Antique English Clocks: An Expert Guide
Every clockmaking county has had its turn to shine with the creation of these mechanical timekeepers. From ancient Greece, with the Antikythera mechanism, to eleventh century China with Su Yong’s water-powered clock, 15th century Germany with its early spring-driven clocks, and to 19th century France with their incredible clockmaking industry.
By the time George I ascended the throne in 1714, thanks to huge advances in the areas of scientific and clock making technology in the last few decades of the 17th century, ensured English clockmakers were acknowledged to be the best in the world.
However, England could not entirely lay claim to that fact. Of course, they were standing on the shoulders of giants such as Christiaan Huygens (1629-1695), a Dutch mathematician whose experiments with the pendulum revolutionised timekeeping.
More importantly, though, the 16th and 17th centuries were a time of huge societal upheaval across Europe. Religious persecution dispersed millions, while further millions had lost their lives to the plague. Many of those refugees were highly skilled clockmakers and cabinetmakers that chose to settle in England, bringing their expertise with them.
While the earliest recorded weight-driven mechanical clock was installed in 1283 at Dunstable Priory, Bedfordshire, it wasn’t until the introduction of the lantern clock in the 17th century that domestic clocks came into general use in England.
These early clocks had an escapement controlled by a balance wheel and by 1658 the pendulum controlled verge escapement came into use, bringing with it the first longcases. By the end of the century clockmaking was well established and had spread throughout the country.
However, many London clockmakers had been lost in the plagues of 1598 and 1603 while the trade consolidated and grew. The continued influx of newcomers led to resentment from those who had become established in London towards outsiders who came to set up in or near the City and who threatened their market.
The British Isles had many excellent clockmaking centres, such as Edinburgh, Oxford and Bristol, but it was in London that regulated the trade with the establishment of The Worshipful Company of Clockmakers in 1631.
It provided financial help for members who fell on hard times and helped the widows of clockmakers. It endeavoured to ensure that the highest standards of workmanship were maintained and controlled the system of apprentices, with only two per member allowed at any given time.
Because of these strict controls it exercised, records of almost all London clockmakers have survived. However as a clock takes many different skilled craftsmen to make, much less is known about the cabinetmakers, dial makers and hand makers who also contributed to their manufacture.
Nevertheless, the need for having to know the correct time remained in the upper echelons of the wealthy ruling classes. The clock was initially a rich person’s possession and was still relatively expensive by 1700.
The poor, who represented the bulk of the population, mainly made their living from the land, and had no need of accurate timekeeping. Working life was simply governed by night and day. Apart from the sun, only the church clock tower gave any awareness of the time to these people.
Once the clock was introduced in mainstream domestic life it, along with Industrial Revolution, allowed the day to be divided up into productive working hours so that maximum productivity could be extracted from the working classes.
Below is a brief list of the types of English clocks encountered, their styles, makers and development.
Automaton Clocks
Automaton work is not often encountered in English clocks, with most been made for export to the Turkish and Chinese markets during the late 18th century.
A noted maker was James Cox (circa 1723-1800) who is now best known for creating ingenious automata and mechanical clocks, including Cox’s timepiece, which he claimed was a true perpetual motion machine, but was powered by atmospheric pressure and also the Peacock Clock and the Silver Swan.
Automaton clocks of this era also often have accompanying complicated musical work. Along with their complex movements, they normally have elaborate cases often encrusted with multicoloured paste jewels and pearls.
Bracket Clocks
Next to the longcase, the next most recognisable English clock must be the bracket clock. The ‘term’ bracket, however, is a bit of a misnomer, as most of these clocks were never made with matching wall brackets.
They were, rather, intended to be placed on a piece of furniture and ‘table clock’ is a truer term. Nevertheless the name ‘bracket’ has stuck when describing these clocks, though one will often see them referred to as table clocks as well.
Bracket clocks came into being around 1660, roughly the same time as the longcase, and both developed alongside each other as clockmakers often produced both. However, most bracket clock production was confined to London, whereas longcases were produced throughout the country.
