Echoes of an Unknown Maker: A Banjo Clock’s Journey Through Time

The American Banjo clock — often just called a banjo clock — got its name from the shape of its case, which resembles a banjo musical instrument. Although the design was patented in 1802 by Simon Willard, a renowned clockmaker from Roxbury, Massachusetts, Willard referred to his invention as the “Improved Timepiece,” not a banjo clock.

There are essentially three types of mechanical banjo clocks. Those with lever escapements are usually in the lower price range, spring-driven examples occupy the middle ground, and weight-driven banjo clocks represent the higher end, typically costing several hundred dollars in fair condition to several thousand for authenticated examples from reputable makers.

My wife spotted the clock on Facebook Marketplace one evening. It was listed for $100, and the photo immediately caught my attention. I had a feeling it might be a diamond in the rough. I suggested she offer the seller $75, and to our surprise, the offer was accepted almost immediately. It seemed they just wanted it gone.

_{Seller’s photo, looking a little tired}

The clock was one of several items the seller had for sale as part of a community-wide garage sale. So, a day later, we made the drive out to the rural part of Nova Scotia where the sale was taking place. When we arrived, we found the house and asked to see the clock. It was sitting there among other odds and ends, looking a little tired but full of promise.

As we examined it, I asked a few questions about its history. The seller explained that it had belonged to an uncle in Wolfville, Nova Scotia—a man who had once owned a large collection of antique clocks and had been in the family for over 60 years. That was all I needed to hear.

Before we left, the seller asked if I might be interested in another clock—a 30-hour mantel clock. “It’s worth a lot more than that one,” they insisted, nodding toward the banjo clock. I smiled and politely declined. Something told me the first clock was the one worth keeping.

And I was right. Once we brought it home, cleaned it up, and did a little research, we discovered that it was indeed something special—a genuine, 1830s timepiece, a true diamond in the rough.

The clock was surprisingly heavy when I first lifted it, which told me right away that the weight was still inside the case. That was a good sign. Had it been missing, finding a proper replacement would have been a challenge—and there’s really nothing quite like having the original weight that once powered the movement so many decades ago.

It turned out to be a Federal-style banjo clock, housed in a rich mahogany case that bore the quiet dignity of age. The movement was intact, a promising start. At the top sat a graceful acorn finial, original to the clock—a small but telling detail. At first glance, I thought the carved reverse-scrolled side arms and lower base section were missing, but later learned that not all examples from this period included those features; In fact, simplicity was a defining feature of early timepieces.

The original steel hands, shaped in that classic banjo style, were still in place, and the dial face, though worn, retained much of its character. The glass bezel was broken but easily replaced. The case itself was dusty and a bit tired, with a few areas needing veneer work, a split wood bezel, but nothing beyond repair. As I examined it more closely, I discovered the winding crank tucked neatly into the bottom of the case—perhaps placed there by its last owner many years ago.

After some careful study and comparison with other examples online, and with help from a few knowledgeable members of a clock forum, I came to believe that the clock was made in the late 1830s in Boston—possibly by John Sawin. Sawin had apprenticed under Simon Willard and later worked as a journeyman for Aaron Willard, two of the most respected clockmakers of their day and inventors of the original patent timepiece. Unfortunately, there are no identifying marks on the case or movement, leaving its true maker a mystery—but a fascinating one all the same.

_{Fully restored clock on display in my home}

With that in mind, I decided to give the old clock the attention it deserved. What followed was a careful cleaning, a bit of veneer work, minor repairs, glass bezel replacement, and the satisfaction of seeing history come back to life.

November 24, 2025 9

What Makes a Clock Antique or Vintage?

Perhaps you already have a good sense of what you consider “antique” versus “vintage.” But after years of poking around the internet looking for interesting old clocks, I keep seeing confusion over these terms. So, maybe it’s not as clear-cut as we think.

Let’s start with the word “antique.” According to the United States Government (and no, I’m not sure why they felt the need to define it either), an antique is anything over 100 years old. Webster’s Dictionary backs this up, defining an antique as a work of art, piece of furniture, or decorative object from an earlier period, usually over a century old. Even Wikipedia throws its weight behind that definition. So, we can put a pin in that one: antique = 100+ years old.

