European Renaissance Clocks

An extraordinary collection of Renaissance pre-pendulum clocks

To be auctioned on 24 May 2009, Grand Hotel et de Milan, Milan

Today the clock is taken for granted, yet when it was originally invented in the 1300s it was considered a marvel of modern engineering. Its creation was considered equivalent to that of today’s computer, early clocks even had sophisticated astronomical programs that often differed by less than 1/1000th of the true value – a feat that many modern computers would find difficult to match.

The very first clocks were large weight driven tower clocks in churches which, by the end of the century, had evolved for domestic use. But the challenge confronting the horologists at the time was to invent a power equalizing device that would make the momentum exerted on the escapement constant, regardless of the state of winding.

Spurred on by the growth in demand for such clocks, a major mechanical innovation – the invention of a spiral spring to drive a train of wheels – evolved. This offered the possibility of creating portable timepieces and, around 1410 the first spring-driven portable table clocks were created, among which are those designed by the great Italian architect, Filippo Brunelleschi.

This European Renaissance Clock Collection is, in itself, an exceptional example of the use of spring-driven portable clocks and while the majority of pieces in this collection are fusee* clocks it does also, have examples of another power equalizing invention, the stackfreed**.

The culmination of European technology

It appears that when miniaturization led to a reduction of space between the plates the Germans invented stackfreed power equalizing in order to save space but still have an equalizing device. When there was ample space, they had no objection to using the fusee, as demonstrated by early German small clocks such as Lot 22 and Lot 67, both circa 1560.

They have certain characteristics not found in later clocks. The forms are either horizontal, reminiscent of an old stove tile (hence sometimes called “tile clocks”); vertical (hence sometimes called “tower-shape” clocks or figure clocks) which include automata.

They were made either of gilt brass, copper or bronze, as well as with cases made of wood although these last deteriorated very quickly so fewer wooden ones have survived. The movements were made either of steel, especially in the early years in Germany and were usually fusee, but some were stackfreed, while others were direct driven. The regulator was usually a circular two-arm balance, and, less frequently, foliot.

The decorations often included arabesque and wild strawberry motifs, the three-part leaf of the latter symbolized the Holy Trinity, the drops of Christ’s blood – the red berries, and His five wounds – the five petals of the flower (although, as portrayed by Hieronymus Bosch, the strawberry also symbolized “voluptuousness” and an indulgence in earthly pleasures!).

The famous Renaissance automata

Finally, the famous Renaissance automata: the advancement of mechanics, in particular that of the mechanical clock during the Renaissance, allowed makers to indulge themselves in the pursuit of the centuries’ old desire to create artificial life at a new level.

The automated dogs, doves, lions, and horse riders in this collection were built to impress emperors, princes and a few wealthy elite. They represent man’s first steps toward creating a perfect robot. With no more than perhaps a hundred of them still in existence, there are very rare, and found today mostly in museums – although there are six to be found in this fabulous collection.

In their heyday, the clocks in this Collection were objects of fascination and the pride of their owners, so much so that they were often given as gifts from European monarchs to oriental emperors. None of this prestige was due to the clocks timekeeping ability though, since a sundial was more reliable. In fact, it was a sundial that the mechanical clock was set by!

The fascination with time has always been due to man’s appreciation of mechanics, an extension of admiration for that ultimate mechanical wonder – the Cosmos. During the period that the clocks in this Collection were made, such complex timekeepers never ceased to capture the imagination of man. The Creator was often compared with the ultimate clockmaker, and even Kepler reckoned that, “… celestial machine is not like the divine being but like a clock…” and Voltaire in his “Les Cabales” (1772) was wont to quote, “I cannot imagine how the clockwork of the universe can exist without a clockmaker.”

This Collection, which is unprecedented in the auction world, offers us an insight into these incredibly beautiful 16th and 17th century works of art – the complexities of the original creation of the mechanisms of which …one can only but imagine.

Even more good news for collectors

Given Patrizzi & Co’s constant commitment to improve the “lot” of those buying at auction we are happy to confirm that at this auction there will be:

NO buyer’s commission: This represents the saving to buyers of between 20–25% of the hammer price, which most other major auction houses currently charge.

NO VAT: For purchasers of pieces from this collection – NO Value Added Tax is applicable

Five-year guarantee of authenticity: This guarantee eliminates what is often perceived to be the “risk factor” in buying important pieces via the Internet and includes an accurate and very detailed description of the quality of the piece(s) being purchased.