Early bracket clocks had square brass composite dials, with the arched dial only becoming popular from circa 1715. Cases were of walnut, olivewood or ebony (or ebonised) with a brass carrying handle to the top. As the British Empire expanded across the world, so did more exotic woods like mahogany, rosewood and coromandel make an appearance.
Around the middle of the 18th century the silvered dial became popular, and then as fashions evolved, the round convex dial, often enamelled, became popular at the end of the century through into the Regency period of the first quarter of the 19th century.
Hands are blued steel, evolving alongside the changing styles of case design.
Bracket clocks are always spring driven and feature a fusee, a conical gearing device that allows the clock to be supplied with an even source of power. Most strike the hours on a bell, though some may have quarter striking too, often with pull repeat.
Plates are brass with the back plate normally signed by the maker, in addition to the dial. Arbors and pinions will be of steel. Early bracket clocks can also have elaborately engraved backplates, whereas the later ones will be plain.
Early brackets had a verge escapement, which was more robust than the anchor escapement that was found in longcases, considering that they were often intended to be moved from room to room.
Many 18th century bracket clocks found on the market today have been converted from verge to anchor escapements in the 19th century, as the verge escapement was considerably less accurate.
Depending on how well the conversion has been done, will have a direct influence on the value of the clock. Besides an esteemed maker, originality, size, design, condition, and complexity all play a considerable role when it comes to appraising a bracket clock.
Notable makers, to name just a few, were Thomas Tompion (1639-1713) ‘the Father of English Clockmaking’, Daniel Delander (act. 1692-1733), Eardley Norton (1728-1792), and Stephen Rimbault (act. 1744-1788)
Carriage Clocks
The origin of carriage clocks are discussed in another article on this site, French Carriage Clocks: An Expert Guide. However, English carriage clocks differed somewhat to their continental counterparts.
They were produced in relatively small numbers, mostly in London, and with a significant amount in Liverpool too. These clocks were made to the highest standards that, together with scarcity, makes them highly prized amongst collectors.
Almost all have eight-day high quality spring-driven movements with a fusee and platform lever escapements, while the best examples may have a detent escapement, the same used in marine chronometers.
While there are some timepieces, most strike the hours with repeat, on a gong. They also feature maintaining power, which via a small spring, provides constant power to the clock while it is being wound, which is through the back.
The cases are much more austere than French examples, being plainer, and normally of gilded brass, though some examples can be found in bronze and woods like rosewood. The sides are glazed with the rear door sometimes being solid or glazed.
Dials are most often silvered and engraved, with both the maker’s name and serial number featuring, and nearly always on the backplate. A seconds dial is normally the only subsidiary dial found on English carriage clocks, with others being much less common.
Some dials can also have a gilded mask, often engraved or with engine turning. Hands are almost always blued steel. They were also originally supplied with fitted wooden travelling cases, usually in mahogany. An original case will enhance value.
Notable makers are similar to the makers of marine chronometers, however some additional ones to single out are James McCabe (1760-1883), William Payne & Co. (1811-1875), and John Barwise (1790-1842).
Lantern Clocks
The first weight driven chamber clocks made in England are by Frauncoy Nowe (act. 1571-1603) and Nicholas Vallin (act. 1565-1603), two Huguenots who had fled catholic Europe, and subsequently both lost their lives in an outbreak of plague in London, 1603.
While nobody knows for certain who actually made the first English lantern clock in its recognisable brass form of today, those two Huguenot makers can certainly be regarded as the fathers of this type of clock.
The lantern clock, which takes it name from its resemblance to a household lamp, was the first domestic clock to be produced in England and has its origins in those early Continental clocks.
Initially all lantern clocks were made in London, and production can be divided into three periods – the First Period (1580-1640), the Second Period (1640-1660), which was disrupted by the English Civil War (1642-1649), and the Third Period (1660-1770).
By the late 17th century a number of provincial makers had established themselves outside London in such centres as Oxford and Bristol. During the Third Period variations began to be produced, such as miniatures, and the anchor escapement was introduced in favour of the balance wheel escapement and verge.
