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Lot Essay
COMPARATIVE LITERATURE:
Tardy, French Clocks, Clocks the World Over, Vol.III, Paris, 1982, pp.246-247
Jet Pijzel-Domisse ed., Haags Goud en zilver, edelsmeedkunst uit de Hofstad, Zwolle, 2005, p.29, ill.16.
The present clock case appears to be based on that of a clock dating from circa 1665-1670 by the silversmith Hans Conrad Breghtel (1609-1675), with movement by Adriaen van den Bergh (a.1650 - d. after 1697) formerly in the collection of the Kings of Hanover and now in the Victoria and Albert museum (see Tardy, p.247). It is not clear whether that clock was a special commission or made to display Breghtel's craftsmanship. It stayed in the possession of the silversmith and his family until it was sold at auction in 1715 (see Pijzel-Domisse, p.29). The clock was certainly on public display in The Hague and would have been a source of inspiration to others.
Plomp (p.178) refers to an advertisement of 1711 by Johannes Oosterwijck: 'Severijn Oosterwijck was the maker of a one-year movement for a magnificent spring-driven monumental clock by the artist Jean Brisson'. He further suggests that the same clock was offered for sale three years later as a joint product by Severijn and Johannes Oosterwijck, with the latter having replaced the movement with a new one with a carillon. This appears to be the present clock, which has also undergone further alteration since those made by the Oosterwijcks, including to the case mounts and to the mechanism.
The arms are those of Hervey, quartering Thomas, Howard, Warren, Mowbray, Audley and Felton for the Earls of Bristol and relate to the second marriage of John Hervey, 1st Earl of Bristol (cr. 1714) (1665-1750/51) to Elisabeth (d.1741), daughter and co-heir of Sir Thomas Felton, Bt., of Playford, Suffolk, by Elisabeth Howard, daughter and co-heir of the 3rd Earl of Suffolk, whom he married in 1695. The arms must relate either to George William Hervey, 2nd Earl of Bristol (1721-1775) or to one of his descendants.
Tardy, French Clocks, Clocks the World Over, Vol.III, Paris, 1982, pp.246-247
Jet Pijzel-Domisse ed., Haags Goud en zilver, edelsmeedkunst uit de Hofstad, Zwolle, 2005, p.29, ill.16.
The present clock case appears to be based on that of a clock dating from circa 1665-1670 by the silversmith Hans Conrad Breghtel (1609-1675), with movement by Adriaen van den Bergh (a.1650 - d. after 1697) formerly in the collection of the Kings of Hanover and now in the Victoria and Albert museum (see Tardy, p.247). It is not clear whether that clock was a special commission or made to display Breghtel's craftsmanship. It stayed in the possession of the silversmith and his family until it was sold at auction in 1715 (see Pijzel-Domisse, p.29). The clock was certainly on public display in The Hague and would have been a source of inspiration to others.
Plomp (p.178) refers to an advertisement of 1711 by Johannes Oosterwijck: 'Severijn Oosterwijck was the maker of a one-year movement for a magnificent spring-driven monumental clock by the artist Jean Brisson'. He further suggests that the same clock was offered for sale three years later as a joint product by Severijn and Johannes Oosterwijck, with the latter having replaced the movement with a new one with a carillon. This appears to be the present clock, which has also undergone further alteration since those made by the Oosterwijcks, including to the case mounts and to the mechanism.
The arms are those of Hervey, quartering Thomas, Howard, Warren, Mowbray, Audley and Felton for the Earls of Bristol and relate to the second marriage of John Hervey, 1st Earl of Bristol (cr. 1714) (1665-1750/51) to Elisabeth (d.1741), daughter and co-heir of Sir Thomas Felton, Bt., of Playford, Suffolk, by Elisabeth Howard, daughter and co-heir of the 3rd Earl of Suffolk, whom he married in 1695. The arms must relate either to George William Hervey, 2nd Earl of Bristol (1721-1775) or to one of his descendants.