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圖錄編號 91*
圖錄編號 91*
初步估價 400,000 - 800,000 €
成交價 532,800 €
這屬於我們上一期的拍賣會

獨特非凡,精緻極至,罕見的鑲寶石華麗座鐘,附一刻鐘報時及音樂活動雕飾,由倫敦的鐘錶大師John Mottram所製,中國清朝宮廷的御用鐘錶工匠,乾隆帝執政末期,約1790

隨著1820年嘉慶皇帝的駕崩,整個清朝也逐漸沒落,這意味著一個歷時150年,曾為宮廷王朝重視奢華珍貴的鐘錶和儀器的收藏時代,正式結束了。在最輝煌時期,是乾隆帝收藏了約4000件珍品,分別存放在頤和園,圓明園及紫禁城等地,這些珍貴的收藏品中,除了有獨特非凡的歐洲鐘錶外,最主要的大都來自倫敦和瑞士,當然也有些來自北京,廣州和蘇州的朝廷御用鐘錶工匠所製的中國式鐘錶。1924年中國末代皇帝溥儀退位,離開紫禁城後,這些收藏品雖經歷破壞毀損,搶劫等等災難,仍然被世人遺忘,從未被提及。直到1925年故宮博物院的成立,這些精品才被公開,而在1933年由北京駐華大使館的英國外交官,對考古學及藝術極專精研究的Simon Harcourt-Smith所著的第一本英文目錄手冊,介紹給西方國家,這時總算公開於全世界了。這本罕見的書刊,主要針對120件英國考古文物及鐘錶,做詳細說明介紹。以下是關於此座鐘收藏的精彩歷史,我們做一些重點摘錄。

"早在十四世紀初,中國朝廷即對西方國家的鐘錶藝術及機械技術方面,抱著極大的好奇心和興趣,起因是可能被俘虜在蒙古的囚犯,後被送回匈牙利的一個法國鐵匠Guillaume Boucher,為元朝大帝製作了一件附噴水池活動裝飾的奢華座鐘,以及1599年基督傳教士利瑪竇神父抵達北京,入宮晉見皇帝,並依照皇帝的喜愛而呈獻數件鐘錶禮物。不過,在十七世紀末康熙帝在位期間,才真正收藏大量鐘錶於宮廷內,在他執政朝代時期,明顯表露對歐洲鐘錶,藝術品,歐洲科學的高度興趣,多次引見有宗教信仰的數學家,哲學家,營造一個充滿先進技術儀器及不同款式鐘錶時計的藝術世界,也因為他對鐘錶技術極度關注,以至到十八世紀初,與基督傳教士有深厚的友誼關係。其中一位瑞士籍專業鐘錶師Stadlin神父派遣來北京,透過他的專業指導,在宮中成立一個小型鐘錶製作室,從那時起至傳教結束1773-4年間,教授了百名以上的中國技工製造及維修各式各樣的鐘錶。雍正帝並不追隨康熙帝的風格品味,乾隆帝卻贊同,縱使他歧視西方世界,但無法避免的,他的血液裏遺傳了祖父(康熙帝)的浪漫情懷及冒險性格,在他執政時期,每年從西方國家湧進數以千計的鐘錶時計,從未見過的新奇玩具,賞心悅目的藝術品等等。在北京紫禁城,圓明園,頤和園也曾展出過一座有着精心的布景,描述基督誕生故事的利用流水為動力的活動人物大座鐘,整个过程伴随着來自倫敦的交響曲演奏和西方民族舞蹈。

Macartney伯爵於1793年派駐公使在北京期間,曾參觀無數個收藏大量西洋鐘錶的中國宮廷和院寺,他發現到中國皇帝所擁有的鐘錶時計,堪稱全世界最優秀的珍品。可惜的是,最後的一百年間,收藏品的品質每下愈況,有些精緻的鐘錶,因為不夠專精的維護或不恰當的補缺零件,而失去原有的價值,有些則因錯誤的修復而完全損毀價值。最慘重的損失,是1860年的圓明園遭到大火焚燒和搶奪和1900年紫禁城同樣的打劫遭遇,以至於遺失或毀損無以數計的珍藏品。

