Dating Marquetry Clocks

Marquetry, the art of applying thin pieces of veneer to a substrate to create decorative patterns, is a technique first used in the ancient world. Revived by craftsmen in the Italian Renaissance, who often created masterpieces in stone (pietra dura), wood marquetry went on to be mastered by Flemish, Dutch and French cabinetmakers.

Marquetry came to England during the Restoration of Charles II in 1660; Dutch ‘inlayers’ arrived in London, introducing the art and cabinetmakers began producing fine tabletops, cabinets, and they began using the techniques on longcase clocks.

Marquetry longcase clocks flourished between the years 1680-1710, a period known as the ‘Golden Age of Clockmaking’. The era saw technical innovation and the finest craftsmanship combine to produce some of the best clocks known to this day, often elaborately decorated with marquetry composed of exotic contrasting woods on oak carcasses.

Stylistic trends in marquetry longcase clocks developed throughout this period, which can be helpful when dating a clock. It is useful to note, however, that these trends apply mostly to London-made clocks, as provincial makers lagged behind in terms of style and innovation.

A Good Walnut and Marquetry Month Going Longcase Clock, signed Phillip Corderoy, London, circa 1690, case with a later carved pediment, barley twisted columns, glass side panels, trunk dial with D-ended panels with bird and floral marquetry inlay, base with matching inlay, 10-inch square brass dial with a silvered Roman numeral chapter ring, dial plate signed Phillip Corderoy, London, finely matted dial centre with date aperture and seconds dial, finely cast winged cherub spandrels and floral engraved outer borders, six pillar movement, latched pillars, anchor escapement and outside countwheel striking on a bell
217cm high
Provenance: The Estate of the late Lord Lloyd of Berwick (1929-2024)
Sold together with the original Dart Antiques purchase invoice dated November 1st 1967

Sold for £17,000 plus buyer's premium

Moulding:

Convex moulding below the hood usually indicates the clock was made before 1700. Concave throat moulding below the hood became favoured after 1700.

Hoods:

Early longcase clocks had what is known as ‘rising’ hoods – they were designed with four fixed sides and had to be lifted vertically upwards to be removed. Around the turn of the century, hoods were usually designed to be removed by pulling forward, a far more practical design. Indeed, many older clocks had their rising hoods converted, and old ‘witness’ marks or grooves can be sometimes found on both sides of the back of the hood from their earlier configuration.

A Walnut Marquetry Eight Day Longcase Clock, signed Fab Robin, Londini, Fecit, circa 1700, flat top pediment, glazed side panels, trunk door with D-ended floral and bird decorated marquetry panels, 11-inch square brass dial with a Roman numeral silvered chapter ring signed, dial centre with ringed winding holes, date aperture and seconds dial, winged cherub spandrels, five pillar movement with an anchor escapement and inside countwheel striking on a bell
207cm high

Sold for £5,000

Dials:

Fine quality longcase clocks with 10-inch dials usually had decorative motifs such as cherubs and crown spandrels in each corner, and finely matted dial centres. After 1700, the dials started to increase in size and were normally 11-inches, with a greater variety of decoration on the dial spandrels; an intertwining foliage motif was commonly used.

Signature:

Early clocks were sometimes signed on the dial plate, just below the 6 o’clock position, whereas at the very end of the 17^th century and in the opening years of the 18^th century, the signatures were placed on the silvered dial chapter ring, again around the 6 o’clock position.