QEST Youth Board Chats: Elizabeth Jarvis and Lewis Walduck on Craft and Clocks
As part of our Meet the Maker series, Youth Board member Elizabeth Jarvis asked fellow member Lewis Walduck about his route into horology (watch and clock making), the challenges he’s faced, and why he’s keen to support others starting out in craft.
Elizabeth is a woodworker and carpenter who set up her own workshop at 15 and now works to make craft more accessible to young people. Lewis, a 2023 QEST Apprentice, trained at The Clock Workshop and now works in the clock department at Bonhams Auction House. Both are using their roles on the QEST Youth Board to help shape support for the next generation of makers.
Read about the QEST Youth Board here.
What drew you to this craft and how did you get started?
I grew up in North Oxfordshire, and funnily enough, my first words were “tick-tock.” I always mention that because it feels like a little sign of where I was headed. My fascination with clocks began in my great-grandparents’ house, which I used to call the “tick-tock house” because it was full of old clocks. The real turning point came when I was seven and received an antique pocket watch from my grandparents. I accidentally broke it, but instead of moving on, I spent my pocket money on fixing it. That experience turned a passing interest into a deeper passion for how clocks work.
Can you describe a typical day in your studio or workshop?
I work in the Clock Department at Bonhams, where I specialise in antique timepieces. It’s the perfect role for someone like me who loves history and craftsmanship. My days are really varied—sometimes I’m meeting interesting clients, doing in-depth research, or preparing clocks for auction. But a lot of my time is also spent at my own workbench, away from the auction house, repairing antique clocks for clients and for myself. It’s a great balance between hands-on work and the more historical side of things.
What motivates you to create?
I spend a lot of time with objects that were made hundreds of years ago, and what I find most rewarding is seeing the personal touch of the original maker. It might be a name scratched inside the clock or a unique way something was made—these little details connect me to the past. A big part of my job involves making new parts to match the original ones, so I have to recreate the look and feel of something that’s been around for centuries. That challenge, and the uniqueness of every job, keeps things exciting.
Was your craft originally your hobby? If so, what was the defining moment that led you to step into it as a career?
Yes, it definitely started as a hobby. When I was 13, my dad and I started running a small antiques fair in Buckinghamshire. It only had about 20 dealers, but it was a great introduction to the world of antiques. I started buying and selling different pieces, and that interest stayed with me. When I turned 17, I began a clockmaking apprenticeship, which made it all official and really kickstarted my career.
What’s a challenge you’ve overcome that gave you confidence going forward?
At school, I was diagnosed with dyslexia, so I wasn’t exactly top of the class. But it never really held me back. I found something I was passionate about, and it didn’t require a university degree—just dedication and a love for the craft. Clocks and antiques became my strength. Each piece tells a story, and being able to hold and work on something that’s lived through centuries is really special. The steady tick of a clock reminds me how connected we are to the past.
What small steps would you give to a young craftsperson trying to be more sustainably conscious in their work?
Go for it! Antiques are a great place to start if you’re interested in sustainable work. Most people in the field are really friendly and supportive. There’s such a wide variety of antiques out there, and not everything is expensive—you can find something over 100 years old for a very reasonable price. If you’re curious, dive in and start exploring.
Have you felt isolated as a maker? If so, what advice would you give to someone just starting out and looking for a creative community?
Yes, working as a craftsperson can definitely be lonely at times—especially if you’re always in your workshop. That’s why it’s really important to get out there. Whether it’s going to auctions, fairs, or just visiting other makers, connecting with people in similar trades makes a big difference. We’re all in the same boat, and sharing experiences is one of the best parts of the craft community.
Where do you get inspiration from? What inspires your practice?
I’m still just as curious as I was when I started. Whether I’m restoring a clock, chatting with collectors, or hunting for antiques at fairs, I’m constantly learning something new. That’s what I love most—the fact that there’s always more to discover. I’m inspired by the history behind each piece and the opportunity to keep that story alive for future generations.
What advice would you give to a young person interested in craft?
I’ve always been a collector at heart, even outside of clocks. I enjoy learning about all kinds of antiques, especially early medieval Anglo-Saxon items and stained glass. There’s something amazing about owning an object with real history and a story behind it. My advice would be: find something you’re obsessed with. If you truly love it, it won’t feel like work.
What makes you happy in your work?
Joining Bonhams at 20 was a huge milestone for me. I’d just finished a three-and-a-half-year clockmaking apprenticeship and earned my MBHI qualification, so getting that role meant a lot—especially because I took a more traditional, hands-on route instead of going to university. It made all the effort worth it.
Keep Exploring
- A step-by-step guide for student watchmakers by the The British Watch & Clock Makers Guild
- More from Lewis: ‘Ticking Through Time: My Dream Journey as a Clock Specialist at Bonhams’
- Head to Lewis’ website
