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John Sanderson

Tulip Dial Clock, c1715 

The John Sanderson clock illustrated here survives in a wonderfully original and untouched condition throughout and is an especially desirable example of his work. Dating from around c.1715, it is a beautifully all-over engraved tulip-dial 30-hour wall clock with religious verse and many of the distinctive characteristics associated with the early Wigton School. At the top of the polished dial centre is a single tulip flower, immediately below which is an unusual calendar aperture. From the centre downwards is engraved the religious verse so strongly associated with Sanderson’s work:

 

‘Remember Man Die thou must,
And after that to judgement just.’

Rather than the ringed decoration seen on some of Sanderson’s earlier clocks, this dial carries a distinctive wriggle-work border engraved around both the inside and outside of the chapter ring. Each of the four corners is deeply engraved with one large and two smaller tulip flowers, linked together by flowing foliage which extends around the outer edges of the dial. The result is one of the most decorative and accomplished all-over engraved dials found on Sanderson’s surviving 30-hour clocks. The chapter ring is fitted with distinctive trident-type half-hour markers terminating in arrowheads and is signed simply ‘John Sanderson’, without the place name Wigton. This absence of a place name is particularly interesting. It is possible that Sanderson deliberately omitted ‘Wigton’ on clocks intended for sale beyond his immediate locality, perhaps through regional markets or while travelling in search of customers. The surviving Edinburgh records now show that by 1715 Sanderson was indeed carrying clocks considerable distances for sale. Although the signature alone cannot prove where this particular clock was intended to be sold, it provides an intriguing detail when considered alongside that documentary evidence.

The Dial

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Above. Showing John Sanderson’s beautifully all-over engraved tulip dial 30-hour wall clock with religious verse, c.1715.  Photograph by Lee Borrett.

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Above. Showing a close-up of the dial centre with its engraved tulip flower, calendar aperture, deeply engraved religious verse and distinctive wriggle-work decoration bordering the inside of the chapter ring. The clock retains its original iron hands.  Photograph by Lee Borrett.

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Above. Showing one of the deeply engraved dial corners with its arrangement of tulip flowers and flowing foliage decoration.  Photograph by Lee Borrett.

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Above. Signed simply ‘John Sanderson’, without the place name Wigton.  Photograph by Lee Borrett.

The substantial brass and iron birdcage movement, with its decorative lantern-style turned brass pillars, is typical of John Sanderson’s early 30-hour work. It survives in a wonderfully original and untouched condition throughout, retaining a particularly attractive dark and mellow surface colour and patina. The movement is presently fixed to a later but very old solid mahogany seat board with rounded edges. This may indicate that the clock was housed in a longcase at some stage in its life, or alternatively that it stood upon a mahogany wall shelf. Like so many of Sanderson’s surviving early 30-hour clocks with lantern-style movements, however, I believe this example probably began life as a simple wall clock. Its remarkably untouched condition also makes me wonder whether it may have spent a considerable period of its later life unused or in storage, thereby helping to preserve its movement and surface so well.

The Movement

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Above. Showing a side view of the wonderfully original John Sanderson movement Photograph by Lee Borrett.

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Above. Showing the top plate of the movement.  Photograph by Lee Borrett.

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Above. Showing a rear view of John Sanderson’s wonderfully original tulip-dial movement.  Photograph by Lee Borrett.

John Sanderson and 

 Tiffinthwaite

John Sanderson was born in 1671 and spent much of his childhood at Tiffinthwaite Farm, near Wigton, where his father Robert worked as the resident blacksmith and the family are believed to have lived within the farm buildings. Tiffinthwaite was one of the earliest centres of Quakerism in Cumberland and had strong associations with the Pearson family and the early Society of Friends. Following the death of his father, Sanderson later became closely connected with the Pearson family himself and in 1691 married Elizabeth Pearson, granddaughter of William Pearson of Tiffinthwaite. It has long been suggested that Sanderson may have trained under the Quaker clockmaker John Ogden of Bowbridge in Yorkshire during the 1680s. No apprenticeship document has yet been found to prove this, but similarities between their surviving clocks suggest that Sanderson was influenced by, or trained within, the same horological tradition. By the early 1690s Sanderson was back in the Wigton district and had begun producing the distinctive clocks that would eventually form the foundation of what has become known as the Wigton School of Clockmaking.

