Catalogue - Antique Clocks and Barometers
Catalogue - Antique Clocks and Barometers
Catalogue - Antique Clocks and Barometers
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HOWARD WALWYN<br />
FINE ANTIQUE CLOCKS<br />
01
HOWARD WALWYN<br />
FINE ANTIQUE CLOCKS<br />
73 Kensington Church Street<br />
London W8 4BG<br />
Tel +44 (0)20 7938 1100<br />
Mob +44 (0)7768 096 869<br />
Fax +44 (0)20 7938 2519<br />
www.howardwalwyn.com<br />
info@howardwalwyn.com
INTRODUCTION<br />
Having been collecting <strong>and</strong> dealing in clocks for over 25 years, it is a<br />
great pleasure to offer you this first catalogue under my new company<br />
Howard Walwyn Fine <strong>Antique</strong> <strong>Clocks</strong>.<br />
The select group of timepieces illustrated in these pages are amongst the<br />
finest 17th <strong>and</strong> 18th century English clocks currently on the market.<br />
Whether they are by famous ‘Golden Age’ clockmakers with Royal<br />
Connections such as Joseph Knibb, William Clement, Daniel Quare <strong>and</strong><br />
Daniel Del<strong>and</strong>er or by less well known makers, they have all been chosen<br />
for their beauty, originality <strong>and</strong> outst<strong>and</strong>ing craftsmanship.<br />
I will be happy to provide photographs <strong>and</strong> full descriptions of any of<br />
the clocks on offer together with more detailed biographical information<br />
on the clockmakers.<br />
Howard Walwyn<br />
2 3
A<br />
JOSEPH KNIBB LONDINI FECIT<br />
previously unrecorded Charles II period phase I olivewood table<br />
clock, the fully latched eight-day brass dial movement with outside<br />
count wheel hour strike on a single bell.<br />
The exquisite back plate (shown on previous page) is profusely engraved<br />
with tulips <strong>and</strong> signed by the maker in a foliate cartouche.<br />
Date: circa 1675–1680<br />
Height: 13 in (32 cm) excluding h<strong>and</strong>le<br />
Provenance: An English family since the late 19th century<br />
* Joseph Knibb, the most famous member of the celebrated Knibb clockmaking<br />
family was born circa 1640; he was apprenticed to his cousin Samuel in about<br />
1655 <strong>and</strong> after serving seven years worked first in Oxford <strong>and</strong> then moved to<br />
London in 1670 where he was made Free of the Clockmakers’ Company. He must<br />
soon have built up a good reputation for himself as it is recorded that he supplied<br />
a turret clock for Windsor Castle in 1677 <strong>and</strong> payments were made to him in 1682<br />
on behalf of King Charles II.<br />
Joseph Knibb made many longcase <strong>and</strong> table clocks for domestic use; he was a<br />
particularly inventive maker <strong>and</strong> experimented with several different types of<br />
striking <strong>and</strong> repeating mechanism. The vast majority of Knibb’s table clocks were<br />
ebony veneered <strong>and</strong> a small number were in walnut. Those in olivewood cases can<br />
be counted on one h<strong>and</strong> <strong>and</strong> hence are by far the rarest.<br />
Comparative Literature: R.A. Lee, ‘The Knibb Family – Clockmakers’, page 78,<br />
Plate 71 <strong>and</strong> Plate 125.<br />
P.G. Dawson, C. B. Drover <strong>and</strong> D.W. Parkes, ‘Early English <strong>Clocks</strong>’, page 418,<br />
Plate 59.<br />
4 5
A<br />
GULIELMUS CLEMENT LONDINI FECIT<br />
fine William & Mary period eight-day longcase clock by this important<br />
maker. The case is constructed primarily of oak <strong>and</strong> veneered with<br />
walnut <strong>and</strong> panels of bird <strong>and</strong> floral marquetry against an ebony ground.<br />
The cross-grain mouldings are in walnut. St<strong>and</strong>ing on bun feet, the clock<br />
retains its original base <strong>and</strong> there is a lenticle to the trunk door. The hood<br />
with front opening door is flanked by ebonised barley twist columns <strong>and</strong><br />
there is a delicate walnut sound fret set below the cornice.<br />
The 11 inch square brass dial is mounted with cherub <strong>and</strong> foliate sp<strong>and</strong>rels,<br />
silvered chapter ring <strong>and</strong> subsidiary seconds ring. The dial centre is<br />
finely matted <strong>and</strong> has an aperture to view the day of the month. The dial<br />
plate has delicate foliate engraving between the sp<strong>and</strong>rels <strong>and</strong> is signed<br />
at the bottom by the maker between VII <strong>and</strong> V. The blued steel h<strong>and</strong>s<br />
