A fine and rare Italian gilt-bronze, pietra dura and Spanish brocatello marble mounted ebony night clock attributed to Pietro Tommaso Campani, Roman, the dial oil on copper and from the circle of Carlo Maratta (Camerino 1625-1713) and Filippo Lauri (Rome 1623-1694) late 17th century

the superstructure with a triangular pediment surmounted by agilt-bronze Pelican in her Piety, applied with a gilt-bronze mount depicting Father Time amongst clouds with a seraphim holding a globe in his hand, above two plinths surmounted by a female figure in drapery representing Saints above a door with a rectanguar dial painted with`Jesus in the garden of Gethsemane'  on copper, surmounted by a domed pierced foliate panel surmounted by further pieced metalwork enclosing a recess with a Florentine pietra dura  plaque with plums, flowers and butterflies, with free-standing brocatello marble columns with Corinthians capitals flanked on either side by the female figires of Hope and Faith on plinths, on a rectangular plinth and flattened bun feet, the whole mounted with oval and rectangular panels of lapis lazuli, cornelians, moonstones, agates 

The Pelican is possibly a later replacement and is not gilded on the back and has a casting crack across the right wing. Screwhole in top of head of Father Time and casting cracks in the gilt-bronze panel behind him and his oar is lacking its gilding. Casting cracks in figures on the top and left arm of one is broken and she is missing her attribute, the other figure opposite is also missing fingers on left hand and attribute. Some very minor restorations generally and there are minor sections of moulding missing eg to left side below figure on the left. The columns have been restored but this has been well executed and some medium sized chips which are hardly noticeable. The base of the column on the right is of a more reddish tone and has been replaced and there is evidence of old glue. The feet are possibly later replacements. There are some restored cracks in the jasper and pietra dure plaques. The pietre dure plaque beneath the dial is 19th century and some of the pietre dure has been replaced. The foliate mounts above the arch of the door is possibly later and there is a minor restoration to the hexagonal metal which could be later on the triangular pediment. The moulding surrounding the door on the right side has a section missing which can easily be replaced.There is some degredation to the painting on the dial. There are some speckled white areas as visible from the photograph. The pierced back on the lower plinth base appears to be a later addition and the piece appears to have been rebacked. A stunning and rare model. In overall very good conserved condition. Highly recommended. Report on movement: The circular fusée movement with baluster pillars, verge escapement with pierced cock and foot. Escapement needs some adjustment and pierced indication plate replaced.
"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."

Comparative Literature:
A. G-Palacios, Il Tempio del Gusto, Roma e il regno delle due Sicilie, Vol. II, Milan, 1986, p. 31, no. 24, p. 64, no. 108, p. 66, no. 112.p. 93, no. 183.
A. G-Palacios, Fasto Romano, dipinti, sculture, arredi dai Palazzi di Roma, Leonardo De Luca editori, 1991, plate XXXIV, cat. no. 74 and Tav. XXXV, cat. 73.
A. G-Palácios, Arredi e Ornamenti alla corte di Roma, 1560-1795, Milan, 2004, , p. 106, fig.II, p. 107, fig. III, p. 108, fig. IV.

This impressive Italian night clock contained within an architectural case reflects the form of  Roman altar-pieces in the 17th century.  The origins of these Roman night clocks is intriguing as this type of clock developed in Rome in the early 17th century resulting from the desire for Pope Alessandro VII (Fabio Chigi (Siena 1599-Rome 1669), who suffered from insomnia, to have a clock in his bedroom which he could see at night which had a silent movement thus obviating the need for him to be disturbed at night due to the ticking noise.
As these night clocks with a silent movement, rotating disc surmounted by a semi-circular aperture with the numbers of the hours became more popular, they were found in the most sumptous palaces and patrician residences. These night clocks were always of contemporary architectural form and often the dials were painted with religious subject matter conveying the impression of an altarpiece. The time can be read through the placement of a lamp or candle behind the pierced dials of the night clock, revealing the time.

Related night clocks by the Campani brothers are as follows: 

-A night-clock signed P.T. Campani (Pietro Tommaso Campani) and dated 1683 with scrolled corbels on the sides with similarly pierecd foliate cast mounts, in The British Museum.

-A.G.P., Il Tempio del Gusto, op. cit.,  p.64, plate 108, for a very impressive monumental night clock, also signed by Pietro Tommaso Campani and dated 1663, in the Kunsthistorisches Museum of Vienna, made by Giacomo Herman in Rome in 1685. Herman is known to have collaborated with at least one of the Campani brothers. Futhermore, foreign cabinet makers such as the Swiss Giovanni Sigrist and the German Giovanni Falghero (Falker) are known to have worked in Rome during this period.

-A. G-Palacios, op. cit., p.31, illustrates an ebony night clock of less elaborate design but of similar conception, the dial by Giuseppe Campani, Rome, circa 1665.

-A.G.P., op. cit., p. 66, no. 112, for another ebony night clock by Pietro Tommaso and Giuseppe Campani (?)

-A.G.P., op. cit., p. 93, fig. 183, for a tortoiseshell night clock, the dial from the workshop of Carlo Maratti, last quarter 17th century. 

-A.G.P., Arredi e Ornamenti alla Corte di Roma, op. cit., p. 106, fig.II, for an elaborately mounted ebonised night clock circa 1665, mounted with marble and pietre dure, the dial painted with Father Time rowing a boat, in the Colonna Collection, Rome.

-A.G.P., op. cit., p. 107, fig. 11, for an ebony and tortoiseshell night clock with gilt-bronze mounts, the dial painted with the Allegory of the Arts and Science, Palazzo Altieri, Rome.

Pietro Tommaso Campani:
Pietro Tommaso, was the most prolific and renowned of his brothers Giuseppe and Matteo who worked as clockmakers in Rome during the second half of the 17th century. Both Giuseppe and Pietro Tommaso took credit for the invention of the night clock in 1660, Pietro Tommaso is now thought to have been its inventor and innovator.

Carlo Maratta (1625-1713):
Carlo Maratta, he was known for his religious altarpieces in the manner of Raphael. He decorated a large number of dock dials during the second half of the 17th century and painted the panels on night clock. He trained in the workshop of Andrea Sacchi and he was influenced by Roman artists such as Annibale Carracci and Guido Reni.

Filippo Lauri (Rome 1623-1694):
In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became the Principe or director of the academy. He painted along with Filippo Gagliardi a canvas depiction of Celebrations for Christine of Sweden at Palazzo Barberini now at Palazzo Braschi.