition and has benefited from a thorough clean which has revitalized the original gilding. All the work carried out to the movement has resulted in the clock performing all its functions as it would have done originally. Any replacement parts (stones, fountain parts etc.) have been made sympathetically to harmonise with the originals.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Chinese craftsmen who produced this magnificent clock may have been inspired by the fabulous musical and automaton clocks commissioned by the English entrepreneur James Cox which were exported to various Far East destinations during the second half of the 18^th century. In China, traders from overseas were not allowed to sell their goods directly but had to go through an agent. James Cox and his son John Henry had a resident agent in Canton, the merchant Thomas Dickinson, and it is possible, in some instances, that clock movements were made in London and exported to China where they were cased to the design of Cox. Although James Cox's fortunes had declined during the 1770s culminating in bankruptcy, he re-established his business with the help of his son and set up business premises at Canton in 1783 which flourished for a number of years. The present clock has a movement that is certainly English in style though the case is undoubtedly Chinese; by the late 18^th century the Chinese clockmakers had become expert at making clock movements in the English manner and it can sometimes be difficult to identify the origin of a particular movement. Research is further complicated as, during the Qing Dynasty (1644-1911), it was forbidden for makers to sign their products and this has proved to be a great frustration to researchers attempting to discover the origin of the many rare musical and automaton clocks that have been found in China.

The Emperor Qianlong (1736-95) had a large collection of clocks in his palaces, many presented by visiting dignitaries in the hope of promoting trade with China. The musical and automaton clocks came to be known as 'sing-songs' since they were primarily valued as amusing toys rather than fine timekeepers. Sadly many of the clocks were badly damaged or destroyed during several turbulent periods in the history of China, particularly during the looting of the Forbidden City in the early 1900's. Of the clocks that survived, many were damaged by unskilled clockmakers who found it easier to remove troublesome musical and automaton features rather than attempt to restore them.

The present clock is remarkable in that it has come down through the years in mostly good condition and still retains the original fire gilding. The eye-catching performance of revolving waterfall rods, ships sailing along and figures passing by, on the front and the sides, to the accompaniment of a choice of four musical tunes can still serve to amuse and astonish the present day connoisseur, just as much as it would have done over two hundred years ago, when the clock was made.

This clock does not appear to have been published but similar clocks may be seen: Derek Roberts, Mystery, Novelty & Fantasy Clocks, Schiffer 1999, chapter 15; Arthur Ord-Hume, The Musical Clock, Mayfield 1995, chapter 9; Antiquarian Horology, Summer 1991, pgs 367-387; Simon Harcourt-Smith The Palace Museum, Peiping, 1933.

Perhaps the most similar clock to the present example was in the Ionides Collection at Buxted Park, England; it had a large three-train movement with white enamel dial, many revolving waterfall rods and passing figures, the clock was of a similar height. Illustrated Antiques July 1959, English Clocks for China, an article by John Hayward. The present whereabouts of this clock is not known. The clock chimes the hour on twelve cast bells.