Was there a fourth painted clock?

Voysey’s painted clock is one of his most recognisable designs and has attained iconic status with the version made for his own use being on permanent display at the V&A Museum while another, produced for his longstanding patron Lady Mary Lovelace, is now prominently displayed at The Virginia Museum of Fine Arts, USA. When a third clock appeared at auction in 2006, the author helped the auctioneers establish its authenticity beyond doubt from period photographs. However, Voysey scholars have long been aware of a colour reproduction of a painting titled “reception room in Miss Conant’s house” depicting an interior scene at The Pastures, North Luffenham (a house designed by Voysey) published by the German magazine Modern Bauformen. The room depicted is furnished with various Voysey designed pieces of furniture and significantly, features one of his iconic painted clocks, prominently displayed on the mantel shelf above the fireplace. This has led to much speculation and the tantalizing possibility that at least four painted clocks were produced. A large tranche of Voysey material recently bequeathed to the RIBA by the late John Brandon-Jones contains previously unpublished photos of The Pastures both unfurnished (just after completion) and, a few years later, fully furnished by the owner. By carefully comparing images, the author establishes that the watercolour containing the painted clock is based on a single photograph of the unfurnished room and along with other evidence, argues that the painting must be seen as an artistic fabrication and explores the reasons why the architect was actively complicit in the deceit that ‘The Pastures’ was a ‘gesamtkunstwerk’ (total work of art).