Imagining an Irish Past:  The Celtic Revival 1840-1940, The David and Alfred Smart Museum of Art, University of Chicago, February 6-June 16, 1992
The Liberty Style, Metropolitan Teien Museum of Art, Tokyo, June 12-July 25, 1999, followed by a tour to six different museums in Japan through June 2000

Liberty Silver Sketch Book, Westminster City Archives, n.d., p. 198, no. 5075
Liberty’s 1875-1975, An Exhibition to Mark the Firm’s Centenary, exh. cat., Victoria & Albert Museum, London, 1975, p. 62, no. D99B 
Mervyn Levy, Liberty Style, The Classic Years, 1898-1910, London, 1986, p. 97
Barbara Morris, Liberty Design, London, 1989, p. 81
Imagining an Irish Past:  The Celtic Revival 1840-1940, exh. cat., The David and Alfred Smart Museum of Art, University of Chicago, 1992, no. 4, p. 48, no. 26 (for the present example illustrated) and p. 129, cat. 52
The Liberty Style, exh. cat., Japan Art & Culture Association, Tokyo, 1999, p. 111, no. 162 (for the present example illustrated)
Stephen A. Martin, Archibald Knox, London, 2001, p. 237 

Overall in very good condition. The clock displays a vibrant silver texture and sculptural silhouette. The silver surfaces present with light surface scratches, a few minute abrasions, very light tarnish concentrated to the recessed areas and minor rubbing scattered throughout, consistent with age and gentle handling. The right corner of the reverse of the clock is slightly bent, as seen in the catalogue illustration. Two of the pins around the dial have likely been replaced in a manner consistent with the original design. The hands appear original and undisturbed. A very minute enamel loss at center of the dial, likely from the removal and reinstallation of the clockworks. The movement impressed 2175 and with a key impressed SWISS MADE/3.75. Movement is not guaranteed to run at the time of cataloging and was not tested for accuracy of time and may need service at the buyer’s discretion. An extraordinary clock with impressive scale and powerful silhouette.
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.

No other silver clock designed by Knox more directly echoes the archetypal shape and power of the Manx crosses with its circular head balanced atop a more slender rectangular shaft than this present example.  One wonders if Knox might have been inspired by Gaut’s Cross in the Manx village of Kirk Michael or perhaps by a similar cross illustrated in the catalogue of these imposing stones compiled by Manxman P. M. C. Kermode.  In addition, this clock exhibits stylistic elements from both the early and later phases of Knox’s career.  The chased decoration on its body is similar to fabric designs executed in the pre-Liberty & Co days when Knox was working at the Silver Studio of Design in the 1890s, while its exquisitely enameled face calls to mind the rich palette found on the pages The Deer’s Cry or St. Patrick’s Hymn, an illuminated manuscript on which he worked from 1912 until his death in 1933.

DR. STEPHEN A. MARTIN