http://www.prokop.co.uk/Maquinas/MaquinasProdigiosas-muestra.pdf
The pdf includes 10 photographs including the one above. |
The document is in Spanish; a Google Translate translation to English follows (I studied Spanish for one year at school but I am unable to significantly improve on Google's attempt. If any readers are able to provide improvements please let me have them, In particular I am foxed by the work Galluza which Google translates to Galluzo).
I have contacted the Museum of Decorative Arts in Prague who have said "unfortunately, there are no any watches with a signature of Kover in the collections of the Museum of Decorative Arts in Prague." Perhaps I have misunderstood the reference.
I now seek a copy of the 1980 edition of the book "El
Arte de la Relojería". If any reader has a copy, would it be possible, please, to send me an electronic copy of the photograph on Page 192.
I am going to research the artists Augustin Heckel, G. M. Moser and John Valentine Haidt and will post anything I find of significance.
TRANSLATION:
The prodigious machines (pages 87-91)
Vª. Part
Catalog Pocket
watches and antique equipment.
This chapter takes a
comprehensive review of the evolution of pocket watches at the time of
consolidation and development as a measurement of time by the general public as
well as its machinery, which covers the centuries in which the pocket watch
began to change from being a purely decorative item, available to very few, to
become an object of use and massive employment needs.
To this end, studied and cataloged a series of boxes,
machinery, trends and fashions as well as the trajectory of their authors over
the centuries of splendor - XVIII, XIX
and XX - the country eminently watch producers appeared during these three
centuries.
Clock No. 1.
Gold pocket watch
BUILDER: Kover (LONDON).
Manufacturing No. 8346
DATE OF MANUFACTURE.
According punches, London, 1727
The inner box is usually smooth, without any adornment and
has linked the area to the back cover of this second inner box through a hinge
generally located at the height of the figure XII, and with an opening mechanism beneath the figure VI of the sphere. The pendant, which is
subject to the inner box to match the figure XII, is elongated like all the time, and ends with a flat ring
attached to it. This flat ring-shaped, appears on 1700 and is parallel to the plane of the clock.
MACHINERY. Full plate gilt brass, with Galluzo decorated with masks. The Galluzo is one foot, is pierced with designs and located on the wheel, and is subject to the plate by a screw blued. The mask is classic watches of this era. The two plates are separated by columns and beautifully turned very characteristic of English watchmaking, while the watches made in France or Switzerland, these columns are usually smooth. The English take many forms, such as type or tulip baluster form, or the manner of Egyptian column. With Galluzo, it is the same, are pierced and decoratedsymmetrically. Not until 1750, when the Rococo influence, change these symmetries and shapes. The existence of chewing is very common in this era, especially in the watchmaking and sobrevolante English influence is always one foot, or anchoring in English clocks and two anchors on the continent.
The sobrevolantes, or Galluzo, were made in ancillary
industries around the city of Liverpool, and were mostly made by hand, using
small files by local artisans during the wet winters, mainly in rural areas,
needed to some of these pieces, periods of three or four weeks for manufacturing,
reporting to their manufacturers enough money for maintenance during these long
periods of unemployment mandatory. The plate is engraved with the name of the
city, London, to whether the signature of the manufacturer, Kover, and the number of series, 8346.
ESCAPE. Catherine
wheel and steering wheel with silver dial for regulation numbered 1 to 6.
Catherine Wheel, has broken a tooth and is repaired with a false tooth welded
to the wheel. The operation of the watch is excellent. Delayed three minutes to
24 hours, which is acceptable for a watch made in 1727
SIZE. The
diameter of the inner box is 4 cm. The outer diameter of the box that forms the
"bumpers" is 6 cm.
STATE OF PRESERVATION.
Very good.
NOTE. There is a
very similar specimen in the Museum of
Decorative Arts in Prague. A photograph of the sheet is in the 139 Page 192 of the book "El
Arte de la Relojería" the editorial LIBSA Madrid, 1980.
The boxes embossed clocks, also known as
"repousse" is a technique that watch cases were manufactured from
malleable metal sheets. This system of decoration is the result of hitting the
inside of a metal in a mold made of a hard material such as wood, which has
been carved in negative figure to play. Subsequently, the work is completed
with appropriate tools that outline the figures that we obtained by chisels are
hardened steel tools with which to treat bites the metal along the lines
desired. Contrary to what seems, is a difficult method that requires high
degrees of expertise and artistic talents, excelling in England important
artists such as Augustin Heckel, G. M. Moser and John Valentine Haidt who performed great works by the year 1730. The favorite subjects were scenes
from mythology, Greek and Roman warriors and even some religious, but also
performed scenes of landscapes, animals, and grotesque scenes or historical.
During this period of time, this type of clocks used to be
hung in chains of gold or gilt metal, widely recorded, usually with the same
procedure as external boxes of watches, which were attached to his waistcoat
pocket with a hook in the case of men, and waist in the case of women to these
strings are called "Chatelaine" and tended to be of extreme beauty.
The origin of this type of channel or "Chatelaine"
goes back to the system that had the housekeepers of the stately homes
throughout central Europe carry the keys to the gates of houses different
castles, and was developed over the eighteenth
century, to reach the form of that shown in the picture above from the second
half of the century, and formed by a body central hanging articles of two or
three pieces held together by the back by a large hook fastening to side chains
used to hang in an indefinite number, at the ends dangling the keys to wind the
clock, or seals to seal the letters or small perfume or any implement that
could decorate.
Over time, these chains are lengthened or turned into films,
which combined metal and fabric, especially after the French Revolution,
becoming the so-called Leontine.
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