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Lot Essay
THE DOUBLE-GOURD CLOCK
This charming double-gourd clock bears very close comparison with another example, most probably from the collection of the Imperial Qing Court, sold Christie's Hong Kong, Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum, 27 May 2008, lot 1501 (HK$10,631,500 £692,000). See Fig. A. The only apparent significant difference is that the present clock is centred by a 'shou' medallion, whereas the Nezu example has an enamel medallion decorated with flowers. The 'nonsense' signatures to the movements, although very difficult to decipher in both instances, also appear to be the same. Interestingly, both clocks have small vacant holes to the sides of their double-gourd frames indicating now missing (probably foliate) mounts.
Although double-gourd designs are recorded throughout Chinese art and the motif itself is incorporated in a number of Qianlong period Chinese clocks, the specific form of openwork design that we see on the present clock, and which apparenly has been influenced by French clocks of the Louis XVI period, is rare.
The design itself appears to be a distinctly Chinese interpretation of the 'pendule lyres' which became popular in France from 1758 onwards (for examples, see Tardy, French Clocks the World Over, Part II, Paris, 1981, pp. 80-83). On the Chinese clock the lyre has translated to a double-gourd, with its potent symbolism of fertility and good luck. Again, French lyre clocks are commonly topped by mounts in the form of a sunburst, mask or a foliate design; the Chinese double-gourd counterpart has instead a highly stylised 'upside down bat' motif. The upside down bat signifies 'blessings have arrived'. This clock has therefore been carefully designed to show three highly auspicious and powerful symbols: the double-gourd, the 'shou' and the upside down bat. Awareness of the European lyre form at the Qing Court can be surmised by the existence of an English elephant clock with a lyre-shaped clock on its back. See Lu Yangzhen (senior editor), Timepieces Collected by the Qing Emperors in the Palace Museum, Hong Kong, 1995, p. 163. A number of Chinese clocks incorporating double-gourd designs, usually in the form of vases, may also be seen in the Imperial collection (see pp. 53, 55-58).
FEATURES OF CHINESE CLOCKS
The sweep seconds hand is quite commonly seen on the dials of Chinese and Chinese market clocks, more so than on clocks made for Europe; it would seem there was a desire to see clocks constantly working. Chinese clocks were not signed by their makers. Where signatures do exist, as on the present clock and on the Nezu example, they appear to be 'nonsense' and to be emulating European fashion, rather than acknowledging a craftsman or workshop. This said, the common features on this 'signed' example and the Nezu clock, do indicate their probable origins in the same workshop. Colourful paste gems were also popular, especially on clocks produced in the city of Guangzhou (see below).
THE CHINESE IMPERIAL COLLECTION AND CLOCKMAKING IN CHINA
The Qianlong Emperor was arguably the greatest collector of clocks in history. The Jesuit Valentin Chalier (1697-1747) estimated in 1736 that there were four thousand pieces (watches, clocks, automata) of European manufacture alone (see Catherine Pagani, Eastern Magnificence and European Ingenuity, University of Michigan, 2001, p. 62. Both Kangxi and Qianlong wrote poems to 'self-sounding bells'. As Pagani writes: 'These writings also reveal a passion for clockwork and suggest for the Qing emperors, clocks held an important place in the imperial world of objects, as more than decorative playthings. Described as 'ingenious' and regarded as 'treasures', these clocks joined the ranks of other esteemed objects as subjects of imperial poetry.' As the 18th century progressed so did the size of the Imperial clock collection and Imperial interest led to an expansion of the Chinese clockmaking industry.
It is not known when clockmaking began in China. During the Qianlong period the most important centre of production was Guangzhou (known as Canton in Europe). The second largest city in China and with the largest port, Guangzhou was the main point of contact for foreign trade. Clockmaking arose in the city as a direct consequence of this foreign presence. The clockmakers of Guangzhou made two products: one for tribute to the Imperial court and one for a broader market (see Pagani, p. 78). It seems probable that the present clock falls into the former category.
Guangzhou clocks are particularly notable for their elaborate decoration, often using blue enamels. See, for example, the musical automaton clock sold Christie's London, The Exceptional Sale 2011, 7 July 2011, lot 9 (£2,505,250). Colourful paste gems were also popular. This exuberance of design and foreign influences seems to have distinguished Guangzhou clocks -- even those made as Imperial tribute -- from those made in the Imperial workshops in the Forbidden Palace. As Pagani writes: '...even within the world of the Chinese clock, differences emerge among the products made in the palace workshop and those produced in Guangzhou. While both contain distinctly Chinese elements, Guangzhou clocks show a closer connection to the European examples...It is obvious even from the clocks for imperial consumption that these makers were familiar with the European repertoire of designs and materials and were comfortable working with them' (p. 167).
Dozens of locations within the Inner Court at the Forbidden City held clocks; moreover, as well as his personal collection, the Emperor also kept a large number of clocks as gifts for the Imperial family or for officials (see Pagani, p. 84).
