An antique oak longcase clock, 1740-1750, by James Goodyear of…
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An antique oak longcase clock, 1740-1750, by James Goodyear of Guildford; double weight eight day movement, the arched top with a broken swan neck pediment, a steel dial with Roman numerals having a secondary dial and date aperture to the face with gilded spandrels and maker's plaque, in a dark oak panelled cabinet with carved floral and leaf form decoration in the provincial manner, bearing a 1641 date to the side. Height 215 cm. Width 46 cm. Depth 24 cm

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  • Oak - Native to Europe and England, oak has been used for joinery, furniture and building since the beginning of the medieval civilisation. It is a pale yellow in colour when freshly cut and darkens with age to a mid brown colour.

    Oak as a furniture timber was superceded by walnut in the 17th century, and in the 18th century by mahogany,

    Semi-fossilised bog oak is black in colour, and is found in peat bogs where the trees have fallen and been preserved from decay by the bog. It is used for jewellery and small carved trinkets.

    Pollard oak is taken from an oak that has been regularly pollarded, that is the upper branches have been removed at the top of the trunk, result that new branches would appear, and over time the top would become ball-like. . When harvested and sawn, the timber displays a continuous surface of knotty circles. The timber was scarce and expensive and was used in more expensive pieces of furniture in the Regency and Victorian periods.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.
  • Swan Neck Pediment - Most commonly found on clocks, cabinets and bookcases, a swan neck pediment is formed by two flattened "S" shapes which almost meet in the centre. The form was derived from classical architecure and popularised by Chippendale in the 18th century. A true pediment is triangular in shape, and as a swan neck pediment does not meet at the apex of the triangle it is known as a "broken pediment". Swan neck pediments are also known as scrolled pediments.

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