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 Cabinet Clock from Augsburg, 1700-1725

Cabinet Clock
1700-1725
Augsburg (Made)
Meissen (Tea Set, Made)
This and all related images courtesy of
The Victoria & Albert Museum

This artful arrangement of wood, boulle marquetry, tortoiseshell, silver, silver-gilt, inlaid mother-of-pearl, ivory, enamel, brass, pietre dure, faceted garnets, turquoise, micromosaic, velvet, porcelain, mirrored glass, gilt bronze, and oil paint on copper sheeting makes for one very involved, brilliant timepiece.


This monumental cabinet clock comes from Augsburg. Both Augsburg and Nuremberg were hubs of important clock making from the 1650 through 1750. Master craftsmen from a variety of media would join forces to create majestic and unusual cases for the clock. This, surely, is one of the finest examples of their capabilities.

Truly extraordinary, this cabinet clock is comprises of nearly twenty costly different materials. Coupled with the high cost of labor for such a piece, surely this was a royal or, at least, noble commission. We don’t know for whom the clock was originally produced, however, the curators at the V&A have determined that this was the same clock that once belonged to Lord Rosebery, British Prime Minister from 1894-5, as evidenced by photographs of the Lord from that time period (see the black and white picture detail below).

Though the clock is certainly interesting in all that’s apparent, from the little Buddha figures to the impressive inlay-work, it also contains some hidden treasures which aren’t immediately seen. For example, a neatly in-set drawer contains a Meissen tea set in a pattern which matches the clock as well as a silver picture frame.

This was a gift to the V&A from Sir Arthur Gilbert and his wife Rosalinde—two of the world's foremost decorative arts collectors, and was included in their 1996 bequest of silver, mosaics, enameled portrait miniatures and gold boxes.

Mastery of Design: The Edward East Clock Watch, 1645

Clock Watch
Edward East, 1645
The Victoria & Albert Museum

Beautiful and functional, this clock-watch strikes the hours and also has an alarm mechanism. The back plate is signed “Eduardus East Londini.”

Edward East (born 1602, died around 1697) was, in 1660, appointed Chief Clockmaker to King, Charles II (ruled 1660-1685). He enjoyed a large and thriving business until 1697, when he may have died. It has, however been noted, that he never really wanted to be a clockmaker and only entered the profession reluctantly.

Despite his rumored resistance, he talent in the profession is undeniable as evidenced by the

finely engraved naturalistic flowers on the reverse of the case. These are in the style of the prints published for the use of engravers and enamellers by Jacques Vauquer (1621-1686) in Paris.

King Charles I was always fascinated by mechanical objects, and also enjoyed making gifts of them. It is thought that this watch was made for the King who gifted it to his sister, Elizabeth, Queen of Bohemia to, in turn, gave it to Gilbert Spencer in 1661. 

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.

Object of the Day, Museum Edition: The Metzger Mirror Clock, 1564

The Victoria & Albert Museum

This attractive clock was made in 1564 by the famous German clockmaker, Jeremias Metzger (or Metzker), of Augsburg.

A vertical, circular dial on a footed base, this form of clock is known as a “monstrance” or “mirror” clock due to its similarity in shape to those objects. Mirror clocks were quite fashionable in Europe between 1580 and 1630. These clocks featured metal cases which were commonly gilded. 

This particular clock was assuredly a treasury piece which was bought more so for its craftsmanship and technical ingenuity than for its practical purposes. During this period, clocks were luxury items designed to impress as well as educate. 
The low circular base of this chiming clock into the curved portion which is surmounted by a dome-shaped, pierced casing which protects the bell mechanism. A cast figure of Atlas sits astride the dome.   In his raised arms, he balances a shaped, engraved bracket which is adjoined to the clock case. The clock is fitted with 3 dials, (2 on the front, 1 on the back). The upper shoulders of the clock case are adorned each with a single cast putti astride a dolphin, each supporting a trident. 

Precious Time: The Jerome Gregory Coach Clock, 1660-70

Clock Watch
Silver, 1660-70
The Victoria & Albert Museum

The handsome timepiece features a silver case engraved by Hallam with a sea battle during the Anglo-Dutch wars. The movement by Jeremie (or Jerome) Gregory of the Royal Exchange. London, about 1660-70.

