From ANTIQUES & COLLECTABLES
Grandfather Clocks, My Favourite Things
Although I earn my living as a dealer in antique clocks I started, as many in the business did, as an avid collector, appreciating the tremendous specialist skill and artistry drawn together and blended to make something not only aesthetically pleasing but functional too.
I have been fortunate in handling clocks with exquisitely engraved dials, finely cut wheelwork, in superbly crafted cases of outstanding proportions using the very best raw materials and disparate skills available at the time.
I'd like to share with you a few of my favourites explaining why they are favourites and to point out what I consider their appealing points.
One of my first really good marquetry Longcases was a small, pretty, example by John Ebsworth of London circa 1685 with 10" square brass dial, bolt and shutter maintaining power, original rising hood, and outside countwheel striking high up on the backplate. At this early period many of the cases had olivewood "oysters" instead of the walnut backgrounds found on the slightly later 11" (and subsequently 12) examples.
The first thing I do when assessing a marquetry case is to lay on the floor and examine the base in detail, inch by inch, usually with a mini maglite, as so many have been heavily restored (to the point of complete renewal). It pays to go over every square inch of the case, then lay the case down on a convenient bench if possible to inspect the inside of the carcass. Again a mini maglite is useful and convenient, I hang mine around my neck on a nylon lanyard so it's always to hand. Sometimes the light is not needed as the restoration has been so crude that it stands out a mile and requires but a glance before rejection.
The majority of early marquetry cases I've encountered have been converted from rising hood to opening hood door, or at least to slide off hood. Grooves or vestiges of grooves at the rear of the hood usually confirm. It's easy to see why such "improvements" were made in the name of convenience and I'm not too upset by this although of course we all admire and prefer purity. In my experience the 10" and 11" dial versions are the ones most likely to be converted, as by the time of 12" dials (circa 1700) they were essentially opening hood door anyway. Incidentally there are many who, although mindful of the desirability of the early (10?) examples rate the 11" version the more desirable in terms of exact proportion with the 12" coming third. Personally, I feel that each should be viewed on its individual merits having seen some exquisitely proportioned examples of each type.
To sum up: The Ebsworth was a favourite (I say "was" because it was sold out of necessity) being early - circa 1685, having olive wood "oysters" instead of walnut background, it retained it's original rising hood, had bolt and shutter maintaining power and was a particularly original example.
The next good marquetry that came my way I was determined to keep as a "pension fund" item. (Bear in mind that clocks do not attract Capital Gains Tax being mechanical and subject to "wearing out" the same as plant and machinery). A loophole some might say.
Good proportions, good colour, good, finely cut marquetry, 11" dial and a month going movement were the attractions of my next "favourite" - by William Martin of Bristol circa 1695. Amazingly this clock keeps better time than the Longcase regulators I have - even with their beautifully precise dead beat escapements, high count wheel trains, mercury jar compensating pendulums and (in one case) chronometer maker pedigree.
It is believed that William Martin was trained in London before moving to Bristol where he was married in 1689. Certainly the quality of workmanship and stylistic similarities to London work of the time seem to bear this out.
The third and final "favourite" marquetry I decided to keep in my "pension fund? is by Peter Garon of London circa 1695 (Pictured Above). It is believed that William Martin was trained in London before moving to Bristol where he was married in 1689. Certainly the quality of workmanship and stylistic similarities to London work of the time seem to bear this out.
The hands are exquisitely cut and "carved", the marquetry is cut with skill and finesse and is amongst the finest I have yet seen. I particularly like the well executed movement with it's five knopped, ringed and finned pillars, the "between the spandrels" detailed foliate engraving, the very finely and evenly matted dial centre and the signature engraved in the centre of the 11" dial rather than on the chapter ring.
It's worth noting that good colour and very finely cut marquetry can add enormously to the price and desirability of an early clock (or not!). This was particularly evident when I travelled to a large international Spring auction in Scandinavia eighteen months ago to vet a clock for an existing customer of mine who like so many of my customers have become personal friends. We arrived the night before the auction, got an early morning taxi to the venue and allowed plenty of time for examination. It transpired that we didn't need much time at all, the undesirability being obvious, and my input superfluous.
The clock was a 12" version by a very well known London maker (a "basic" movement with "the name but not the quality) the colour was "muddy", the marquetry was as though produced with a pastry cutter i.e. no finesse, it was in appalling condition and the seatboard was packed with "stuffers" to centralise the dial in the mask. Big disappointment. It made, to my mind, far, far, more than it should have to a buyer on one of the bank of telephones who I suspect had seen only a skilfully contrived email image (as my customer and I had seen) and would soon be facing a horrendous restoration bill "of biblical proportions" as they say. Desirable. I think not.
That could never have been anyone's favourite. Ever!
