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Friday, December 7, 2012

A Very Short History Of The Pendulum Clock Part 2 - "At The Sign Of The Mermaid In Lothbury"

In part one we traced the development of the pendulum clock from early beginnings in China around 1100, to the improvements made in Italy then Holland in the 1600's.

Now we can take a look at English clockmaking up to the point where the grandfather or longcase clock as we recognise it today appeared. Here is an advertisement, which appeared in the London paper "Commonwealth Mercury" in November 1658 - - - - -

"There is lately a way found for making clocks that to exact and keep equaller time than any now made without this Regulator (examined and proved before his Highness the Lord Protector by such Doctors whose knowledge and learning is without exception) and are not subject to alter by change of weather, as others are, and may be made to go a week, a month, or a year with once winding up, as well as those that are wound up every day, and keep time as well, and is very excellent for all House Clocks that go either with springs or weights; and also Steeple Clocks that are most subject to differ by change of weather. Made by Ahasuerus Fromanteel, who made the first that were in England. You may have them at his house on the Bankside, in Mosses Alley, Southwark and at the sign of the Mermaid, in Lothbury, near Bartholomew Lane end, London"

I'll bet the guy who wrote that went off to America selling Snake Oil shortly afterwards - - - -

What the advert is telling the people of London is that the pendulum had arrived in England at last, and clocks were for the first time reasonably accurate, certainly to within a few minutes a week. The other give away here is the name of the clockmaker, Ahasuerus Fromanteel was a Dutchman living and working in England, this explains how an obscure book written in Dutch came to be recognised so quickly in England, one of Fromanteel's sons, John, was sent over to Holland to learn about making pendulum clocks from Salomon Coster, the clockmaker who made the clocks for Huygens and by a happy accident he was there within 11 weeks of Huygens being granted his patent for the pendulum.

John quickly sent the knowledge of the new pendulum back to England, with the permission of either Huygens or Coster, and by the time he returned home to London the family was well-established making clocks. Ahasuerus Fromanteel worked with his friend Thomas Loomes, and his is the second address in the advert, " at the sign of the Mermaid in Lothbury"

The first English pendulum clocks were wall clocks, often known as "hoop and spike" clocks, the hoop hung on a nail or peg set in the wall, and there were two spikes or pointed steel bars that protruded from the back of the clock and dug into the wall to stop the clock slipping sideways.

These clocks were really lantern clocks with a pendulum hanging down beneath, which meant they could not be stood on a table or shelf any more, but the huge increase in accurate timekeeping was considered worth the trouble of fixing them to the wall.

The beautiful English Lantern Clock, made of brass with an engraved dial and four corner pillars like a four poster bed, started to be enclosed in a wooden hood, similar to the hood on the grandfather clock, this then went on a high shelf fixed to the wall, and the shelf had holes in so that the pendulum and weights could hang down below the shelf through the holes. The clock inside the case quickly became much plainer to look at, the wooden hood was easier and cheaper to make, and with a nice engraved brass dial, and some mouldings to the case, it looked good too.

Around the same time, 1665, someone unknown got the idea of enclosing the weights, and the rope they hung from, in a long "trunk" going down to the floor, and the grandfather clock appeared for the first time. These early clocks are highly sought after today, and bring large sums of money on the rare occasions they come on the market. A few of the old Lantern Clocks were also housed in a grandfather case at the time, and again these rare early clocks are very sought after today.

Up to this point, the pendulum was about ten inches long, as they were used with the old verge escapement, and they sounded quite "busy" with a beat of half a second, and because the new clocks had a long case it seemed a good idea to put in a longer pendulum - - - - the trouble was, it was going to need another new invention to do this, the seconds pendulum is 39 inches long, and if it were used with the verge escapement it would swing in an arc of around three feet! - - - Clearly too much for the beautiful, slim, new grandfather clock case.

The credit for the first useable long pendulum clock goes to a former blacksmith called William Clement, like many others he went into clockmaking from blacksmithing, and rose to become an eminent London clockmaker. Clement was commissioned to build a new clock for Kings College, Cambridge, and this clock (for which he was paid £42) is now in the Science Museum in London. Dated 1671, it is the earliest known clock with an "anchor escapement"

The anchor escapement was so named because it resembles a ships anchor, and is driven by a vertical escape wheel. Another effect of the adoption of the longer pendulum, with it's soothing one-second tick, was the rapid growth in the use of the long clock case, as a protection for the pendulum, which hung down a long way below the clock movement.

This brings us to the grandfather clock we would recognise today, and in fact the anchor escapement is still in use the world over in clocks of all shapes and sizes, as it is robust, reliable, and tolerant of a certain amount of wear and tear without stopping the clock.

