John ELLICOTT, FRS. Clockmaker to his Majesty
The rare mezzotint by Robert Dunkarton, circa 1760.
£250.00
Engraved from the original portrait by Nathaniel Dance, with Ellicott shown leaning on an open copy of his 1752 Phil Trans paper on compensated pendulums entitled ‘A Description of Two methods…’ Image size 37 x 27 cm (14.5 x 11 ins).
John Ellicott (1706-1772), Fellow of the Royal Society, one of London’s premier clock and watchmakers, working at 17 Sweetings Alley, with examples of the firm’s work in all the world’s major horological museums. See the article on the Ellicotts by David Thompson published in Antiquarian Horology Summer and Autumn issues, 1997.
Like many 18th century prints, being mounted on what proved to be acid boards has browned the print somewhat and made the paper rather brittle. This has resulted in the print cracking around the plate mark with the loss of most of the margins. The bottom inscription is also different in that the original ‘Clockmaker to the King’ has been removed and replaced with, in pencil, London 1727. This is too early for the portrait and presumably refers to another event in Ellicott’s life.
Also with one small tear at the top (no loss), and with some chipping at the bottom. This could be repaired, mounted and framed well by a specialist but its present condition is reflected in the price.
Item available
Description
Engraved from the original portrait by Nathaniel Dance, with Ellicott shown leaning on an open copy of his 1752 Phil Trans paper on compensated pendulums entitled ‘A Description of Two methods…’ Image size 37 x 27 cm (14.5 x 11 ins).
John Ellicott (1706-1772), Fellow of the Royal Society, one of London’s premier clock and watchmakers, working at 17 Sweetings Alley, with examples of the firm’s work in all the world’s major horological museums. See the article on the Ellicotts by David Thompson published in Antiquarian Horology Summer and Autumn issues, 1997.
Like many 18th century prints, being mounted on what proved to be acid boards has browned the print somewhat and made the paper rather brittle. This has resulted in the print cracking around the plate mark with the loss of most of the margins. The bottom inscription is also different in that the original ‘Clockmaker to the King’ has been removed and replaced with, in pencil, London 1727. This is too early for the portrait and presumably refers to another event in Ellicott’s life.
Also with one small tear at the top (no loss), and with some chipping at the bottom. This could be repaired, mounted and framed well by a specialist but its present condition is reflected in the price.
