When Ross Morrison of Mr Mod came across a clock in an antiques shop in Hawke’s Bay, he knew straight away that it was the work of famed 19th-century clockmaker Thomas Cole.

The clock wasn’t working but Ross bought it anyway, vaguely hoping he might find someone who could repair it. Back in Christchurch, he put it on a shelf in his St Martins shop.

That was when serendipity came to visit. Bruce Aitken, trade-qualified clockmaker of 40 years’ experience and fixer of anything, popped in during his morning walk – he only lives a few blocks away. Ross showed him the clock and Bruce also knew just how special it was.

Bruce’s day job involves the restoration, repair and reconstruction of kinetic sculptures by Christchurch-born artist Len Lye. Bruce works closely with the Len Lye Foundation, which preserves and promotes the artist’s legacy. He also specialises in the restoration and repair of antique clocks.

What came next is like an episode of the TV show The Repair Shop. Bruce took the clock back to his workshop, inspected it, found the problem and then reassembled it to working order, making a new key from scratch along the way.

Thomas Cole (1800-1864) was the son of James Cole and brother of the more eminent James Ferguson Cole. At first Cole worked in partnership with his brother at 3 Bond Street, London. Then from 1839 until his death he produced the work by which he is best known. Most of these were produced for and sold through high-end London jewellers and goldsmiths.

Ross’s clock, numbered 508, probably dates from 1846/47. Its design is known as cheval, as in the mirror style that was popular at the time. It is of 8-day duration and is in original condition. The decorative Fleur de Lis hands are a typical Thomas Cole feature.

The Cole workshop produced all the components of his clocks. This is unusual for the time as most clockmakers by then sourced their cases, movements, dials, hands and so on from horological manufacturers and case makers.

Thomas Cole clocks are highly regarded by collectors. They demonstrate the highest standards of English Victorian clockmaking, from the delicate blued steel hands to the exquisitely finished movements and cases.

No two Cole clocks are identical. Their cases are constructed using a central casting that was probably produced using the lost-wax casting method. This method of casting produces a very fine finish but does not allow for repeat castings for the production of components.

How did it come to be in New Zealand? It’s a travel clock, designed to keep going while on the move, and originally would have been in a protective case. So there’s a good chance it came here when new. Alternatively, being such a valued luxury item, the owner did not want to sell it off before moving to the Antipodes.

Either way, neither Ross nor Bruce is surprised any more at what turns up here. Wealthy colonists brought with them all manner of exquisite objects to make their new home feel more like the one they had left behind. Be it furniture, clocks or decorative items, they can stay out of sight for a very long time. Ross’s clock, for example, was previously undiscovered and therefore not recorded in the register of Cole’s work.

For Bruce, working on the clock was a pleasure. For Ross, busy setting up his Mr Mod showroom with the latest shipment from Italy, it’s a link back to an even earlier time when craft was king.

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