Precious Time: The Lilies Lantern Clock, 1650

Lantern Clock of Silver
David Bouquet, 1650
The Victoria & Albert Museum

Lantern clocks such as the one pictured here were first developed in England in the 1620s. The name “lantern” is thought to have come from the word “laton” - meaning brass - as most of these timepieces featured brass cases.

These clocks were always driven by weights and were made to stand on a bracket or to hang on the wall.

This clock is exceptional in that it is the only known lantern clock with a silver, and not brass, case. The dial plate, chapter ring, alarm disc, side doors and pierced silver gallery are all comprised  of silver. Because of the unusual medium, we can only assume that this clock was a special commission for a wealthy patron from David Bouquet, a French immigrant who was admitted to the Blacksmiths' Company in 1628.  Bouquet joined the Clockmakers' Company as a founding member in 1632.  He was known for his fine engraving—work which we can see nicely here.  The front of the clock is engraved with pinks, tulips, lilies and other flowers.  Meanwhile,  above, an openwork gallery is surmounted by pierced floral crestings with vases at the corners.

The clock dates to about 1650.

Precious Time: A Sixteenth Century Mechanical Clock

Click on image to enlarge.
Mechanical Clock
Sixteenth Century
The Victoria & Albert Museum

Mechanical clocks were the iPads of the Sixteenth Century. Okay, not really. But, they were the epitome of Sixteenth Century technical ingenuity. Not only were they functional and attractive, they were also costly status symbols. Functional though they were, they were not too dependable and, well…at this point in history, people actually had better luck telling time by watching the movement of the sun.

Here’s a great example of a Sixteenth Century mechanical clock. While the clockworks are a replacement, the construction of the case and mechanism, in which a mythical monster (perhaps a griffin) supports the dial, is very similar to others of the same period—specifically in that the mechanism is hidden in the base and not in the figure itself.

When the clock was striking the hours, the monster’s beak opened and closed and, his wings flapped. Neat!

Honestly, the only thing in the then-near future, that threatened the dominance of the mechanical clock was the development of the steam engine in the late Eighteenth Century.

Precious Time: The Lilies Lantern Clock, 1650

Lantern Clock of Silver
David Bouquet, 1650
The Victoria & Albert Museum

Lantern clocks such as the one pictured here were first developed in England in the 1620s. The name “lantern” is thought to have come from the word “laton” - meaning brass - as most of these timepieces featured brass cases.

These clocks were always driven by weights and were made to stand on a bracket or to hang on the wall.

This clock is exceptional in that it is the only known lantern clock with a silver, and not brass, case. The dial plate, chapter ring, alarm disc, side doors and pierced silver gallery are all comprised  of silver. Because of the unusual medium, we can only assume that this clock was a special commission for a wealthy patron from David Bouquet, a French immigrant who was admitted to the Blacksmiths' Company in 1628.  Bouquet joined the Clockmakers' Company as a founding member in 1632.  He was known for his fine engraving—work which we can see nicely here.  The front of the clock is engraved with pinks, tulips, lilies and other flowers.  Meanwhile,  above, an openwork gallery is surmounted by pierced floral crestings with vases at the corners.

The clock dates to about 1650.

Precious Time: Thomas Jefferson’s Astronomical Clock, 1812

Astronomical
Clock
1812
Thomas Voight
Mahogany, Walnut
Monticello

The third President of the United States was a scientific kind of guy and liked to be as precise about everything as possible—this included the time of day. He didn’t feel that everyone needed to be as precise as he was. For example, the clock on the outside of Monticello only has an hour hand because Jefferson didn’t think that the field workers needed to know the minutes, but that’s another issue.

Jefferson always wanted an Astronomical Clock—like King George III, darn it! In fact, he even commissioned a young clockmaker, David Rittenhouse (no relation to Ulrika) to make one for him. But, there was a little historical hiccup which prevented the swift completion of the clock—that pesky Revolutionary War.

