A NORTH GERMAN NEO-CLASSICAL MAHOGANY AND GILT-BRASS QUARTER STRIKING TABLECLOCK
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A NORTH GERMAN NEO-CLASSICAL MAHOGANY AND GILT-BRASS QUARTER STRIKING TABLECLOCK

ANTOINE NICOLAS DELOLME, BRUNSWICK. LATE 18TH/EARLY 19TH CENTURY

Details
A NORTH GERMAN NEO-CLASSICAL MAHOGANY AND GILT-BRASS QUARTER STRIKING TABLECLOCK
ANTOINE NICOLAS DELOLME, BRUNSWICK. LATE 18TH/EARLY 19TH CENTURY
The case with an oval stepped plinth top with brass handle, glazed side panels, fluted columns to the front flanking the square brass dial, foliate engraved spandrels to the corners, centred by the white enamel Arabic chapter ring, signed Delolme, pierced brass hands, convex glazed bezel, square plated eight-day movement with four back-pinned pillars, verge escapement, silk suspension, rack and countwheel strike, striking the hours and quarters on two bells above, the backplate signed Ant. Nicolas Delolme Ho.ger de la Cour A BRUNSVIC; key, pendulum
43. cm. high (handle up)
brass dial 16.5 x 16.5 cm.; enamel dial 15 cm. diam.
Special notice
Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €20,000, plus 23.8% of the Hammer Price between €20,001 and €800.000, plus 14.28% of any amount in excess of €800.000. Buyer’s premium is calculated on the basis of each lot individually.

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Sabine Dalmeijer
Sabine Dalmeijer

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Lot Essay

Antoine Nicolas Delolme is recorded as horloger de la cour (Hofuhrmacher Herzogtum Braunschweig), early 19th Century.

Delolme had his workshop in Braunschweig, unfortunately little is known about him and his workshop. It is known that he had some apprentices working for him, but the size and volume of his workshop is unknown.
The title Hofuhrmacher and the strong neo-classical design of the clockcase -which was very fashionable around this time and which is clearly influenced by the designs of David Roentgen- indicate good craftmanship and importance as a clockmaker.

The design of the present clock displays the interpretation of the Louis XVI-style as introduced by David Roentgen. Its simplicity of design combined with excellent craftmanship and quality materials was followed from Germany, to Sweden, the Baltic and Russia. Roentgen executed a comparable clock case to the present example, see J.M. Greber Abraham und David Roentgen, Möbel für Europa, Starnberg, 1980, vol II, p. 298, plate 581. For two other comparable clock cases by Roentgen see A. Büttner ed., Edle Möbel für Höchste Kreise, Roentgens Meisterwerk für Europas Höfe, exhibition catalogue Roentgen Museum, Neuwied, 2007, p. 90 and p. 230.

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