John Mottram, London

• 3-inch white enamel dial, Roman numerals, with gilt spade hands and blued steel center seconds • red paste-set bezel, hand set below 6 o'clock • three train fusee movement, quarter striking on 2 bells, the music playing 4 tunes on 10 bells with 17 hammers, the backplate border engraved with leaf tips, the front with blue translucent enamel over engine-turning, heightened by gilt foliate strapwork and garlands accented with translucent green and red enamel, decorated domed top case surmounted by a large urn finial and enclosed by four small urn finials above outset pierced foliate corbels, raised on scroll splayed feet, the case decorated with flowers, oval frets pierced with foliate trellis motif

not running, due to disconnected fusee chain otherwise complete, but will require overhaul tunes played by pulling knob at 9, time train repair approximately $2500 the case gilding of exceptionally good quality , the enamel reserves surrounding the dial have suffered from some restoration, losses and crazing,
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. All dimensions in catalogue descriptions are approximate. Condition reports may not specify mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome. Watches in water-resistant cases have been opened to examine movements but no warranties are made that the watches are currently water-resistant. Please note that we do not guarantee the authenticity of any individual component parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since subsequent repairs and restoration work may have resulted in the replacement of original parts. 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. In particular, please note it is the purchaser's responsibility to comply with any applicable import and export matters, particularly in relation to lots incorporating materials from endangered species.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

**Please be advised that bands made of materials derived from endangered or otherwise protected species (i.e. alligator and crocodile) are not sold with the watches and are for display purposes only. We reserve the right to remove these bands prior to shipping.

Important Notice regarding importation into the United States of Rolex watches
Sotheby's cannot arrange for the delivery of Rolex watches to the United States because U.S. laws restricts the import of Rolex watches. The buyer or a designated agent may collect the property in the country of sale."

John Mottram worked at Warden Court, Clerkenwell Close, London, between 1780 and 1811, and was known to have made clocks for Chinese Export.

For two clocks with similar case design, see Christie's, Hong Kong, Clocks from the Nezu Museum, May 27, 2008, lots 1512 also by John Mottram London and lot 1515 by Henry Borrell.

From the time the first clocks were brought to China from Europe in around 1582, the Chinese Emperors were fascinated with European mechanical clockworks. As objects of curiosity and items of luxury, these early mechanical clocks incorporated mechanisms that could support accessory functions including music and animated figures. European clocks were called 'zimingzhong' or 'self-sounding bells' by the Chinese for their musical chimes and striking bells and were received by the Qing court with great enthusiasm. The demand was such that a workshop dedicated solely to western-style clocks was established by the Kangxi Emperor (r. 1662-1722) among the palace workshops which was to be the beginning of a native clockmaking industry. With the help of Jesuit missionaries who supplied the technical knowledge and skills, Chinese clockmakers were trained and soon Chinese-made pieces joined those clocks that continued to arrive from the West. Contemporary sources suggest that by the end of the first quarter of the eighteenth century, clocks in the numbered in their thousands. The Qianlong Emperor (r. 1736-1795) in particular was an avid collector of all types of timepieces and automatons and his enthusiasm for both European and Chinese-made clocks and watches saw no limit. He had thousands of European and Chinese clocks in his collection that were aimed at mesmerizing the beholder and prized for their novelty and design. More than 4000 examples were known to have existed in the Imperial Palaces and their chiming was to be heard throughout the day.

Distinguished by their magnificence, these timepieces rank among the most extravagant clocks made combining Western and Chinese decorative elements. The cases, of highly decorative ormolu, were often further embellished with brightly colored enamels and paste gems, the rich designs matching equally elaborate and complex clockworks and mechanical movements including musical movements and automata. Representing the Emperor's power and status, they were also regarded as the epitome of "Western" style and design. By the middle part of the eighteenth century, the fashion for Western clocks had disseminated from the imperial court to the upper levels of Chinese society, often rivaling the Emperor's own collection of clocks.