The beat interval of a pendulum varies, as we said before, according to its length, a 10 inch one beats half-seconds, a 39 inch one beats seconds, (this is by far the commonest length used in grandfather clocks), a 14 foot long one beats two seconds, (often used in Church or Tower clocks), and one, in St Chad's Church Shrewsbury has a mighty 52 foot long pendulum beating four seconds! There is little to be gained using these longer pendulums, as other factors such as "circular error" creep in and affect the timekeeping, which is why they are so rare.

Townely Hall in Burnley, near where I live has a wonderful clock by Thomas Thompion, the pendulum is hung from the ceiling and goes into the clock through a hole in the top of the hood - - - an "upside down" arrangement which seems to work very well, I'm not sure how long the pendulum is, at least 14 feet but it could be more, the ceiling is very high!

The two most common types of grandfather clock movement are the "30-hour" and the "8 day", this refers to how long the clock will run before the weights drop to the bottom, and the clock stops. There are others of longer duration, as mentioned in the Fromanteel advertisement above, but most of us are unlikely to own one of these clocks, famous London makers mainly made them, and the prices of these clocks have spiralled out of reach of most of us.

I mention the 30-hour and 8day winding because I want to finish this piece with a traditional rhyme, which I love: -

"There was a man who had a clock His name was Mr Mears. And every night he wound that clock For five and forty years. And when at last that clock turned out An eight-day clock to be A madder man than Mr Mears I never hope to see!"

I hope you enjoyed reading this brief walk-through of the development of the pendulum clock, and if you are lucky enough to own one, may you continue to enjoy it for many years to come.

Andrew.

http://www.clockmakersandrepairs.co.uk

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Some of the Wealthiest Chinese Are Now Investing in 18th Century Jade!

Jadeite and Nephrite (although different both are referred to as jade) have been highly valued for thousands of years, especially by the Chinese. But for so many years it has mostly been the Western world that took over this fascination of collecting antique jade carvings. Here in Europe and the USA much has been published and there have been many dedicated collectors and antique jade experts that created and influenced the market values.

But recently the wealthy Chinese have become very interested in jade again, because they are investing so heavily, prices have been going through the roof! But as a collector it is apparent that non-Chinese collectors have very different views about what to value most. Carvings that make clever use of natural flaws in the stone, or that use coloured inclusions so brilliantly are not highly valued by these Chinese buyers, not nearly as much as carvings in pure white jade!

So far these Chinese are mainly regarding jade as an alternative investment commodity. As most of the usual forms of investment, currencies and property have all proved so precarious, perhaps these successful millionaires are being very shrewd!

I do not know if they have been influenced by the huge increase in the raw material prices. The finest pieces of the Hetian Nephrite have only been found about 4,500 meters above sea level in the North of the Kunlun Mountain, Xinjiang, even though it is a very difficult climb, little oxygen and bitterly cold, reports now indicate that there is not much more to be found. There are other sources of Jade; the next best in quality mainly comes from Burma. But thinking of jade as an investment over the last ten years, whilst gold has increased by about 3 times, the best Hetian jade raw material has increased in price by 100 times!

The pebbles,(sometimes referred to as Hetian pebble, or seed jade) are only found in the riverbed. These are highly valued because they originate from the jade seams in the Kunlun mountain, broken out by the glacier, then after years of natural weathering in the fast flowing river, these jade rocks are gradually ground smooth into pebbles, any weaknesses within these stones are smashed in this process, so that the remaining Hetian pebbles are only of the finest quality.

For antique collectors there are many aspects to be aware of, apart from the quality of the carving and the period of the piece, when buying jade, there is another consideration that can add value, that being the colour of the stone. Many people do not realise how many colours of jade there are. Antique jade carvings can be found in white, mutton-fat, various shades of green, yellow and lilac, black, even in red, and these can be a factor in the price. Also if there is a seal (so many wonderful pieces have no signature) but if the seal is genuine (many were inscribed later) then this too adds to the value. So for a very long period these were the main criteria that influenced the price.

Gradually antique jade of quality, has become more and more valuable. But this caused the Chinese to cash in by making lots of new copies of earlier jade pieces and they carved various others in less valuable stones, but called them jade too! So many have flooded the market. They have also discovered ways of adding colour to jade. However, very few experienced collectors found any difficulty in recognising these, as nothing more than the cheap fakes, or modern copies that they are. To be sure that the colour has not been added requires strong magnification, so it is not that easy to check. I believe that over time the dyed stones revert back to the original colour, so to pay extra for bright lavender, yellow or green jade could prove most painful!

Subsequently some of these modern fakes are so much better (the carving has improved) and there are now a number of more difficult to identify fakes. So there has become another important factor that affects the value and this is the question of 'Provenance'. Every jade is now regarded with suspicion, unless it can be established as having been in a well known collection, or auction that dates back to the time when these fakes were easy to spot, or better still, to an even earlier period.