關於我在圖錄書刊所記載的,剩餘的鐘錶時計中,尤其是著名的乾隆皇帝收藏品,也大都殘缺不全。唯有例外的6件珍品,是我曾在中國的兩座博物館找到的,包含一件1760年的古董時計,利瑪竇神父從意大利攜來的貢品,或康熙帝時期的Stadlin神父貢獻的珍品。其餘的完全不見蹤跡,甚至連當初英王喬治三世委託Macartney伯爵贈送給乾隆皇帝的禮物 -- 一座由英國著名鐘錶大師Vulliamy親手製作的花瓶瓷器座鐘,也幾乎殘破不堪。

法國製鐘錶或國外大使呈獻給中國朝廷的上等鐘錶,幾乎極少被提及。而於1733年出現在頤和園的稀奇又结構複雜的鐘錶時計,這些有著名的倫敦工匠"COX"親筆烙印的時計中,有的鐘錶零件還是來自著名的新奇機械博物館,後來不是被送到廣東出售,就是被廣東的東印度公司中間商無條件佔有。

這些曾是華麗無比的收藏品,雖經歷過多次戰爭和政治運動,卻奇蹟般的被保存下來,而且即使有的殘缺破損,仍身負重要的歷史背景,同時也具有英國手工業的紀念意義,更是十八世紀在中國與歐洲間的手工藝術交流,成為不可抹滅的珍貴文物及歷史見證。

事實上,這些極大部份碩果僅存的收藏品,仍能保存幾近完美的品相,不僅要感謝北京的乾燥空氣,同時要對博物館工作同仁睿智又細膩的專業維護,以及中國國家圖書館館長袁同禮對我在出版此英文目錄手冊的支持和鼓勵,表達最深的感謝。 "

摘錄自"Simon Harcourt-Smith 寫於北京 1933年1月"

關於作者: 1933年Simon Harcourt-Smith出版的故宫博物館英文目錄手册,描述了博物館藏有來自歐洲的手工藝術,活動人偶鐘,音樂鐘,全部是十八世纪和十九世纪早期的鐘錶。

錶殼:

黃銅鍍金,四面全鑲滿幾何花卉立體雕飾"taille-douce"(凹版印刷技術),由四隻腳架支撐的素面花卉雕飾四方形底座,機芯設置中心,同樣鑲嵌奢華寶石鏤空花卉雕飾,錶殼正面鑲嵌華麗的銀質綠寶石,以及白,紅,黃寶石點綴其中。音樂旋律啟動的錶殼面內鋪紅色絲絨,鑲嵌華麗鏤空太陽花寶石,鑲珍珠滾邊,錶背面的門板同樣內鋪絲絨,頂級寶石鏤空繁星點點般的雕飾,拱頂造型的座鐘上層是黃金條紋雕飾圓頂,四角搭配古老王冠柱子,環鑲嵌珍珠完美雕飾的圓鼓狀王冠套在旋入式圓柱的柱頭。

活動雕飾:

由七個鑲寶石的銀齒輪組成,中心最大環內是光滑細膩的紅,白寶石鑲邊。其中一個鑲圓球形皇冠齒輪則架設在拱起的螺線管上。當音樂啟動時,每一個齒輪自身的軸承會跟著旋轉,同時帶動中心最大的齒輪,以及頂端環鑲寶石皇冠的獨立軸桿也會轉動。

錶盤:

琺瑯,白色,直徑10公分,羅馬數字刻度及5的平均倍數阿拉伯數字,平滑閃亮的金桃形時針和分針,附平衡力的中心秒針,鑲藍,白寶石的可拆換錶圈,透過旋轉錶中心點的指針設定,6點位置下方有鑲嵌白,紅寶石的花卉裝飾。

機芯:

8天動力儲存,黃銅柏金,帶渦鍊的3齒輪機芯,精緻細膩雕飾滾邊的背蓋上有"John Mottram, London"烙印署名。附早期冠輪機芯的發條匣,雕飾的逆轉鉗,斜製的手搖式擺桿(為避免在鐘錶走動上弦時,互相碰撞),拋光鐘擺面,兩鈴鐘敲擊的一刻鐘和整點的噹噹鐘聲報時,附四種旋律的音樂機芯及每隔三小時的鈴鐘敲擊裝置,事實上,也可從座鐘背面上發條,即可自選音樂旋律,打開背面小門,有發條上鍊的功能設置,這個設置理所當然的有個保護蓋,藉以擋灰塵用。

座鐘尺寸:

總高度 530 mm x 寬 210 mm x 深 175 mm

鐘錶大師簡介:

John Mottram是活躍於十八世紀的一代英國極具聲威鐘表大師,他於1790年至1808年間,但有一記載是更早的日期1780年,在倫敦區Clerkenwell的法院任職鐘錶工匠,以優秀的技術著稱,尤其專為中國市場特別量身打造的完美鐘款,總教人愛不釋手。出自Mottram大師所製作這種特色的座鐘,還有尤其是同時代的英國鐘錶大師Henry Borrell(1795-1840),屬日內瓦胡格諾派,同樣支持這樣的設計,不僅受中國市場的喜愛,同時在瑞士,也會訂購這些鐘錶機芯或元素零件,甚至整座鐘直接出口瑞士。據猜測,最大的可能性是由Jaquet Droz & Leschot公司收購,這是一家以製作奢華精緻的鳥鳴音樂盒和活動雕飾鐘聞名的瑞士鐘錶公司,與英國倫敦的鐘錶大師James Cox有長期合作關係。

毫無疑問的,這座John Mottram的宮廷鐘是為中國乾隆帝所收藏,因為於1900年Clarke Manifold上校,他是Gaselee將軍的外科醫生暨工作夥伴,在北京任職期間,就曾在日記中描述到過一座鐘後來由Rawlinson上校買走,並船運至英國的Aldershot市(參見備註A),指的就是Mottram大師的座鐘,現今保存於英國皇家軍團醫療隊中(參考文獻3.)。此座鐘也曾收藏於清朝海軍衙門的宮廷,據猜測應該是醇賢親王奕譞(1840-1891)於1885年登基,後由載灃則繼承醇親王封號(1883 - 1951)的這段時間。

(A) Clarke Manifold封爵上校的著作"The "all blaze" of life",私人出版,1914年前,第80頁。

品相報告:

這座由鐘錶大師John Mottram製作的一貫極盡奢華極盡複雜機芯座鐘的其中之一,略帶弧線型的錶殼是沿襲他常規四方錶殼,所研發出來更細膩的款式。名貴材質寶石鑲飾和高超細膩的雕刻,絕對是極品中的極品。縱然擁有最複雜的機芯功能,整座鐘仍保有完美的品相,所見的鍍金材質手藝和色彩鮮豔的珍貴寶石,全是原廠保存下來的,完全沒有任何修補的痕跡。

音樂旋律:

四種旋律的其中之一,含有極生動的歷史意義; 就是"For He's a Jolly Good Fellow"(他是個快樂的小伙子)的音樂片段,這首歡樂輕快的名曲,曾是一位法國軍人,要戲謔英國將軍,馬爾博羅公爵於1709年9月11日在馬爾普拉凱戰役中的大屠殺,而改編歌詞如"Malbrough s’en va-t-en guerre" 唱出來。這首曲子也曾是法國皇后瑪麗亞·安東尼最喜愛的歌曲。在1813年這首旋律又被貝多芬收錄於作品91號"威靈頓的勝利"(又名:維多利亞之役)中。事實上,從1776年這首歡快的曲子首次被公開後,就在英國廣為流行,且深受到英國人民的喜愛(參考文獻 1.),直到現在,這首曲子的受歡迎程度,只略差於英文的生日快樂歌了。

北京收藏保存過的一些John Mottram鐘錶:

曾在北京的鐘錶大師John Mottram製作的收藏品中,有一對工藝精湛的琺瑯音樂活動鐘,是在二十世紀時,才從中國被帶回歐洲,其中一座是英國Robersons於1923年(2.)在倫敦騎士橋區的一個以中國設計風格為專題"Ten Wonderful Clocks"的鐘錶展覽會中出售,此座鐘現保存於英國劍橋Anglesey Abbey貴族區的國家名勝古蹟信託組織,這裡曾是Fairhaven公爵別墅舊址,另一座則保存於英國皇家軍團醫療隊中(3.)。還有一座另種風格的這類型座鐘,仍由北京故宮博物院收藏,這座兩層設計的鐘款,但也同樣搭配類似炫麗耀眼的寶石裝飾和活動雕飾,雖說據考為英國同樣著名鐘錶大師James Cox的加持作品,但絕對由John Mottram製作完工。

另外還有一對也是出自John Mottram的寶塔造型座鐘,作工比較簡易,但仍屬頂級品質,其中的一座也出現在Robersons的"Ten Wonderful Clocks"鐘錶展覽會中,雖然在展覽會上標示是據考為James Cox的作品(4.)。另一座現屬於美國加州Getty家族的私人收藏品(5.)。

