Collecting as a Pastime (eBook)

Charles Rowed (Autor)

eBook Download: EPUB

2018
159 Seiten
Charles River Editors (Verlag)
978-1-5080-2450-7 (ISBN)

Infos

Paphos Publishers offers a wide catalog of rare classic titles, published for a new generation. 

Collecting as a Pastime discusses the author's experiences collecting, brass, pewter and more. Illustrations are included.

Textauszug

FIRST COURSE GRANDFATHER CLOCKS AND OLD FURNITURE

………………

THE FIRST PLUNGE—THE CLOCK AND the Chest—Varsity Blue—The Statuette—A Weird Arrival—Faked Chairs—Foudroyant Oak—More Clocks—Study the Chart—Making Converts—Lacquer Clocks—Barometers—The Elusive Mercury—Welsh Dressers—Chinese Chippendale Chair—Spinning Wheel—Spindle-backed Chairs—More rushed Seats—Gate-legged Mahogany Table—Buying Worm-holes—Bureau and Bookcase—A Revelation—Oak Cupboard—Four Corner Cupboards—Dated Furniture—Mahogany Inlaid Tables—A Surprise—Chests of Drawers: Small, large, and a Combination—Just in Time—Bureau—How not to Auction—The Tea-caddy.

“The oak tree was an acorn once,” and so was the case of my first grandfather clock. Quite by chance in 1902, I noticed in a shop window a brass dial bearing the inscription “John Burgess de Wigan,” with well-engraved numerals, and fitted with quaintly cut brass hands. On enquiry I was told they had a case for it, and this was found propped up, for its feet were groggy. As 17s. was the price asked for the lot, I plunged. To my amazement an old clockmaker soon had the works going and he assured me they would see me out, but I have some anxiety about the original wrought iron hinges, which I compute will have swung, back and to, nearly 90,000 times.

The minstrel (Moore and Burgess) sang that “the grandfather clock was too tall for the shelf, so it stood ninety years on the floor.” My old gentleman had evidently been in more confined space than this one they made such a song about, and as the owner could not bend its back he knocked off the feet. I fitted him out with new understandings made of very old timber, which suited him down to the ground. When the case was renovated the venerable timekeeper was placed in my hall, where he has ticked away regularly except on those days when his rope has not been wound up, or when a new rope was necessary. I found, by starting a correspondence in the Wigan Observer, that Burgess was one of the earliest clock-makers in Wigan, and that my clock was made about 1690.

The first long-case pendulum clock was made by Thomas Tompion in 1681 and the prefix “de” to names was dropped about 1700, so it would be interesting to know how many clocks are still in existence bearing the “de” in front of the surname. I have had clocks offered to me said to be 300 or 400 years old, while one man thought his would be at least 500; when I stated that I had read in my clock book that 240 years was the limit he disdainfully brushed that opinion aside with the remark, “Oh, books! Do you believe all you read?”

This was the antique seed that has spread from hall to room, and from room to room, until there is no room for more. Strange to say, within a week I had found a companion to “old Burgess” in the form of a very ancient oak Ecclesiastical chest, bearing four locks without wards, but with each key-hole a different shape; the keys to correspond would be in the hands of the parson, two wardens and sexton respectively (See Plate VIII). The clock and the chest have stood vis-à-vis since their introduction, and if the regularity of the former and the complacency of the latter had been emulated by the occupants of the house, what a model home they would adorn!

It is believed that on one occasion “old Burgess” forgot to strike, for which he may be forgiven. On the newel post there is fixed a fine old bronze female figure, bearing a light, and on the occasion of a young cleric spending the night with us this statuette was found draped in a Varsity blue wrap (the owner of which has since served as an Army Chaplain throughout the War)—truly a sight to set any decorous time-server off his balance! (Plate I.)

This model of the female form divine deserves an artistic treatment, to which I do not feel competent to do justice, but I opine the modeller, L. V. E. Robert, who was doing his level best about sixty years ago, intended it to be a representation of “Summer,” or “Hygeia,” and that he was proud to impress his name thereon. It stood for years in a mansion, and was turned out into the cold when the premises were altered on changing owners, so I then found it a home.