are finely pierced <strong>and</strong> faceted.<br />
The exceptional high quality eight-day duration movement has six latched<br />
pillars <strong>and</strong> a very unusual trip repeat work mechanism for repeating from<br />
above or below. There is also evidence that the movement originally had<br />
shutters to protect the movement from damp, dust or dirt. The hours are<br />
sounded on a bell with rack <strong>and</strong> snail strike.<br />
Date: circa 1695–1700<br />
Height: 80 in (203 cm)<br />
* Gulielmus (William) Clement is most probably the son of the William Clement<br />
who made the famous King’s College, Cambridge turret clock in 1671 <strong>and</strong> who<br />
claimed the invention of the anchor escapement. He was born circa 1643 <strong>and</strong> was<br />
apprenticed to Thomas Chapman (the same master as his brother, Francis) in 1656–<br />
1657. He was made a Free Brother in the Clockmakers’ Company in December 1677<br />
as a “great clockmaker”. In 1678 he was made an Assistant within the Company<br />
very prematurely “by unanimous consent <strong>and</strong> approbation <strong>and</strong> for good reasons<br />
<strong>and</strong> especial esteem”. The question is: was the preferential treatment given to him<br />
due to the fact he, William Junior, had just invented the anchor escapement? The<br />
question is <strong>and</strong> will probably always remain unanswered. He became Master of<br />
the Clockmakers’ Company in 1694 <strong>and</strong> is said to have died in 1709. This clock is of<br />
very fine quality like all of his work <strong>and</strong> has a number of unusual <strong>and</strong> innovative<br />
features, viz. the substantial trip repeat mechanism <strong>and</strong> the evidence for the fitting<br />
of shutters to the movement when the clock was first made.<br />
6 7
A<br />
RICHARD COLSTON, LONDON<br />
rare William <strong>and</strong> Mary period square dial burr elm longcase clock<br />
with eight-day hour striking movement. The brass dial has finely<br />
cast cherub <strong>and</strong> leaf corner sp<strong>and</strong>rels, engraved decoration around the<br />
inset datework <strong>and</strong> a subsidiary seconds dial. The beautifully proportioned<br />
<strong>and</strong> patinated case has wonderful burr elm figuring <strong>and</strong> a hood with a<br />
repoussé brass fret <strong>and</strong> barley twist columns.<br />
Date: circa 1690<br />
Height: 79½ in (201.5 cm)<br />
* Richard Colston is recorded as working in London between 1682 <strong>and</strong> 1709 <strong>and</strong><br />
there is a clock by him in the Wetherfield Collection. Small early longcases veneered<br />
in burr elm are very rare.<br />
8 9
A<br />
JOHN EBSWORTH LONDINI FECIT<br />
n exceptional William III period month going longcase clock in an English<br />
black <strong>and</strong> gilt chinoiserie lacquer case. St<strong>and</strong>ing on bun feet, the clock has<br />
a turned wooden lenticle to the trunk door <strong>and</strong> a pull forward hood flanked by<br />
barley twist columns with gilt capitals <strong>and</strong> bases. The elegant original decorated<br />
caddy top is surmounted by a finial to each side. The early English chinoiserie<br />
decoration depicts oriental figures in multi-coloured dress in a stylised oriental<br />
setting with flowers, birds, trees <strong>and</strong> foliage.<br />
The 11 inch square dial, which is signed by the maker on the dial plate below<br />
VI, is mounted with cherub <strong>and</strong> foliate sp<strong>and</strong>rels <strong>and</strong> a silvered chapter ring.<br />
The dial centre is finely matted <strong>and</strong> there is a seconds ring <strong>and</strong> aperture to<br />
view the day of the month. The elegant blued steel h<strong>and</strong>s are finely pierced <strong>and</strong><br />
they are centred by a finely engraved Tudor Rose on the dial. The high quality<br />
month duration movement has six turned <strong>and</strong> finned pillars <strong>and</strong> hour strike via<br />
an outside locking plate. Commensurate with a movement of exceptional quality,<br />
the dial feet are also fully latched. The clock is complete with a pair of period<br />
patinated brass cased month weights <strong>and</strong> a detachable flat pendulum rod with<br />
a brass bob <strong>and</strong> rating nut.<br />
Date: circa 1690<br />
Height : 84 in (213.5 cm)<br />
* John Ebsworth was in the first rank of early makers who were working during the last<br />
quarter of the 17th century. He was appointed Master of the Clockmakers’ Company in<br />
