Gilt bronze, brass, copper, enamel, ivory, carved wood, silver and paste stones China, Guangzhou workshop, Qianlong period (1736-1795), late 18th century A superb and rare enamel, ivory-mounted and paste-set musical and automaton clock The case in the shape of a mountain with waterfall, mounted with small figures depicting the Eight Immortals and the Three Star Deities (Fu Lu Shou) Brass plate movement with fusees and chord, verge escapement and hour striking on bell Running duration: 8 days Height: 74 cm Good condition (see condition report); fully functional Provenance: Property of an Irish Gentleman and acquired during his travels in Asia circa 1900; exhibited at Robson Gallery in London, 1923; Collection Greenberg, New York before 1949; illustrated in Alfred Chapuis & Edmond Droz, Les Automates, figures artificielles d'hommes et d'animaux, Neuchatel 1949; Collection of the Time Museum, Rockford, IL in 1970s. Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. Estimate by Auctionata Expert: 1,000,000 Euro Case: rectangular base with cast and chased gilt bronze mounts. Ruby paste-set mounts to the corners and beneath the pierced gallery. Inset blue enamel panels with applied repoussé mounts, the front with the clock dial and flanked by paste-set floral mounts. The mountain in wood carved on all sides. A waterfall in the center comprised of a curtain of turning glass rods, a similar group of rods simulating the river below, and the water cascading from under the bridge created in cast and chased silver. Carved, painted and partly gilt figures depicting the Eight Immortals with attendants as well as the Three Star Deities, all similarly decorated. A carved and decorated figure of a horse standing in the river with a circlet of fire upon its back enclosing the symbol of yin/yang. Gilt copper small pagoda temple on the left cliff side, with a similar pavilion to the other side. Mounted with gilt bronze peach trees set with silver and paste blossom and painted leaves. Green leaf foliage and flowers around the mountain. Dial: white enamel with Roman hour and Arabic five minute numerals. Automaton: hourly or by depression of a button, operated from the musical train in the base and driving the panels of glass rods forming the waterfall and the river. Seven of the Immortals moving their arms, the yin/yang symbol as well as the pavilion on the cliff to the left spinning around. Clock movement: brass plates, fusees and chord, verge escapement and hour striking on a bell, 8-day running duration. Musical movement: brass plates, fusee with chain, playing the tunes on 10 bells with 10 hammers. Mounted with vertical drive wheels to operate the automata. Lot notes: The present clock belongs to a group of magnificent timepieces which were produced during the Qing dynasty and originate from Guangzhou (Canton). The South-Chinese city of Guangzhou served as a trading port and - from a European perspective – as a gate to the Chinese empire. After the Portuguese arrival in Guangzhou in 1514 the city developed to a busy merchant center with a multicultural community. Guangzhou was an entry port for many European goods which made their way into the Chinese market. It was here where in the 18th century workshops were founded in order to produce highly complicated timepieces and musical automatons after European models, which often served as exclusive tributes to the Imperial Court. The first models of Western timepieces were introduced to the Imperial Court by Jesuit priests, which travelled from Guangzhou to Beijing. The Chinese Emperors quickly developed a strong taste for complicated clocks with chiming functions and automaton features. The Kangxi Emperor (1654-1722) was an enthusiastic collector of Western clocks and instruments. He even composed poems praising the organizing function of these clocks and regarded them as a symbol of a successful governmental body. His grand-son, the Qianlong Emperor (1711-1799), was also a keen and passionate collector and admirer of timepieces. In the 18th century there was already a flourishing timepiece manufactural industry catering to the taste of the highest Qing dynasty’s elite. It is said that under the reign of the Qianlong emperor more than 3000 timepieces were displayed in the Forbidden City. Many of these clocks were produced in Guangzhou and then send to the Imperial Court as tributes, seeking the emperor’s favor and admiration. The Southern clockmakers were trained on European models as many passed through their hands in the trading city of Guangzhou. These models gave inspiration for the workshops and were melted with a unique Chinese style. Many of these magnificent examples were inspired by the legendary and esteemed English clockmaker James Cox, whose products were frequently exported to the Far East during the 2nd half of the 18th century. The strong influence of James Cox clocks is the reason why in the literature of the early 20th century many Guangzhou timepieces were attributed to this clockmaker or English clock-workshops in general (see the wrong attribution of the present clock to the workshop of Stephen Rimbault in a 1923 exhibition catalogue; cf. scan of the catalogue page). An Imperial edict, issued in the 