A fine George III paste-mounted ormolu and parcel-gilt blue enamel musical table clock, Francis and Paul John Barraud, London circa 1770 for the Chinese market

the 3-inch enamel dial with paste-set bezel, three train fuse Thwaites movement numbered 336, with verge and balance wheel escapement mounted on the backplate, playing one of four tunes on nine bells with nine hammers at the hour and striking on a further bell, the backplate engraved with foliate scrolls and a neoclassical urn and signed Barraud, London, the case with panelled dome, Corinthian columns and foliate scroll feet.

By repute, Horace Walpole, Strawberry Hill
Christie's London, The Property of a Family Trust, April 9, 1987, lot 5

Very good condition; the blue enamle ith some areas of crystalization; the dome with small loss to enamel abourn the base of the front right canted corner; small chips to enamel to back central panel of dome top; the enamel columns with some small chips and losses to the edges; the ormolu with very minor areas of pitting and some rubbing and wear to the flame finials; paste appears to be in good condition; back left finial detatched bu present; tops of threading where finials attach appear to be repaired.
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.

Francis and Paul John Barraud are recorded as working at Wine Office Court, Fleet Street, London between 1756 and 1794. Like many of their contemporaries they were involved in the supply of clocks and watches for the Chinese market.

From the time the first clocks were brought to China from Europe around 1582, the Chinese Emperors were fascinated with European mechanical clockworks. As objects of curiosity and items of luxury, these early clocks incorporated mechanisms 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 the 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 Palace 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 was limitless. 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 4,000 examples existed in the Imperial Palaces and their chiming was heard throughout the day.

These magnificent timepieces rank among the most extravagant clocks ever 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 elite of Chinese society, often rivaling the Emperor's own collection of clocks.

Many of these magnificent timepieces were inspired by the fabulous musical and automaton clocks commissioned by the English clockmaker James Cox. A large number of his works were exported to the Far East during the second half of the 18th century. While Cox's fortunes declined in the later part of the 18th century, Chinese artisans in the port city of Guangzhou studied the Western pieces in order to simulate the technique of making clock movements in the English manner while incorporating Chinese elements. These skilled workers were then recruited by the Imperial workshops in the Forbidden City to meet the increasing demand for clocks and automatons, which were often sent as tributes to the Qing court by high-ranking members of society seeking Imperial favors.