SYDNEY CLOCKMAKERS SOCIETY
BRASS LANTERN CLOCK
An attempt at an ornament that tells the time in the style of an eighteenth century “lantern” style clock by Phil Coleman.
I’ve been very attracted to that style of clock as they just have that look of sturdiness and functionality while at the same time having a certain delicacy and style with their antique silvered dials and polished brass. Unfortunately, they have a few disadvantages. They are nearly always weight driven, run for only 30 hours, have verge escapements that are noisy and lousy timekeepers. In addition, they require their own mounting bracket on a wall with a hole in it for the fall of the weight. In practice, one would soon tire of winding it every day and it would be just a nuisance gathering dust both externally and internally because of their open construction.
Therefore, I decided to make my version a table-top unit using a quartz movement. I knew that traditionalists in the Sydney Clockmakers Society might be horrified by this outrageous departure from “real” clockmaking and when I presented an account of my clock at the meeting in April I received an expected “rowdy” reception for two reasons: first was the fact that I am using a quartz movement and second that I was using a commercially purchased bell.
As mentioned, reproducing this clock style is impractical, but it remains an appealing and functional conversation piece. The idea came from Philip Kuchel, who recommended brass work and engraving, with a lantern-style clock as the example. I am going to run with that and hope that fellow members see it in that light and overlook my temerity.
The second mistake was choosing a commercial bronze bell from Merritts USA. I was never happy with the shape as it didn’t fit the size of the clock and was far too different to the typical early examples and Martin Foster persuaded me that it spoiled the whole look of the clock. Then at the April meeting of the Society a visitor, Milton Wood, showed a brass bell that he had made and that gave me the impetus to make my own. This I have done and the effect is much more in line with the type. The bell is brass and is 80mm diameter and 40mm high.
There are photographs of a great many lantern clocks on the internet and I’ve adopted features from several, the principal one being that of London clockmaker Jonas Barber (1688-1764) of the early 18th century. His clock is about 380mm tall (15”) while my attempt is about 220mm tall and 95mm wide.

This early 1700’s lantern clock is by Jonas Barber, London. Note the foliage and intertwined dolphins on the fretwork above the dial. It was traditional for this motif to be used on lantern clocks. The reason for using this nautical theme is unknown and seems odd since they wouldn’t have been used on ships.
This clock sold at auction in London for £15,800 in 2013.

The fretwork for my version here is copied from Barber’s clock. It was drawn using AutoCAD and engraved and pierced using CNC:
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I've used a different style of engraving for the decoration of the dial plate.
The early versions of these lantern clocks had only one hand; a minute hand was a later addition and I have used the traditional hour hand only. The fretwork on the sides of these clocks usually repeated the dolphin design but I have chosen to have a different style of artwork on the sides to increase the interest and uniqueness of this clock. I’ve depicted a mermaid in antique style (from a design found on the internet) in the fretwork on the sides, thus continuing the nautical theme, although I haven’t seen mermaids on any existing example. The side plates and rear door are decorated with a design incorporating a repeating number of piercings and 1/32” (0.8mm) brass rivets, a total of about 350!
I am thinking about making a miniature version…




Note the multitude of 0.8mm rivets on the side panels. A total of 150 on each panel.
This fretwork appears on the two sides of the clock, a continuation of the nautical theme:


The bell outline, internal and external, was draw using Autcad and was derived from an ellipse with some adjustments. I then drew up a grid and made up a table of coordinates that I was then able to use to form the surfaces of the bell. This started as a stepped outline which I was then able to smooth out by angling the top slide and then using files and abrasive paper. Finally, a polishing buff led to a highly polished finish.