I was very proud of “old Burgess” (and am still) and, of course, called the attention of all our visitors and the piano-tuner thereto. This musical fiend struck a discordant note when he piped out, “I see it’s only a 30-hour. I have one that belonged to my wife’s great-aunt and it has an eight-day movement, which is so much more convenient.” There are some people who seldom do, and never say, the right thing. That set me on looking for an eight-day grandfather, and I looked in vain, and for fear I might strain my sight I confided my absolute requirement to a friend who knocked about the country, and he assured me at once he could soon fix me up, “but what price will you go to?” As I wished to give him as little trouble as possible I said, “Oh, I’m not particular, say fifty shillings.” One morning not long after this the commissionaire announced in my office that two gentlemen wanted to see me in the hall—a marble hall, mark you!—and here I found my friend looking very worried, with a man who touched his forelock, but to whom I was not introduced. They had with them something that bore resemblance to a coffin with a dirty shroud, the latter having apparently twisted itself round the former, a state of packing that no estimable undertaker would undertake. They then proceeded to unshroud and prop up the outer shell, which had three sides and a bit.

“The Trusty Servant” (Print, circa 1830).

Plate II.

Large illustration

John Burgess, de Wigan. 1690.

Philip Smith, Barton, 1700.

Phillips, Ludlow, 1710.

Plate III.

“The case is the nearest match I could get to your thirty-hour; and the dial and works are in the box there.”

“But where is the back?”

“I can’t exactly say; some is on the Birmingham platform, some at Stafford where I changed, there is quite a lot on the platform here, and I noticed pieces kept falling off as I followed this man wheeling it from the station; but whoever looks at the back of a clock? You can easily fit in another without anybody being the wiser.”

I then saw the dial and works, and found I was face to face with Grandfather Philip Smith of Barton, which Barton I cannot say, but probably near Nottingham. I did my best for him, and he has done his best for me, so I am recompensed for the expense I was put to in renewing his youth.

“Sergeant, just sweep up that dust in the hall.”

“Yes, sir.”

I now received a welcome gift of two high-backed Lancashire Cromwellian black oak chairs from a revered friend, who was wishful to encourage my new craze, and very useful and instructive these have been. I say instructive, for they had not been in the shadow of “old Burgess” long before I compared the grain of their oak and his, with the result that while the panel in the back and front leg spindle of one was finely carved, and the oak undoubtedly 17th century, in the other they were as modern as the frames. I may here mention for the benefit of any reader who does not know that old oak furniture is seldom black with age, and that the polisher can stain it any shade preferred, that when Nelson’s flagship, the Foudroyant, built in 1797, was wrecked at Blackpool in 1897, much of her oak was made into furniture, and some fine chairs quite light in colour may be seen at the Hotel Metropole there. I have a black gate-legged table made from Foudroyant oak which is an exact replica of a good Cromwellian design with twisted legs, and which was quite light in colour until it was stained (Plates X and XI).

I now had another oak grandfather clock with a brass dial offered me, and although it had a thirty-hour movement I did not hesitate to pay the price asked. It had come from Ormskirk, where it was made by T. Helm about 1770, as in the Constable’s book of accounts for that year there is an entry “paid Thos. Helm for taking care of clock.” It stood for a hundred years in a farm opposite my house, and I got it from descendants of its original owners, so for sentimental reasons I would not part with it, even at an advance on the first cost. This clock originally was worked by a rope, but a chain was substituted before I became its possessor. I have other things to talk of than grandfather clocks, but three were not...

Produkt-Details

• Erscheint lt. Verlag: 22.3.2018
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Antiquitäten
• Themenwelt: Sachbuch/Ratgeber ► Freizeit / Hobby ► Sammeln / Sammlerkataloge
• Schlagworte: Brass • Clocks • Free • pewter
• ISBN-10: 1-5080-2450-2 / 1508024502
• ISBN-13: 978-1-5080-2450-7 / 9781508024507