It wasn’t until 1812 that Jefferson finally got his Astronomical Clock. This tall-case mahogany and walnut clock by Thomas Voight told the time, the lunar phase and the day of the week. It was purposely made without a striking mechanism so that it could be used in Jefferson’s bedroom without distrubing his sleep. It’s pretty, but not too exceptional. However, it seemed to please the President a great deal.

Precious Time: The John Jones Elephant Clock, 1760

Table Clock
Martinot and Caffieri for Marchands Merciers
Paris, 1760
The Victoria & Albert Museum

The movement for this handsome table clock was created by Jerome Martinot (1671-1724). The case was designed by Philippe Caffieri (1714-1774). The entire piece was assembled by Marchands Merciers in Paris around 1760. The firm was known for its luxurious time pieces which included such fine materials as bronze, horn, porcelain and ormolu. Some even included an organ in the base. Although the surface chasing on the V&A's example is not of the highest quality, this may be explained by later regilding.

This clock suffered some questionable Nineteenth Century alterations which included a new base, a new dial and a pretty shoddy re-gilding. Nevertheless, it’s still an attractive piece with its drum of chased ormolu surmounted by the seated figure of a draped monkey holding a parasol and a horn. The drum rests on the back of a bronze elephant who is perched upon a base of ormolu rockwork and a rectangular stand of ebony and ormoulu. The case is signed "fait par Caffieri" and on the back of the movement, it is marked "Jerome Martinot a Paris."

Precious Time: Vase à Médaillon du Roi (The Medallion of the King), 1767-68

Porcelain Vase and Lid with Clock and Medallion
1767-1768
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made by the Sèvres Porcelain Factory between 1767 and 1768, this clock is composed of a vase and cover of soft-paste and biscuit porcelain with a “bleu nouveau” ground. It features gilded decoration and gilt bronze mounts.

The egg-shaped vase with gilt-dot circle decoration is inset with a clock. The scrolls at the sides of the piece are joined by gilded oak swags. At the reverse, a mounted biscuit medallion shows the right profile of Louis XVI.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Object of the Day, Museum Edition: The Talbert Clock, c. 1865

Gothic Revival Clock
Bruce Talbert, 1865
The Victoria & Albert Museum

The Gothic Revival soared in Britain in the 1860s and 1870s. Known for the incorporation of architectural themes and shapes, the revival interjected a stateliness to the most commonplace objects. Clocks were the perfect form for this style. This example from the V&A by Bruce Talbert shows the architectural quality of clocks of this era. 

Bruce Talbert (1838-1881) was is remembered as a highly celebrated commercial designer who designed metalwork, furniture, textiles, carpets, wallpapers and stained glass. Talbert was also an author, known for his significant 1868 book, “Gothic Forms Applied to Furniture, Metal Work and Decoration for Domestic Purposes.” The tome was full of illustrations depicting a range of designs which Talbert created in the Gothic Revival style. Talbert famously designed lines of furniture for Skidmores of Coventry—a prominent and fashionable manufacturer of architectural metalwork. Skidmores of Coventry made this clock around 1865.

Monumental in scale, the clock is ostensibly a large bracket clock in the form of a building with columns supporting an ornamental roof. Both The front of the piece is enameled with patterns inspired by Celtic designs. Inscribed below clock face are the Latin words “TEMPUS FUGIT.” 

Precious Time: The Sunflower Clock, 1752

The Sunflower Clock, 1752-1820
Vincennes and others
ALL IMAGES:
The Royal Collection
Crown Copyright
Image Courtesy of
Her Majesty Queen Elizabeth II

This curious clock is said to have once belonged to Madame de Pompadour, the mistress of French King Louis XV though that can’t truly be verified. It is, however, decidedly French in origin.

A porcelain vase which is painted with romantic scenes and adorned with sculpted insects has been filled with a bouquet of china flowers (held aloft on green wire stems). The central flower is a disguised clock-face with the hands cleverly mounted in the middle of a great sunflower. The clock’s case was created by the porcelain-makers, Vincennes.