1697 <strong>and</strong> he made a number of very fine longcase, bracket <strong>and</strong> lantern clocks. There are<br />
clocks by him in various museums <strong>and</strong> public collections around the world.<br />
10 11
A<br />
EDMUND MASSEY LONDINI FECIT<br />
fine William <strong>and</strong> Mary period miniature striking lantern clock by this<br />
well-known apprentice of Joseph Knibb. The Knibb-style miniature<br />
case is surmounted by a turned baluster finial centring the brass cross-strap.<br />
The central fret is engraved with flowers <strong>and</strong> foliage. The two frets to the side<br />
of the case are of the same pattern <strong>and</strong> left unengraved. The four columns<br />
are cast in one piece <strong>and</strong> include the finials <strong>and</strong> bases.<br />
The dial plate is engraved with interlacing tulips <strong>and</strong> topped by the signature<br />
Edmund Massey Londini Fecit. There is a restored central alarm disc with<br />
Arabic hour numerals <strong>and</strong> a central Tudor Rose.<br />
The short duration movement has a knife edge verge escapement <strong>and</strong><br />
a short bob pendulum with countwheel strike on the hour. The restored<br />
alarm work is set into the original backplate.<br />
Date: circa 1685–90<br />
Height: 6½ in (16.5 cm)<br />
* Edmund Massey was born circa 1660 <strong>and</strong> apprenticed to Joseph Knibb from<br />
December 1673 until 1681. It is therefore no accident that this beautiful miniature<br />
lantern clock is identical in every way to those made by Joseph Knibb as it emanates<br />
from the same workshop.<br />
Literature: George White, ‘English Lantern <strong>Clocks</strong>’, pages 182 <strong>and</strong> 183.<br />
12 13
A<br />
JAMES MARKWICK, LONDON<br />
fine William <strong>and</strong> Mary period quarter repeating spring table clock<br />
veneered with olivewood. The flamboyant case st<strong>and</strong>s on brass bun<br />
feet with repoussé mounts to the door <strong>and</strong> a repoussé basket top supporting<br />
the carrying h<strong>and</strong>le. The basket is flanked to the four corners with unusual<br />
four leaf finials.<br />
The 7 in (18 cm) square dial is mounted with wing cherub sp<strong>and</strong>rels <strong>and</strong> a<br />
silvered chapter ring with strike/silent option above. There is a false pendulum<br />
aperture, ringed winding holes <strong>and</strong> date aperture to the matted centre.<br />
The two train fusée eight-day duration movement has quarter repeating on<br />
three bells with the hours sounded on a separate bell. The escapement is verge<br />
<strong>and</strong> the backplate is engraved with scrolling foliage. Both the backplate <strong>and</strong><br />
the chapter ring are signed Markwick, London.<br />
Date: circa 1695<br />
Height: 15 in (38 cm)<br />
* James Markwick was Free of the Clockmakers’ Company in 1666 <strong>and</strong> is known to<br />
have worked at the Royal Exchange until circa 1705. His son of the same name was<br />
Free of the Clockmakers’ Company in 1692 <strong>and</strong> appointed Master in 1720.<br />
14 15
A<br />
JOHN GERRARD, LONDON<br />
fine Queen Anne period ebony veneered table clock by this excellent<br />
maker. The eight-day movement, which strikes the hours on a single<br />
bell, has a verge escapement, short bob pendulum <strong>and</strong> pull quarter repeatwork<br />
on three bells. There are two subsidiary dials at the top of the elaborately<br />
engraved rectangular dial for strike/not strike <strong>and</strong> rise <strong>and</strong> fall, a design much<br />
favoured by Thomas Tompion <strong>and</strong> Daniel Quare. The maker’s signature is<br />
centred between the two subsidiary dials.<br />
The dial has two winged cherub head corner sp<strong>and</strong>rels <strong>and</strong> a chapter ring<br />
with unusual flower half-hour markers. The date indicator is inset above VI<br />
<strong>and</strong> there is a crescent shaped aperture for the false pendulum within the<br />
finely matted dial centre.<br />
The elaborate back plate is engraved with beautiful flower <strong>and</strong> foliate<br />
scrolls <strong>and</strong> a well-executed wheatear border. The heart-shaped maker’s name<br />
is set within a cartouche just below the centre <strong>and</strong> there is an elaborate<br />
heart-shaped apron to cover the backcock.<br />
The elegant case is constructed primarily in oak <strong>and</strong> veneered with ebony.<br />