The case of a lantern clock is almost always brass on four short feet, with an engraved dial plate, three pierced frets at the top, and strapwork holding in place an overhead bell surmounted by a finial.
All early lantern clocks were originally weight-driven, struck the hours, with many featuring an alarm function. They only have a single hour hand as they were not accurate timekeepers, typically losing, or gaining, up 10 minutes a day.
The first lantern clocks had a balance wheel escapement with two lead weights, and were attached to the wall by means of an iron hoop. These have sometimes been later altered to be placed on an oak wall bracket.
These early examples only had a running time of twelve hours before needing winding again by pulling an ‘endless rope’ or chain. Around 1680 lantern clocks were converted to a verge escapement, with short pendulum, or later to the more accurate anchor escapement, with a long pendulum. These ran for thirty hours until needing winding again.
Clocks with a balance wheel escapement will typically only have two weights, one for the going train and one for the strike, whereas their verge and anchor counterparts will have just one.
By around 1700 lantern clocks began to fall out of fashion until the second half of the 19th century, which bore a revival of these clocks well into the 20th century. Many that are found on the market nowadays are these spring-driven copies. Earlier ones were also converted, removing the weights and inserting new spring-driven movements to make them more accurate.
As such, few early carriage clocks are to be found without replacement parts due to their easily detachable parts such as frets, bells and straps. Sides and doors are acceptable replacements but any major parts such as frets and hands must be of high quality.
Again, originality plays a major factor in desirability. The more alterations, and bad restorations, that bring it further from the original, the less the value tends to be.
Several notable makers where William Bowyer (circa 1590-1653), Peter Closon (act. 1630-1654) and John Knibb (1650-1722).
Longcase Clocks
Of all the different kinds of English clocks, the weight-driven longcase is probably the first that jumps to mind, and is generally considered to be the finest achievement in English clockmaking.
A combination of the mastery of the clockmaker and the prowess of the cabinetmaker bring these imposing clocks to the forefront of collecting circles. Often called ‘grandfather clocks’ due to an association with a 19th century song, the correct term is longcase, or tallcase in the United States.
The ‘long’ case developed directly from the need to house the movement in a stable dust free environment, while the long, seconds beating pendulum needed for the anchor escapement and weights had safe space to go about their operation.
Thus the longcase clock, with its use of fine timbers and decorative features, can be considered a piece of furniture as well as a functional time recording apparatus.
While made in large numbers throughout the country, the earliest and finest longcases were produced in London. First appearing around 1670, these early longcases were of 30 hour duration only, with their 8 day counterparts following on closely.
The earliest cases were very simple and plain, almost always having a carcass of oak and veneered in ebony or ebonised fruitwood. As fashions changed and exotic new woods were discovered in the colonies so the longcase kept evolving in appearance.
Later cases can feature marquetry (c.1680 to c.1710), walnut (c.1665 to c.1760) or mahogany veneers (c.1740 to c.1860), lacquerwork (c.1700 to c.1780) and solid oak (c.1700 to c.1840)
As larger and more elaborate cases were produced, to fit in with the fashions of the day, cabinetmakers often made use of decorative features such as brass stringing, gilt finials, pierced fretwork or mounts.
The movement is most commonly of eight-day duration, is made from primarily from brass and steel, has an anchor escapement and strikes the hour on a single bell. Of course, there are many variations to this with some clocks running for as long as a year, some with highly complicated astronomical features, some with elaborate chiming mechanisms, and deadbeat escapements.
Longcase movements usually have two trains: i.e. one train for the telling of the time (the going train) and one train for the strike (the striking train). The collection of wheels in each movement is known as the train.
In the going train there are normally four wheels: the main wheel, which the gut is wound onto and thus the weight hangs from, the centre wheel to which the hands are attached to its arbor, the third wheel and the escape wheel. The wheels mesh with each other by means of pinions.
