Object of the Day, Museum Edition: Pendant in the Form of a Non-Working Watch, 18th Century

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

This circular pendant is designed to look like a watch. Made by a now unknown Eighteenth-Century jeweler, the bezel is bordered by rubies spaced with white enamel spheres which simulate pearls. The obverse shows a false clock face set of gold and enamel behind glass. The reverse is adorned with a foliate pattern of green and gilt enamel. From the Collection of Lady Carnarvon, the pendant was given to the Royal Collection, I’d say, sometime in the 1930s.

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

Precious Time: The Roman Charity Watch and Case, 1680-1700

Watch and Case
Switzerland, 1680-1700
This and all related images from:
The Victoria & Albert Museum

This watch is housed in a copper gilt case which, along with the timepiece, has been enameled with a variety of Italian scenes including “Roman Charity” and “Lucretia.” Made in Geneva, Switzerland, the movement is signed “Baccuet.” Created between 1680 and 1700, the enameling was done by the family team of Jean Pierre (1655-1723) and Ami Huaud (1657-1724). Their competent enamel work on the scene of “Roman Charity” was based on an engraving by Claude Mellan which itself was after a painting by Simon Vouet. 

Gifts of Grandeur: The Grendon/Lane Fob Watch, 1640-1660

Fob Watch
Henry Grendon, 1640-1660
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

We know what a watch fob is, but what’s a fob watch? A fob watch—popular in the Seventeenth Century—was a jewel wherein the works of the watch and the face were embedded behind a gemstone. The overall look is that of a watch fob, yet, on closer look, you see that the two are one. To be honest, I’ve only heard of fob watches—they’re like the unicorns of the watch world. But, finally, here’s one we can see! Thanks to Her Majesty Queen Elizabeth II for the use of these photos of the elusive fob watch from the Royal Collection.

This rock crystal and silver gilt fob watch is fitted with a hinged leather, steel-studded and red velvet lined case. The watch peeks out from behind the facetted rock crystal and shows an elaborately floral engraved watch face. The piece is fitted with fixed suspension ring. This unusual jewel was created between 1640 and 1660.

The piece was presented by King Charles II to Jane Lane in 1651—under rather unusual circumstances. According to the Royal Collection:

"Fleeing after his defeat at the Battle of Worcester in 1651, he [Charles II] lodged for short while near Wolverhampton, with a certain Col. Lane. From there he travelled on horseback to Bristol, with the colonel’s sister, Jane Lane, disguised as his servant and riding pillion behind him. The King gave Jane Lane a watch in recognition of her bravery and resourcefulness, which was most carefully preserved in the Lane family until 1928, when Maj-Gen. Sir John Lane returned it to George V. The watch, which is by Henry Grendon, is in a faceted rock-crystal case, with an outer protective case of leather embellished with silver pinwork. Grendon, a well-known maker of his day with premises in the Royal Exchange, was admitted to the Clockmaker’s Company in 1640, only nine years after it received its royal charter" 

Since the watch was given to King George V, we know that it was well-preserved. No doubt, Queen Mary got her regal hands on it and made sure that this odd bit of watch-making and political history would survive forever.

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

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

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

Precious Time: The Goujon Watch and Pair Case, c. 1730

Click Image to Enlarge
Watch and Pair Case
Made in London, c. 1730
This and all related images from:
The Victoria & Albert Museum

Made around 1730, this embossed and chased gold watch and pair case is signed (on the movement’s dust cap) “Gerret Bramer, Amsterdam.” The case is embossed with a scene which was modeled after Gérard de Lairesse’s image of Cleopatra just as she is about to dissolve the pearl before Anthony.

The chasing is signed “H Manly fecit” and both cases are marked “SG” for Stephen Goujon of London who served as the maker of the case.

The watch with its ¼ repeating movement was made in London by Goujon and decorated by Manly for export to Amsterdam where it was sold by the retailed Geret Bramer.  This gorgeous timepiece features a stem set with a diamond and diamonds mounted on the face and hands.  

Precious Time: Queen Charlotte's Lever Watch and Pedestal, 1770

Watch, Pair Case and Plinth
Thomas Mudge, c. 1770
Purchased by King George III for Queen Charlotte
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

This gold watch case with an enamel dial fits into a plinth of tortoiseshell and gilt bronze. Both were made around 1770 by Thomas Mudge (1715-1794). The set was purchased by King George III (1738-1820) as a gift for Queen Charlotte.

