Engraving on English Table Clocks:
Art on a Canvas of Brass, 1660-1800
Antique clocks are recognized as one of the great achievements in decorative arts and command broad appeal from those interested in both the science of timekeeping and the beauty of antiques. Within the field of antiquarian horology, English table clocks produced during the years 1660-1800 are distinguished by the elaborate decorative metal engraving found on the backplate. This text is an account of the development and progression of backplate engraving during those years. Our story begins in the mid-17th century with the application of the pendulum to timekeeping. At the turn of the 18th century, England was producing magnificent clocks such as one shown at the right. Throughout the 18th century English horology continued to advance the science of timekeeping, but also retained a tradition of individual craftsmanship. As a result, the work of this era preserves a balance of science and art that many who enjoy horology find particularly appealing.
Table clocks from this period are now centuries old and nearly all have required some degree of conservation and restoration. Wooden cases deteriorate, delicate metal hands break, dials tarnish. Movements may need parts revised to sustain the clock’s original design or may have previously received completely new works as part of deliberate alterations. However, the engraving found on the backplate is rarely a matter for change, and the overwhelming majority of plate engravings are completely original to the clock. This gives the study of backplate engraving an advantage when considering the progress and evolution of table clocks.
This book is meant to be an introductory survey of backplate decoration on English table clocks. The goal is to share an appreciation for the evolution in engraving design that occurred during the late 17th century and throughout the 18th century. A detailed analysis of individual makers or individual engravers is not intended. However, this overview will introduce readers to the history, technique, and the artistry required to decorate brass with complex images using nothing more than a steel hand tool. Most of all, it is hoped that readers of this work will find new appreciation for those English table clocks that have survived to this day and will be re-inspired to preserve them for future generations.
The work is divided into three sections. Section I presents the artistic foundations and practical aspects of engraving from the vantage point of the 17th century. Section II analyses the dramatic development of backplate engraving during England’s Golden Age of horology. Section III traces the progression of engraving through the 18th century until its eventual decline.
Throughout the text, readers will see many examples in which independent clockmakers produced clocks that exhibit nearly identical backplate engraving. There can be no doubt that clockmakers shared the talents of individual engravers. We hope these examples will not only draw attention to the relationships between different makers and their work but also stimulate further research based on engraving details. When comparing backplates, the text focuses on similarities rather than differences. While similarities of detail between two works do suggest the same artist, differences do not necessarily imply different engravers. Skilled engravers could easily adapt to changing decorative fashions, use new design templates, and create works that changed with the times. Despite these challenges, additional research on clock engraving should prove valuable not only to more accurately estimate the date that individual clocks were made, but also to uncover relationships between makers that have not yet been recognized.
To maintain the focus of this book, several topics associated with clock engraving are not covered. I do not address the promising area of engraving on clock dials. The very related practices of watch engraving, goldsmith arts, and decorative engraving of silver and other precious metals are not covered. The allied decorative arts of wood marquetry, textiles and porcelain decoration which influenced the style and taste of ornamentation found on clock backplates are also left for further work. These omissions allowed the text to be more focused and concise.
Art on a Canvas of Brass represents a study of backplate images from over 1,000 English table clocks and would not have been possible without the very kind and generous support of noted experts in English horology. I am especially grateful to those individuals whose names are listed below in alphabetical order. They gave freely of their time and knowledge, and it is a privilege to reproduce images from their collections for the benefit of the reader. Of particular note, during the preparation of the book, the horological family lost Mr Tony Woodburn. He is dearly missed by all who experienced his joy and expert knowledge of English horology.