還有一座同樣由John Mottram製作完工,比較大型,但比較低調奢華的同類型座鐘,由香港佳士得拍賣公司於2008年5月27日舉辦以主題"Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum"(日本根津美術館專為中國朝廷精選的華麗鐘錶時計)的頂尖極品拍賣會上,將此編號1512的座鐘高價拍出(6.)。

參考文獻:

(1.) Longman, Lukey, & Broderip Bride's 朗生出版社的200首鄉村舞蹈精選曲,法國古老鄉村舞曲第四樂章第92頁(曲目"La Malbro"),1776年。

(2.) Robersons, Ten Wonderful Clocks,私人出版,約1924年,編號 X 328,根據此目錄手冊的記載: "此件收藏品,是一位愛爾蘭人在世界大戰前周遊列國收購而來的,他從北京,伊朗德黑蘭,俄羅斯聖彼得飽,巴基斯坦拉合爾及其它東方國家大城大量收購精品,他付出極高的代價,才得以在他波蘭格但斯克的住處存放長達幾年,而趁著世界大戰中斷時,他又將這些寶藏運回伊朗。。。"

(3.) Ian White著作English Clocks for the Eastern Market(針對東方市場的英國鐘),AHS出版社於2012年出版,摘自書中第240-245頁,章節8.33a-d的描述:"。。。。1900年在八國聯軍對大清帝國宣戰鎮壓,至清廷政府被迫交出價值連城的收藏品,此座鐘即在緊接的1901年被英國皇家軍團少校奪取,日後一直保存於英國英國皇家軍團醫療隊中"

(4.) Robersons,Ten Wonderful Clocks,私人出版,約1924年,圖錄編號 X 329

(5.) Ian White著作English Clocks for the Eastern Market(針對東方市場的英國鐘),AHS出版社於2012年出版,第248頁,章節8.35 a - b。

另外,有Dorrans Saeks和Anne Getty附的插圖,內部機芯插圖則由紐約Rizzoli提供,2012年全球同步發行。

(6.) 香港佳士得拍賣公司 2008年5月27日的圖錄第120 - 123頁,主題"日本根津美術館專為中國朝廷精選的華麗鐘錶時計"

附加的參考書目:

英國鐘錶大師James Cox, 在喬治三世在位期間的十三年中,以專業的技術精心製作卓越的手工藝術鐘錶和珠寶的生平記載,收錄於英國國家議會,倫敦的博物館,1773年。

故宮博物院,故宮鐘錶(故宮博物院收藏的鐘錶),北京: 紫禁城出版社 2008年。

郭福祥的著作:明清皇帝與鐘錶。 北京: 故宮知識叢書 2002年

Harcourt-Smith, Simon出版的故宫博物館英文目錄手册,描述了故宮博物院藏有來自歐洲的手工藝術,活動鐘,音樂鐘,全部是十八世纪和十九世纪早期的鐘錶。北京: 故宮博物院 1933年

Pagani, Catherine的著作: Eastern Magnificence and European Ingenuity Clocks of Late Imperial China(東方精湛工藝和中國朝廷收藏的歐洲新奇鐘錶)。安娜堡: 美國密西根大學印製 2001年

張普,郭福祥合著的"鐘錶的中國傳奇",五洲傳播出版社 2005年


The gradual decline of the Qing Dynasty following the death of the Emperor JiaQing in 1820 heralded the end of a 150 year period of collecting magnificent clocks, watches and instruments by the Emperors and the Imperial Court. At its height, the Emperor Qianlong is thought to have owned some 4000 spread between the Palaces of Jehol, the Yuanming-Yuan and the Forbidden City in Peking. These included pieces made in the Imperial workshops established in Beijing, Guangzhou and Suzhou, in addition to the exceptional European clocks emanating mainly from London and also Switzerland. When the last Qing Emperor Puyi was obliged to abdicate and eventually leave the Forbidden City in 1924, this extraordinary collection had, despite much destruction and looting, remained virtually unseen and largely forgotten for many decades. Only when the Palace Museum was established in 1925 were the clocks able to be viewed. The first catalogue that brought a selection of them to public notice, certainly in the West, was written in 1933 by Simon Harcourt-Smith, an English diplomat working for the British Legation in Beijing and a considerable expert on Archaeology and Art. This rare book, illustrating and describing some 120 pieces, concentrates on clocks and objects from English makers. Reprinted below is the introduction that prefaces the descriptions, and provides an interesting, albeit brief history of the Collection as it was understood at the time.