British King George IV acquired this peculiar timepiece in France in 1819 while he was still Prince Regent. Upon bringing the clock to England, he had it altered rather dramatically. Twin handles of gilt serpents were added, a base with flanking branch candelabra was attached to the urn and a variety of new porcelain flowers were incorporated into the display. Not only that, but much of the original work by Vincennes was covered-over with jewels. No one’s quite sure why these changes were made, except for the fact that styles change with time.

Precious Time: The Cartier Owl Clock, c. 1932

Desk Clock
Cartier, c. 1932
Presented to Queen Mary
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Lapis lazuli, nephrite, mother-of-pearl, enamel, gold, diamonds and sapphires comprise this gorgeous desk clock, a gift from Sir Philip Sassoon to Queen Mary, consort of King George V, on the occasion of Her Majesty's birthday on May 26, 1932.  

Made by Cartier, this ball-shaped clock boasts a flattened mother-of-pearl face (with gold hands) set upon a case of lapis lazuli.  The gold frame around the clock face is adorned with groups of two sapphires on either side of diamonds.  The ball-shaped case sits upon a base formed by three geometricized nephrite owls with sapphire eyes and a triangular lapis plinth with a mother-of-pearl star and silver base.

Precious Time: The Lilies Lantern Clock, 1650

Lantern Clock of Silver
David Bouquet, 1650
The Victoria & Albert Museum

Lantern clocks such as the one pictured here were first developed in England in the 1620s. The name “lantern” is thought to have come from the word “laton” - meaning brass - as most of these timepieces featured brass cases.

These clocks were always driven by weights and were made to stand on a bracket or to hang on the wall.

This clock is exceptional in that it is the only known lantern clock with a silver, and not brass, case. The dial plate, chapter ring, alarm disc, side doors and pierced silver gallery are all comprised  of silver. Because of the unusual medium, we can only assume that this clock was a special commission for a wealthy patron from David Bouquet, a French immigrant who was admitted to the Blacksmiths' Company in 1628.  Bouquet joined the Clockmakers' Company as a founding member in 1632.  He was known for his fine engraving—work which we can see nicely here.  The front of the clock is engraved with pinks, tulips, lilies and other flowers.  Meanwhile,  above, an openwork gallery is surmounted by pierced floral crestings with vases at the corners.

The clock dates to about 1650.

Unusual Artifacts: The Tournai Porcelain Clockcase, 1770

The Victoria & Albert Museum

This clock case of soft-paste porcelain takes the form of a scrollwork pedestal on a rocky base.  Upon the case, a group of six cupids adds fluttering adornment. The leafy branches and trailing sprays of flowers bring further natural elegance to this piece made in Tournai around 1770 Nicholas Lecreux for the Tournai Porcelain Factory. 

Precious Time: A Sixteenth Century Mechanical Clock

Click on image to enlarge.
Mechanical Clock
Sixteenth Century
The Victoria & Albert Museum

Mechanical clocks were the iPads of the Sixteenth Century. Okay, not really. But, they were the epitome of Sixteenth Century technical ingenuity. Not only were they functional and attractive, they were also costly status symbols. Functional though they were, they were not too dependable and, well…at this point in history, people actually had better luck telling time by watching the movement of the sun.

Here’s a great example of a Sixteenth Century mechanical clock. While the clockworks are a replacement, the construction of the case and mechanism, in which a mythical monster (perhaps a griffin) supports the dial, is very similar to others of the same period—specifically in that the mechanism is hidden in the base and not in the figure itself.

When the clock was striking the hours, the monster’s beak opened and closed and, his wings flapped. Neat!

Honestly, the only thing in the then-near future, that threatened the dominance of the mechanical clock was the development of the steam engine in the late Eighteenth Century.

Object of the Day, Museum Edition: A French Bronze and Alabaster Mantel Clock, 1860

Mantel Clock, 1860
Alabaster, Bronze, Ormolu
Victoria & Albert Museum

Everyone in my family has an affinity for antique clocks. We’d be quite pleased to own this one. However, The Victoria & Albert Museum got to it first.


