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Enquiry from Online Galleries regarding "Floral marquetry longcase clock, signed John Bayley, London."
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The oak carcase is veneered in walnut with floral marquetry panels. Although now faded, when new the veneers would have been incredibly vibrant. Floral marquetry was intended to be as bright and vivid as the natural flora and fauna and in order to achieve this a number of differing materials and techniques were employed. Diarist John Evelyn in the 1670 edition of Silva notes the lack of indigenous woods that were naturally coloured, “..beside the Berbery for yellow, and Holly for white we have very few; our inlayers use Fustic, Locust, or Acacia; Brasile, Prince and Rosewood for Yellow and Reds, with several others brought here from both the Indies”. If colours could not be achieved by the use of imported wood then home grown timber with a plain grain such as sycamore or pear could be stained using a wide array of recipes. Subtle variation and shading was achieved by laying the pieces of marquetry in hot sand, carefully manipulating and removing the leaves once the desired contrasts had been obtained. At one time the case employed a rising hood, which lifted up on wooden runners to the side of the back board but as was often the way, the door is now fitted with conventional hinges and lock; making winding and adjustments much easier.
John Bayley was born in circa 1678, he was apprenticed to Edward Hunt in 1692 and freed in 1700.
|Height||207.00 cm||(81.50 inches)|
|Width||50.00 cm||(19.69 inches)|
|Depth||26.00 cm||(10.24 inches)|