 
Taste for clocks and other mechanical curiosities of the West seems to have invaded the court of China at an early date; already at the beginning of the fourteenth century a French ironsmith, Guillaume Boucher, probably a prisoner brought back from some Mongol raid into Hungary, had constructed for the first Yuan Emperor of China an elaborate clock with fountains; and when, in 1599, the great Jesuit missionary Matteo Ricci arrived in Peking he secured Imperial favour and an entry to the Court largely by a gift of clocks. It was, however, only at the end of the seventeenth century, in the reign of Kang Hsi, that clocks in great numbers began to invade the Palace. This enlightened monarch, who was filled with an admiration, rare in his dynasty, for the arts and sciences of Europe, welcomed learned Jesuit mathematicians and philosophers to his Court, and formed a collection of scientific instruments and time-pieces of all descriptions. So great in fact was his passion for horology, that the Society of Jesus, at the beginning of the eighteenth century, found it necessary to despatch to Peking an accomplished clockmaker, Father Stadlin, under whose direction a small factory for the manufacture of clocks and watches was set up within the Palace walls. From this time until the dissolution of the Order in 1773-4, there was always a Jesuit in charge of the Emperor's clocks. Yung Cheng did not share K'ang Hsi's liberal tastes, but Chien Lung; while affecting to despise the West, could not escape from inheriting in some part the romantic and speculative spirit of his grandfather. During his reign clocks and mechanical toys of beauty and ingenuity never before seen flowed into China from the West at the rate of some thousands a year. In the Imperial Palaces at Peking, Yuan Ming Yuan, and Jehol the passage of the hours was marked by a fluttering of enamelled wings, a gushing of glass fountains and a spinning of paste stars, while from a thousand concealed and whirring orchestras, the gavottes and minuets of London rose strangely into the Chinese air.
 
Lord Macartney during his Embassy to Peking in 1793 remarked the presence of European clocks in great quantities in all the Imperial halls and pavilions which he visited; and indeed at that time the Emperor's collection of clocks and watches must have been the finest in the world. In the last hundredyears, however, it has fallen upon somewhat evil days. Some of the finest pieces have been spoiled by clumsy restorations and inept additions; others have been broken beyond repair, and an enormous quantity destroyed or lost in the looting of Yuan Ming Yuan in 1860, that of the Forbidden City in 1900, and in the troubles of the last twenty years.
That part which remains, and which is briefly described in the accompanying catalogue, can therefore only represent but a fraction of Chien Lungs famous collection. With the exception of about six pieces, all the clocks and watches which I have been able to examine in the two museums are of a date subsequent to 1760; no traces can be found of Matteo Riccis clocks or of the pieces committed by Kang Hsi to the care of Father Stadlin, neither are there any remains of the clocks by the famous Vulliamy, mounted in Derby ware vases which were brought out to China by Lord Macartney as a present from George Ill.
 
Contrary to popular belief, hardly any of the pieces herein described are of French workmanship, or can have been presents from foreign governments to the Court of China; of the complicated and curious pieces, those signed COX are known to have originally formed part of that makers famous museum of mechanical curiosities exhibited in Spring Gardens in l773 and subsequently sent out to his shop in Canton, while the others were undoubtedly acquired through the intermedians of the East India Company at Canton.
 
The collection, although but a fragment of former glories, is nevertheless one of the most important of its kind in existence; it is at once a monument of English mechanical skill and fine workmanship, and a valuable document bearing on the history of Sino-European commerce in the eighteenth century.
The fact that most of the pieces extant have been preserved in such excellent condition, we have to thank firstly the dry air of Peking, and in no small measure the intelligent care and skill with which the clocks have been handled by the present Museum authorities; to them and to Mr. Yuan Tung-li, Director of the National Library, l must extend my thanks for assistance and encouragement in the compilation of this Catalogue.
 
Simon Harcourt-Smith Peking, January, l933.
 
Harcourt-Smith (Simon) A Catalogue of Various Clocks, Watches, Automata, and other miscellaneous objects of European Workmanship dating from the XVIIIth and the early XIXth Centuries, in the Palace Museum and the Wu Ying Tien, Peiping, Palace Museum Publication, 1933.


