A small and rare Queen Anne ebony quarter striking table clock with calendar
No VAT will be charged on the hammer price, but VA… Read more
A small and rare Queen Anne ebony quarter striking table clock with calendar

CLAUDIUS DE CHESNE, LONDON. CIRCA 1710

Details
A small and rare Queen Anne ebony quarter striking table clock with calendar
Claudius de Chesne, London. Circa 1710
The case with brass baluster handle to the domed top with pierced ebony sound frets to the upper gallery, glazed sides with further small fret panels, moulded base, the 13.8cm. square brass dial signed Claudius DuChesne Londini on the silvered chapter ring with Roman and Arabic chapters and sword-hilt half-hour markers, the matted centre with three winding holes with brass ferrules, mock pendulum aperture, later? blued steel hands, the edges of the dial plate engraved with intricate foliage inhabited by serpents' heads, aperture below VI for the date flanked by subsidiary rings for the day of the week - each with its relevant deity, the opposing ring displaying the month with their relevant number of days, the upper dials for strike/silent and pendulum regulation, the diminuitive movement with triple gut fusees and spring barrels, central going train with restored verge escapement with pendulum spring-suspended from a steel regulation bar raised and lowered by a foliate engraved snail to the left of the backplate, the quarters chiming on three bells with hour strike on a further bell, the backplate beautifully engraved with delicate scrolling foliage centred by an oval vignette engraved with Apollo and Daphne within a wheatear border, further Marotesque masks below supported by two winged caryatides
12½in. (32cm.) high
Special notice
No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.
Further details
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Lot Essay

This most unusual and excellent quality table clock is a fascinating hybrid of French and English clockmaking skills. The unusually small and delicate proportions of the movement are atypical of English work but clearly influenced by English skills. The case is very definitely influenced by English cabinetmakers; the sound fret gallery above the dial between the upper mouldings and the dome is typical of Huguenot clockmakers.
One of the more unusual features is the delicate engraving on the dial and particularly on the backplate. The latter is engraved with a mythological scene depicting the nymph Daphne, daughter of the River God Peneus. She was the first and most celebrated of Apollo's loves and popular with artists throughout the centuries. According to Ovid, Cupid, in a spiteful mood, was the cause. He struck Apollo with a golden arrow, the sort that kindles love, and then struck Daphne with a leaden arrow, the kind that puts love to flight. Apollo persued the unwilling Daphne (seen running away on the backplate) and when she had no more strength to flee she prayed to her father to save her. Whereupon branches sprouted from her arms, roots grew from her feet and she was changed into a laurel tree. The theme symbolises Chastity over Love.

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