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拍品專文
THE ENGRAVING AFTER PAUL VAN SOMER II
The profusely engraved backplate of this clock movement is centred by a cartouche with the maker’s names encircled by two griffins or mythical beasts with scales and claw feet. This design copies an undated engraving, probably 1690’s (British Museum No. 1972,U.1020), by the Newport Street engraver Paul van Somer II (active 1670 – d. 1714). Somer, a Huguenot refugee, published work by Simon Gribelin (1661-1733). This cartouche design also appears on Tompion table clock no.s 418 and 424.
The engraving on Tompion clock movements is usually attributable to four principal craftsmen (J. Evans, J. Carter, B. Wright, Thomas Tompion, 300 Years, Stroud, 2013, pp. 174-185). The 'Tulip' engraver is the earliest and the other three are identified by the clock on which their work first appears: 'G.155', 'G.195' and 'G.515' (the 'G' referring to 'Graver'). The present clock has engraving in the hand of Graver 195 who has possibly been identified as Henry Adeane (Evans, Carter, Wright, 2013, op. cit., pp. 181-3.) employed by Tompion from circa 1693-4. He also worked for a number of other eminent London clockmakers including Daniel Quare (1648-1724). His work on the dial plate of a longcase clock (no. 318) features the engraved name ‘Henry’ beneath the chapter ring. Adeane was made free of the Clockmakers' Company in 1675. Graver 195 also utilised designs by Gribelin and his work is typified by the use of decorative masks and gargoyles within the foliate scrolls and particularly down the centre line of the backplate; the present clock features a ‘Pan’ mask to the lower edge of the cartouche.
TOMPION CASE STYLES
Jeremy Evans classifies Tompion’s cases in three distinct styles for ‘spring’ clocks (Evans, Carter, Wright, 2013, op. cit., pp. 154-5): ‘Phase 1’ circa 1680-90; ‘Phase 2’ circa 1690-1711 and; ‘Phase 3’ circa 1697-1713. Evans records the present table clock as one of just eleven known 'phase 3' 8-day ebony table clocks (Evans, Thomas Tompion at the Dial and Three Crowns, Ticehurst, 2006, pp. 78-80). No. 427 features typical case mounts; the acanthus scroll handle, foliate scroll fret above the door, shell and eagle heads below the door and scroll escutcheons.
EDWARD BANGER PARTNERSHIP
Tompion took Edward Banger (active 1687 – d. 1719), the husband of his niece Margaret Kent, into partnership in 1700 or 1701. This lasted until 1707 or 1708 when the relationship soured and Banger is presumed to have left to go into business on his own. It is unknown what may have caused this rift in the partnership but Banger carried on making clocks before dying intestate in 1719. (Evans, op. cit., 2006, pp. 55-58). It has also been suggested that Banger could have become a leather seller (G. Boney, 'Was Banger Really Fired?', Antiquarian Horology, June 2003, pp. 392-405). Banger was replaced as a partner in the business by George Graham (1673-1751) in about 1711.
THOMAS TOMPION
Over three centuries after his last production Thomas Tompion (1639-1713) remains as England's most celebrated clockmaker. Despite his extraordinary career little is known of his beginnings. It is not known to whom he was apprenticed, but by September 1671 he was in London and three years later made Free of the Clockmakers Company by Redemption. The same year, he established his shop at the sign of the ‘Dial and Three Crowns’ in Water Lane at the corner of Fleet Street and met the great experimental physicist Robert Hooke (1635-1703), whose contacts would raise Tompion from obscurity to the attention of royalty. Patronised by Charles II and subsequently William III, Tompion received the most significant commissions of the day, including two clocks for the Greenwich Observatory and a year-going table clock to celebrate the 1689 coronation of William and Mary, now known as the ‘Mostyn Tompion' (British Museum, number 1982,0702.1). He became Master of the Clockmakers Company in 1703 and his fame was such that his portrait was painted by the Court artist, Sir Godfrey Kneller. Upon his death, Tompion was buried in Westminster Abbey.