But now values are changing dramatically in a way that is hard for collectors like myself to understand! These Chinese investors are buying back their heritage, but more as an investment than as collectors. They have decided that 18th Century pieces of a pure colour with no flaws and certainly not mottled are their preference, they particularly prize pure bright white jade, or pure green, as well as the bright emerald green that is often used in jewellery. Also any of these jade carvings that happen to have a good seal mark (even if this seal is not genuine) now command a much higher value.

Talking of a much higher value, this is where we older collectors are now really confounded. Because if we consider a well carved, good quality pure white 18th century jade carving, that would normally have sold for our expected highest value, in any auction these days, this same piece will now probably sell for anything from 4 to 8 times that figure, to a Chinese investor! Is it possible that in time these buyers will eventually also value the wonderful craftsmanship that most of us collectors appreciate and love?

Is Your Antique Print or Antique Map a Reproduction or Is It an Original?

How do you know if your antique print or old map is the real thing? It may look old to you, but is it? You may have been wondering if it were real for a long time. Was it made over a hundred years ago or a hundred days ago? If your print is an antique, you are probably wondering if it is worth a lot of money. You hope that you have hit the jackpot and that this old piece of paper you have is going to bring you in a pot of gold.

In reality most prints are not worth much, but what if you got rid of it and it was actually worth a couple of hundred or even a couple of thousand dollars. You would feel awful, so just in case, you think you should keep this print and you store it away.

We have encountered plenty of lifetime collections of prints inherited by families hoping to have a fortune worth of art on their hands. Often when told the current value of the collection they feel disappointed if it does not fulfill their expectations. The program Antique Road show is much to blame in this trend. Most people shown on Antique Road show are the exciting ones, the ones that have a nice piece worth talking about on the show. It has been rare of late for my wife and I to surprise people with a higher than expected value for their prints because of the success of this television program. Everybody expects to have a rare find worth a lot of money.

The truth of the matter is that there are many reproductions out there and people mistake them for originals. In order to help you avoid the pain of disappointment there is an easy way to determine the age of your print or old map. Get yourself a magnifying glass and look closely at a small section of your print.

If you see a multitude of even dots making the color or shades of your print then you are holding in your hands a print made within the last 100 years and by definition if it is less than a hundred years then it is not an antique. The dots must be regular and even, with a systematic repetition.

Anything other than this will most likely be over a hundred years old and therefore be a genuine antique. Do keep in mind that some printing methods like the stipple engraving and some tools used in traditional lithography show small dots under a magnifying glass, but these dots will be irregular in shape and form. The pattern of the dots will not be uniform.

This is your best way to determine if your print is an original antique print or antique map. As an antique your print may be worth some money, in which case we suggest you bring it to an appraiser to be valued.

Real Versus Fake: How to Tell the Difference in Antique Signs

Antique signs are very collectable partly due to the fact that they were used. They were meant to be hung outside and displayed. The weather and vandals would damage them rocks would be thrown at them and when a store went out of business they would be repurposed or destroyed. The signs during WWI and WWII are especially rare because they were melted down to make weapons and ammunition. With all these factors antique signs command hefty price tag making them a prime target for fakes. But how do you know if you are buying a real antique sign or a real good fake?

One good indication that a sign is a fake is if there are many similar signs with the same seller or there are many sellers with the same sign. This is an obvious indication that the sign is mass produced fake. If the sign is to perfect this is another good indication that the sign is a fake remember they were meant to be used. Old signs commonly have rust, pits or are generally imperfect. If there is only rust around the edges or the fading is consistent it is most likely a fake. The sun fades different colors at different rates red will fade before black and graphic will fade before the thicker background.

These signs were handmade and if the lettering or graphics look perfect and perfectly consistent then it was done by a computer. Hand lettered signs show brush strokes and even early silk screened signs show variations in the letter shapes and size. There are few letters to look out for: S, C, and O are the hardest to execute for a hand painter and therefore they will always look different even on the same sign.

If the sign has an address on it and it uses a two letter state abbreviation then you know that it is a fake. In fact the two letter state abbreviation wasn't developed until the mid twentieth century. The same with a phone number when they were invented they were short only a few digits combining both letters and numbers.

Antique signs were also made in standard sizes to avoid waste. Plywood and metal were cut down in even sizes from 4 feet by 8 feet sheets. If you measure the sign and it is an odd length then it is most likely a reproduction. Checking the material is correct for the time period is another good way to tell the difference between a real and a fake. If the sign seller tells you the sign was made in the 1860 and it is a porcelain sign then you know something is wrong since the technology to make such signs wasn't invented till the early 1900's.

