A George III Painted and Inlaid Satinwood Balloon-Shaped Bracket Clock by James Upjohn, the Case Attributed to Thomas Brownley, the Decoration to John Bromley Circa 1795- 1800

with a figured satinwood and tulip wood crossbanded ebony and boxwood strung veneered case painted en grisaille with a musical trophy, the sides respectively with ribbon-tied swags of oak leaves and vine leaves, egg-and-tongue, pearl beading, stiff leaves and patera ornament, and surmounted by an urn-form finial, the white-enameled dial signed Upjohn/Bond Street/London, the foliate and flower-engraved brass back-plate to the movement signed James, the reverse door with an open fret panel.

With Norman Adams, London

The case overall with some losses to the cross banding and stringing and other veneers lifting due to the drying out of the carcass and glue and to shrinkage; door to movement slightly warped with losses and lifting to veneers and loses to fret panel; some small areas of flaking to the painted decoration and some later in-painting but basically in overall condition; old repaired break with in-filling and painting to socle of finial; movement probably requires cleaning and adjustment by professional clock-maker.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The movement of this interesting bracket clock is signed by James Upjohn who is possibly recorded as being apprenticed in 1766, a member of the Clock Makers' Company in 1781, and a member of the Livery in 1790, leaving for America in 1802. A James Upjohn is also recorded at Threadneadle Street, 1760-63, and in Lombard Street 1779, and the firm of James Upjohn and Wirgman is recorded at 18 Red Lion Street, 1790-81, and as James & Company in 1794. The veneered case of the clock with its en grisaille decoration can with certainty be attributed to the cabinet maker Thomas Brownley and the decorative painter John Bromley (fl. 1768-1803) who supplied Benjamin Vulliamy with cases of identical profile to this lot, differing only in the form of the vase finial and the detail of the decoration.

 

The first reference to these makers appears in Vulliamy's day book and 'clock book' of 1798, which records the making of number 315, 'a large eight day long clock' with an 'organ which plays tunes three times over'. This was 'contained in a very fine satinwood case inlaid with different sorts of woods.....The middle and lower doors are also painted in the best manner'. Brownley, who is named as maker of the case, which cost £19. 10s, was almost certainly the Thomas Brownley of 68 King Street, Golden Square, who is recorded at this address between 1791-1811, at which date he was succeeded by his son. He is also recorded in Vulliamy's ledgers as supplying other items raging from ebony rods for pendulums to inlaid mahogany doors for William Beckford in 1800.

 

The door of the aforementioned clock which was 'painted in the best manner' appears to have been the work of John Bromley, 'a coach, sign, and house painter'.  Bromley was a freeman of the Stainers Company who was recorded at 26 Great Queen Street in 1796. He is noted in Vulliamy's 'clock book' as being paid £2. 12. 6. for painting an oval depicting Apollo and the twelve signs, £1. 11s. 6d. for a lyre, and £1. 16s. 0d. for four snakes for no. 315.'.      

 

The work of Brownley and Bromley is comprehensively discussed by Roger Smith in 'Benjamin Vulliamy's painted satinwood clocks and Pedestals', the design and detail of the decoration of the illustrated clock cases and pedestals clearly showing that the present clock can be firmly attributed to them. In particular, Smith illustrates, a clock of identical profile, fig. 5, but with a slightly different finial. Purchased by the Bank of England in 1794, at a cost of 60 gns., it is supported on a pedestal, its decoration being clearly related. Another example, supported on a wall bracket, again has a different finial but related decoration (See:  C. Claxton Stevens and Stewart Whittington, 18^th Century English Furniture The Norman Adams Collection, 1985, pp. 468-469) It is interesting to note that the brass bezel of this and the present clock is identical, as is the form of the numbering on the enamel faces.

See:
Apollo Magazine, June 1995, 'Benjamin Vulliamy's painted satinwood clocks and Pedestals', Roger Smith, pp. 25-33