This charming double-gourd clock bears very close comparison with another example, most probably from the collection of the Imperial Qing Court, sold Christie's Hong Kong, Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum, 27 May 2008, lot 1501 (HK$10,631,500 £692,000). See Fig. A. The only apparent significant difference is that the present clock is centred by a 'shou' medallion, whereas the Nezu example has an enamel medallion decorated with flowers. The 'nonsense' signatures to the movements, although very difficult to decipher in both instances, also appear to be the same. Interestingly, both clocks have small vacant holes to the sides of their double-gourd frames indicating now missing (probably foliate) mounts.
Although double-gourd designs are recorded throughout Chinese art and the motif itself is incorporated in a number of Qianlong period Chinese clocks, the specific form of openwork design that we see on the present clock, and which apparenly has been influenced by French clocks of the Louis XVI period, is rare.
The design itself appears to be a distinctly Chinese interpretation of the 'pendule lyres' which became popular in France from 1758 onwards (for examples, see Tardy, French Clocks the World Over, Part II, Paris, 1981, pp. 80-83). On the Chinese clock the lyre has translated to a double-gourd, with its potent symbolism of fertility and good luck. Again, French lyre clocks are commonly topped by mounts in the form of a sunburst, mask or a foliate design; the Chinese double-gourd counterpart has instead a highly stylised 'upside down bat' motif. The upside down bat signifies 'blessings have arrived'. This clock has therefore been carefully designed to show three highly auspicious and powerful symbols: the double-gourd, the 'shou' and the upside down bat. Awareness of the European lyre form at the Qing Court can be surmised by the existence of an English elephant clock with a lyre-shaped clock on its back. See Lu Yangzhen (senior editor), Timepieces Collected by the Qing Emperors in the Palace Museum, Hong Kong, 1995, p. 163. A number of Chinese clocks incorporating double-gourd designs, usually in the form of vases, may also be seen in the Imperial collection (see pp. 53, 55-58).
FEATURES OF CHINESE CLOCKS
The sweep seconds hand is quite commonly seen on the dials of Chinese and Chinese market clocks, more so than on clocks made for Europe; it would seem there was a desire to see clocks constantly working. Chinese clocks were not signed by their makers. Where signatures do exist, as on the present clock and on the Nezu example, they appear to be 'nonsense' and to be emulating European fashion, rather than acknowledging a craftsman or workshop. This said, the common features on this 'signed' example and the Nezu clock, do indicate their probable origins in the same workshop. Colourful paste gems were also popular, especially on clocks produced in the city of Guangzhou (see below).
THE CHINESE IMPERIAL COLLECTION AND CLOCKMAKING IN CHINA
The Qianlong Emperor was arguably the greatest collector of clocks in history. The Jesuit Valentin Chalier (1697-1747) estimated in 1736 that there were four thousand pieces (watches, clocks, automata) of European manufacture alone (see Catherine Pagani, Eastern Magnificence and European Ingenuity, University of Michigan, 2001, p. 62. Both Kangxi and Qianlong wrote poems to 'self-sounding bells'. As Pagani writes: 'These writings also reveal a passion for clockwork and suggest for the Qing emperors, clocks held an important place in the imperial world of objects, as more than decorative playthings. Described as 'ingenious' and regarded as 'treasures', these clocks joined the ranks of other esteemed objects as subjects of imperial poetry.' As the 18th century progressed so did the size of the Imperial clock collection and Imperial interest led to an expansion of the Chinese clockmaking industry.
It is not known when clockmaking began in China. During the Qianlong period the most important centre of production was Guangzhou (known as Canton in Europe). The second largest city in China and with the largest port, Guangzhou was the main point of contact for foreign trade. Clockmaking arose in the city as a direct consequence of this foreign presence. The clockmakers of Guangzhou made two products: one for tribute to the Imperial court and one for a broader market (see Pagani, p. 78). It seems probable that the present clock falls into the former category.
Guangzhou clocks are particularly notable for their elaborate decoration, often using blue enamels. See, for example, the musical automaton clock sold Christie's London, The Exceptional Sale 2011, 7 July 2011, lot 9 (£2,505,250). Colourful paste gems were also popular. This exuberance of design and foreign influences seems to have distinguished Guangzhou clocks -- even those made as Imperial tribute -- from those made in the Imperial workshops in the Forbidden Palace. As Pagani writes: '...even within the world of the Chinese clock, differences emerge among the products made in the palace workshop and those produced in Guangzhou. While both contain distinctly Chinese elements, Guangzhou clocks show a closer connection to the European examples...It is obvious even from the clocks for imperial consumption that these makers were familiar with the European repertoire of designs and materials and were comfortable working with them' (p. 167).
Dozens of locations within the Inner Court at the Forbidden City held clocks; moreover, as well as his personal collection, the Emperor also kept a large number of clocks as gifts for the Imperial family or for officials (see Pagani, p. 84).