This unique timepiece has been called “Perhaps the most historically important watch in the world” because of the fact that it is the earliest known example of a “lever escapement.” This advancement in clock-making, next to the creation of the balance spring, is considered the single greatest improvement to the art of watch-making. Most historians consider this particular watch the “forerunner” of the modern wrist and pocket watch. The watch is also important because it contained the earliest known example of an automatic device designed to compensate for changes in temperature.

Mudge invented the lever escapement in 1754, but didn’t employ one in a watch until this one was built in 1770. Mudge referred to the timepiece in correspondence with his patron, Count von Bruhl as “The Queen’s Watch,” suggesting that it was always intended for Queen Charlotte. There’s some debate as to the origin of the plinth upon which the watch is displayed. Some feel it’s original to the piece. Others think it was certainly altered over time. Others still believe it may be a replacement for the original presentation box. The first reference to the plinth comes in 1825 when both watch and plinth were restored. However, obviously, it existed long enough to need to be restored. Earlier records are spotty at best.

Precious Time: The Edward East Watch, 1635

Watch
Edward East
Britain, 1635
This and all related images from:
The Victoria & Albert Museum

Edward East (1602-1697) was apprenticed to the Goldsmiths' Company’s Richard Rogers in 1618, becoming a Freeman in 1627. By 1632 East was created one of the first Assistants of the Clockmakers' Company (founded 1631), serving as “Master of the Company” in 1645 and, again, in 1653. East’s work was so admired by the aristocrats of London Society that, in 1660 he was appointed as Chief Clockmaker to the king.

East’s watches, especially, were coveted and treasured. We can see why when we look at this handsome timepiece which East made in 1635. With its architectural overtones, exquisite movement and hour ring adorned with inlaid figures in black enamel, the watch is a true masterpiece. The watch case takes the form of a gourd made of rock crystal which has been mounted in gilt brass.

Depicting on the dial (inside the hour ring) is an engraved and inlaid scene of the birth of Christ. Above this, a nude representation of “Time” displays his typical attributes of a scythe and an hour glass.

We should note that Seventeenth Century watches—accessories only available to the most wealthy—typically only had one hand. 

Precious Time: The Edward East Watch, 1635

Watch
Edward East
Britain, 1635
This and all related images from:
The Victoria & Albert Museum

Edward East (1602-1697) was apprenticed to the Goldsmiths' Company’s Richard Rogers in 1618, becoming a Freeman in 1627. By 1632 East was created one of the first Assistants of the Clockmakers' Company (founded 1631), serving as “Master of the Company” in 1645 and, again, in 1653. East’s work was so admired by the aristocrats of London Society that, in 1660 he was appointed as Chief Clockmaker to the king.

East’s watches, especially, were coveted and treasured. We can see why when we look at this handsome timepiece which East made in 1635. With its architectural overtones, exquisite movement and hour ring adorned with inlaid figures in black enamel, the watch is a true masterpiece. The watch case takes the form of a gourd made of rock crystal which has been mounted in gilt brass.

Depicting on the dial (inside the hour ring) is an engraved and inlaid scene of the birth of Christ. Above this, a nude representation of “Time” displays his typical attributes of a scythe and an hour glass.

We should note that Seventeenth Century watches—accessories only available to the most wealthy—typically only had one hand. 

Object of the Day, Museum Edition: Queen Alexandra's Diamond Coin Purse, c. 1902

Purse
Once Belonged to Queen Alexandra
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Alexandra knew how to live, I must say. Even this little coin purse was the height of elegance. Gold-mounted leather (once a bright green, but since faded to a putty color) features an inset clock. The face of the clock boasts numbers of blue enamel (except for the 12, which is red) and a frame of glittering diamonds.  

The Royal Collection

The reverse of the purse, still green, is adorned with a diamond “A” ringed with a diamond crown. The oval thumbpiece is also diamond-set around a sparkling Burmese ruby. The interior compartments also feature gold and ruby fasteners.

While the maker is unknown, the purse is thought to have been made around 1902. The once-brilliant green of the leather combined with the diamonds and rubies must have once made for a stunning, but useful accessory.

The Royal Collection

Precious Time: A Skarral & Co Watch and Pair Case, 1650-1800

Watch
Case and Pair Case, c. 1650
Movement by Skarral of London, c. 1800
Matching bow brooch, now missing.
This and all related images from:
The Victoria & Albert Museum

Little is known about this watch and pair case of enameled and engraved gold. Clearly, it has been altered over time. The case was made in around 1650. We’re not sure where or by whom. It’s believed that the case once hung as a pendant from a bow-shaped pin. The present movement was installed into the case in 1800 by Skarral & Co. of London. At that time, the watch was adapted and the bow replaced.