An exceptionally fine and rare jewelled quarter-striking and musical automaton clock, made by John Mottram, London, a recorded maker of clocks for the Imperial Court of China, Late Qianlong period, circa 1790



Case:
Gilt bronze, entirely decorated with geometric and floral designs in "taille-douce" engraving, the serpentine shaped rectangular platform base with applied floral motifs, and raised on four splayed feet. The single piece central section housing the movement, flanked on all sides by pierced and chased ogee scroll floral corner brackets, the front with an elaborate applied design of green, white, red and yellow pastes within silver settings. The sides with applied oval sound frets designed as a formal garland of sunflowers within a beaded surround and backed by red silk. The hinged back door panel similarly pierced and chased with a stylised scale pattern and silk backed. The top in the form of an oval dome, divided by reeded straps, the corners with urn-shaped finials on column bases. A turned column supports the drum-shaped top, similarly engraved and containing, within beadwork frames.

Automaton:
The automaton consisting of seven paste-set silver rosettes surrounding a larger central motif in red and white stones. Another rosette is placed in the domed cresting and terminates with a cone-shaped finial. During the passage of the music, all the rosettes spin on their own axis and rotate about the central motif which also revolves, along with the single rosette above and the cone finial.

Dial:
White enamel (10cms. diam.) with Roman hour and Arabic five minute numerals. Polished gilt hour and minute hands terminated with spade points. Counterpoised centre-seconds. Clip-on glazed bezel set with blue and white pastes. Hands set by turning the white and red paste-set central flower below 6 o’clock.

Movement:
Eight-day going three-train fusee movement with brass plates, the backplate with bright-cut engraved borders and signed John Mottram, London. Going-train with verge escapement, engraved back cock and cranked pendulum rod (to allow clearance of the winding square). Polished pendulum bob. Striking the hours with ting-tang striking of the quarters on two bells. Four tune musical train playing every three hours on a nest of bells, the desired tune set by means of a key square on the backplate. Access for winding through apertures in the edge of the back door normally covered by sliding covers for dust protection.

Dimensions:
Overall Height 530 mm x 210 mm wide x 175 mm deep.

Biography:
John Mottram, recorded as working in Warden Court, Clerkenwell Close, London between 1790 and 1808. Other sources give an earlier date of 1780. He appears to have specialised entirely in clocks for the Chinese Market as every publicly recorded clock signed by him is of this type. Certain of these exhibit characteristics that are common to one or two of his contemporaries, notably Henry Borrell (1795 - 1840). Borrell was a Huguenot from Geneva which supports the premise that a number of movements, parts, and indeed complete clocks were supplied to order from Switzerland, likely through the company of Jaquet Droz & Leschot, famous in their own right for the production of singing birds and automata. They were for a time in partnership with James Cox in London.
There can be no doubt that John Mottram supplied clocks to the Imperial Court of the Emperor Qianlong. Writing in his journal, Colonel Courtenay Clarke Manifold, a Staff Surgeon attached to the staff of General Gaselee in Peking in 1900 refers to the clock purchased by Colonel Rawlinson and subsequently shipped to Aldershot in England (A). This is the clock by Mottram that is now in the collection of the Royal Army Medical Corps (See Note 3. below). The clock was in the Palace of the Chinese Board of Admiralty (Haijun ramen), presumably the Palace of Prince Chun (Yixuan,1840 - 1891), appointed to head the Board in 1885, and inherited by his son, Prince Chun II ( Zaifeng, 1883 - 1951). If so, it was also the birthplace of the Guangxu Emperor.

(A) Sir Courtenay Clarke Manifold, The “all blaze” of life, private printing, pre 1914, pp.80-81

Condition:
The present clock is one of the most sophisticated examples made by John Mottram. The serpentine shape of the case is a subtle advance on the standard rectangular form, the overall taille-douce (fine line) engraving is exceptional, and the jewelled decoration more extensive and elaborate than usual. In addition it has survived in perfect condition, with totally original gilding and stone work, and none of the poor repair work to the movement that can sometimes be found on complicated clocks of this type.

Music:
One of the four tunes is also of historical interest. It is the music from the globally recognised popular song For He’s a Jolly Good Fellow. Its earliest origins are unknown, but history relates, amongst others, that it was used by a French soldier to satirise the English General, the Duke of Marlborough following the Battle of Malplaquet (11 September 1709) “Malbrough s’en va-t-en guerre”. It was apparently a favourite of Marie Antoinette’s, who heard one of her maids singing it, and was subsequently included in Beethoven’s so-called Battle Symphony (Opus 91) of 1813, written to commemorate Wellington’s victory at the Battle of Vittoria. It was certainly well established as an English favourite by 1776 when it was first published (1.) Whatever its origins, it is now the second most popular song in the English language, following Happy Birthday to You.

