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An impressive Dutch gilt-brass, silvered brass- and silver-mounted double-dial quarter-striking and musical table clock
Christie’s charges a premium to the buyer on the H… Read more
An impressive Dutch gilt-brass, silvered brass- and silver-mounted double-dial quarter-striking and musical table clock


An impressive Dutch gilt-brass, silvered brass- and silver-mounted double-dial quarter-striking and musical table clock
Severijn and Johannes Oosterwijck, Amsterdam. Late 17th Century and later
The cupola top surmounted by a figure of Chronos and applied with foliate mounts terminating in theatrical mask mounts above a fretwork band, with panels below modelled in relief with zodiac figures and further panels applied with swag and mask mounts, the corners below mounted with female seasonal figures and with bud finials, the angles each with two half columns with Composite capitals and applied with filigree mounts of trailing foliage and engraved figures, the sides with over-glazed painted metal panels showing the Arms of Hervey for Bristol (probably 19th Century, see footnote), above plinth section with inverted breakfront sides with main panels modelled in high relief with figures emblematic of Philosophy and Astronomy and flanked by panels with figures representing the seasons, two signed J.Bouchon f. inv, four with initials J.B. f i, the case raised on bun feet, the gilded and engraved arched dials with silvered Roman and Arabic chapter rings signed Sevryn en Joh.s Oosterwyk/Amsterdam, blued steel hands (independently set but running together), matted centres with date apertures, one with single ringed winding hole and the other with two ringed winding holes, one arch with moonphase and the other with strike/silent ring flanked by apertures for day of week and month (with number of days), each with figural representation, the back-to-back movement with triple chain fusees, side-positioned anchor escapement and pendulum, quarter-striking on two large bells under the cupola via two hammers and with hourly music playing Auld Lang Syne on thirteen bells with fifteen hammers, via 9 cm. long pinned music cylinder; the case basically late 17th Century and with later alterations, some losses to mounts and some mounts later, the dials early 18th Century and adapted for the case, the movement also early 18th Century but with alterations to the wheelwork and escapement, the music work late 18th/19th Century; pendulum; crank key
89 cm. high
Illustrated, Ernst Bassermann-Jordan/Hans von Bertele, Uhren, Braunschweig, 1969, p.208
Referenced, Dr R Plomp, Spring-driven Dutch Pendulum Clocks 1657-1710, Schiedam, 1979, p.178
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 €5,000, plus 23.8% of the Hammer Price between €5,001 and €400,000, plus 14.28% of any amount in excess of €400,001. Buyer’s premium is calculated on the basis of each lot individually.

Lot Essay

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.

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