Drawings and Tooling

A large proportion of the original drawings survive, both physically and in digital copy. However, these are neither complete, clear nor consistent enough to be used to re-create the clock on their own. However, the surviving original drawings have been studied in detail and compared with the original clocks with the object of re-creating a version of the design which could form the basis of a clock construction project.  

A study of the drawings is interesting in that the original design intent, and then subsequent developments, can be traced. Most of the drawings are well executed, but are not of a professional standard. For the most part, they have been drawn in pencil on various styles of metric graph paper, of varying sizes. Many have later, cruder drawings added; and calculations scribbled on the backs. The drawings specify a mixture of imperial fractional, imperial decimal and metric units. The material thicknesses are metric and SWG; and the threads are imperial and BA. Many of these drawings are cut up; and some are stapled into polythene sleeves, presumably for workshop use.

Two of the drawings on graph paper stand out, being of a different colour and in better condition that the others. These are the drawings of the fancy hammer stop and hammer spring (Figures 44 & 45). Presumably these are later designs than the plain versions drawn in Figures 46 & 47. 

There are also are a series of drawings of arbors and collets with manufacturing quantities stated such as “25 off”. These are larger and clearer than the originals for these parts, but are much cruder and appear to redesign the escape wheel and contrate wheel. These have been executed without the benefit of either lines or a ruler. They are all on the back of headed paper; either for William Gray Replicas Ltd. Or for “Hickory – Suppliers of clock fittings” (Figure 48). The headed paper for William Gray Replicas Ltd. shows the three original director names, dating it to 1973-4. However a doodle (looking very much like a telephone note) on one sheet, refers to “D Meredith”, “Alexander Advertising” and “Jerusalem Passage”. This potentially dates the use of these drawings to the late 1970s / early 1980s, as Jerusalem Passage is where Classic Clocks of Clerkenwell had its basement premises.

Probably, the drawings on graph paper were for the original clock and kept within the business, and those on recycled William Gray Replicas and Hickory headed paper were for re-supply of parts for the later clock kits, and were returned with the manufactured parts. Re-drawing may have been necessary, not just to introduce modifications, but also possibly due to the relative scarcity of photocopying facilities at that time. The crude nature of these later drawings brings into question, which (if any) are in Jim’s own hand.

Some drawings show features not found in the clocks produced: 

The original drawings clearly show the hoop fitted to the top plate. Whilst the template for this hoop survives, and the clock in the brochure has a hoop, the only clock so far discovered with a hoop is a customised kit clock (which has spurs as well).

One drawing shows a plain right angled hammer stop with a rounded end. I have never seen one of these fitted to a clock. The version which fitted to the majority of clocks seems to be the curved, forged stop; with the end split into a fork.

The pendulum bob in the original drawings is a teardrop shape, unlike those found on any clocks including that in the brochure.

Some tooling from the original production survives:

The movement bars from an assembly jig survive, as do some aluminium templates for marking out the warning lever, door catch and indeed the hoop. A pair of brass templates for casting the dolphin frets also survives. Although it is believed that IPD retained the form tools for the finals and pillar caps, these have not been traced.