| Height | 12 inches high (305 mm) |
| Case | The archetypal Phase II case, ebony veneered onto an oak carcass, with a plain cushion domed top, surmounted by a silver foliate-tied handle with turned pommels and base plates. The flat-top main cornice moulding over the square front door with typical opposed solid silver winged cherub head scroll escutcheons, the left pin-hinged and swivelling to reveal the key-hole, and the top rail inset with an ebony pierced sound fret. The glazed side apertures with further ebony pierced sound frets above, and the inset glazed back door framed with half-round mouldings. All resting on the conforming plinth moulding, typically and correctly, without feet. |
| Dial | The 6¾ inch (172 mm) square brass dial covered with (replaced) black velvet and applied with a delicate silvered chapter ring with Roman hours, fleur-de-lys half-hour markers and Arabic minutes, every 5, within the division ring. Signed Joseph Knibb Londini Fecit around VI. The typical silver hour hand delicately pierced, shaped and chamfered, the matching minute hand also in solid silver. The centre of the dial with three winding holes, each with plain silver ferrule edging, as has the date square below XII, and the corners are applied with Knibb’s later-developed pattern of cast and chased silver winged cherub spandrels. The dial is fixed to the movement by four latched dial feet, and to the case by two typical screw-turns to the rear of III and IX, into the carcass behind the mask. |
| Movement | The delicate three-train fusee movement with ten archetypal vase-shaped baluster pillars, latched to the triple-divided frontplate for individual train assembly, with triple gut line fusees and spring barrels, the knife edge verge escapement (restored) with short bob pendulum. The left hand (IX) train striking all four quarters on the smaller bell above and governed by a small numbered countwheel to the backplate with four lifting pins that trip, via a tilting posted lever, the right hand (III) hour train, governed by a further restored countwheel numbered for every hour, releasing the hours to be struck on the larger bell above. The backplate with a line border, symmetrically engraved with tulips and scrolling foliage, typically signed in an arc Joseph Knibb Londini Fecit with further flowers and scrolls emanating from the centre directly below. |
| Duration | 8 days |
| Provenance | From 1920s, Private collection USA (Lee’s notes) until 1995, when acquired by; Asprey’s, and sold by Charles Lee in 1996 for £88,000; John C Taylor Collection, inventory no.17 |
| Literature | Nicholls, English Bracket and Mantel Clocks, 1982, fig.2 and 3; Horological Masterworks, Oxford, 2003, p. 150-153 |
| Escapement | Knife edge verge with short bob pendulum |
| Strike Type | Full Grande Sonnerie striking via linked outside countwheels |
| Exhibited | 2003, Horological Masterworks, Oxford Museum for the History of Science and the Walker Art Gallery, Liverpool, exhibit no.32 |
Exhibit № 21: The Nicholls Knibb. Circa 1685
An exceedingly scarce Charles II ebony veneered and silver-mounted Phase II full Grande Sonnerie striking table clock by Joseph Knibb, London
£450,000
This scarce and important spring clock is one of only nine known from Joseph Knibb’s famous series of Phase II form (ebony, velvet and silver) and furthermore, it is one of only four recorded Grande Sonnerie striking examples (see list on page 112, under exhibit 17). The first was Roman striking, commissioned by Charles II and is dated 1677 (also in this collection, inventory no.145). As was usual at that time, the king is likely to have chosen the outward specification; ebony-veneered and adorned in silver, with a velvet-backed dial. Thus, the monarch probably started an expensive trend that Knibb was happy to capitalise on. As these were probably his most expensive productions, the Phase II clocks that followed, including the current example, would likely only have been made to order for his wealthiest customers. Meanwhile, the existence of a similarly decorated spring clock, The Silver Tompion, which was also apparently commissioned by the king at the same time, 1677 (see page 114), seems to confirm the direct rivalry of these two important clockmakers, as well as their commercial ascendency, at this time.
