A RESTAURATION ORMOLU STRIKING MANTEL CLOCK, DEPICTING 'THE OATH OF THE HORATII'
A RESTAURATION ORMOLU STRIKING MANTEL CLOCK, DEPICTING 'THE OATH OF THE HORATII'

CIRCA 1825

细节
A RESTAURATION ORMOLU STRIKING MANTEL CLOCK, DEPICTING 'THE OATH OF THE HORATII'
CIRCA 1825
The stepped case flanked by the three Horatii brothers, and to the other by their father holding aloft three swords, the twin barrel movement with countwheel strike on bell
25 in. (63.5 cm.) high; 23.1/2 in. (59.6 cm.) wide; 8.3/4 in. (22.2 cm.) deep
来源
Almost certainly Charles William Vane, 3rd Marquess of Londonderry (1778-1854) and by descent.
Transferred to Wynyard Park, Co. Durham for September 1962
出版
Possibly: Londonderry House inventory, 1886, p. 101, the small dining room.
Londonderry House inventory, 1939, p. 50.
Royal Aero Club, Londonderry House inventory, 1949, p. 4, banqueting hall ‘Horatii Clock.’
Wynyard Park inventory, 1965, vol. i, p. 78, ballroom.

荣誉呈献

Katharine Cooke
Katharine Cooke

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拍品专文

The design taken from Jacques-Louis David's 1784 painting of The Oath of the Horatii. As in David's celebrated painting the three Horatii brothers are depicted taking the oath of fidelity to Rome before receiving arms from their father, while the relief-cast panel decorating the plinth shows the brothers in battle with the Curatti for supremacy over Alba. With close family ties existing between these two houses - one of the three Horatii brothers had married a Curatti and a sister was betrothed to another - the decision to fight represented the patriotic ideal of placing country before family, a virtue which was favoured by European princes; examples of this clock can be found in several Royal collections.
One model, with a verde antico marble base, was acquired by George, Prince of Wales, in 1809 for the Large Crimson Drawing Room at Carlton House; it remains in the Royal Collection at Buckingham Palace and is illustrated in R. Garnier et al, Buckingham Palace, A Complete Guide, London 1993, p. 92, fig 1. A second model of this clock, apparently identical to the one at Buckingham Palace, is in the Munich Residenz (ill. H. Ottomeyer & P. Pröschel, Vergoldete Bronzen, Munich, 1986, p. 367, fig. 5.13.5) while a third example is in the anteroom of Prince Frederik Adolf's apartments in the Royal Palace, Stockholm (ill. H. Groth, Neoclassicism in the North, London, 1990, p. 23, fig. 7).

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