Larger than a typical pocket watch, this object would still have fit neatly in a gentleman’s pocket, but was also big enough that it could be seen by others riding in a coach should the clock be displayed on a hook or strap. While mostly meant to be a utilitarian device, it loses none of its attractiveness in favor or usefulness.

Which Watch?
Such Watch.

Mastery of Design: A Scotch and French Clock, 1610-1615

Clock
Scottish Works, French Case
Gold, Silver, Enamel
1610-1615 with alterations from the Nineteenth Century
This and all related images from:
The Victoria & Albert Museum

Here’s a rather unusual timepiece—the work of a Scotch clockmaker and a French case designer. While the case is much the same as it was in the early Seventeenth Century when it was created, the movement of this spring-driven, striking table clock has been drastically changed over the centuries.

One of the most intriguing features of this domed clock is that the base plate—which no one would ever see—is extensively decorated and engraved--signed by David Ramsay. Additional decoration added to the clock was carried out by the French clockmaker Louis David as evidenced by a brass plate bearing his name. This plate cleverly was placed to cover Ramsay’s signature. Though unusual to modern eyes, the case was typical of a particular type of domed clocks from France. A variety of French clocks from this period have similar square bases and domed bell-covers, pierced with such openwork.

The scene on the engraved base shows King James I with his two sons Henry and Charles. They are holding the Pope's nose to a grindstone—as one doees. Also pictured on the right is a Cardinal accompanied by three friars who watch the scene in terror. This queer little scene is inspired by a settlement made in 1609 between Spain and the Estates General of the Netherlands which formed an alliance between a Roman Catholic and a Protestant state.

The top of the clock—which holds the dial, seen from above is set with silver and enamel which matches the four inset silver panels which adorn the ornate sides of the case.

Precious Time: King George III’s Barometrical Clock, 1763-5

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

Barometrical Clock
1763-1765
Scot Alexander Cumming
For King George III
The Royal Collection

George III’s keen interest in science led him to amass an impressive collection of scientific instruments and clocks in the early part of his reign. The barometrical clock from 1763 to 1765 was made for the King by Scot Alexander Cumming who included an exquisite clock mechanism, a month-long calendar and a barometer in the design.


The gorgeous case is of unknown origin, but features inlaid shell and exceptionally sculpted ormolu mounts of flowers, volutes and a figural group of “Time” assisted by Cupid. King George III kept the clock along with several of his favorite devices in his private suite at Buckingham House (now Buckingham Palace).

Object of the Day, Museum Edition: George III’s Astronomical Clock, 1765

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

Astronomical Clock
1765
Made for King George III
Mahogany, Brass, Silver, Enamel
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

King George III had a keen passion for clocks, horology and science in general. Items such as this clock were infinitely attractive to him. This astronomical clock cost the then-astronomical sum of £1042. The cost was well worth it. The end result is a magnificent creation with a shining mahogany case, brass palm-frond columns and silver plaques with bas relief figures of the Royal lion and unicorn.


In June of 1765, this bracket clock was installed in Buckingham House (now Buckingham Palace), and George III was fascinated by it and its many functions. It features a complex quarter-striking movement which displays the time of day on the front clock face on a 24-hour dial with hands for mean and solar time. The central portion of the clock features a painted landscape which shows the passage of the sun across the sky as well as a small dial which records the time at thirty locations around the world. A dial at the top of the bracket records the date and month with the year being recorded to the left and the location of the planets on the right. A silver sphere at the reverse, shows the phases of the moon as well as high and low tide at thirty-two seaports across the world.

It’s an extremely complicated device, and frankly does as much as any modern creation, but in a much more elegant and attractive way.

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

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

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

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

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

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: An English Bracket Clock, 1710

Bracket Clock
Paulet, 1710
The Victoria & Albert Museum

Here’s a nice looking clock. This type of bracket clock (too large for use in a carriage, but too small for a reception room) would have been used when travelling. They were designed to be carried from place to place and worked nicely on board a ship where they were fitted into a case fixed to the wall of a cabin.

This clock is signed by the maker—known only as “Paulet.” Little is known about Paulet except that his signature appears on several clocks found in wealthy English estates. Despite his French-appearing name, he is believed to have worked in London. One example of his work resides in the Metropolitan Museum, New York. This clock retains its original key which bears the royal monogram of Queen Anne (ruled 1702-1714).

A masterpiece of chased, gilt brass and silver, the clock strikes hours and repeats the hours and quarters. The alarm is set by means of the central dial and the indicator on the top dial is for the calendar.