| Height | 7 feet 5 inches (2260 mm) |
| Case | The provincial walnut veneered case, inset by floral marquetry panels with walnut cross-grain mouldings, onto an oak carcass. The rising hood surmounted by a walnut carved cresting of reclining cherubs holding a crown above a gilded scallop shell and floral swags. The walnut cornice above a cushion-moulded frieze, supported by conforming walnut Solomonic columns with integral turned capitals and unusual baluster bases, flanking the marquetry dial aperture, the hood sides with access doors to the movement. The convex throat mouldings above the scroll marquetry trunk frame, inset by trunk door with three D-end marquetry panels of flowers issuing from urns and scroll-work, centred by a gilt-framed oval glazed pendulum lenticle. The walnut cavetto/ovolo base moulding above a contra-conforming inlaid edge plinth, inset with a further floral marquetry panel with matching scroll-work, and resting on four long-necked bun feet. |
| Dial | The 12 inch (305 mm) square brass dial with large winged cherub and scroll corner spandrels, the silvered brass chapter ring with Roman hours and fancy fleur-de-lys half-hour marks and signed John Watts Stamford flanking VI, the Arabic minutes numbered every 5 with dot half-quarter marks, all set outside the minute division ring. The matted centre with a seconds ring, partially inset into the chapter below XII, and a shaped and decorated date aperture above a ringed winding hole with two further winding holes in the chapter at VIII and IIII. The blued steel hands well pierced and sculpted, and the dial held by four feet pinned through the front posts of the movement. |
| Movement | The massive posted frame movement with four large turned and ringed pillars, the top and bottom plates held by ball feet below and steel chamfered nuts above. The trains planted side-by-side, and each planted in vertical twin train plates; the hour striking train on the left (IX side), going train in the centre and music train to the right (III side). The hours governed by a countwheel with three pins to set off the music train at 4, 8 and 12 o’clock. Two angled steel levers pivoted to the front and back vertical plates of the music train, move the music pin-barrel to change to a second tune. The countwheel governed pinned music barrel, operating 15 numbered hammers steadied by guides, and playing on 12 bells. The going train with anchor escapement and unusual screw-adjustment to the laterally slot-sliding pendulum suspension block for setting the clock in beat. |
| Duration | One month |
| Provenance | By repute, possibly made for Burghley House, Stamford; Christie’s, 4 July 1990, lot 79; Anthony Woodburn, 2000, and sold for £50,000; The John C Taylor Collection, inventory no.35 |
| Literature | Ord-Hume, The Musical Clock: Musical & Automation Clocks & Watches, 1995, p.68-69, plate 1V/14 Time & Place: English Country Clocks 1600-1840, 2006, p.52-55. |
| Escapement | Anchor with beat adjustable suspension and one-second pendulum |
| Strike Type | Countwheel hour and music every four hours |
| Exhibited | 2006, Oxford, Time & Place: English Country Clocks 1600-1840, exhibit no.17 |
Exhibit № 24: John Watts, Stamford. Circa 1690
A rare and important provincial William & Mary walnut marquetry posted-frame musical longcase clock with original cresting
£75,000
This clock is of outstanding importance to the history of Lincolnshire clockmaking, in particular to Stamford. It is a supremely rare example of an English 17th century musical clock, even more so in provincial terms, and it is significant that the leading authority on the subject, Arthur Orde-Hulme, used this clock as his only illustration of a 17th century musical longcase clock, describing it as outstanding, while in the Christie’s catalogue of July 1990, a putative Burghley House provenance is suggested.
John Watts was the most significant clockmaker in Stamford from 1682-1719. His date and location of his birth has not yet been absolutely ascertained, and Brian Loome’s notes much confusion as to his background prior to purchasing his Freedom of the town of Stamford by payment of £3 6s 8d in 1682, at which time he was described, as a ‘whitesmith and dealer in pistols and firearms’. However, Loome’s notes a surviving lantern clock of c.1680 signed ‘John Watts of Apethorpe fecit’ that apparently reveals his location prior to Stamford, and it may be significant that he went on to make the church clock there in 1704. Whatever the actual circumstances, following his Freedom of Stamford he took Boniface Bywater as an apprentice for seven years until 1696 (Bywater also became a well-known clockmaker in the area and a clock survives by him in St. Mary’s church, Stamford). Later, a second John Watts (possibly his son) was apprenticed to John Watts senior, gaining his Freedom of Stamford in 1704. Watts continued working in Stamford until shortly before his death, then moving to Boston, Lincolnshire, where he is believed to have worked briefly until he died early in 1720. His inventory of 10th March 1719/20 mentions ‘In the shop two clocks and three cases – £6. 10s.0d.’, indicating he was still making and repairing clocks. The shop tools were valued at 18 shillings, his book debts £1, and he also had three old muskets, apparently confirming that he was also a dealer in, or repairer of, firearms. His total worldly wealth amounted to £12, 13s 6d, but he may have already dispersed much of his wealth to his children.