It has a shallow domed top with a knopped brass carrying h<strong>and</strong>le. The ebony<br />
case has a very distinctive bolection moulded front door which we had on<br />
another clock by Charles Goode. (See Plate 40, Wetherfield Collection.)<br />
Date: circa 1705–1715<br />
Height: 15 in (38 cm)<br />
* John Gerrard was active in London in the first quarter of the 18th century <strong>and</strong><br />
is listed on page 298 of Brian Loomes’s ‘Clockmakers of the World’. For an almost<br />
identical clock by the same maker, see Plate 715 on page 483 of ‘Early English <strong>Clocks</strong>’<br />
shown in the company of three Tompion table clocks.<br />
16 17
A<br />
DANIEL DELANDER, LONDON<br />
fine Queen Anne period figured walnut longcase clock with<br />
square shaped dial <strong>and</strong> caddy top by this famous apprentice of<br />
Thomas Tompion.<br />
The case is veneered with figured walnut of excellent colour <strong>and</strong> patination.<br />
The pull-forward caddy top hood is flanked by turned pillars with brass capitals<br />
<strong>and</strong> bases. The caddy top is original <strong>and</strong> is surmounted by two gilt ball finials.<br />
The 12 inch square dial has an applied chapter ring with cherubs holding a<br />
crown corner sp<strong>and</strong>rels. The centre is finely matted with an applied seconds<br />
ring <strong>and</strong> an aperture to view the day of the month. The blued steel pointers are<br />
finely pierced <strong>and</strong> the maker’s signature – Daniel Del<strong>and</strong>er, London – is engraved<br />
on the chapter ring between V <strong>and</strong> VII.<br />
The five pillar movement has rack striking with the hours sounded on a bell. As<br />
one would expect from a maker of Del<strong>and</strong>er’s stature, the movement is of the<br />
highest quality with chamfered cocks <strong>and</strong> thick plates.<br />
Date: circa 1710<br />
Height: 94 in (239 cm)<br />
* Daniel Del<strong>and</strong>er was born circa 1678 <strong>and</strong> his workshop was situated in Deveraux<br />
Court <strong>and</strong> later between the two Temple gates. He had served the latter part of his<br />
apprenticeship under Thomas Tompion where he worked as a “servant” journeyman<br />
alongside George Graham. Hence the fact that there are a number of similarities<br />
between his work <strong>and</strong> that of the two greatest English clockmakers after Fromanteel.<br />
18 19
A<br />
CLAUDIUS DUCHESNE, LONDON<br />
n exceptional Queen Anne period figured walnut longcase clock<br />
of month duration with square dial <strong>and</strong> caddy top by this well<br />
known Huguenot maker. The case is veneered with highly figured walnut<br />
of excellent colour <strong>and</strong> patination. The pull-forward caddy top hood is<br />
flanked by turned pillars with brass capitals. The caddy top is original <strong>and</strong><br />
is surmounted by two gilt flambeaux finials.<br />
The 12 inch square dial has an applied chapter ring with cherubs<br />
holding a crown corner sp<strong>and</strong>rels. The centre is finely matted with an<br />
applied seconds ring <strong>and</strong> an aperture to view the day of the month. The<br />
blued steel h<strong>and</strong>s are finely pierced <strong>and</strong> the maker’s signature – Claudius<br />
Duchesne, London - is engraved on the chapter ring between V <strong>and</strong> VII.<br />
The five finned pillar month movement has outside countwheel strike<br />
with the hours sounded on a bell. As one would expect from a maker<br />
of Duchesne’s stature, the movement is of the highest quality with fine<br />
wheelwork <strong>and</strong> substantial plates <strong>and</strong> the elegant case st<strong>and</strong>s comparison<br />
with the best cases of Tompion <strong>and</strong> Quare.<br />
Date: circa 1710–1715<br />
Height: 89 in (226 cm)<br />
* Claudius Duchesne moved from Paris to London circa 1690. Duchesne is<br />
recorded in Loomes’ ‘Watchmakers <strong>and</strong> Clockmakers of the World’ as being in<br />
the Clockmakers Company from 1693 to 1730. Loomes suggests Duchesne worked<br />
from Dean St, Soho, London <strong>and</strong> was a maker of a number of exceptional<br />
bracket <strong>and</strong> longcases.<br />
20 21
A<br />
DANIEL QUARE, LONDON<br />
beautiful George I period quarter repeating bracket clock by the<br />
celebrated royal maker Daniel Quare.<br />
The ebony veneered case has gilt brass mounts, escutcheons <strong>and</strong> a substantial<br />
brass carrying h<strong>and</strong>le. The break arch brass dial is nicely laid out with crown<br />