Sincere appreciation to:
Tobias Birch, Fine Antique Clocks
Jonathan Carter, Carter and Marsh Fine Clocks and Watches
Oliver Cooke, Curator, Horological Collections, British Museum
Jeremy Lancelotte Evans, Tompion expert, England
Leighton Gillibrand, Clocks and Scientific Instruments, Dreweatts
Celia Harvey, Clocks, Marine Chronometers & Barometers, Christie’s
Jonathan Hills, Clocks & Barometers, Sotheby’s
Menno Hoencamp, Mentink & Roest
https://www.mentinkenroest.com/en/
Tessa Murdoch, Deputy Keeper, Victoria and Albert Museum
Stefan Muser, Auktionen Dr. Crott
Nigel Raffety, Fine Antique Clocks
Jonathan Snellenburg, Clocks and Watches, Bonhams, New York
James Stratton, Fine Clock Department, Bonhams, London
Howard Walwyn, Fine Antique Clocks
Anthony Woodburn, Fine 17th and 18th century English clocks and barometers
Ben Wright, Exceptional Clocks
Numerous horological texts were also an important resource, and I am very grateful for permission to reproduce previously published images. In particular, I wish to call the Reader’s attention to the following outstanding works:
Antiquarian Society. Horological Masterworks (2003)
Barder RC. The Georgian Bracket Clock 1714-1830 (1993)
Dawson PG, Drover CB, and Parkes DW. Early English Clocks (1982)
Evans J, Carter J, Wright B. Thomas Tompion 300 Years (2013)
Garnier R and Carter J. The Golden Age of English Horology (2015)
Garnier R and Hollis L. Innovation and Collaboration (2018)
Radage D, Meinen W, Radage L. Charles Gretton: Clock and watchmaking through the Golden Age (2016)
Vehmeyer HM. Clocks: Their origin and development, 1320-1880 (2004)
The author is also appreciative of the contributions to the text made by Professor Stephen Harris, the Druce Curator in the Department of Plant Sciences at Oxford University (www.plants.ox.ac.uk/people/stephen-harris) who gave most valuable advice on the identification of flower species found on tulip-engraved clocks. Special appreciation is also extended to Mrs Joke Dubbeldam (Atelier Dubbeldam, Barendrecht, the Netherlands, www.jokedubbeldam.nl) who provided an expert critical review of the section devoted to 17th and 18th century engraving techniques. I am especially grateful to Mr Jeremy Evans who generously shared his encyclopedic knowledge of Thomas Tompion and who provided backplate images otherwise not available to me. Although greatly aided by the above sources, the text is my own and I am responsible for any errors, omissions, or insights that may later prove to be incorrect.
I wish to give very special appreciation to Mr Wim van Klaveren www.clockconservator.com who provided critical editorial review, encouragement, experience, and knowledge throughout the preparation of the work. Without the unselfish and unwavering support of Mr van Klaveren, this book would not have been possible.
Finally, I wish to acknowledge the expert graphic design of Ms Stephanie Anderson of Jera Publishing. The text is presented in a modern variation of Caslon font originally developed by William Caslon in 18th century England. The book was printed with great attention to detail by Holywell Press in Oxford, UK.
A word on clock dates:
For each clock in which the full backplate image is shown, we supply the estimated year that the clock was made followed by the digital library reference number. For example, “Figure 7.3 shows a clock made by Joseph Knibb [1695, K1-7]” indicates the estimated date of production was 1695. In general, dates are taken directly from the source that supplied the image. When no date was supplied, the estimated date was assigned by either Mr van Klaveren or myself.
Digital library of images for further study:
The text is supported by a supplemental on-line library of clock images. The digital library can be accessed at www.englishtableclocks.org at no cost. For each figure shown in the text, an identification number in brackets refers to the image in the digital library. This identification number is based on the maker’s name followed by the clock number. For example, “a clock by Charles Gretton [G1-13]” refers to the 13th clock listed in the digital library by maker G1. The text includes over 400 cross-references to clock images available in the library but not pictured in the book. This increases the number of examples of engravings to which the reader has access. The digital library also allows the reader to enlarge the image on the computer screen or smart phone in order to see more detail. For those images found in published references, the source reference is also given. Images in the digital library are for educational purposes only and should not be downloaded or reproduced, nor used commercially in any way. They are solely intended as a source for additional study.
I very much hope you will enjoy this work and will learn from it.
Sunny Dzik
Boston, 2019