14th year of the Qianlong emperor, ordered all Guangzhou clocksmiths to hold on to European examples as models for their own artworks. The motifs represented in the Guangzhou timepieces are of original Chinese origin, often featuring well known depictions and themes. The overall appearance is a blending of European forms, represented in richly enameled paste-set cases with ormolu mountings after the latest Western fashion, together with Chinese details, such as Daoist Immortals or Buddhist symbols, exotic landscapes or characteristic architecture. The present clock is a typical example for such a cross-cultural symbiosis. Its lower, rectangular part, which is also holding the circular dial on the front side, demonstrates an ornate but yet refined Louis-Seize style. On the contrary, the upper part depicts several genuine Chinese subjects and also its visual language is of Chinese origin. It is a reference to the magical Mount Penglai, the residence of the famous ‘8 Immortals’ of Daoism. The Immortals are depicted all around the mountain accompanied by several attendants. The interpretation as Mount Penglai is further emphasized by the additional architectural elements of the clock. Pagodas and pavilions made of gold are supposed to be characteristic architecture of legendary Mount Penglai. It is also said that in the home of the Immortals jewelry grows on trees, as it is depicted in the present clock by the small golden trees with green leaves and ruby-colored gemstones. The iconological concept of the 8 Immortals is here combined with a depiction of the 3 Star Deities (Fu Lu Shou), who are standing atop of the mountain and underneath a little arch formed by rocks. Apparently there are only 2 figures, left but due to marks on the ground and the compositional logic there must have been 3 figures once. The 3 Star Deities, formed by Fu, Lu and Shou are popular gods, forming the symbols of prosperity, status and longevity. In the overall context of the clock and its original purpose as a tribute it seems more than appropriate that the Star Deities are the top or crown of the whole composition. There is another Guangzhou workshop clock in the Beijing Imperial Palace Museum which also depicts the 3 Star deities in combination with the 8 Immortals and which is closely related to the present clock because of a multitude of stylistic analogies (cf. Yang Boda, Tributes from Guandong to the Qing Court, exhibit.cat., The Chinese University of Hong Kong, Hong Kong 1987, p. 99, no. 83). Also the octagonal ormolu and enamel case with its carefully chiseled galleries, the paste-set decoration and the swelling, inward curled feet assumes that both clocks were made in the same workshop and the same period of time. Even the delicate jeweled flower decoration and the carefully carved and painted ivory figures look very much the same. Another, closely related ‘Immortal Mountain’ clock was once in the collection of the Nezu Museum in Tokyo and was sold at Christies Hong Kong, sale 2608, Lot 1504. The Imperial Palace Museum in Beijing still holds about 1500 clocks in its collection, where the Guangzhou timepieces and automatons form an outstanding and unparalleled group. Regarding its provenance and its close connection to the Beijing timepiece it seems very likely that the present clock was once also in the possession of the Imperial Court. Such an important timepiece of Chinese origin has never been offered in a German auction and must be regarded as an absolutely unique opportunity for private collectors and cultural institutions alike. Imperial Chinese clocks from the Guangzhou workshop range among the most sought-after works of art from the Qing Dynasty. Only very few of them are in private hands and have been available on the art market so far. The last important offer for a group of these rare chronological instruments was the sale of the Nezu Museum Collection, sold at Christies Hong Kong, in 2008, where a total of 10 similar clocks were offered to the public. Those clocks were partly acquired by private collectors or museums, mostly from mainland China, and proved the cultural importance of such timepieces for Chinese arts. The present clock, on offer in Auctionata’s Important Asian Art auction on 20 June 2015, is among this unique category of magnificent timepieces. Comparative literature: Liao Pin ed., Clocks and Watches of the Qing Dynasty, From the Collection in the Forbidden City, Beijing 2002 Alfred Chapuis and Edmond Droz, Automata, A Historical and Technological Study, London 1958 Derek Roberts, Mystery, Novelty and Fantasy Clocks, Atglen 1999 Alfred Chapuis, La Montre Chinoise, Neuchatel 1919 Condition: The movement was fully restored as close as possible to original form by one of the best clock restoration workshops in Switzerland in 2014. The musical and automaton movement was also fully overhauled and cleaned. Restoration to the case was kept to a minimum, preserving the original patina of the clock. Most parts were only washed and cleaned. Where excessive wear was visible small parts were stabilized, repaired and restored. A detailed condition report may be provided upon request. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Starting bid : 300000