A fine and rare North Italian ebonised architectural table timepiece with silent-pull quarter-repeat on two bells Gio Pietro Callin, Genoa, circa 1680 The rectangular movement with four baluster turned pillars pinned through the backplate signed Gio Petro Callin AGenoua to the lower margin, the going train with spring barrel and verge escapement regulated by short pendulum with silk suspension and cycloidal cheeks, the early Knibb type silent-pull quarter-repeat train striking the hours and quarters on demand only via twin vertical hammer arbors sounding on a graduated pair of bells mounted within the pediment of the case, the 8 by 7 inch faded salmon silk covered iron dial applied with silvered Roman numeral chapter ring with tied asterisk half hour markers and Arabic five minutes within the outer minute track, the angles applied with foliate scroll pierced chased gilt brass spandrels with the lower two continuing down further to flank a cartouche cast as en entwined pair of serpents enclosing silvered signature plate engraved Gio Petro Callin AGenoua , the finely detailed Baroque case with open arch pediment centred with a small panel upstand capped with triangular tympanum flanked by scroll-carved infill over breakfronted lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the glazed dial aperture flanked by generous hipped carved sides scrolls, the conforming breakfronted base incorporating key drawer and deep cavetto moulded skirt, on six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An ivory inlaid ebonised night clock with fine painted dial depicting chronos and death passing the hours, offered in this sale as the previous lot. An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. In addition to these another night clock probably from the same workshop but signed 'Giovanni Carlo Calin' (also with fine painted dial depicting chronos and death passing the hours) was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. Finally a further ebonised table timepiece of noticeably similar design to the current lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The movement of the current lot closely resembles that of an early French 'Pendule Religieuse' but with the additional provision of a 'silent-pull' quarter repeat mechanism. The positioning of the going train between the plates and the design of movement pillars can be directly compared to an hour-striking movement by Nicholas Hanet dating to around 1675 illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 pages 66-7 Figs. 115-7. Both the movement by Hanet and that of the current lot are arranged with the strike/repeat trains offset to the right to allow room for vertical planting of the going train to the centre. In addition to having offset strike trains both movements also share essentially the same configuration of double-footed backcock (fitted with cycloidal cheeks) and similar crown wheel top cock casting (each incorporating pallet arbor front pivot). From these details it would be logical to suggest that the current lot was made around the same time (or marginally later) as the clock by Hanet, and that the maker was clearly strongly influenced by contemporary French practice. The 'French influence' within the current lot is not confined to the movement as the use of fabric-covered iron for the dial plate incorporating signature cartouche doubling-up as a pendulum bob access flap are also classic features seen on early French pendulum clocks. The design of 'silent-pull' repeat mechanism used in the current lot is of the earliest type which is believed to have been invented in around 1676 by Edward Barlow and/or Daniel Quare which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 343-4). This mechanism will sound the last hour and quarter on two bells on demand only and is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. The presence of this mechanism on the current lot would suggest that the maker was well versed with English practice as well as French. Indeed the dial also exhibits possible subtle English influence in the chapter ring (with Arabic five-minute annotations within the outer minute track) and use of cast spandrels to angles. In England, prior to the invention of quarter-repeat work, the only clocks available to assist with telling the time after dark were night clocks. English night clocks are rare as they were quickly superseded by repeating clocks/watches, hence it seems that none were made after around 1680. Conversely in Italy night clocks seemed to be the preferred solution with the form almost becoming standardised by the Campani family of Rome during the 1670's. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The inherent smaller proportions of the case are also quite pleasing when compared with larger night clocks which can be somewhat imposing.