Reprinted from Clocks Magazine
Written By Allan Smith - www.allansmithantiqueclocks.co.uk
Amity Cottage,162 Beechcroft Road,Upper Stratton,Swindon, Wiltshire,SN2 7QE
Tel: 01793 822977 Email: allansmithclocks@ntlworld.com
I have been fortunate in handling clocks with exquisitely engraved dials, finely cut wheelwork, in superbly crafted cases of outstanding proportions using the very best raw materials and disparate skills available at the time.
I'd like to share with you a few of my favourites explaining why they are favourites and to point out what I consider their appealing points.
One of my first really good marquetry Longcases was a small, pretty, example by John Ebsworth of London circa 1685 with 10" square brass dial, bolt and shutter maintaining power, original rising hood, and outside countwheel striking high up on the backplate. At this early period many of the cases had olivewood "oysters" instead of the walnut backgrounds found on the slightly later 11" (and subsequently 12) examples.
The first thing I do when assessing a marquetry case is to lay on the floor and examine the base in detail, inch by inch, usually with a mini maglite, as so many have been heavily restored (to the point of complete renewal). It pays to go over every square inch of the case, then lay the case down on a convenient bench if possible to inspect the inside of the carcass. Again a mini maglite is useful and convenient, I hang mine around my neck on a nylon lanyard so it's always to hand. Sometimes the light is not needed as the restoration has been so crude that it stands out a mile and requires but a glance before rejection.
The majority of early marquetry cases I've encountered have been converted from rising hood to opening hood door, or at least to slide off hood. Grooves or vestiges of grooves at the rear of the hood usually confirm. It's easy to see why such "improvements" were made in the name of convenience and I'm not too upset by this although of course we all admire and prefer purity. In my experience the 10" and 11" dial versions are the ones most likely to be converted, as by the time of 12" dials (circa 1700) they were essentially opening hood door anyway. Incidentally there are many who, although mindful of the desirability of the early (10?) examples rate the 11" version the more desirable in terms of exact proportion with the 12" coming third. Personally, I feel that each should be viewed on its individual merits having seen some exquisitely proportioned examples of each type.
To sum up: The Ebsworth was a favourite (I say "was" because it was sold out of necessity) being early - circa 1685, having olive wood "oysters" instead of walnut background, it retained it's original rising hood, had bolt and shutter maintaining power and was a particularly original example.
The next good marquetry that came my way I was determined to keep as a "pension fund" item. (Bear in mind that clocks do not attract Capital Gains Tax being mechanical and subject to "wearing out" the same as plant and machinery). A loophole some might say.
Good proportions, good colour, good, finely cut marquetry, 11" dial and a month going movement were the attractions of my next "favourite" - by William Martin of Bristol circa 1695. Amazingly this clock keeps better time than the Longcase regulators I have - even with their beautifully precise dead beat escapements, high count wheel trains, mercury jar compensating pendulums and (in one case) chronometer maker pedigree.
It is believed that William Martin was trained in London before moving to Bristol where he was married in 1689. Certainly the quality of workmanship and stylistic similarities to London work of the time seem to bear this out.
The third and final "favourite" marquetry I decided to keep in my "pension fund? is by Peter Garon of London circa 1695 (Pictured Above). It is believed that William Martin was trained in London before moving to Bristol where he was married in 1689. Certainly the quality of workmanship and stylistic similarities to London work of the time seem to bear this out.
The hands are exquisitely cut and "carved", the marquetry is cut with skill and finesse and is amongst the finest I have yet seen. I particularly like the well executed movement with it's five knopped, ringed and finned pillars, the "between the spandrels" detailed foliate engraving, the very finely and evenly matted dial centre and the signature engraved in the centre of the 11" dial rather than on the chapter ring.
It's worth noting that good colour and very finely cut marquetry can add enormously to the price and desirability of an early clock (or not!). This was particularly evident when I travelled to a large international Spring auction in Scandinavia eighteen months ago to vet a clock for an existing customer of mine who like so many of my customers have become personal friends. We arrived the night before the auction, got an early morning taxi to the venue and allowed plenty of time for examination. It transpired that we didn't need much time at all, the undesirability being obvious, and my input superfluous.
The clock was a 12" version by a very well known London maker (a "basic" movement with "the name but not the quality) the colour was "muddy", the marquetry was as though produced with a pastry cutter i.e. no finesse, it was in appalling condition and the seatboard was packed with "stuffers" to centralise the dial in the mask. Big disappointment. It made, to my mind, far, far, more than it should have to a buyer on one of the bank of telephones who I suspect had seen only a skilfully contrived email image (as my customer and I had seen) and would soon be facing a horrendous restoration bill "of biblical proportions" as they say. Desirable. I think not.
That could never have been anyone's favourite. Ever!
Reprinted from Clocks Magazine
Written By Allan Smith - www.allansmithantiqueclocks.co.uk
Amity Cottage,162 Beechcroft Road,Upper Stratton,Swindon, Wiltshire,SN2 7QE
Tel: 01793 822977 Email: allansmithclocks@ntlworld.com
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