of the way down the rod. A very interesting comparison is illustrated in Lee’s
Knibb Family Clockmakers, plate 161, p. 149. The image ably demonstrates
clear comparisons, particularly of the escapement, between a Knibb’s
three-month movement and the present Aldworth. The backcock and
suspension and even the hour wheel bear very close resemblance. In
addition the long slender brass plates and fi ne quality ring-turned pillars
are both features that refl ect the Knibb workshop design. The fact that
Aldworth has used such extraordinary refi nements on a 30-hour movement
says a great deal about the care and the quality of his work. It may also be a
refl ection of the depth of his client’s pocket.
The size of the dial, at 9¾ inches square, is unusual at this date, one can
conclude that this may have been a special commission and Aldworth had
been charged with making a particularly small clock for a special place in the
client’s house. Clocks measuring just a little over 6 feet at this date were most
unusual, the majority at this time were well over 7 feet tall. Joseph Knibb’s
matting was always of the very highest quality, it was always extraordinarily
fl at and even – similar to the matting on the present dial. The hour and minute
hands are virtually identical to those being made in John Knibb’s Oxford
workshops between 1680-95 – vide the line-up of Knibb hands illustrated on
page 99 in The Knibb Family Clockmakers, by R. A. Lee.
The chapter ring is well engraved with excellent proportions to the dial. Whilst
some other London makers occasionally used trident half-hour markers, the
examples on this chapter ring are identical to those of Knibb’s. The signature
also bears close scrutiny, not least because of the use of the Latin Oxoniae.
John Knibb used Oxoniae, Oxon & Oxford, but different terms do not
seem to indicate any sort of chronology. The engraver that signed
the dial in The Knibb Family Clockmakers by RA. Lee, fi g. 35,
was the same engraver that Aldworth used to sign this clock.
The style is identical, in particular the precise manner in
which Oxoniae is scrunched up.
The case also bears some of the Knibb family infl uence,
the most obvious being the original sound fret in the
top of the hood and the lovely iron spoon-and-lock
system. The case is a lovely size and at some point the
bottom third of the trunk door was cut down. This is a
baffl ing alteration, perhaps the lower section developed
wood rot. Then, perhaps in the early 20th century, a new
section was made and expertly jointed to the upper half.
The backboard and sides of the case extend right to the
bottom of the case and although the outer skin of the plinth
has been replaced the core remains intact. The skirting is an
unsightly addition, but reinstating bun feet will immediately lift
the balance and proportions of the whole case.
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