Above is the anchor, which directly engages with the escape wheel. Attached to the anchor’s arbor is the crutch. The pendulum is threaded through this crutch and attached to the movement by means of a suspension spring (a flat flexible piece of steel).
The weight is then attached to a pulley and hung below the main wheel. A ratchet and click spring on the main wheel prevent the weight from plunging to the floor. The pendulum can now be given a gentle swing.
This will allow the anchor to release power from the escape wheel and the weight will slowly descend providing constant power to the clock. The length of the pendulum, and thus the distance of its bob from the release of the escapement, will determine its running speed.
This is a most basic explanation of how a clock purports to tell time.
Early dials of longcases were brass and square in shape with a narrow applied silvered chapter ring and applied spandrels to the corners. Known as composite dials, the centre is matted and often has a date aperture and seconds subsidiary dial. The numerals are engraved and are filled with black wax. The hands are of blued steel and the dial is almost always signed by the clockmaker.
As with bracket clocks, by circa 1715, the first arched dials began to appear. Initially, the arch was shallow, but steepened as development progressed. The arch usually contains spandrels, applied around a strike/silent dial, boss, calendar dial or moonphase.
Throughout the period that brass dials were in vogue there are many subtle changes that give important clues to when a clock may have been produced.
Around 1755 the one-piece silvered dial appeared. It was the last stage of the brass dial and was used mostly between 1780 and 1790. However, some West Country examples produced as late as 1840 are not uncommon to see.
The final type of dial to appear was the japanned or painted dial in around 1770, and by the early 1800s they had largely superseded the brass dial in popularity.
A painted dial is an iron sheet with its face surface applied with paints. First it is dipped into one or more baths of base paint, normally an off-white colour.
Coloured oil paints were then applied by hand for the decoration and black was used for the numerals and lettering. The early painted dials largely followed the design and layout of brass dials, gradually evolving into the large, multi-coloured versions featuring romantic landscapes in the arch and corners seen in the Victorian era.
Many factors come into play when valuing longcase clocks. They are prone to be ‘married’ as the movement is easily detachable from the case.
How original is it? Do the movement, case, hands, etc. all belong together? Who is the maker? How elegant are the proportions of the case? What restoration has been undertaken in the past? Bad or unskilled restoration is certainly far worse than no restoration at all.
All questions that need to be asked when appraising an antique clock. In addition, age is not always an indication of a valuable piece, quality is.
Notable makers for longcases are mostly the same for bracket clocks, and some other standout early makers are Joseph Knibb (1640-1711), Daniel Quare (1648-1724), Edward East (1602-1696) and George Graham (1673-1751).
Mantle Clocks
Mantle clock is not usually a term used to describe English clocks. Bracket clocks and table clocks are sometimes erroneously called mantle clocks but the term is most correctly ascribed to a small clock, usually in a wooden case of mahogany, rosewood or ebonised that was made in the first half of the 19th century.
It can also be used to describe smaller decorative clocks in the later part of the 19th century, made from marble, ormolu, and other metals.
Marine Chronometers
No other clock could be thought of as directly shaping the course of the world as the marine chronometer.
As the battle for supremacy of the seas raged during the Age of Exploration so did the urgency of having accurate onboard navigational instruments become paramount.
In 1714, the British Parliament offered prizes of £10,000, £15,000 and £20,000 for devising a way to determining longitude within 60, 40 or 30 miles. Answering the call in 1735 was an autodidact clockmaker called John Harrison (1693-1776).
He produced a series of accurate timepieces that overcame the longitude problem as well as countered the effects of temperature, humidity and pressure change, as well as the motion of the sea, that revolutionised long distance sea travel.
Marine chronometers measure time accurately at sea, allowing sailors to compare local time with a reference time at a known longitude (e.g., the time at a home port). By comparing the time difference between the ship’s location, by referring to astronomical data contained in the Nautical Almanac, and the known longitude, sailors could then determine their position accurately.
All British merchant and naval ships over a certain tonnage were fitted with chronometers as standard equipment by the 19th century.