Surviving important Clocks by John Mottram formerly in Peking:
Further surviving clocks of note by James Mottram include the elaborate pair of enamelled, musical and automaton pieces, which returned from China at the turn of the 20th. century, albeit by different routes. One was sold by Robersons' of Knightsbridge circa 1923 (2.), in an Exhibition of Chinese Market Clocks entitled Ten Wonderful Clocks, and is now preserved in the National Trust house of Anglesey Abbey, the former home of Lord Fairhaven. The pair to this clock is now in the possession of the Royal Army Medical Corps (3.) Another version of this clock is still preserved in the Palace Museum in Beijing. It is formed of only two tiers, but with similar decoration and automata, and although attributed to James Cox, is surely the work of John Mottram.

A second pair of Pagoda Clocks by Mottram also exist, and although of more sober design, they are of equally fine quality. One of these was also included in Robersons’ Ten Wonderful Clocks Exhibition, albeit wrongly attributed to James Cox (4.). The pair to this clock is in the Private Collection of the Getty family in California (5.).

A further clock by Mottram, slightly taller, but far less elaborate than the clock now offered for sale was sold in the exceptional auction of Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum by Christies in Hong Kong, 27 May 2008, Lot 1512 (6.).

References:
(1.) Longman, Lukey, & Broderip Bride's Favourite Collection of 200 Select Country Dances, Cotillons, 1776; Part IV, p. 92 (appears as "La Malbro”).
(2.) Robersons, Ten Wonderful Clocks, Private Printing, circa 1924, items X 328, introduced in the catalogue as follows: “The collection was gathered by an Irish gentleman during the course of his world travels before the Great War. In Peking, Teheran, St. Petersburg, Lahore and many other Eastern towns this gentleman made his purchases, paying fabulous prices, and he kept them for several years in his home in Danzig. At the outbreak of war he returned with them to Ireland…”
(3.) Ian White, English Clocks for the Eastern Market, AHS Publ., 2012, pp. 240-245, Figs. 8.33a-d. Described in the text as: “…taken from Peking in the aftermath of the Western relief of the siege of the foreign legations in 1900… by Lt-Col. W. J. R. Rainsford and Major J. J. C. Watson of the Royal Army Medical Corps sometime in 1901 and presented by them to the Royal Army Medical Corps, in whose possession it remains.”I
(4.) Robersons, Ten Wonderful Clocks, Private Printing, circa 1924, item X 329
(5.) Ian White, English Clocks for the Eastern Market, AHS Publ., 2012, p. 248, Figs. 8.35 a - b. Also illustrated in Dorrans Saeks, Anne Getty: Interior Style. New York: Rizzoli International Publication, 2012.
(6.) Christie’s Hong Kong, Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum, 27 May 2008, p.120-123.

Additional Bibliography:
Cox, James: A Descriptive Inventory of the Several Exquisite and Magnificent Pieces of Mechanism and Jewellery, comprised in the Schedule annexed to an Act of Parliament made in the Thirteenth Year of His Present Majesty, George the Third: for enabling Mr. James Cox, to dispose of his Museum by way of Lottery. London, 1773

Gugong bowuguan 故宫博物院 (eds.): Gugong zhongbiao 故宫钟表 (Clocks in the Palace Museum). Beijing: Zijincheng chubanshe, 2008

Guo Fuxiang郭福祥: Ming Qing huangdi yu zhongbiao 明清皇帝与钟表 (Clocks and the Emperors of the Ming and Qing Dynasties). Beijing: Gugong zhishi congshu, 2002

Harcourt-Smith, Simon: Catalogue of Clocks, Watches, Automata, and Other Miscellaneous Objects of European Workmanship from the XVIII to Early XIX Centuries in the Palace Museum and the Wu Ying Tien, Peiping. Peiping [Beijing]: The Palace Museum, 1933

Pagani, Catherine: Eastern Magnificence and European Ingenuity Clocks of Late Imperial China. Ann Arbor: University of Michigan Press, 2001

Zhang Pu, Guo Fuxiang: L'art de l'horlogerie occidentale et la Chine. China Intercontinental Press, 2005
#47860
錶殼 非常好
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