With a movement created by the famed French firm Japy Frères, this clock dates to 1860. The clock case—set atop an ebonized base and under a glass dome—was most likely crafted for the retailer, H.Y. Marc of Paris. The alabaster case features a shimmering bronze and ormolu sculpture of a warrior atop a charging stead. The timepiece is an excellent example of the singularly fine craftsmanship of the French clockmakers of the period.

Precious Time: The Sunflower Clock, 1752

The Sunflower Clock, 1752-1820
Vincennes and others
The Royal Collection
Crown Copyright
Image Courtesy of
Her Majesty Queen Elizabeth II

This curious clock is said to have once belonged to Madame de Pompadour, the mistress of French King Louis XV though that can’t truly be verified. It is, however, decidedly French in origin.

A porcelain vase which is painted with romantic scenes and adorned with sculpted insects has been filled with a bouquet of china flowers (held aloft on green wire stems). The central flower is a disguised clock-face with the hands cleverly mounted in the middle of a great sunflower. The clock’s case was created by the porcelain-makers, Vincennes.

British King George IV acquired this peculiar timepiece in France in 1819 while he was still Prince Regent. Upon bringing the clock to England, he had it altered rather dramatically. Twin handles of gilt serpents were added, a base with flanking branch candelabra was attached to the urn and a variety of new porcelain flowers were incorporated into the display. Not only that, but much of the original work by Vincennes was covered-over with jewels. No one’s quite sure why these changes were made, except for the fact that styles change with time.

Precious Time: A Magnificent Clock by Vulliamy & Son, 1807

Egyptian Revival Clock
1807-1808
Vulliamy & Son
The Victoria & Albert Museum

Early Nineteenth Century discoveries of Egyptian artifacts caused an interest in the style of ancient Egypt and a spate of objects designed in England in the Egyptian taste. This style was especially dominant in objects with an inherent architectural quality such as clocks and tombstones.


This gorgeous clock in the Egyptian style in the work of English clockmakers Vulliamy & Son. The case is supported by figures of the god, Horus and is adorned with patinated bronze and ormolu.

Before being donated to the Victoria & Albert Museum, this clock was in the collection of Queen Mary prior to her marriage to King George V.

Precious Time: An Italian Porcelain Clock, 1770

Porcelain Clockcase
Doccia Porcelain Factory, 1770
The Victoria & Albert Museum

Though it features a newer movement of Victorian origin, this clock case was made in Italy by the Doccia Porcelain Factory in 1770. The complicated figural group remains bright white, though some examples have been painted in polychrome. Here, upon a matching pedestal, four dolphins support the case which is surmounted by an allegorical group. 

Two female figures flank the clock face, upon which sits a winged man—representing time. The clock face is surrounded by a wreath of olive branches.

Precious Time: Napoleon Bonaparte’s Pietre Dura Clock, 1804

Triumphal Arch Clock
Raffaelli and Breguet, 1804
The Victoria & Albert Museum

This magnificent clock wants to be studied. An impressive combination of various stones and gilt bronze, the clock takes the form of a Triumphal Arch of red and white antique marble with shimmering columns of amethyst topped by gilt bronze Corinthian capitals.


The two panels which flank the arch show micromosaic, pietre dure panels depicting military trophies. These pietre dure ornaments as well as other decorative inlays consist of amethyst, lapis lazuli, malachite, labradorite, jasper, agate, marble, and glass.

The whole of the clock case—designed by Giacomo Raffaelli—is surmounted by gilt bronze figures of Victory and Fame while the niche in the archway protects a statuette of Mars. Raffaelli and clockmaker Abraham-Louis Breguet worked together to create this gorgeous timepiece, hoping it would find its way into a prominent home. And, it certainly did.

