An ormolu musical automata table clock casket in the manner of James Cox, English, circa 1780

in the form of a casket, the domed lid revealing a folding mirror and two blue glass bottles decorated in gilt with musical trophies and flowers in the manner of James Giles, the 1½-inch white enamel dial with centre seconds, the fusee timepiece movement with dead beat verge escapement, mounted above the fusee musical movement playing a tune on a carillon of bells at the hour or at will, an automaton scene to the front with figures promenading in a landscape and below an enamel plaque depicting a duck which conceals a further erotic automaton and an erotic scene, the case with a mirrored compartment to the concave-sided top, all four sides set with enamel plaques by William Hopkins Craft depicting figures in landscapes, portraits and animals, supported on the howdahs of four elephants,

Made for the Maharajah of Hyderabad
Gallerie Koller, Zurich 11th March 1963, Lot 110
Private Collection

Enamel dial has edge chip between IIII and V, hour hand broken and largely missing. Movement is complete. Musical movement complete but very dirty and with some surface rusting to steelwork, largest bell has been repaired, both movements running at time of cataloguing but very much in need of cleaning. Case in generally good condition, one rear finial replaced, left side enamel panel has a hair crack but all other panels in very good condition, automata scenes in good condition, original gilding in good condition but rather dirty. With a winder.
"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."

James Cox, 1723-1800, was apprenticed in 1738 to Humphrey Pugh, a goldsmith and toyman in Fleet Street, London, and became Free in 1745 as a goldsmith. Almost immediately he went into business on his own account producing extravagant objects with musical and automata complications. He quickly established a trade with the Far East but the business failed in 1758 and he was made bankrupt. However, Cox was able to retain his premises in Shoe Lane and by 1763 he was building a network of craftsmen and out workers to supply more fabulous items, this time to the newly emerging Indian market. This clock is typical of the pieces produced by Cox, Timothy Wiliamson and William Carpenter using panels by Craft and movements from other sources to bring together a spectacular effect.  One of a pair, as was usual with the more important items, this is particularly rare in incorporating concealed erotic automata.

William Hopkins Craft, 1731-1811, was a fine artist and miniature painter. Little is known of his early career but he was born in Lambeth and is thought to have been in Paris before joining David Rhodes in partnership from 1768 when their enamelling skills were employed by Wedgwood in London. He had a distinctive style using brilliant enamels and often painted on a large scale. He was one of the few 18^th Century enamellists to sign and date his work. Seventeen of his enamels were exhibited at the Royal Academy between 1774 and 1795. It was not unusual for Craft to duplicate his work. Some confusion exists about his name. All of his work is signed W Craft or W H Craft but his marriage license, lodging details and death certificate name him as Croft or Hopkins Croft.  Despite his clients having included royalty, noted politicians, and scientists of the time, he appears to have fallen on hard times in his old age as he was admitted to the Charter House as a Poor Brother in 1810. A brief obituary appeared in The Gentleman's Magazine: 'Aged 80, Mr Croft, formerly a painter but latterly on the Establishment of the Charter House. He was taken ill on Clerkenwell Green, and being conveyed home in a coach, expired on entering his apartment'. He was buried in the Charterhouse cemetery in an unmarked grave on January 24^th 1811.