The chronometer is always mounted horizontally in a hinged three-sectioned wooden box on locking gimbals. The hinged middle section opens to a glazed top that protects the clock from moisture and dust.
Cases are normally made of well figured mahogany with brass stringing and carry handles. They were also originally inset with an ivory – a round plaque with the maker’s name and serial number.
The circular dials are engraved silvered brass, though some early examples have an enamel dial. They are also normally engraved with a seconds subsidiary dial and an up/down subsidiary dial showing how much power is left in the clock. They also have blued steel hands. In addition, the winding key is always housed in the corner of the case.
The movements are always spring driven with a fusee and a detent, or chronometer, escapement, the most accurate of the balance wheel escapements. They also always always have maintaining power, which keeps the chronometer going while it is being wound so that no precious seconds are lost while preforming this operation.
Value is appraised on factors like an illustrious maker, original key and box, condition, quality, connection to a significant ship, etc.
Notable makers of chronometers were John Arnold (1736-1799), Thomas Earnshaw (1749–1829), Edward John Dent (1790–1853), and Charles Frodsham (1810–1871), to name but a few.
Musical Clocks
In English clocks, as mentioned above, musical clocks are often found accompanying examples that also have automata. More commonly though they have standalone musical movements with complex three-train movements.
At a glance musical clocks will look just like a standard bracket or longcase clock, though on closer inspection one will find the cases to be more more elaborate and grand than standard.
They also tend to be more substantial to house a larger, more complex movement. Movements will be the same as standard bracket and longcase clocks, as mentioned above, but will feature an additional musical train, to the already present going and striking trains.
In addition to striking the hours, they will, on up to 14 bells, graduate the quarter hours by an arrangement of hammers by means of a musical pin barrel, that could be programmed to play up to 12 different melodies – popular tunes of the day.
The movements are always of the best quality, and because of their complex nature any damage or missing parts can considerably alter their value. Clock restoration is an expensive undertaking, and clocks like these require the very best conservators.
Makers are the same for longcase and bracket clocks but some notable other mentions are the firm of Marwick, Markham (circa 1740-1780), John Taylor (act. second half 18th century), and Thomas Grinnard (act. second half 18th century).
Regulators
Produced in England from the middle of the 18th century until the end of the 19th century, regulators were found in the workshops of clockmakers, important retailers, large homes and scientific institutions such as observatories.
Anywhere there was a need for highly accurate timekeeping and had many other clocks in need of regulation.
The cases of these functional clocks tend to be very plain in comparison to their domestic counterparts, almost always in mahogany but sometimes oak. They come as floor-standing, resembling longcases, table regulators and wall regulators.
For the most part the case shapes resemble regular clocks, it is their movements that set them apart, which are very finely made. They have no strike train, and as such will only have a single going train.
They commonly incorporate technical refinements such as jewelled pallets, maintaining power, and cases are solidly made to avoid any disturbances.
Pendulums will be compensated to avoid any loss or gain of time from temperature fluctuations that might lengthen or shorten it. They may either have a wooden rod with brass bob attached, gridiron type or have a mercury filled glass jar as the bob.
Floor-standing regulators will be weight driven, while table regulators will have a spring-driven movement with fusee. English wall regulators are mostly spring-driven, but some can also be weight-driven.
Dials are almost always engraved silvered brass with subsidiary dials. Minutes and seconds are shown more prominently than hours, as these clocks were used for fine regulation rather than general timekeeping.
They were made in much smaller numbers to domestic clocks, and are always of high quality, ensure that they are highly prized by collectors today.
Many notable makers are the same for marine chronometers, but several others worth mentioning are Benjamin Vulliamy (1747-1811), Robert Molyneux (act. 1800-1840), John Ellicott (1706-1772) and partners Thomas Mudge (1715-1794) & William Dutton (1722-1794).
Skeleton Clocks
So named for their cut-out plates that allows as much of the working parts of the clock to be on display.
