The extensive catalogue issued in 1997, Images in Ivory—Precious Objects Of the Gothic Age acquired from the Walters Art Gallery of Baltimore, Maryland, describes ivory use in the 15th century Gothic period and periods which followed. (Incidentally, the Walters Art Gallery has a magnificent collection of early watches on display and in reserve.) Many wealthy individuals in medieval and gothic times owned personal items, particularly of ivory with its symbolism of purity, for an aid in their worship. This watch must be such an item. Many of these religious items were small ivory diptychs. The diptychs opened like a book, with silver hinges riveted to the ivory. This ivory crucifix watch is a form of diptych. Unlike later crucifix watches that open at the top of the cross, this one opens on the side as a diptych. The Walters Art Gallery Catalogue shows, on page 144, a 13th century ivory triptych base with a darkened vine engraving very similar to that on the back plate of the crucifix watch. The darkened engraving technique was known and used on ivory well before the sixteenth century, the possible time of my crucifix watch.

The Cloisters of The Metropolitan Museum of Art has a fine collection of small ivory plaques of the 14th through the 16th centuries, many with carved religious depictions similar to those on the ivory crucifix watch. They are the remnants of book covers, small box encasements, etc. Other collections have similar remnants. The ivory crucifix watch seems to fit into this category and time period.

Brusa shows, in Figures 173/176, an elaborate 1595 German timekeeper in the form of a small booklet, apparently of brass, engraved with religious scenes, including Christ on the cross. Antiquorum’s edition Treasures of the Kremlin illustrates another gilt brass watch designed as a book, from south Germany, late 16th century. The interior of the brass cover depicts the crucifixion. The text of the watch description continues: “A similar gilt brass watch in the form of a book, is described in the inventory of the property of Tsar Ivan the Terrible (1523-1560).” These could be other examples of personal horological aids to prayer.

Frankie Leibe’s Millers Watches—a Collector’s Guide, page 18, illustrates an octagonal watch with the case made of carved ivory. It is quite similar in carving style to the crucifix watch, with a Nativity scene of the Virgin Mary and the three kings bearing gifts. It appears to have a very similar hinge and clasp. The text relating to the octagonal watch states, “...the later, purpose-made oval fusee movement is of no particular merit.” An earlier, original, damaged ivory movement could have been replaced. The text speculates that the case “was probably made in Dieppe, France, which was at this time a center for ivory carving.” The several authorities writing in Images in Ivory make it clear that it is almost impossible to date or place the source of an early ivory carving. In Paris, in Germany, and other places, major centers of ivory carving existed for centuries. Artists, skilled craftsmen, and ivory carvers of all periods often moved from one center to another and from country to country, where they had learned their trade with its regional style.

The earliest 16th century watch movements were made of iron, which is difficult to work. The craftsmen, seeking other materials more easily worked, soon adopted brass almost universally. However, in rare examples ivory and other organic materials were used in small clocks and watches. Maurice, Vol. II, Figs. 698, 699, and 700, illustrates three highly carved ivory clocks of the 17th century. One of them also has the single hour hand, dial, and movement all of ivory, with the ivory case fabricated on ornamental turning and in-line engines. Ivory is quite easy to work and of adequate resilience. It cuts and carves well and is delightful to turn. I know, having done a little ivory work and  hoping to do more.

Other examples of ivory movements of a much later date are known. See Figures 447 and 449, page 182, of Reinhard Meis’s book Pocket Watches for a quite modern (c. 1870) example of an ivory watch, apparently with fusee and hairspring. The ivory watch in Meis’ book has the Roman “IV” on the chapter ring and pillar posts similar to those in the crucifix watch. See also the  October 1999, Bulletin, page 611, for an American made ivory movement, also about 1865. I myself have a small ivory watch by M.S. Bronnikov c. 1875. The open-face case and entire movement, except for the hairspring and mainspring, are all ivory.

The ivory crucifix watch, possibly of the 16th century, is much more valuable as a work of art than as a badly damaged watch, regardless of its age. The current custodian of this very interesting piece of art and horology will make no effort to have it restored in any way.

About the Author

Theodore R. Crom holds an honorary Doctor of Engineering degree from the University of Maryland, is a Silver Star of the NAWCC, and is a Fellow of the British Horological Institute. In 1990, he received the James W. Gibbs Literary award; in 1993, he received the BHI Silver Medal; and in 1994, Ted was program chairman for the NAWCC National Convention in Orlando, putting together an international slate of speakers. Ted founded, named, and was first president of Suntime Chapter 19; he also served as a national director and museum trustee.

Ted is a retired engineering contractor with an interest in antique clocks, watches, tools, and books. He has written six books on horological subjects, as well as many articles for the Bulletin, and has lectured at NAWCC seminars, presenting the James Arthur Lecture at the 1991 Seminar in Ft. Mitchell, Kentucky.