A MAGNIFICENT IMPERIAL JEWELLED GILT-BRONZE ELEPHANT CLOCK QING DYNASTY, QIANLONG PERIOD

THIS IS A PREMIUM LOT.   CLIENTS WHO WISH TO BID ON PREMIUM LOTS ARE REQUESTED TO COMPLETE THE PREMIUM LOT PRE-REGISTRATION 3 WORKING DAYS PRIOR TO THE SALE.




the elephant naturalistically modelled standing four-square upon ornamental rocks, its head inclined to one side, with its trunk terminating in a ruyi and flanked by two carved tusks, the body intricately and masterfully decorated with thousands of minute seed pearls, caparisonned with an ornate gilt-bronze saddle cloth draped over its back, richly embellished with carved pieces of jadeite and ruby, and bordered by a band of alternating red glass gems and seed pearls, adorned across the body with bejewelled garlands studded with red glass and silver beads from which delicate beads of coral and green glass gems hang down, supporting on its back a gilt vase filled with various finely carved flowers in rock crystal, chalcedony, turquoise, mother-of-pearl, coral and other hardstones and gilt leaves, fitted with a circular watch signed Jas Bedlake London enclosed by a ring of red glass gems, the gilt-bronze vase intricately carved on each side with leafy scrolling stems embellished with lapis-lazuli, coral and other multi-coloured hardstones in the form of double-gourds and bats, with borders of red and green glass gems, the elegant rectangular pedestal superbly cast in European Baroque style with a pierced balustrade and a rim of alternating clear and red glass gems, the sides intricately reticulated and embellished with florets in red, blue and green glass, with moulded columns at the corners, all above a pierced foliate apron and finely cast acanthus legs

Acquired in France in 1991.

The present imperial clock is a remarkable example of the elaborate and technically challenging individual works of art manufactured in the imperial workshops in the Forbidden City. This magnificent timepiece makes use of a number of decorative elements that satisfied the lavish and extravagant taste of the Qianlong emperor. The most technically challenging and striking visual effect of this clock is the tens of thousands of small seed pearls skilfully threaded together to form the hide of the elephant. The fact that most of these tiny pearls are pierced cross-wise and affixed with a thinner than hair-fine thread, to ensure their stable fixation on the elephant’s body, represents in itself a spectacular tour-de-force of the imperial craftsmen. These precious freshwater pearls were harvested from the Sungari, Yalu and Amur rivers in Manchuria in the northern part of China, and were treasured by the Manchu court for their association with their homeland. Generally they were used for decorating imperial court robes which were richly embroidered with thousands of pearls and were only permitted to be worn by imperial family members.  For an example of an embroidered imperial robe entirely covered with seed pearls see one illustrated in The Complete Collection of Treasures of the Palace Museum. Treasures of Imperial Court, Hong Kong, 2004, pl. 81, together with a ceremonial dress of azurite blue satin embroidered with the design of four dragon-cloud medallions of seed pearls, pl. 75. Compare also the magnificent embroidered satin and pearl-work 'Twelve Symbol' imperial jifu (court robe) sold in these rooms, 10^th April 2006, lot 1540.

The skill of the artisans working in the Palace Workshops is also evident from the elaborate and finely manufactured plinth supporting the elephant, the richly inlaid saddle-cloth, and the vase with the bouquet of delicately carved flowers. Exquisite works of this type, inspired by Western artefacts but distinctly Chinese in their subject matter, are characteristic of the palace manufactories of the Qianlong period. The majority of these clocks were made in the Zuozhongchu (Office of Clock Manufacture) that operated under the instructions of the Zaobanchu (Palace Workshop) and was active between 1723 and 1879.  The Zuozhongchu was the successor of the Zimingzhongchu (Office of Self-Sounding Bells), established by Jesuit missionaries during Kangxi's reign (1662-1722), devoted to Western-style clock manufacturing. Jesuit missionaries introduced the theory and technology and played a key role in the development of European-style clock-making in China. 

Although this elaborate artefact was made in the palace workshops in Beijing, the circular watch fitted as a timepiece is signed by the watchmaker James Bedlake of London. Little is known of this particular maker, but the majority of European clocks reaching the Imperial palace during the 18^th century were the products of London makers. They were highly appreciated as 'pieces of ingenuity' and therefore much sought after by the Qing court. Clocks such as the present piece were used to adorn the private quarters in the Forbidden City, and are masterpieces combining Western technology with refined Chinese artistry.

The Qianlong emperor was an avid collector of all types of timepieces and automatons and his enthusiasm for both European and Chinese made clocks and watches saw no limit. He had thousands of European and Chinese clocks in his collection that were aimed at mesmerizing the beholder and prized for their novelty and design. The large variety of media employed for the manufacturing of clocks is well illustrated in the Clocks and Watches section of The Complete Collection of Treasures of the Palace Museum. Scientific and Technical Instruments of the Qing Dynasty, Hong Kong, 1998, pp. 188-260. Among the Chinese-made clocks there are pieces manufactured in the Zuozhongchu as well as tributary items to the imperial court from the clock manufacturing workshops in Guangzhou. See also a pair of large famille rose elephants carrying vases fitted with circular watches, one signed Benjamin Ward, London (1765-90), the other, W.M. Carpenter, London (1770-1805), both offered in these rooms, 26th October 2003, lot 109.

The elephant in China is a symbol of peace, and the combination of elephant (xiang) and vase (ping) is a reference to 'peaceful times (taiping youxiang)'. According to Teresa Tse Bartholomew, Hidden Meanings in Chinese Art, San Francisco, 2006, p. 238, the elephant and vase motif is based on the saying 'When there is peace, there are signs (xiang)' as a pun for peace (taiping). She further notes ibid., p. 237, that 'during the Qing dynasty, real elephants carrying vases on their backs appeared in processions celebrating the emperor's birthday. In New Year prints, an elephant and a pot of evergreen represent spring and a time of renewal'. The elephant is also one of the auspicious symbols of Buddhism - an attribute of royalty, associated with the bodhisattva Puxian, Bodhisattva of Universal Benevolence, the personification of Perfect Activity and Happiness, who is often shown seated on a white elephant.