<strong>and</strong> sceptre sp<strong>and</strong>rels <strong>and</strong> a larger subsidiary calendar dial in the arch. The<br />
centre is finely matted with a false pendulum aperture.<br />
The substantial eight day duration movement has a verge escapement <strong>and</strong><br />
quarter repeating mechanism sounded on six bells. The hours are struck on<br />
a separate bell. The back plate is beautifully engraved with foliate scrolls<br />
<strong>and</strong> there is a bold signature - Dan. Quare, London - set in an oval cartouche.<br />
Date: circa 1715–1720<br />
Height excluding h<strong>and</strong>le: 15½ in (39 cm)<br />
Provenance: Lord Harris<br />
* Daniel Quare is one of the great names from the Golden Age of English<br />
clockmaking <strong>and</strong> he was a justly worthy contemporary of Thomas Tompion,<br />
George Graham, Daniel Del<strong>and</strong>er et al.<br />
He was born in circa 1647 <strong>and</strong> became a Brother of the Clockmakers’ Company<br />
in 1671. He went on to serve as Master in 1708. In later years he took on<br />
Stephen Horseman, his former apprentice, as a partner <strong>and</strong> he continued the<br />
business after Quare’s death in 1724.<br />
Daniel Quare’s reputation rests largely on the fact that he was a great innovator.<br />
He <strong>and</strong> Tompion were the first to make some highly important walnut longcase<br />
clocks of year duration showing the equation of time <strong>and</strong> other complications. One<br />
of these is now in the Ilbert Collection in the British Museum.<br />
Quare was an arch rival to Thomas Tompion <strong>and</strong> he was offered the Royal<br />
Warrant. However, as a practising Quaker he would not sign any oaths of allegiance<br />
<strong>and</strong> this prevented his appointment as Clockmaker to the King. Nevertheless he was<br />
a regular visitor at the Royal Palace <strong>and</strong> was ‘free of the back stairs’. He had a<br />
highly successful business <strong>and</strong> counted many members of the Nobility <strong>and</strong> Foreign<br />
Ambassadors amongst his clientele.<br />
22 23
A<br />
ANDREW DUNLOP, LONDON<br />
rare George I period Gr<strong>and</strong>e Sonnerie table clock by this<br />
excellent maker.<br />
The elegant ebony veneered case has an inverted bell top surmounted by<br />
five gilt brass finials. The front door has pierced <strong>and</strong> engraved brass frets<br />
<strong>and</strong> the sides are glazed within moulded arched surrounds. The whole<br />
case st<strong>and</strong>s raised upon four gilt moulded block feet <strong>and</strong> has a knopped<br />
brass carrying h<strong>and</strong>le to each side.<br />
The exceptional arch brass dial has a raised chapter ring <strong>and</strong> silvered<br />
engraved bar for the selection of the hours, silent, <strong>and</strong> both quarters<br />
<strong>and</strong> hours. The finely matted dial centre has inset date indication <strong>and</strong><br />
a dummy pendulum aperture. Within the arch, the maker’s signature is<br />
engraved on a raised silvered disc with a wheatear border.<br />
The massive three-train movement, of the finest London<br />
quality, has a finely engraved backplate depicting scrolling<br />
foliage, flowers, birds <strong>and</strong> a cornucopia of flowers. The 8-Day movement<br />
has a train of six bells <strong>and</strong> six hammers for the quarters <strong>and</strong> a separate bell<br />
for sounding the hours. There is also a pull-quarter repeating mechanism.<br />
Date: circa 1735<br />
Height excluding finial: 18 in (51 cm)<br />
* Andrew Dunlop was made free of Clockmakers Company in 1701 <strong>and</strong> he<br />
had his workshop in Spread Eagle Court, Gray’s Inn, London between 1702<br />
<strong>and</strong> 1732. Gr<strong>and</strong>e Sonnerie clocks are particularly rare <strong>and</strong> this is a very fine<br />
example which bears comparison with those of Daniel Quare et al.<br />
24 25
A<br />
JOHN BERRY, LONDON<br />
fine George II period quarter repeating spring table clock veneered<br />
with ebony. The elegant case of rare small size st<strong>and</strong>s on four brass<br />
block moulded feet <strong>and</strong> has an inverted bell top surmounted by a knopped<br />
brass carrying h<strong>and</strong>le.<br />
The 4¾ in (12 cm) brass dial is mounted with crown <strong>and</strong> sceptre corner<br />
sp<strong>and</strong>rels <strong>and</strong> a silvered chapter ring with subsidiary dials in the arch for<br />