From my own experience of collecting and studying Sanderson’s surviving clocks, I believe that many of his earliest 30-hour examples with decorative lantern-style brass pillars were probably originally intended to be sold as relatively inexpensive wall clocks. A simple wall bracket would have allowed the attractive brass movement to remain fully visible while avoiding the considerable additional cost of commissioning a longcase. The purchaser could then continue using the clock in this form or have it housed in a wooden case at a later date if finances and circumstances permitted. It is also quite possible that clocks of this type were offered for sale at Wigton market and throughout the surrounding district. Remarkably, surviving documentary evidence now proves that Sanderson travelled considerably farther in search of customers. In May 1715 the records of the Edinburgh Incorporation of Hammermen show that Sanderson was discovered offering two clocks for sale in Edinburgh. His clocks were seized because he was not a freeman of the Incorporation, but on 18 May they were returned to him upon payment of twenty shillings sterling. Three days later he entered into a bond undertaking not to bring clocks, watches or similar work into Edinburgh for sale again. We cannot know whether those two clocks were uncased wall clocks, and the records themselves do not describe their construction. Nevertheless, the episode demonstrates beyond doubt that Sanderson was transporting clocks over considerable distances in search of customers.

The late Brian Loomes also suggested that these distinctive lantern-style 30-hour movements may originally have stood upon wall brackets rather than necessarily being housed immediately in longcases. Such an arrangement would not only have reduced their initial cost but would also have made them considerably easier to transport. This is particularly interesting when looking at the tulip-dial clock illustrated here. Its movement retains the decorative brass lantern-style pillars that would have been largely hidden inside a conventional longcase, and its dial is signed simply ‘John Sanderson’ without the place name Wigton. Although this cannot prove that the clock was intended for sale away from Wigton, I believe the combination of these features and the surviving Edinburgh evidence makes the possibility especially intriguing. As with other surviving examples, some of Sanderson’s early wall clocks were later housed in purpose-made cases, while others were adapted to previously occupied cases. I regard these later changes not as defects but as part of each clock’s natural history, reflecting changing fashions, circumstances and generations of ownership.

Summary

This beautifully engraved tulip-dial clock is a particularly fine and original example of John Sanderson’s early 30-hour work and dates from around c.1715, at a time when the distinctive traditions of the Wigton School were firmly established. Its religious verse, all-over tulip and foliage engraving, trident-style half-hour markers and decorative lantern-type movement combine many of the characteristics now associated with Sanderson and his workshop. The clock is also especially interesting because it is signed simply ‘John Sanderson’, without the place name Wigton. Whether this was significant cannot now be proved, but the newly recognised Edinburgh evidence confirms that by 1715 Sanderson was travelling considerable distances in search of customers. It is therefore tempting to wonder whether clocks bearing the simpler signature may sometimes have been intended for sale beyond his immediate locality. The wonderfully original condition of the movement is another important feature. Its dark untouched surface, decorative brass pillars and later mahogany seat board provide physical evidence of a long and changing working life, while also supporting the wider possibility that clocks of this type initially stood upon wall brackets before some were eventually housed in longcases. For me, this remarkable survivor combines everything that makes the early Wigton School so fascinating: distinctive craftsmanship, strong religious character, unusual movement construction and a direct connection with the wider commercial world in which John Sanderson worked.

Acknowledgement

I would like to acknowledge the pioneering research of the late Brian Loomes, whose work did more than anyone else’s to advance our understanding of John Sanderson and the Wigton School of Clockmaking.

His book Brass Dial Clocks contains an important chapter devoted to the Wigton School, while his numerous articles, including his work published in Clocks Magazine, remain essential reading for anyone interested in these remarkable Cumbrian clockmakers.

Much of the historical and horological background used in preparing this article has been informed by the published research of the late Brian Loomes. I have also incorporated observations from my own study and collection of surviving Wigton clocks, together with additional information and documentary evidence that has come to light since his original research was published.

As new clocks and historical records continue to emerge, our understanding of John Sanderson and the Wigton School continues to develop.

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