Although it is not known from whom Asprey’s acquired this clock in the 1990s, Charles Lee’s notes indicate that the clock was imported direct from the USA, where it had …not been available since the ‘20s. Interestingly, the owners had provided photographs of the clock still in its unrestored condition to Andrew Nicholls, for his 1982 publication English Bracket and Mantel Clocks. These images provide vital and reassuring background, indicating that the clock retains all the original silver elements showing now, but without the current velvet. The case had its solid-silver escutcheons, handle, pommels, and base plates. Meanwhile, although the dial had lost its velvet covering, it retained its original chapter ring, signed Joseph Knibb Londini Fecit that on Phase III examples would otherwise be on the dialplate, as well as the solid-silver hands and spandrels. At some time before the 1920s, the velvet must have degraded to a point that it was considered ‘untidy’, this was then removed, leaving a plain planished dial front, which was then engraved with incongruous decoration, in its place. Apparently, the plain silver aperture ferules used to edge the velvet, were considered pleasing enough, as these too can be seen left in place. It is not clear whether Lee organised to correctly replace the velvet dial-covering in the mid 1990s, but his correspondence indicates a new hour countwheel was made together with a new backcock, for the existing verge escapement that was shown in the 1982 images.
As noted by Nicholls, it seems likely that this clock originally had a set of front and side dome mounts. Furthermore, due to the high cost of silver and in common with other Phase II examples, it is probable that rather than being cast, these would likely have been repoussé: where soft silver-sheet was individually hand-beaten and formed in reverse onto pitch, once ‘dimensional’ they were then turned-over, pierced and highlighted with burnishing and chasing. Although the labour required to make them was much higher, they were produced from much lighter weight silver-sheet, the high material cost of silver at this time, outweighing the relatively low cost of labour.
This example is the seventh of only nine recorded Phase II clocks by Joseph Knibb. The first appears to have been commissioned by Charles II and is dated 1677. Thus the King probably started an expensive trend that Knibb was happy to continue to capitalise on. As these were likely his most expensive productions, the Phase II clocks that followed would only have been made to order for his wealthiest customers. The current clock is no.7 on the following date-ordered list:
1. Roman striking, tic-tac escapement, royal and dated 1677, George Daniels Collection sold Sotheby’s, 6 November 2012, lot 130, for £1,273,250. The John C Taylor Collection, inventory no.146.
2. Grande Sonnerie, tic-tac escapement, circa 1678, RA Lee, The Knibb Family Clockmakers, 1964, plate 77. The John C Taylor Collection, inventory no.70 (exhibit 17, The Symonds Knibb, in this catalogue)
3. Grande Sonnerie, tic-tac escapement, circa 1678-79, Sotheby’s 16th Oct 1972, lot 46, The Hamburg Collection.
4. Striking with pull quarter repeat, circa 1680, RA Lee, The Knibb Family Clockmakers, 1964, plate 78.
5. Full Grande Sonnerie, circa 1680-85, CH St.J Hornby Collection, c.1900; private collection USA.
6. Roman striking, circa 1680-85, RA Lee, The Knibb Family Clockmakers, 1964, plate 79.
7. Full Grande Sonnerie, circa 1680-85. Horological Masterworks, No. 32. The John C Taylor Collection, inventory no.17 (the current example).
8. Striking with pull quarter repeat, circa 1680-85, Exceptional English Clockwork, no.12.
9. Striking with pull quarter repeat, circa 1685, Christie’s 21 November 1990, lot 91.
Product Description
This scarce and important spring clock is one of only nine known from Joseph Knibb’s famous series of Phase II form (ebony, velvet and silver) and furthermore, it is one of only four recorded Grande Sonnerie striking examples (see list on page 112, under exhibit 17). The first was Roman striking, commissioned by Charles II and is dated 1677 (also in this collection, inventory no.145). As was usual at that time, the king is likely to have chosen the outward specification; ebony-veneered and adorned in silver, with a velvet-backed dial. Thus, the monarch probably started an expensive trend that Knibb was happy to capitalise on. As these were probably his most expensive productions, the Phase II clocks that followed, including the current example, would likely only have been made to order for his wealthiest customers. Meanwhile, the existence of a similarly decorated spring clock, The Silver Tompion, which was also apparently commissioned by the king at the same time, 1677 (see page 114), seems to confirm the direct rivalry of these two important clockmakers, as well as their commercial ascendency, at this time.
