喬治三世仿金銅二問報時音樂活動人偶座鐘，為中國市場製造，英國/瑞士, 約1790年作 |

3英寸琺瑯鐘盤，大三針，鐘圈及周邊飾人造寶石，瑞士製雙芝麻鏈機芯備擺輪心軸擒縱機構，活動人偶敲鈴二問及正點報時，每小時觸動另一瑞士製機芯備芝麻鏈，驅動結構複雜的固定凸輪，令跪著的活動人偶利用手中音槌敲擊兩組四個鈴鐺，演奏兩首樂曲其中之一，並左右轉動頭部，上方飾彩色人造寶石變形螺旋紋飾，鐘殼配仿鋪瓦頂罩，頂部飾螺旋紋飾，遮蓋活動人偶，兩個機芯隱藏於渦卷葉紋腳座上，裝嵌於精雕底座配圓形腳座，整體飾獅鷲、枝葉、人造寶石及新古典主義枝葉底板

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At the end of the 18^th century European horologists and craftsmen from other associated trades, dealing through London, were collaborating to produce fabulous clocks and watches with entertaining complications, in the hope that they would appeal to their wealthy Chinese clients. For over one hundred years the trade in silks, fine porcelains and tea had grown to an such an extent that it became necessary to attempt to correct the trade imbalance. The Chinese considered that there was very little produced in Europe that they were unable to obtain within their own economy, but their enthusiasm for highly decorative and novelty watches and clocks made in or sold through London provided an opportunity for trade. Since the end of the 17^th century, London had gained a worldwide reputation for horological innovation and accuracy of timekeeping. However, the restrained characteristics of traditional English clock making did not satisfy Chinese tastes and it was necessary for English merchants to use the best Europe-wide resources available to them in order to appeal.  As trade in these novelties was established, the demand for ever-more complicated and decorative clocks grew and the Qing Emperors became some of the most important collectors.

In the Valleys above Neuchatel in Switzerland, the Jaquet-Droz were firmly established as the finest makers of mechanical automata by the third quarter of the 18^th century. Singing birds, automaton figures and musical boxes were designed to amaze the observer and were an instant success with Chinese collectors. Henri Maillardet (1745-1830) had been apprenticed to and worked for the Jaquet-Droz in La Chaux de Fonds but by 1790 had established himself in London with his two brothers as makers of automata. With the automaton mechanism of this clock very much in the style of the Jaquet-Droz, it is interesting to speculate if it might have been commissioned from Switzerland or, perhaps, constructed solely in London but in the Swiss manner by the Maillardet’s. What is clear however is the close collaboration required between the case makers and movement makers in order to achieve the masterpiece of their arts presented here. Indeed, it would, of course, have been easiest if the two entities had been constructed in the same city rather than across a continent.

This remarkable and most attractive clock has survived in extraordinarily fine original condition. It is a rare example of a bell-playing or drummer automaton. Other examples are to be found in The Collection of the Palace Museum, Beijing. The highly complex mechanism is required to control the arms of the figure both up and down and sided to side in order to strike the bells to play the tune. At the same time, the figure moves his head as though looking where he is playing. The key component of this mechanism is the programmed cam wheel and, in this example, is typical of the work of the Jaquet-Droz and Maillardet’s. The fine ormolu case is a combination of styles incorporating neo-classical elements as well as alluding to the Orient. It is typical of the finest English metalwork of the period and is most interesting as it contains an oval mount also found on the rear of the exceptional Swan Clock sold in these rooms on 9^th July 2014. The metamorphic whorl to the top of the clock is also very similar to the whorl on the Swan Clock and there can be no doubt that the same workshops were involved in the making of both clocks.

Grand Tours of the 18^th and 19^th centuries are well documented but it is less well known that they also continued well into the 20^th century. For a wealthy young Japanese gentleman, it was fashionable to travel to see the great sights of Europe and America as well as Asia. Spectacular clocks such as this have always been highly prized and, having witnessed other examples during his personal Grand Tour during the 1930s, the grandfather of the current owner was determined to add one to his own collection. It is not known precisely where the clock was acquired but, as can be seen by his scrapbook and the labels on his luggage preserved by his family, figs. 1 & 2, his travel was truly extensive.

Sotheby's would like to thank Dr Ian White for his assistance in cataloguing this lot.