_{Mauthe time and strike wall clock circa 1895}

Now, “vintage” — that’s where things get messy. According to eBay (and you’d think they’d know), vintage refers to items made between 1930 and 1969. But let’s be realistic: on eBay, “vintage” often means anything older than yesterday, dirty, worn, or vaguely old-looking — especially if the seller isn’t quite sure what it is. The word has been stretched and bent so far out of shape, it’s basically the new “rare.”

And then there’s “collectible,” a word the marketing world loves a little too much. Slap it on a box of cereal or a mass-produced novelty clock and suddenly it’s collectible! Or so they hope. Like “vintage,” the term is often used to create urgency, even when the item in question is neither rare nor particularly special.

In the world of clocks, though, collectors tend to agree on one rule of thumb: if it’s over 50 but under 100 years old, we say it is vintage. That said, there’s no universal consensus. In some circles — jewelry, for example — anything older than 20 years is called vintage. Some even split hairs further with terms like “near vintage” and “true vintage.” What does that mean? If a clock is 48 years old, is it near vintage? And at 50, does it cross the magical threshold into “true vintage”? Apparently, some people think anything made before they were born is vintage.

Personally, I find the 50-to-100-year range for “vintage” a reasonable definition.

But, as with all things, there are exceptions.

Take the 1970 Junghans Astor-Quartz wristwatch. Junghans (still in business today), a company with over 150 years of history, introduced this quartz marvel in 1970. Today, collectors drool over it. Is it vintage? Technically yes — even if it’s quartz. So while many collectors would scoff at calling anything battery-powered “vintage,” the Junghans is a reminder that there are always exceptions worth making.

For me, the mark of a true antique or vintage clock lies not just in its age, but in its craftsmanship. Examine the detail, the precision, the pride of work that went into clocks made decades or even centuries ago. I am thinking of the ornate clocks of the Black Forest Region in the 19th century, and French-made ornamental clocks of the 18th century. That kind of workmanship is rare today. Mass production, like common clocks of the 1930s and 1940s, can’t quite capture the same spirit.

For example, I have an Arthur Pequegnat Canadian Time clock. It’s certainly old — but how old? The company produced this model from 1916 to 1941 without changing the design or movement, making it nearly impossible to pinpoint its exact production year. Is it antique? Vintage? Somewhere in between?

Old Is Not Gold

In the clock business, “old is not gold” is a cautionary phrase used by experienced collectors and repairers to remind others that age alone doesn’t make a clock valuable, desirable, or worth restoring.

Why? Many old clocks were mass-produced, especially in the late 19th and early 20th centuries. Companies like Ingraham, Sessions, and Ansonia manufactured millions of clocks to meet demand. Just because a clock is over 100 years old doesn’t mean it’s rare or of high quality. Many people are surprised to learn that a clock passed down through their family may be worth very little.

An old clock in poor condition — worn-out movement, missing parts, heavily modified, or water-damaged case — may have little to no value, even if it’s technically an antique. Restoring it would cost more than it’s worth.

Collectors are selective. Certain styles, makers, or features (e.g., unusual complications, artistic dials, elaborate carvings) increase demand and value. A plain, utilitarian 100-year-old wall clock? Not so much.

Some clocks were made using leftover parts, kits, or have been assembled or altered over time. Others are reproductions made to look old. Being fooled by age can lead to disappointment, especially when paying more than it’s worth. For example, when North Americans had an insatiable appetite for antiques, many Vienna Regulators that were sent after the Second War were parted out and reassembled into “Frankenclocks”, a movement from one clock, a case from another, a pendulum from a third.

_{Frankenstein, Gustav Becker, Vienna Regulator}

Final Thoughts

Better still, enjoying your clock is what really counts.

You don’t have to spend a fortune to own a meaningful piece of horological history. Ogee (OG) clocks, for instance, are true antiques — many 150+ years old — and still reasonably priced because of their large production numbers.

Antique banjo clocks are also within reach for many collectors, unless you’re chasing a rare Simon Willard original, in which case your wallet may start to sweat. And even if you snag a “Simon Willard original”, how can you guarantee that it is, indeed, original?

_{Weight-driven banjo clock from the Boston area, circa 1840}

The takeaway? Whether antique, vintage, or collectible, it pays to do your homework. Researching a clock’s origin, model, and movement details can save you from disappointment — and occasionally lead to a delightful surprise.

At the end of the day, labels matter less than love. If you enjoy the look, sound, and story of your clock — whether it’s vintage, antique, or collectible — then it’s exactly the right clock for you.