strike/silent <strong>and</strong> rise/fall pendulum regulation.<br />
The substantial two train fusée eight day duration movement has quarter<br />
repeat work on five bells with the hours sounded on a separate bell. It has<br />
a verge escapement <strong>and</strong> the back plate is engraved with flowers, foliage <strong>and</strong><br />
a hoho bird.<br />
Date: circa 1730<br />
Height excluding h<strong>and</strong>le: 13 in (32 cm) Dial width: 4¾ in (12 cm)<br />
* John Berry worked with his father of the same name who had been apprenticed<br />
to John Ebsworth in the 1690’s. Their workshop was at the Dial in St Clements<br />
Lane <strong>and</strong> John Junior was active until 1748.<br />
26 27
A<br />
THOMAS CHAPPELL, LONDON<br />
n exceptionally rare George II period shield dial Tavern Clock of<br />
most unusual elongated form, the 8 Day movement with rectangular<br />
shaped plates. On the dial below the chapter ring are two outer angels<br />
playing trumpets <strong>and</strong> a central angel holding a scythe <strong>and</strong> an hour glass.<br />
The chinoiserie decoration on the door is also very distinctive with sun <strong>and</strong><br />
clouds at the top <strong>and</strong> an intimate dining scene below.<br />
Date: circa 1755<br />
Height: 64 in (165 cm) Dial Width: 28 in (70 cm)<br />
* Thomas Chappell is listed as working in Great Tower Street, London between<br />
1754 <strong>and</strong> 1763. This clock is described at length on pages 113 – 114 of Martin<br />
Gatto’s book ‘The Tavern Clock’ where he emphasizes both its rarity <strong>and</strong><br />
uniqueness of form <strong>and</strong> decoration.<br />
28 29
A<br />
CHARLES CABRIER, LONDON<br />
fine George III period chinoiserie red lacquer inverted bell top table<br />
clock, the 8 Day hour striking movement with quarter chimes on 8 bells.<br />
The finely mounted brass dial has a raised silvered chapter ring, a central<br />
alarm disc <strong>and</strong> a subsidiary strike/silent dial within the arch.<br />
The blued steel h<strong>and</strong>s are finely pierced <strong>and</strong> appear to be original <strong>and</strong> the gilt<br />
foliate corner sp<strong>and</strong>rels are well cast <strong>and</strong> chased.<br />
The substantial triple fusee movement has a fully engraved foliate backplate<br />
with a basket of flowers in the centre. The alarm work is mounted within a<br />
subframe to the right h<strong>and</strong> side. The movement retains its original rare<br />
tic tac escapement.<br />
Date: circa 1760<br />
Height: 20½ in (52 cm)<br />
* Charles Cabrier was a third generation clockmaker of the same name, having<br />
succeeded his father <strong>and</strong> gr<strong>and</strong>father. He was active in London between 1752 until<br />
his death in 1777. He was a prolific maker of fine musical table <strong>and</strong> longcase clocks,<br />
especially for the export market to Europe <strong>and</strong> the Far East.<br />
An exceptional pair of musical <strong>and</strong> automaton clocks in the oriental taste are<br />
illustrated in Richard Barder’s book ‘The Georgian Bracket Clock’, Colour Plate 27,<br />
page 164. These were reportedly made for the King of Nepal.<br />
30 31
A<br />
JOHN ROBERTS, ST. JAMES’S, LONDON<br />
gem like miniature burr walnut table clock. The 3½ inch arched brass<br />
dial has two subsidiary dials for strike/silent <strong>and</strong> rise/fall pendulum<br />
regulation <strong>and</strong> inset date above XII.<br />
The backplate of the movement which fills the case is profusely engraved with<br />
scrolling foliage <strong>and</strong> a cornucopia of fruit.<br />
The exceptional diminutive arched case with canted <strong>and</strong> bracketed corners<br />
has highly chased <strong>and</strong> finished gilt mounts <strong>and</strong> inset fretwork panels.<br />
The front <strong>and</strong> rear doors have gilt brass bolection mouldings. The case st<strong>and</strong>s<br />
upon four similarly chased gilt brass foliate feet <strong>and</strong> is surmounted by five<br />
elaborate gilt finials of similar finish.<br />
Date: circa 1765<br />
Height: 8¼ in (21 cm)<br />
* John Roberts is recorded as working in St James’s Market in London between 1765<br />
<strong>and</strong> 1770.<br />
Literature: This rare miniature clock is described <strong>and</strong> illustrated by Michael Hurst in<br />
an article in ‘Antiquarian Horology Volume 4 No 1’ in June 1965.<br />
32 33
A<br />
ROBERT WARD, LONDON<br />
beautifully patinated late George II period walnut veneered table<br />