Although it is not known from whom Asprey’s acquired this clock in the 1990s, Charles Lee’s notes indicate that the clock was imported direct from the USA, where it had …not been available since the ‘20s. Interestingly, the owners had provided photographs of the clock still in its unrestored condition to Andrew Nicholls, for his 1982 publication English Bracket and Mantel Clocks. These images provide vital and reassuring background, indicating that the clock retains all the original silver elements showing now, but without the current velvet. The case had its solid-silver escutcheons, handle, pommels, and base plates. Meanwhile, although the dial had lost its velvet covering, it retained its original chapter ring, signed Joseph Knibb Londini Fecit that on Phase III examples would otherwise be on the dialplate, as well as the solid-silver hands and spandrels. At some time before the 1920s, the velvet must have degraded to a point that it was considered ‘untidy’, this was then removed, leaving a plain planished dial front, which was then engraved with incongruous decoration, in its place. Apparently, the plain silver aperture ferules used to edge the velvet, were considered pleasing enough, as these too can be seen left in place. It is not clear whether Lee organised to correctly replace the velvet dial-covering in the mid 1990s, but his correspondence indicates a new hour countwheel was made together with a new backcock, for the existing verge escapement that was shown in the 1982 images.
As noted by Nicholls, it seems likely that this clock originally had a set of front and side dome mounts. Furthermore, due to the high cost of silver and in common with other Phase II examples, it is probable that rather than being cast, these would likely have been repoussé: where soft silver-sheet was individually hand-beaten and formed in reverse onto pitch, once ‘dimensional’ they were then turned-over, pierced and highlighted with burnishing and chasing. Although the labour required to make them was much higher, they were produced from much lighter weight silver-sheet, the high material cost of silver at this time, outweighing the relatively low cost of labour.
This example is the seventh of only nine recorded Phase II clocks by Joseph Knibb. The first appears to have been commissioned by Charles II and is dated 1677. Thus the King probably started an expensive trend that Knibb was happy to continue to capitalise on. As these were likely his most expensive productions, the Phase II clocks that followed would only have been made to order for his wealthiest customers. The current clock is no.7 on the following date-ordered list:
1. Roman striking, tic-tac escapement, royal and dated 1677, George Daniels Collection sold Sotheby’s, 6 November 2012, lot 130, for £1,273,250. The John C Taylor Collection, inventory no.146.
2. Grande Sonnerie, tic-tac escapement, circa 1678, RA Lee, The Knibb Family Clockmakers, 1964, plate 77. The John C Taylor Collection, inventory no.70 (exhibit 17, The Symonds Knibb, in this catalogue)
3. Grande Sonnerie, tic-tac escapement, circa 1678-79, Sotheby’s 16th Oct 1972, lot 46, The Hamburg Collection.
4. Striking with pull quarter repeat, circa 1680, RA Lee, The Knibb Family Clockmakers, 1964, plate 78.
5. Full Grande Sonnerie, circa 1680-85, CH St.J Hornby Collection, c.1900; private collection USA.
6. Roman striking, circa 1680-85, RA Lee, The Knibb Family Clockmakers, 1964, plate 79.
7. Full Grande Sonnerie, circa 1680-85. Horological Masterworks, No. 32. The John C Taylor Collection, inventory no.17 (the current example).
8. Striking with pull quarter repeat, circa 1680-85, Exceptional English Clockwork, no.12.
9. Striking with pull quarter repeat, circa 1685, Christie’s 21 November 1990, lot 91.
Additional information
| Dimensions | 5827373 cm |
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