June 13, 2025 6

The Legacy of Martin Cheney: Clock-Making in Early Canada

Martin Cheney is not typically the first name that comes to mind when considering the impact of clockmakers on Canadian horology.

Martin Cheney, born in 1778, was part of a prominent American clock-making family. He was one of four sons of Benjamin Cheney (1725-1815) and Elizabeth Long Cheney, who hailed from East Hartford, Connecticut. Benjamin likely trained all his sons in clock-making. The oldest, Asahel, born in 1759, later moved to Vermont. Elisha, born in 1770 and passing in 1847, settled in Berlin, Connecticut.

The youngest, Russell, eventually relocated to Putney, Vermont. Martin’s uncle, Timothy Cheney (1731-1795), was also a notable clock-maker in East Hartford, working closely with Benjamin.

By 1803, Martin had moved up the Connecticut River to Windsor, Vermont, where he advertised fine English watches, watch keys, chains, and seals for sale. The majority of the tall case clocks I’ve found online come from his shop in Windsor, Vermont. Based on my research, most of his clocks show a Boston influence.

In the early 1800s, political events in the United States prompted several families to migrate to the British colony of Lower Canada, now known as Canada. In 1809, Martin relocated to Montreal, where he lived for about twenty years. In 1817, he partnered with J. A. Dwight, and together they operated under the name Cheney & Dwight at 104 St. Paul Street, Montreal. The business produced movements, cases, wall and tall case clocks, and banjo clocks. Their partnership lasted until 1830.

In 1827, Martin advertised in a Burlington, Vermont newspaper seeking a journeyman clock-maker to join him in Montreal. Although Cheney continued to craft clocks into the 1830s, little is known about his life beyond that decade. He spent his remaining years in Montreal till his death in 1855 (unconfirmed).

Cheney clocks are highly sought after and command high prices at auction. Their exceptional craftsmanship and meticulous attention to detail are evident in every piece.

Until August 2024, I had never seen a Cheney clock in person but, during a recent visit to The Canadian Clock Museum, curator Allan Symons proudly introduced me to one of his most prized acquisitions: a Martin Cheney time-only weight-driven wall clock, crafted in Montreal, Canada in the 1820s.

I didn’t get a chance to examine the movement, but I’m assuming it’s a banjo-style similar to the one in the photo below.

Encountering a Martin Cheney clock in person was an experience that deepened my appreciation for the craftsmanship and historical significance of his work particularly during the time he spent in Canada.

The rarity and value of Cheney clocks, combined with their intricate details and the story they tell of early North American clock-making, make them treasures for any horology enthusiast.

While owning such a piece may be well out of reach, the opportunity to see one firsthand was an unforgettable reminder of the skill and character of early Canadian clockmaking.

August 20, 2024

Securing Clock Glass to a wood Bezel with Plaster of Paris: An easy Step-by-Step Guide

Antique wall clocks hold sentimental and aesthetic value, and preserving them often requires delicate restoration work. Purchasing replacement glass and securing it to a frame is one such restoration project.

Securing glass to the bezel of an antique clock can be achieved in several ways. It can be secured with tacks or clips or in the case of a metal bezel, brass tabs are soldered into the frame once the glass is in place. However, securing the glass to a wooden bezel can be more easily achieved by using Plaster of Paris.

_{Ansonia Extra Drop time-only wall clock} _{(pendulum removed)}

This versatile material, which can be found in any hardware store, when mixed with water, creates a durable and easy-to-use bonding plaster. In this step-by-step guide, we’ll walk you through the process of using Plaster of Paris to secure glass to the bezel of an antique wall clock.

Upon acquiring my Ansonia Extra Drop time-only clock, crafted in the early 1880s by the Ansonia Brass and Copper Company, I faced the challenge of its restoration as you can see in the following photo.

Ansonia Extra short drop wall clock — _{Trash or treasure?}

Despite its seemingly hopeless condition, the clock retained its essential components, with the sole exception of the brass dial bezel. Although the movement was encrusted with dirt, it remained intact and presented a salvageable opportunity for restoration.

After considerable sanding, rust removal, freeing of seized wheels, and subsequent bushing work, the movement miraculously began to run.