clock by this good London maker. The eight day movement, which<br />
strikes the hours on a single bell, has a restored verge escapement<br />
<strong>and</strong> short bob pendulum. There is a subsidiary dial in the arch for<br />
strike/silent. The maker’s signature is set on a cartouche above VI.<br />
The dial has gilt foliate corner sp<strong>and</strong>rels <strong>and</strong> a Roman chapter ring<br />
with Arabic minutes. The date indicator is inset above VI <strong>and</strong> there is<br />
a crescent shaped aperture for the false pendulum within the finely<br />
matted dial centre. The elaborate back plate is engraved with flower <strong>and</strong><br />
foliate scrolls.<br />
The elegant case is constructed primarily in oak <strong>and</strong> veneered with highly<br />
figured walnut. It has an inverted bell top with a brass carrying h<strong>and</strong>le<br />
<strong>and</strong> four gilt pineapple finials.<br />
Date: circa 1690<br />
Height: 79½ in (201.5 cm)<br />
* Robert Ward was both a clockmaker <strong>and</strong> goldsmith working in London<br />
between 1751 <strong>and</strong> 1775.<br />
34 35
A<br />
JOSEPH QUARTERMAINE, AYLSBURY<br />
very well preserved Tavern clock with round white dial <strong>and</strong> chinoiserie<br />
decoration.<br />
The case of traditional style with delicately shaped “ears” <strong>and</strong> moulded foot<br />
is finely decorated on the door with a pavilion, oriental figures <strong>and</strong> a pair<br />
of birds. The trunk sides are filled with chrysanthemum sprays. The round<br />
dial with the original crazed ground is written in black with Roman numerals,<br />
double minutes circle <strong>and</strong> outside five minute marks. The pierced brass h<strong>and</strong>s<br />
have heart shaped tips, the minute with counterpoise. The scrolling signature<br />
is written below the dial across the trunk <strong>and</strong> ears.<br />
The timepiece movement of 2 weeks duration has a five wheel train with<br />
anchor escapement <strong>and</strong> steel pendulum rod with brass faced bob. The oval,<br />
brass cased lead weight is a copy of an original.<br />
Date: circa 1780<br />
Height: 57½ in (146 cm) Dial Width: 29½ in (75cm)<br />
* Edward Legg in the st<strong>and</strong>ard work on the county ‘The Clock <strong>and</strong> Watchmakers<br />
of Buckinghamshire’ notes that Joseph Quartermaine was in business during the last<br />
quarter of the 18th century.<br />
36 37
A<br />
ROBERT WOOD, LONDON<br />
rare automaton bracket clock by this well known George III period<br />
clockmaker. The elegant mahogany case has a bell top <strong>and</strong> gilt floral<br />
mounts to the sides with brass foliate ogee bracket feet. The arched door is<br />
bound with a brass moulding, <strong>and</strong> there are well cast brass sound frets to the<br />
front. The whole case has richly figured mahogany veneers.<br />
The 8-Day double fusee verge movement strikes the hours on a single bell.<br />
The arched dial has a matted brass centre, gilt foliate corner sp<strong>and</strong>rels,<br />
inset datework <strong>and</strong> the maker’s signature on an inset disc below XII. Above<br />
XII there is a strike/silent lever. The whole backplate is most beautifully<br />
engraved with flowers <strong>and</strong> foliage which are repeated on the fixing brackets<br />
<strong>and</strong> the cocks.<br />
The pièce de resistance is the beautifully painted arch with its moving<br />
automata. In the centre there is a shepherd with his sheep <strong>and</strong> a red<br />
coated figure with his hat attempting to catch a bird that retreats into the<br />
trees. When the clock strikes the hours, the miller <strong>and</strong> his wife disappear<br />
from view in order to grind the corn as the sails of the windmill rotate.<br />
They reappear after grinding the corn when the sails cease turning.<br />
Date: circa 1770–1775<br />
Height: 19½ in (49 cm) Depth: 8¼ in (21 cm) Width: 12½ in (32 cm)<br />
* Robert Wood was active in London in the last third of the 18th century <strong>and</strong> he<br />
made a number of fine musical <strong>and</strong> automaton clocks.<br />
38 39
A<br />
JOHN WALTER-BROOKE, ST CLEMENT, LONDON<br />
fine <strong>and</strong> rare George III period regulator longcase, the beautiful flame<br />
veneered mahogany case with full length trunk door <strong>and</strong> hood with ogee<br />
moulded top <strong>and</strong> reeded stop chamfers to each side.<br />
The 10 inch square ogee dial is of the conventional regulator type with separate<br />
