L12307

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Lot 9
  • 9

An Italian gilt-bronze mounted pietre dure and ebony clock, Galleria dei Lavori, Florence early 18th century

Estimate
150,000 - 250,000 GBP
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Description

  • ebony, pietre dura
  • 112cm. high, 76.5cm. wide, 26cm. deep; 3ft. 8in, 2ft. 6¼in., 10¼in.
the ebony veneered case of tabernacle shape surmounted by a broken pediment, flanked by scrolls above white chalcedony composite columns on plinths, each in turn surmounted by a square amethyst, the base mouldings and capitals in chased fire-gilded bronze, the pediment, pedestal and sides decorated with gilt-bronze framed pietre dure panels with flowers and intertwined scrolled foliage, the clock face centred by a bird pecking at a piece of fruit amongst scrolled foliage, above a rectangular frieze of pietre dure concealing a drawer with another smaller drawer in the upper section of the base, the round brass movement and verge escapement with a conoid held in place by animal gut, a striking mechanism which rings six times with a bell and the original key, the movement signed Francesco Papillion In Fiorenza



 

Literature

A. González-Palacios Il tempio del Gusto Vol. I, p.46, see note 22; Vol. II.
E. Morpurgo, Dizionario degli orologiai italiani, Milan, 1974, p. 129.

Condition

In overall good conserved condition. The colour of the pietre dure is more vibrant with much more contrast and the columns are slightly darker with more veining and more attractive than in the catalogue photograph. On the edges of the pediment there are minor chips and some very minor losses, restorations and cracks in the ebony veneer which do not detract from the piece and are commensurate with age and normal useage. On the door a small piece of veneer by the lock replaced.The dial with very minor losses to the painting. The gilt-bronze mounts especially on the columns are slightly dirty and would benefit from a light clean according to taste. The amethyst square plaque above the left column with minor losses and one behind the right column at the top is missing its amethyst plaque but this is hardly noticeable. Each side scroll with two small holes on the top, where previously there may have been a mount attached. Minor chips and losses of the edges of the base. Inside the door, just above the lock there is a small hole. The choice of pietre dure stones is very beautiful and they are in very good order. There are a couple of very minor restorations to the rectangular pietre dure panel above the dial but this is only visible upon very close inspection. The movement with fusee to the going train, pivoted verge escapement with finely pierced and engraved back cock, pierced and engraved standing barrel to the striking train, pierced steel striking gate, external locking plate cut for double-six hour striking on a bell. Complete and appears to retain the original wheel work throughout, looks as though it would run but is much in need of a clean. With an engraved winder and door key.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. All dimensions in catalogue descriptions are approximate. Condition reports may not specify mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome. Watches in water-resistant cases have been opened to examine movements but no warranties are made that the watches are currently water-resistant. Please note that we do not guarantee the authenticity of any individual component parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since subsequent repairs and restoration work may have resulted in the replacement of original parts. 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. In particular, please note it is the purchaser's responsibility to comply with any applicable import and export matters, particularly in relation to lots incorporating materials from endangered species.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."

**Please be advised that bands made of materials derived from endangered or otherwise protected species (i.e. alligator and crocodile) are not sold with the watches and are for display purposes only. We reserve the right to remove these bands prior to shipping.

Important Notice regarding importation into the United States of Rolex watches
Sotheby's cannot arrange for the delivery of Rolex watches to the United States because U.S. laws restricts the import of Rolex watches. The buyer or a designated agent may collect the property in the country of sale."

Catalogue Note

Very little is known about this clockmaker who registered as a master of his craft in 1705 in Florence and whose signature also appears on an alarm clock in the Fitzwilliam Museum, Cambridge, a double-case pocket watch in the Ilbert Collection and a handsome night clock in a Milanese collection. Given the very high quality of the case of this clock it is justifiable to suppose that Papillion also worked for the Galleria dei Lavori.   

We know of other similar clocks to this one made in the Galleria dei Lavori under Cosimo III.  There is a clock in the Gilbert Collection (now in the Victoria and Albert Museum in London, which I was able to identify when it was in Los Angeles).  Made of ebony, gilt-bronze and pietre dure, it was originally surmounted by an alabaster niche which is now missing, and was probably made to the design of Foggini, who was personally responsible for a number of bronze ornaments.  The case would have been made by the cabinet maker Leonardo van der Vinne.  It belonged to Anna Maria Luisa, daughter of Cosimo III who became Electress Palatine.  Another clock, in an ebony case with pietre dure decoration, surmounted by three gilt-bronze figures by Foggini (to whom is also attributed the design of the object), is in the Bulgari collection in Rome.  A third clock, which is in the collection of the Residenz in Munich, is the work of Foggini and the cabinet maker Adamo Suster and is datable to  about 1705.  It has amethyst columns and a medallion above containing a portrait in pietre dure of the Electress Anna Maria Luisa.

It is worth noting that the year before Papillion registered as a clockmaker in Florence, work was being carried out on a clock in the Galleria dei Lavori.  I have found some records of payments for it:  in March 1704, 'A Leonardo van der Vinne Ebanista... spese Ebani e Granatiglie... che deve servire per l'Oriuolo ch va facendo', ['To Leonardo van der Vinne, Cabinet maker...  expenditure on ebony and granatiglia... which is needed for the clock that is being made'].  On 14 and 15 April and on 5 May 1704 further payments to the same craftsman are recorded.  On 25 June 1704 comes another order of payment, 'A Leonardo van der Vinne... a spese di Ebanisteria per tanti sono... e Alessandro Patriarchi intagliatore per l'aver intagliato N.2 mensole d'Ebano che vanno all'orologio di Granatiglia' , ['To Leonardo van der Vinne... expenses for a number of items of cabinet making ... and Alessandro Patriarchi, carver for having carved two supports of ebony which are for the clock made of Granatiglia'], and finally, on 24 November 1704 an order of payment to, 'Leonardo van der Vinne a spese di Ebanisteria... pagate al Patriarchi Intagliatore per due Scartocci d'Ebano per l'Orologio che va facendo' , ['Leonardo van der Vinne for expenses for cabinet making... paid to Patriarchi, carver, for two cartouches of Ebony for the Clock that is being made'].  All the documents are in the Archivio di Stato, Florence, Guardaroba 1123, cc. 5r, 6r, 6v and 8v).

It is difficult to say whether these documents could refer to the clock illustrated here, given that they do not describe it fully and that they mention another wood, granatiglia, besides ebony.  However granatiglia is in fact a lighter-coloured variety of ebony or palisander and with the passing of time and build-up of dust the two woods eventually acquire the same colour.  One thing, however, is certain:  this clock was definitely made in the grand-ducal workshops at the beginning of the eighteenth century, probably at the same time as Papillion registered as a master of clockmaking in Florence in 1705.  Leonardo van der Vinne was probably responsible for making the case, as he was usually involved with this sort of task.  The pietre dure work, would have been entrusted, as we know, to a number of craftsmen who were paid by the week.  The bronze ornament was Foggini's responsibility.  Finally it should be noted that there is only one other clock of such quality from the grand-ducal Galleria dei Lavori which retains its original movement, now in the Getty Museum.