The most important thing when trying to distinguish between real and fake is to ask yourself if it makes sense. Why would the sign only rust on the edges? Why does it look so evenly faded? Is it correct for the time period? The last tell tale sign and the most obvious is to look and see if there is a sticker that says reproduction or made in China. Be smart and check twice.

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A Brief Guide to Collecting at an Antiques Fair

Attending any outdoor or indoor fair is usually a great experience. However, attending an antique fair is an experience that you will never forget. As you walk through an antique fair, there are numerous items to choose from. If you are interested in any type of antique, try antique coffee tables. The designs and textures of these tables are exquisite. As you become interested in collecting antique coffee tables, you will begin to recognize that various styles are associated with different eras.

If you are a novice at collecting antiques, it is in your best interest to visit several antique fairs. In doing so, you will begin to associate various styles with certain time periods, such as specific carved patterns associated with the 1700s or specific textures associated with the 1900s. To become an experienced collector of antiques, you will have to visit fairs often, and speak to experienced and knowledgeable collectors.

As your knowledge of antique furniture grows, you will become increasingly aware of how to choose authentic antique furniture in addition to learning how to care for such items. Although there may be many items at antique fairs, it is important to recognize genuine items from false items. Having the ability to do so, will allow you to purchase items at a price that is worth its' weight and gold. It would be unfortunate to spend a lot of money on assimilated products, especially if you thought it was an authentic item.

Once you purchase a coffee table or any other antique item, it is very important to care for the item appropriately. Maintaining the item in its original condition, allows the item to remain classified as an antique. In other words, it is one of a kind and it is not replaceable. Take due care of these items; keep them free from scratches and chipped edges. Any disfigurement can cause the item to lose value.

If you are interested in collecting antiques to furnish your home, this is an excellent way of beautifying your home with precious furniture. A home filled with antiques is a unique home that is not easily replicated. Such a home is sure to be marvelled. If, on the other hand, your only interest is to collect antiques as a hobby, this is definitely a hobby that is worth having.

As your collectibles grow in number, the monetary value will continue to appreciate. Positively speaking, these items can be resold at auctions or other antique fairs for a significant amount of money. Whatever reason you may have for collecting antiques, it is well worth it.

Restoring An Antique Treadle: How Vintage Sewing Machine Repair Can Help Preserve A Family Heirloom

Nearly every family has a handful of traditions and heirlooms that are passed down from generation to generation, from annual summer trips and special holiday meals to jewelry keepsakes and other treasured items. Sadly, as the years go by, many of these traditions and cherished items are lost, either falling into disrepair or simply being forgotten. That's why it's so important to seize any opportunity you may have to preserve a beloved heirloom - the generations to come will thank you!

While there are varying types of heirlooms kept by families, antique sewing machines are commonly passed on as a representation of the hard work, love and dedication of generations past. Countless attics and closets across the country are home to vintage machines that once crafted the linens and clothing items that kept the family going decades ago. But what many people may not realize is that several of these old machines probably still work! They may need a little TLC, and possibly the expert touch of a vintage sewing machine repair specialist, but it's all worth it when you consider the traditions that will be kept alive as a result. Before consulting a professional, there are a number of preliminary measures that should be taken.

Thoroughly Clean Your Machine

After years of sitting idly in your grandmother's attic, the antique treadle that's been in the family for decades is ready to be dusted off and put to use! The first step is to thoroughly clean it, so you can then test its functionality without any dust or debris getting in the way. It's important to use proper methods when cleaning a treadle, as a simple mistake can cause irreparable damage. Traditionally, a treadle is cleaned by rubbing and polishing with kerosene. If kerosene is not available to you, other common cleaning agents used are Coke or Pepsi, metal polish, car polish, or wire wool. Harsh detergents can actually strip the signature gold leaf ornament from the machine, so be sure to avoid them!

Determine If You Can Fix It Yourself Or If Sewing Machine Repair Is Needed

Once you've cleaned your treadle, carefully test it out to determine if it is in working shape. There are some problems that can be fixed at home without extensive sewing machine repair training; for instance, the solution could be as simple as de-rusting the metal parts or lubricating the gears with oil. However, there are many problems that require the knowledge and skill of a professional. When in doubt, seek the assistance of a company that specializes in vintage sewing machine repair. After all, when it comes to family heirlooms, it's not as if you can simply go out and buy a replacement if it gets ruined!

Whether it requires a simple clean up or more intricate sewing machine repair, restoring a treadle that has been in the family for generations is well worth the effort. Not only will it provide a beautiful backdrop to any room, but it will also allow you to keep a family tradition alive. And preserving a piece of your family's heritage is something you simply cannot put a price tag on!