A choice of catalogs: Clients have a choice of purchasing a special commemorative catalog or a digitally printed color catalog or downloading their own personalized version of the online catalog onto their personal computer or new generation e-Book.

The preview exhibition will take place:
21 – 23 May 2009, 10 a.m. to 6 p.m.
24 May 2009, 10 a.m. to mid-day
at Patrizzi & Co, Monte di Pietà 24, Milan
T. +39 02 454 80 754
F. +39 02 454 80 713

The auction will take place at:
2.30 p.m. Sunday 24 May 2009, Grand Hotel et de Milan, Milan
and will be preceded by Renaissance and Baroque music played by the FLORILEGIUM ensemble.

For more details of the sale visit: www.patrizziauction.com

European Renaissance Clocks – 24 May 2009, Grand Hotel et de Milan, Milan

Southern Germany, circa 1570
Important and extremely rare gilt brass complicated astronomical revolving table clock with dials on each side with: Perpetual annual calendar, aspects diagram, signs of zodiac, position of Sun in the zodiac, adjustments for different latitudes, dominical letters, phases and age of the moon, latitude adjustment, lengths of day and night, name days, alarm, early minute hand, striking hours and quarters, 12-hour or 24-hour striking modes, and regulating dial.

Signed H.E.W., probably Germany, circa 1620
Recently discovered, this extraordinary, highly important and impressive clock is one of the earliest known precision clocks in the form of a gilt brass and ebony revolving monstrance table clock, featuring: remontoire, cross-beat escapement, Grande et Petite Sonnerie, annual perpetual calendar, early minute hand, diagram of aspects, zodiac, position of the sun in the zodiac, phases and age of the moon.

Hans Weidtner, Hamburg, Fecit, circa 1630
An exceptional, probably unique, astronomical Crucifix Clock (Crucifixion after Rubens), with World Time, manual perpetual calendar, phases and ages of the moon, jump moon date, hour striking, minute hand, and Zodiac indications, in blackened fruitwood case.

CK (Conrad Kreizer), Germany, circa 1570
Very important and equally rare circular horizontal table clock embossed with the Story of Actaeon, in the style of the Orpheus Clocks with single hand, un-sprung balance, and 24-hour-striking.

Augsburg, circa 1630
An important and exceptionally rare Lion of St. Mark automaton clock striking hours, in gilt brass on wood from the Time Museum Collection.

Gilbert Martinot, Paris, dated 1565
An important and exceptionally rare early French alarm table clock, striking hours with single hand, in gilt brass case.

Signed “I. E/W”, Germany, circa 1680
An exceptional, magnificent gilt brass and silver astronomical Grand Sonnerie table clock with three striking trains, annual perpetual calendar, Zodiac, phases and ages of the moon, the position of the sun and moon in the Zodiac, indications for the lengths of day and night, sunset and sunrise, and diagram of aspects.

* ** (Note for the technically minded)
This European Renaissance Collection of pre-pendulum clocks is, in itself, an exceptional example of the use of spring-driven portable clocks and while the majority of pieces in this collection are fusee clocks, it does also have examples of another power equalizing invention, the stackfreed.

Fusee clocks and stackfreed clocks
The fusee consisted of a cone-shaped structure (a conical spool) mounted on the intermediate wheel set between the spring barrel and the wheel train, on which a cord of gut, fixed at one end to the spring barrel, was wound. Because the distance between the gut and the fusee’s arbor changed every minute – it was short when the clock was wound up and long when wound down – it changed the exerted momentum on the train. This change was arranged so as to compensate the unevenness of the power delivered by the spring.

The stackfreed device consisted of a cam set on the extension of the spring barrel arbor. A spring-loaded lever rubs against it, which “slows” down the spring. This resistance is larger when the clock is wound up and smaller when it is wound down, so equalizing the momentum exerted on the train wheel. Its advantage is its simplicity and its size which allows the clock to be smaller – which is why we find it most often in watches.

The stackfreed also appears in Leonardo’s Codex I, as well as Codex M3 (1497 and 1499). It may have been brought to his attention by his German assistant, Giulio, around 1493 – 94 since it is considered to be a German invention and has only been found in German-influenced territories.)