The construction of this musical clock is both unusual and of great fascination; for a clock such as this, Watts might have simply ordered a trade-produced piece from a London source, but this clock shows every sign of being made locally and not bought in. While the marquetry case appears to be typical of the period, there are characteristics such as the inlay work and the large overhang of the hood section over the trunk, which indicate that that work was also by a local cabinetmaker. The movement is uncharacteristic of London work, following very much the lantern clock and posted-frame construction favoured by provincial makers at this time, and such construction shows it to be truly the work of John Watts, and not simply an imported London piece. A most unusual aspect of the design of the clock is also the beat adjustment for the pendulum. In order for a clock of this type to function correctly, it needs to be ‘in beat’ so that the locking and unlocking of the escape wheel by the oscillating pallets is done evenly as the pendulum swings from one side to the other. This is normally achieved by bending the crutch-piece to the required position in relation to the pendulum. This type of beat adjustment is more commonly found in precision clocks of a much later date, but this is another indication of an innovative provincial clock made by a very talented local clockmaker.
Musical clocks in England have their origins in the late 16th century, particularly in the work of immigrant Flemish clockmakers, and one of the earliest surviving examples being the weight-driven musical chamber clock made by Nicholas Vallin in 1598 and now in the British Museum collections, another example survives in the form of a musical lantern clock playing at every third hour and made by Davis Mell of London. However, apart from a small group of musical lantern clocks, the English musical clock, judging from the sparsity of surviving examples, did not gain general popularity amongst English clockmakers until the second quarter of the 18th century. This particular clock is therefore a rare and important example of a musical longcase clock from the end of the 17th century and one of only two surviving examples from that period. The second comparable clock is signed by James Delaunce of Frome and dates from about 1695, housed in a case with an unlikely swan neck top-decoration, it too has a movement of posted frame construction but is only of 30-hour duration playing music four times in twelve hours, the present whereabouts of this second clock are unknown.
As well as being a significant example in relation to the development of English musical clocks, another important aspect exists in it being a rare surviving piece by the important Stamford maker John Watts. He made a number of turret clocks for local village churches in the Stamford area and many, though not all, of these were signed IW followed by the date of making; at Empingham (on loan to Stamford Museum) dated 1686; Clipsham dated 1688; Kings Cliffe (attributed); Nassington dated 1695; Apethorpe dated 1704; and All Saints church, Stamford dated 1705. There is also a reference to John Watts installing a new escapement in the clock in Peterborough Cathedral in 1687. A small number of other domestic clocks are recorded by John Watts, and in particular a lacquered longcase of c.1695 can still be found in the Mayor’s parlour at Stamford Town Hall.
There are also un-researched aspects of this clock. Firstly, the assertions that the clock was formerly associated with Burghley House, Stamford, which needs further examination; certainly, we know Watts made a turret clock for Burghley House in 1707, costing £26. 13s, making it most likely that he would have carried out work at the house beforehand, while it is also known his apprentice, Boniface Bywater, maintained connections with Burghley afterwards. Secondly, the music itself could also prove interesting and a most important document for those researching late 17th century popular music.
Product Description
This clock is of outstanding importance to the history of Lincolnshire clockmaking, in particular to Stamford. It is a supremely rare example of an English 17th century musical clock, even more so in provincial terms, and it is significant that the leading authority on the subject, Arthur Orde-Hulme, used this clock as his only illustration of a 17th century musical longcase clock, describing it as outstanding, while in the Christie’s catalogue of July 1990, a putative Burghley House provenance is suggested.