Mastery of Design: Pendant in the Form of a Non-Working Watch, 18th Century

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

This circular pendant is designed to look like a watch. Made by a now unknown Eighteenth-Century jeweler, the bezel is bordered by rubies spaced with white enamel spheres which simulate pearls. The obverse shows a false clock face set of gold and enamel behind glass. The reverse is adorned with a foliate pattern of green and gilt enamel. From the Collection of Lady Carnarvon, the pendant was given to the Royal Collection, I’d say, sometime in the 1930s.

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

Precious Time: Queen Charlotte's Lever Watch and Pedestal, 1770

Watch, Pair Case and Plinth
Thomas Mudge, c. 1770
Purchased by King George III for Queen Charlotte
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

This gold watch case with an enamel dial fits into a plinth of tortoiseshell and gilt bronze. Both were made around 1770 by Thomas Mudge (1715-1794). The set was purchased by King George III (1738-1820) as a gift for Queen Charlotte.

This unique timepiece has been called “Perhaps the most historically important watch in the world” because of the fact that it is the earliest known example of a “lever escapement.” This advancement in clock-making, next to the creation of the balance spring, is considered the single greatest improvement to the art of watch-making. Most historians consider this particular watch the “forerunner” of the modern wrist and pocket watch. The watch is also important because it contained the earliest known example of an automatic device designed to compensate for changes in temperature.

Mudge invented the lever escapement in 1754, but didn’t employ one in a watch until this one was built in 1770. Mudge referred to the timepiece in correspondence with his patron, Count von Bruhl as “The Queen’s Watch,” suggesting that it was always intended for Queen Charlotte. There’s some debate as to the origin of the plinth upon which the watch is displayed. Some feel it’s original to the piece. Others think it was certainly altered over time. Others still believe it may be a replacement for the original presentation box. The first reference to the plinth comes in 1825 when both watch and plinth were restored. However, obviously, it existed long enough to need to be restored. Earlier records are spotty at best.

Precious Time: The Roman Charity Watch and Case, 1680-1700

Watch and Case
Switzerland, 1680-1700
This and all related images from:
The Victoria & Albert Museum

This watch is housed in a copper gilt case which, along with the timepiece, has been enameled with a variety of Italian scenes including “Roman Charity” and “Lucretia.” Made in Geneva, Switzerland, the movement is signed “Baccuet.” Created between 1680 and 1700, the enameling was done by the family team of Jean Pierre (1655-1723) and Ami Huaud (1657-1724). Their competent enamel work on the scene of “Roman Charity” was based on an engraving by Claude Mellan which itself was after a painting by Simon Vouet. 

Mastery of Design: The Macklin Watch, c. 1795

Watch and Pair Case
James Macklin and Rundell, Bridge and Rudnell
1790-1795
This and all related images from
the Victoria & Albert Museum

Made in London between 1790 and 1795, this watch features an enameled gold case set with pearls. The case bears the mark of James Macklin. Meanwhile the movement with verge escapement was made by the firm of Rundell & Bridge (also known as Rundell, Bridge and Rundell). 

Precious Time: A Skarral & Co Watch and Pair Case, 1650-1800

Watch
Case and Pair Case, c. 1650
Movement by Skarral of London, c. 1800
Matching bow brooch, now missing.
This and all related images from:
The Victoria & Albert Museum

Little is known about this watch and pair case of enameled and engraved gold. Clearly, it has been altered over time. The case was made in around 1650. We’re not sure where or by whom. It’s believed that the case once hung as a pendant from a bow-shaped pin. The present movement was installed into the case in 1800 by Skarral & Co. of London. At that time, the watch was adapted and the bow replaced.

Precious Time: The Goujon Watch and Pair Case, c. 1730

Click Image to Enlarge
Watch and Pair Case
Made in London, c. 1730
This and all related images from:
The Victoria & Albert Museum

Made around 1730, this embossed and chased gold watch and pair case is signed (on the movement’s dust cap) “Gerret Bramer, Amsterdam.” The case is embossed with a scene which was modeled after Gérard de Lairesse’s image of Cleopatra just as she is about to dissolve the pearl before Anthony.

The chasing is signed “H Manly fecit” and both cases are marked “SG” for Stephen Goujon of London who served as the maker of the case.

The watch with its ¼ repeating movement was made in London by Goujon and decorated by Manly for export to Amsterdam where it was sold by the retailed Geret Bramer.  This gorgeous timepiece features a stem set with a diamond and diamonds mounted on the face and hands.