A George III ormolu turntable mantel clock with enamel panels by William Hopkins Craft, London, dated 1790

5¼-inch French enamel later dial decorated with flower garlands and bearing the signature Festeau le Jeune A Paris, the circular two train bell striking fusee and chain movement with five knopped pillars and anchor escapement, the front plate stamped ID, within a drum case surmounted by a leaf cast shallow urn and with flower trellis frets to the sides, the rear door finely chased with flowers and leaves, raised on a cabinet flanked by acanthus cast covered urns with cylindrical bases inset with colourful enamel plaques depicting alegorical classical scenes representing Music and Plenty, the front and back with concave corners cast as a balcony with swagged drapery above, the rear with a drawer inset with an oval enamel plaque of a shepherdess weaving a floral wreath, the front with a further panel signed and dated W H Craft, 1790, depicting two girls with a cat and a pair of doves, raised on ball feet and a shaped white marble turntable base applied with ormolu mounts 

Later dial in generally good condtion but missing a few gilt half hour markers, rear of dial marked Verrien, 410, Noir L XVI. Movement much in need of a clean, the front plate signed with a repairers mark Tupman, May 9th 1843, pallet arbor converted from knife edge to pivot. The case with fine original gilding throughout. One side panel with vertical crack but otherwise in very good condition, minor chips and marks to marble base, one corner mount detached but we have it.
"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."

William Hopkins Craft circa 1730-1811 was a fine artist and miniature painter and reputedly the brother of Thomas Craft, a painter at the Bow porcelain factory. Little is known of his early career but he is thought to have been in Paris before joining David Rhodes in partnership from 1768 when their enamelling skills were employed by Wedgewood in London. He had a distinctive style using brilliant enamels and often painted on a large scale. He was one of the few 18^th Century enamellists to sign and date his work. Seventeen of his enamels were exhibited at the Royal Academy between 1774 and 1795. It was not unusual for Craft to duplicate his work. Several examples of his portrait of Sir William Hamilton and the allegorical plaques depicting naval heroes exist. For another smaller example of the shepherdess scene on the rear of this clock see Sotheby's, London 4^th October 1990, Lot 137. Some confusion exists about his name. All of his work is signed W Craft or W H Craft but his marriage license, lodging details and death certificate name him as Croft or Hopkins Croft.  Despite his clients having included royalty, noted politicians, and scientists of the time, he appears to have fallen on hard times in his old age as he was admitted to the Charter House as a Poor Brother in 1810. A brief obituary appeared in The Gentleman's Magazine: Aged 80, Mr Croft, formerly a painter but latterly on the Establishment of the Charter House. He was taken ill on Clerkenwell Green, and being conveyed home in a coach, expired on entering his apartment. He was buried in the Charterhouse cemetery on January 24^th1811.

At the present time six closely related clocks have been identified with English ormolu cases fitted with panels by W.H.Craft and decorated with similar castings; these six include two almost identical pairs. The present clock is very similar to the example illustrated in an advertisement for Frank Partridge & Sons, Antiques Magazine March 1951. The most magnificent of the group has a musical and automaton mechanism see Sotheby's London clock sale 4^th October 1990, lot 137 and Sotheby's New York The Safra Collection 3^rd November 2005 lot 180.

The second pair of clocks has a royal connection as one of the pair was traditionally reputed to have been presented by King George IV to Frederick Thomas Malleson, a favoured Royal Gardner at Claremont Park, Surrey. This clock remained in the same family until it was offered for sale Christie’s London, May 2^nd 1979, lot 144. A virtually identical clock, but with a mirror image enamel plaque, is in Lee Castle, Scotland.

The sixth clock was in the Sandoz Collection and is now in the Musée d'Horlogerie, Château des Monts, Switzerland; illustrated H.Alan Lloyd, The Collector's Dictionary of Clocks, Country Life 1964 plt 139.

The dial of the present clock is curious and is presumably a replacement. Verrien, whose signature appears on the reverse of the dial, is listed as having patented a day/date dial for a clock in 1868 which would add weight to the argument that the dial is a replacement, but the flower garland decoration is most unusual on a mid-19^th century dial. The French signature is difficult to explain, it is unlikely that the dial came off another clock as it fits the present dial plate well and has not been drilled for winding holes which would have been required on a French clock, almost without exception. The similar clock illustrated in Antiques Magazine 1951 also appears to have a French style of dial with decorative half hour marks. If the dial on the present clock is a replacement is it perhaps close in style to the original.