John Watts was the most significant clockmaker in Stamford from 1682-1719. His date and location of his birth has not yet been absolutely ascertained, and Brian Loome’s notes much confusion as to his background prior to purchasing his Freedom of the town of Stamford by payment of £3 6s 8d in 1682, at which time he was described, as a ‘whitesmith and dealer in pistols and firearms’. However, Loome’s notes a surviving lantern clock of c.1680 signed ‘John Watts of Apethorpe fecit’ that apparently reveals his location prior to Stamford, and it may be significant that he went on to make the church clock there in 1704. Whatever the actual circumstances, following his Freedom of Stamford he took Boniface Bywater as an apprentice for seven years until 1696 (Bywater also became a well-known clockmaker in the area and a clock survives by him in St. Mary’s church, Stamford). Later, a second John Watts (possibly his son) was apprenticed to John Watts senior, gaining his Freedom of Stamford in 1704. Watts continued working in Stamford until shortly before his death, then moving to Boston, Lincolnshire, where he is believed to have worked briefly until he died early in 1720. His inventory of 10th March 1719/20 mentions ‘In the shop two clocks and three cases – £6. 10s.0d.’, indicating he was still making and repairing clocks. The shop tools were valued at 18 shillings, his book debts £1, and he also had three old muskets, apparently confirming that he was also a dealer in, or repairer of, firearms. His total worldly wealth amounted to £12, 13s 6d, but he may have already dispersed much of his wealth to his children.
The construction of this musical clock is both unusual and of great fascination; for a clock such as this, Watts might have simply ordered a trade-produced piece from a London source, but this clock shows every sign of being made locally and not bought in. While the marquetry case appears to be typical of the period, there are characteristics such as the inlay work and the large overhang of the hood section over the trunk, which indicate that that work was also by a local cabinetmaker. The movement is uncharacteristic of London work, following very much the lantern clock and posted-frame construction favoured by provincial makers at this time, and such construction shows it to be truly the work of John Watts, and not simply an imported London piece. A most unusual aspect of the design of the clock is also the beat adjustment for the pendulum. In order for a clock of this type to function correctly, it needs to be ‘in beat’ so that the locking and unlocking of the escape wheel by the oscillating pallets is done evenly as the pendulum swings from one side to the other. This is normally achieved by bending the crutch-piece to the required position in relation to the pendulum. This type of beat adjustment is more commonly found in precision clocks of a much later date, but this is another indication of an innovative provincial clock made by a very talented local clockmaker.
Musical clocks in England have their origins in the late 16th century, particularly in the work of immigrant Flemish clockmakers, and one of the earliest surviving examples being the weight-driven musical chamber clock made by Nicholas Vallin in 1598 and now in the British Museum collections, another example survives in the form of a musical lantern clock playing at every third hour and made by Davis Mell of London. However, apart from a small group of musical lantern clocks, the English musical clock, judging from the sparsity of surviving examples, did not gain general popularity amongst English clockmakers until the second quarter of the 18th century. This particular clock is therefore a rare and important example of a musical longcase clock from the end of the 17th century and one of only two surviving examples from that period. The second comparable clock is signed by James Delaunce of Frome and dates from about 1695, housed in a case with an unlikely swan neck top-decoration, it too has a movement of posted frame construction but is only of 30-hour duration playing music four times in twelve hours, the present whereabouts of this second clock are unknown.
As well as being a significant example in relation to the development of English musical clocks, another important aspect exists in it being a rare surviving piece by the important Stamford maker John Watts. He made a number of turret clocks for local village churches in the Stamford area and many, though not all, of these were signed IW followed by the date of making; at Empingham (on loan to Stamford Museum) dated 1686; Clipsham dated 1688; Kings Cliffe (attributed); Nassington dated 1695; Apethorpe dated 1704; and All Saints church, Stamford dated 1705. There is also a reference to John Watts installing a new escapement in the clock in Peterborough Cathedral in 1687. A small number of other domestic clocks are recorded by John Watts, and in particular a lacquered longcase of c.1695 can still be found in the Mayor’s parlour at Stamford Town Hall.
There are also un-researched aspects of this clock. Firstly, the assertions that the clock was formerly associated with Burghley House, Stamford, which needs further examination; certainly, we know Watts made a turret clock for Burghley House in 1707, costing £26. 13s, making it most likely that he would have carried out work at the house beforehand, while it is also known his apprentice, Boniface Bywater, maintained connections with Burghley afterwards. Secondly, the music itself could also prove interesting and a most important document for those researching late 17th century popular music.
Additional information
| Dimensions | 5827373 cm |
|---|
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