Pope Pius VII had entrusted Venetian Sculptor Antonio Canova with the task of finding suitable gifts to present to Napoleon Bonaparte on the event of his coronation. The “Triumphal Arch Clock” (as it is known) was among the items selected by Canova for the occasion.

The Empress Josephine was said to have favored the clock and kept it as the centerpiece of her collection. Later, the clock was sold to pay off mounting debts. Purchased by Sir Arthur Gilbert and his wife Rosalinde in 1976, the clock was added to their impressive collection of decorative arts—considered one of the world’s greatest such collections. Gilbert loaned the clock to the Victoria & Albert Museum in 1996 where it remains on loan to this day.

Precious Time: A Sixteenth Century Mechanical Clock

Click on image to enlarge.
Mechanical Clock
Sixteenth Century
The Victoria & Albert Museum

Mechanical clocks were the iPads of the Sixteenth Century. Okay, not really. But, they were the epitome of Sixteenth Century technical ingenuity. Not only were they functional and attractive, they were also costly status symbols. Functional though they were, they were not too dependable and, well…at this point in history, people actually had better luck telling time by watching the movement of the sun.

Here’s a great example of a Sixteenth Century mechanical clock. While the clockworks are a replacement, the construction of the case and mechanism, in which a mythical monster (perhaps a griffin) supports the dial, is very similar to others of the same period—specifically in that the mechanism is hidden in the base and not in the figure itself.

When the clock was striking the hours, the monster’s beak opened and closed and, his wings flapped. Neat!

Honestly, the only thing in the then-near future, that threatened the dominance of the mechanical clock was the development of the steam engine in the late Eighteenth Century.

Precious Time: The John Jones Elephant Clock, 1760

Table Clock
Martinot and Caffieri for Marchands Merciers
Paris, 1760
The Victoria & Albert Museum

The movement for this handsome table clock was created by Jerome Martinot (1671-1724). The case was designed by Philippe Caffieri (1714-1774). The entire piece was assembled by Marchands Merciers in Paris around 1760. The firm was known for its luxurious time pieces which included such fine materials as bronze, horn, porcelain and ormolu. Some even included an organ in the base. Although the surface chasing on the V&A's example is not of the highest quality, this may be explained by later regilding.

This clock suffered some questionable Nineteenth Century alterations which included a new base, a new dial and a pretty shoddy re-gilding. Nevertheless, it’s still an attractive piece with its drum of chased ormolu surmounted by the seated figure of a draped monkey holding a parasol and a horn. The drum rests on the back of a bronze elephant who is perched upon a base of ormolu rockwork and a rectangular stand of ebony and ormoulu. The case is signed "fait par Caffieri" and on the back of the movement, it is marked "Jerome Martinot a Paris."

The Home Beautiful: The Talbert Clock, c. 1865

Gothic Revival Clock
Bruce Talbert, 1865
The Victoria & Albert Museum

The Gothic Revival soared in Britain in the 1860s and 1870s. Known for the incorporation of architectural themes and shapes, the revival interjected a stateliness to the most commonplace objects. Clocks were the perfect form for this style. This example from the V&A by Bruce Talbert shows the architectural quality of clocks of this era. 

Bruce Talbert (1838-1881) was is remembered as a highly celebrated commercial designer who designed metalwork, furniture, textiles, carpets, wallpapers and stained glass. Talbert was also an author, known for his significant 1868 book, “Gothic Forms Applied to Furniture, Metal Work and Decoration for Domestic Purposes.” The tome was full of illustrations depicting a range of designs which Talbert created in the Gothic Revival style. Talbert famously designed lines of furniture for Skidmores of Coventry—a prominent and fashionable manufacturer of architectural metalwork. Skidmores of Coventry made this clock around 1865.

Monumental in scale, the clock is ostensibly a large bracket clock in the form of a building with columns supporting an ornamental roof. Both The front of the piece is enameled with patterns inspired by Celtic designs. Inscribed below clock face are the Latin words “TEMPUS FUGIT.” The base is marked “SKIDMORE COVENTRY.”