dials for hours, minutes <strong>and</strong> seconds <strong>and</strong> the maker’s name engraved in the<br />
ogee arch. It retains its original blued steel pointers.<br />
The superb 8-day movement has five boldly turned pillars, dead beat<br />
escapement, maintaining power <strong>and</strong> a large brass pendulum bob with a<br />
wooden rod <strong>and</strong> engraved rating ball. There is also a silvered <strong>and</strong> engraved<br />
beat scale <strong>and</strong> the clock retains its original five spoke pulley <strong>and</strong> brass cased<br />
weight. The pendulum is suspended from a massive brass back-cock.<br />
Date: circa 1790<br />
Height: 77 in (196 cm)<br />
* John Walter-Brooke is listed in Britten’s Old <strong>Clocks</strong> <strong>and</strong> Watches <strong>and</strong> Their Makers<br />
<strong>and</strong> was active in the last quarter of the 18th century. This classic small regulator bears<br />
many resemblances in its case, dial <strong>and</strong> movement to those made by Thomas Mudge.<br />
40 41
A<br />
CHARLES HAYLEY, LONDON<br />
particularly fine, elegant George III longcase clock in a restrained<br />
<strong>and</strong> well proportioned case of architectural design, veneered in well<br />
figured mahogany which has achieved an excellent colour <strong>and</strong> patination.<br />
The case which resembles closely those of Vulliamy st<strong>and</strong>s only 6ft 9 inch<br />
in height. The square brass dial is nicely engraved <strong>and</strong> has a slivered finish<br />
<strong>and</strong> strike/silent lever adjacent to IX. The high quality five pillar movement<br />
has dead beat escapement <strong>and</strong> hour strike on a bell.<br />
Date: circa 1785<br />
Height: 81 in (206 cm)<br />
* Charles Haley is recorded as a famous maker who worked in Wigmore Street<br />
from 1781 to 1825. He was noted for his precision work <strong>and</strong> made both watches<br />
<strong>and</strong> chronometers. Examples of his work are recorded in the Science Museum,<br />
the Greenwich Observatory Museum <strong>and</strong> the Ilbert <strong>and</strong> Wetherfield collections.<br />
42 43
A<br />
PAYNE, 163 NEW BOND STREET, LONDON<br />
fine English carriage clock in a rosewood veneered four-glass<br />
case st<strong>and</strong>ing on adjustable brass bun feet; the case rising to an<br />
ormolu carrying h<strong>and</strong>le.<br />
The two train fusée movement has a high quality compensated platform<br />
lever escapement, with maintaining power. The hours are sounded on a<br />
gong <strong>and</strong> there is a soft/loud control operated from the side of the case –<br />
a rare but sought after feature.<br />
The gilt brass dial is finely engraved within <strong>and</strong> around the roman chapter<br />
ring. Both the dial <strong>and</strong> the backplate are signed by the maker.<br />
Date: circa 1840<br />
Height excluding h<strong>and</strong>le: 9 in (23 cm)<br />
* Payne worked in London during the first half of the nineteenth century<br />
producing many fine mantel <strong>and</strong> carriage clocks.<br />
44 45
46 47
A BRIEF HOROLOGICAL BIBLIOGRAPHY<br />
Baillie, GH, Watchmakers & Clockmakers of the World, NAG Press Ltd, Eds 1969<br />
Barder, Richard, C.R, The Georgian Bracket Clock, ACC, 1993<br />
Britten, FJ, Old <strong>Clocks</strong> & Watchmakers & Their Makers, Batsford, Fifth Edition<br />
Bruton, Eric, The Wetherfield Collection of <strong>Clocks</strong>, NAG Press 1981<br />
Cescinsky <strong>and</strong> Webster, English Domestic <strong>Clocks</strong>, Chancery House, 1976<br />
Dawson, PG, Drover CB, Parkes DW, Early English <strong>Clocks</strong>, <strong>Antique</strong> Collectors<br />
Club 1982<br />
Evans, Jeremy, Thomas Tompion at the Dial <strong>and</strong> Three Crowns, AHS, 2006<br />
Gatto, Martin D, The Tavern Clock, 2010<br />
Horological Masterworks, AHS, 2003<br />
Huygens’ Legacy, The Golden Age of the Pendulum Clock, Fromanteel Ltd, 2004<br />
Lee, Ronald A, The Knibb Family * Clockmakers, The Manor House Press, 1964<br />
Loomes, Brian, The Early Clockmakers of Great Britain, NAG Press, 1981<br />
Loomes, Brian, Watchmakers <strong>and</strong> Clockmakers of the World, NAG Press, 2006<br />
Rose, Ronald.E, English Dial <strong>Clocks</strong>, ACC 2000<br />
Symonds, RW, Thomas Tompion His Life <strong>and</strong> Work, Batsford, 1951<br />
White, George, English Lantern <strong>Clocks</strong>, ACC, 1989<br />
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