As the movement is exposed they are encased beneath a removable glass dome to keep the dust out, and are attached to either an oval marble or wooden base, usually ebonised or veneered in mahogany, rosewood or walnut.
Skeleton clocks only began to be produced in England around 1820, though they already had seen popularity in Austria and France, where they probably originated around the early part of the 18th century.
As the movement was on display the brass plates are always cut-out from solid cast sheets, normally secured to their pillars by small blued steel screws. They are spring-driven with a fusee, with the drum normally sitting below the dial. Most are of eight day duration with the earlier examples been timepieces only.
Most had an anchor escapement with a short pendulum, while some more complex examples can be found with a platform lever escapement. Hands are blued steel, while the arbors and pinions are steel in contrast to the brass plates. Better quality examples will have five spoked wheels, or even six.
Around the 1840s striking skeleton clocks began to appear, and will normally strike on a gong but sometimes also a bell. Some can feature repeat striking, and some later examples can have a three train movement with elaborate musical work.
Earlier simple timepiece English skeleton clocks adopted the simple scroll design for their framework and as the century progressed more elaborate patterns were introduced. There were a range of standard patterns produced by many leading makers, but also some unique pieces were made by lesser known makers.
The best skeleton clock dials are of silvered brass with engraved numerals. The centre is always cut out leaving only the chapter ring. More complex examples can have elaborately pierced and scalloped dials.
Later dials often have their numerals painted on instead of engraved, while some can even have entirely painted dials.
When it comes to value it is important that skeleton clocks retain their original fitted glass dome, as they are expensive and difficult to replace, being a vital part of it. Also, as the movement is all about the visual appeal of these clocks any old hamfisted repairs causing blemishes like deep unsightly scratches will detract from its value.
Most skeleton clocks are signed, some by their maker, others by a retailer. Examples from the lower end of the market often don’t carry signatures though.
Notable makers were J. Smith & Sons (1850-1900), W. F. Evans and Sons (1850-1900), and the Condliff family (1816-1867).
Strut Clocks
A version of the carriage, or travel clock, is the strut clock, which derives its name from the folding brass strut mounted on the backplate. When extended the strut holds the clock upright at a slight angle like a photograph frame.
Some also have a swivelling foot mounted at the bottom of the case. Strut clocks were produced from around 1825 until 1865 and almost all were produced by a single London clockmaker called Thomas Cole (1800-1864).
He specialised in novelty and ornamental clocks, and made around 1,600 strut clocks, of which 1,400 are numbered. Cole signed most of his clocks, but the signature is normally found inside the case. The signature that appears on the dial, if there is one, is normally of the retailer.
Movements are spring driven with a going barrel and most are timepieces, with a few striking the hours. As with most travel clocks they have a platform lever escapement, which with strut clocks, is mounted vertically to accommodate the slim case, which averages ¾in/1.9-2.5cm.
Most are of thirty-hour duration, with a few of the more expensive and larger examples running for eight-days. They would also have been originally sold with a fitted leather travelling case.
Cases are engraved brass, with most being gilded, and consist of up to ten layers of cast brass sections, which are screwed together. The better quality examples tend to feature much finer, and deeply cut, engraving. Cases can be rectangular, diamond shaped , humpbacked or oval.
Dials are normally silvered with fine engraving, with subsidiaries and numerals in black. Subsidiary dials are normal and quite often also feature calendars. Hands are blued steel, often with a fleur-de-lys pattern.
Tavern Clocks
First appearing around the 1720s in taverns, these clocks are sometimes erroneously referred to as ‘Act of Parliament’ clocks. This was due to a tax of five shillings that was levied on all clocks per year, in 1797 by the English Parliament.
The act was repealed within a year, but it lead to the belief, later on in the 20th century, that because private ownership of clocks were too costly, that these clocks were placed in public view to counter the cost of the tax.
In reality it was the increasing public awareness of time during the 18th century that led to these clocks being put up for the convenience of patrons in taverns and coaching inns.
