Notes
Technical
The equation work operates on the differential principle, the mean
time and solar time being shown by the two minute hands.
Throughout the year, the variation between the two hands is
automatic, but initial or resetting is accomplished by the calendar
dial on the reverse of the movement in the following manner: a key
is applied to the square in the centre of the enamel "month" dial on
the back plate and turned until the required month on the silver
month dial is opposite the indicator point. The black triangular
pointer at the edge of the same month, on the enamel dial is then
aligned alongside the correct date. There is a gap in the date circle
between 31 and 1, equal in arc to two months on the enamel month
disc, and the months run in an alternating sequence. Therefore,
with the triangular date pointers so placed as to take account of
months of differing lengths, the calendar is correct for four years
(29th February being the only exception).
Attribution
The histor ical context of the watch is discussed below, but the
following details, noted when the movement was dismantled for
cleaning, are of considerable interest. Scratched on the underside of
the barrel, beneath the gilding, but still visible, is the name
7/2. The name was obviously scratched onto the barrel during
construction, but not completely erased by the lire gilding and
finishing. On the equation wheel is scratched through the gilding
" Taylor Live". Little is known of this maker, except a signed watch
with a line enamel balance spring regulator index, and similar
watches signed Mudge, Ellicott etc.; it is thought that he worked with
or for the leading precision watchmakers of the clay. Apart from the
above, and the general overall quality of the watch, attention may be
drawn to the "bridge " balance cock, a feature that Mudge is known
to have used (watch No. 318, HM 1756), but was otherwise virtually
unknown amongst his English contemporaries. The mainspring is a
fairly early replacement signed Berthoud.
Historical
Excluding the watch now offered for sale, four equation watches, all
signed Ellicott, but firmly attributable to Mudge, are known. None
of the four are hallmarked, and only two are numbered (not
unusual in view of their experimental nature). However comparison
with Ellicott 's known work provides a reasonable estimate as to date
for these two:
- Unnumbered: Ex. Webster sale, Sotheby 's, May 1954, lot 216.
Gold cases.
- Unnumbered: Ex. Sotheby 's, October 1988, lot 246, now in the
British Museum. Gilt brass, inner case only.
- No. 2700: Private collection. Illustrated in Daniels & Glutton
Watches, 1st ed. 1965, fig. 262-5. Gold cases. Circa 1748-1750.
- No. 5060: Private Collection, circa 1762-1763.
Thomas Mudge' s relationships with John Ellicott, Ferdinand IV
King of Spain, and a certain Michael Smith, watchmaker, have been
catalogued in various books and articles, and the Richard Gregg
watch clearly links into the story. According to the Universal
Magazine of July 1795', Ellicott, having been commissioned to
make, but unable to complete, an equation watch for the King of
Spain, asked Mudge to carry out the work. Ellicott was much
esteemed in Spain, and the signing of another maker 's work was
perfectly acceptable. The article continues with the sto ry of how the
watch was damaged, and Ellicott was forced to admit that Mudge
had made it and was the only man to repair it. Confirmation that
Mudge was indeed the maker is provided by two letters from the
aforementioned Michael Smith to Mudge, dated July 1752 and
December 1757'. In the first, he affirms his own position as
" Watchmaker to His Cat holick Majesty the King of Spain " ", talks of his
recent visit to Mudge's workshop whilst in London, and mentions
seeing "part of a movement that is intended to sheen ye Equation of the sun
such as you made jiff Ellicott, which the lung has here atln'esenl... ". Smith
continues by saying that he has told his Majesty about the watch and
recommended Mudge to the King and several courtiers, expecting
this to bring orders. In conclusion he surmises that Ellicott will he
Greatly vexed for my Recommending you....". The second letter, dated
1757, describes the King's satisfaction with a quarter-repeating
watch made by Mudge upon Smith's instructions, and goes on to
order a minute-repeater.
Richard Gregg can be directly linked to Smith and the Spanish court
by the existence of a remarkable miniature grande sonnerie bracket
clock with balance wheel escapement and signed Richard Gregg
London, Pmt Orden de Miguel Smith Madrid " '. It seems that this
complex clock is no more likely to have been the work of Gregg's
own hand than the equation watch, even if the technical evidence
fbr the latter being by Mudge is discounted. The question therefore
arises as to how the was able to commission such exceptional pieces
Igor his own account, from roasters among his peers.
The answer must surely lie with Gregg' s connections and the
location of his premises. St. James 's Palace was the official London
residence of the King at the time, and Gregg's acquired premises in
St. James ' s Street in 1742 and an appointment as watchmaker to the
King and Keeper of the Palace Clocks. The survival of a superb
watch", with case decorated by the French artist Aglae Cadet, and
dial enamelled with the arms of Charlotte Windsor, wife of Lord
Viscount Windsor, further reinfor ces the importance of his
situation. There is at present no information as to the identity of the
client for whom Gregg ordered this watch, hilt as previously
mentioned, the current mainspring is signed Berthoud, indicating
that the watch was on the continent shortly after its completion.
Notes
' Universal Magazine, July 1795, pp. 42-3. also George Daniels:
Antiquarian Horology, V, No. 11, June 1968, p. 396.
AJ. Turner, A.C. Crisford: Two LWeis Addresssed To ThomasMlladge,
Antiquarian Horology, X, No. 5, Winter 1977, p. 580.
' Michael (Miguel) Smith was an Irish watchmaker from Kilkenny,
living in Spain and appointed Court Clockmaker in 1752 at
30,000 realer per annum.
Illustrated in Antiquarian Horology, I, No. 12, September 1956, p. is,
Pierjmohz/-lllorgan Collection, Metropolitan Museum, New York.