About Thomas Cole

Thomas Cole

Thomas Cole (1800–1864) was born in Nether Stowey, Somerset, the son of James Cole, a practising clockmaker. Although little is documented regarding his formal training, it is likely that he acquired his basic horological skills from his father. Like his elder brother, James Ferguson Cole (1798–1880), Thomas Cole pursued a career in precision timekeeping, initially collaborating with his sibling in London.

In 1823, Thomas Cole entered into a partnership with James Ferguson Cole at 3 New Bond Street, London, where they specialised in chronometers, watches, and clocks. One of their notable collaborative works, a portable astronomical clock from 1825, is now housed in the British Museum. This partnership dissolved in 1829, after which Thomas Cole embarked on an independent career. By 1845, he had transitioned into the production of ornamental clocks, distinguishing himself as a designer and manufacturer of unique and highly decorative timepieces.

Cole’s work is characterised by original designs and high-quality craftsmanship. His clocks frequently incorporated classical and naturalistic themes, reflecting broader Victorian artistic trends. One of Cole’s most significant innovations was the development of the strut clock, a portable, flat timepiece suitable for desks and travel. These clocks, produced in various shapes such as oval and rectangular models, were introduced at the Great Exhibition of 1851 in London. This exhibition served as a critical platform for promoting his work, and his timepieces were also displayed at the Exposition Universelle in Paris (1855) and the London International Exhibition (1862), where he received a medal for excellence.

Throughout his career, Cole manufactured approximately 1,600 clocks, each exhibiting slight variations in design. His numbering system began around 1846, starting at 500 and continuing sequentially until his death, with the highest recorded number being below 1900. Prior to the implementation of this system, it is estimated that he produced an additional 200 clocks.

A defining characteristic of Cole’s work is the superior engraving on his clock cases and dials. His craftsmanship set a benchmark in horology, leading to imitation by other clockmakers, such as E. White and W. Vasel, though none equalled his level of refinement. The construction of his strut clocks involved a central casting with applied layers of decoration, ensuring both precision and aesthetic quality.

Cole’s contributions to horology were formally recognised with his election to the Royal Society of Arts in 1861, as well as membership in the Royal Horological Institute. Despite his influence, much of his work was marketed under the names of high-end London retailers, including Hunt & Roskell, C. F. Hancock, R. & S. Garrard, H. & E. Tessier, E. Dent, and Asprey, which contributed to his relative obscurity in later years.

Thomas Cole died of typhoid fever on January 3, 1864. His work remained largely forgotten until the publication of John Hawkins’s 1975 biography, ‘Thomas Cole and Victorian Clockmaking’, which re-established his reputation as one of the foremost clockmakers of the 19th century. Today, Cole’s timepieces are highly regarded for their distinctive designs, exceptional engraving, and unparalleled craftsmanship.

Literature:
J. B. Hawkins, ‘Thomas Cole & Victorian Clockmaking’, Macarthur Press, Sydney, 1975