The tavern clock is a large, eye-catching clock wall clock that has a distinct, clearly marked dial so that it may be easily read in the gloomy, smoky interior of a tavern. They average around 22-30in/56-76 in diameter across the dial and around 60in/152cm in height.
Their earliest format, circa 1730-1760, had a large black square dial with a low half round shape on top to form a shallow arch, while the trunk was fairly short with a cushioned shaped base. The dial was supported from the top of the trunk by wings or fretwork.
Typically, these early tavern clocks feature Chinoiserie lacquer decoration over oak, with raised gesso work on the door. The dial corners have spandrels and will normally be surmounted by two or three gilt finials.
From around 1760, the round black or white dial with longer trunk became more common. A white dial always indicates a late 18th century clock and will have a black chapter ring. No bezel or glazing is found on tavern clocks
Numerals will always be Roman with an outside five minute ring with Arabic numerals. Hands are usually brass, sometimes with counterweights. Signatures usually appear below the dial, but can also be on the dial itself.
In addition to the straight or tapering trunk, another distinct shape to be found is the banjo case, which has a well defined sinuous curve to its trunk.
Towards the end of the 18th century lacquer decoration became unfashionable and mahogany veneer became popular with examples being produced between circa 1790-1810. Mahogany cases tend to be shorter than lacquered cases.
The robust movement is weight driven and of eight-day duration, with a long, second beating pendulum contained in the trunk along with the weight. Almost all tavern clocks are timepieces only.
As they didn’t have glass, the dials were exposed to significant wear and many have been redone by amateurs.
They were work pieces, often in rowdy taverns, which were exposed to significant wood and tobacco smoke. Lacquer work could be easily damaged from the heat of a fireplace or direct sunlight.
Normally this age related ‘distress’, called patina, will add value to the clock and shouldn’t be touched but if it is suffered at the hands of a bodger or been over-restored the value can be affected significantly.
As most tavern clocks were made locally in villages and smaller towns, knowledge of their makers are not well known but some fine examples were produced by Justin Vulliamy of London (1712-1792), John Dwerrihouse of London (act. 1770-1805), Charles Penney of Bristol (act. 1781-1801) and Thomas Kefford of Royston (1686-1770).
Turret Clocks
As mentioned earlier in this article, the 13th century Dunstable Priory clocks only purpose was to strike a bell at regular times to call the canons to their prayer duties, not to display a regular time.
The oldest surviving turret clock in Europe is the Salisbury Cathedral clock, completed in 1306.
Knowledge of the correct time by the masses was not important back then, and the clocks that did exist were only owned by the wealthy. However, as the world changed and began to become more industrialised so too did the need to provide accurate timekeeping as a crucial public service.
The development and proliferation of turret clocks had a profound impact on various aspects of society, including religion, commerce, governance, and public life.
The origins of turret clocks can be traced back to ancient civilisations such as Egypt and Greece, where early forms of timekeeping devices were constructed. However, it was during the Middle Ages that turret clocks began to emerge in Europe. Initially, these clocks were primitive and lacked precision, relying on simple mechanisms.
Nevertheless, they represented a significant advancement in timekeeping technology, as they allowed communities to synchronise their activities and establish a common temporal framework.
One of the primary reasons why the public needed turret clocks was the necessity for accurate timekeeping in religious contexts. In medieval Europe, the church played a central role in people’s lives, and the ringing of church bells was used to announce important events and daily routines, such as the start of religious services, the call to prayer, or curfews.
Turret clocks enabled the precise timing of these activities, ensuring that individuals could participate in religious ceremonies or observe the canonical hours at the appropriate times.
Furthermore, turret clocks became indispensable for urban centres experiencing rapid growth and increased commercial activity. As towns evolved into bustling hubs of trade, it became essential for merchants, craftsmen, and citizens to coordinate their business transactions efficiently.
Turret clocks provided a standardised time reference, allowing everyone to synchronise their activities, schedule meetings, and establish consistent working hours. This synchronised timekeeping facilitated economic exchanges and fostered a sense of punctuality and order within the community.
Moreover, the introduction of turret clocks had a profound social impact, as it democratised access to timekeeping. Before their advent, time was predominantly controlled by ecclesiastical or royal authorities, who possessed portable timepieces or kept time in private chambers.
Turret clocks brought time out of the exclusive domain of the elite and made it accessible to all members of society. The public could now glance up at the clock tower, often positioned in a prominent location, to gauge the hour and plan their activities accordingly.
Over time, turret clocks evolved technologically, incorporating more sophisticated mechanisms such as escapements, pendulums, and gears. These advancements improved accuracy and reliability, further enhancing their utility to the public.
The earliest turret clocks had verge escapements, which drove a foliot, a primitive type of balance wheel. After the invention of the anchor escapement in 1657 by Robert Hooke, most existing turret clocks were modified to improve their accuracy, while new ones were made with the more accurate escapement.
The movement is normally housed within a sturdy frame of iron or steel, often painted for 19th century examples, providing stability and support for the various brass gears and wheels, with steel arbors and pinions. They are weight driven with a long seconds beating pendulum, normally striking the hours on a bell, or series of bells.
Most commonly they are two train movements, with single train examples less so. Three train versions started to appear in the late Victorian period.
With the advent of electricity, turret clocks underwent further transformations, allowing for automated winding and synchronisation with other timekeeping devices.
Value is based on the obvious things like originality, quality and maker but it can also be significantly be influenced by the practicality of owning one of these clocks. As one would imagine some examples were situated in very large towers and need a lot space for their pendulums and weights.
Display might be impractical in modern homes so smaller turret clocks tend to fetch higher prices. Some turret clocks come with wooden display frames, which is factor to consider cost wise should a custom one need to be made up.
Notable makers of turret clocks are John Smith of Derby (1813-1886), Thwaites & Reed (1740-) and Gillett & Johnston (1844-1957).
Wall Clocks
While tavern clocks and wall regulators could arguably fall under this title, there are certain other English wall clocks, or dial clocks as they are also known, that are classed under this name.
English wall clocks have their origin in tavern clocks, with England’s expanding wealth creating an insatiable demand for timekeepers in the 18th century. The practical, inexpensive round-dial clock, and its variant the drop-dial, were intended to be functional rather than decorative.
They are sometimes referred to as ‘School clocks’ or ‘Railway/Station clocks’, as many were placed in public buildings and other non-domestic locations.
Very early dials can be black painted wood with gilt numerals, however most found now either have white painted wooden or iron dials, or engraved silvered dials. All have Roman numerals and some may have an outside five minute ring with Arabic numerals.
Dials could be flat or convex but by around 1840 onwards they are flat. Most common size is 12in/30.5cm. Hands are normally blued steel. They also feature a locking brass bezel with glazing.
English wall clocks are almost always timepieces only and are spring-driven with a fusee. Early examples had verge escapements with a short pendulum but from the late 18th century the more accurate anchor escapement was used, necessitating the inclusion of a trunk to accommodate the longer pendulum.
However, the trunk was also included as a vehicle to include decorative features. Cases are mostly mahogany, being solid on round dial examples. On drop-dials they may be veneered and can be inlaid or strung with brass.
English dial clocks were predominately made in London and other cities in southeast England. Some notable makers are George Yonge & Son (act. 1819-1832), John Carter (1804-1878) and Joseph French (first half 19th century).
The dominance of English clocks and clockmakers lasted for some two centuries and have left their indelible mark on the horological world.
However, outside competition and changing fashions, not to mention a changing world, all brought the dominance of the English clock to an end. By the 1840’s the introduction of cheaper mass produced clocks from America and Germany ensured strong competition for local clockmakers.
In addition, the Cobden-Chevalier Treaty of 1860 between Great Britain and France saw clocks, among other items, be exported in great quantity free of tariffs. The taste for Francophile fashion in England at the time ensured their success, putting considerable pressure on English clockmakers.
The craftsmanship and quality of English clocks cannot be argued however, and has ensured that they remain highly desirable and at the forefront of horological collectors today.
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