However, the glass was not securely fixed in its bezel and was temporarily held in place by tacks. I needed a more lasting solution to ensure the glass was firmly secured so, I opted for Plaster of Paris.

Except for the Plaster of Paris and the custom-cut glass, all the materials needed for this project are common items found in any household.

Materials Needed:

Plaster of Paris
Cold water
Mixing bowl
Stirring stick, spatula, putty knife
Correctly sized glass from a clock supplier
Paper towels or soft cloth
Sandpaper
Paint and brushes

Step 1: Detach the wood bezel from the clock case. Prepare the clock bezel by removing the glass and cleaning the bezel thoroughly. Use a soft cloth to wipe away any dust or debris. If the bezel has any imperfections, lightly sand the surface to create a smooth and clean area for the plaster.

Step 2: Mix the Plaster of Paris. The instructions on the Plaster of Paris package call for a two-to-one mixture (two parts plaster to one part water) which is far too thin. I have found that three to one or more is optimal to achieve the right consistency. Mix the dry plaster with cold clean water in a bowl; it should be the firmness of a thick paste. Stir the mixture thoroughly until you achieve a smooth, lump-free consistency.

Step 3: Secure the glass onto the cleaned bezel. If the glass moves too much, use painter’s tape or masking tape to temporarily secure it in place. This will prevent the glass from shifting while applying the plaster.

Step 4: Use a spatula or a one-inch putty knife (preferred) to carefully apply the plaster by spreading the mixture around the edges of the glass and onto the bezel. Ensure that the plaster is evenly distributed and covers the entire edge of the glass. Take your time to avoid air bubbles and uneven application. You have six to eight minutes of working time before the plaster begins to set.

Do not mix more material than can be used during the six to eight-minute period. However, if you have any left, simply find a hole in a nearby wall to patch.

Step 5: Once the plaster is applied, use a wet finger or a damp cloth to smooth and shape the edges. Pay close attention to the corners and make sure the plaster forms a neat, even seal between the glass and the bezel.

Step 6: Remove excess plaster before the plaster fully sets, by using a wet cloth and a putty knife to trim the edges. This will give the restoration a professional and polished appearance.

Step 7: Plaster of Paris hardens in about 30 minutes. Avoid disturbing the clock during this time to ensure a secure bond between the glass and the bezel.

_{Mixing acrylic water-based multi-surface paint}

Step 8: Plaster of Paris is paintable.

_{Sanding the plaster before applying the paint}

Touch up the bezel with paint. Aim to replicate the subtle hue of aged putty for a more authentic appearance.

Cure the Plaster of Paris for 24 hours before applying paint. Sand the rough areas with 200-grit sandpaper. Wipe down with a damp cloth. Apply the paint with an artist’s brush or equivalent. Allow the paint to dry completely before reassembling the clock.

Plaster of Paris in the bezel will contribute to a slight increase in weight, but the trade-off is enhanced rigidity.

_{The plaster is tinted to resemble aged putty}

Using Plaster of Paris to secure the glass to the bezel of an antique wall clock is a straightforward and cost-effective process that, when done correctly, can not only keep the glass securely in place but will add to the clock’s appearance with the added benefit of enhancing the structural integrity of the glass within its bezel.

Following these steps will go a long way towards preserving the beauty of your antique clock for years to come.

January 5, 2024

Tick Talk Tuesday #43 – Is this a Simon Willard banjo clock?

Tick-Talk Tuesday is about the letters and comments I have received from readers concerning clock issues, challenges faced, a clock you would profiled or advice on your particular clock concern. For those comments and questions that stump even me, I consult within my clock circles for the best possible answer

TM writes, “We have had a banjo clock in our family for multiple generations, and knowing my family’s history it would not surprise me if it was a Simon Willard original. I understand that is a long shot but it is so hard to find information about banjo clocks or reputable people to deal with. It is in relatively good condition, not knowing when my family acquired it exactly, but it is original to us. I am attaching a picture and would greatly appreciate your opinion.”

_{The family banjo clock}

I am not an expert on Willard banjo clocks but have seen and read enough to inform me that Simon Willard clocks have distinctive features that separate his clocks from others.

My reply was, “Hi, and thanks for your email.

It may or may not be a Willard patent banjo. It would have to go through a process of authentication. An expert would identify the classic hallmarks of a Willard clock which would include movement design and construction, distinctive case features, door catch characteristics, construction of the dial, how the movement is mounted, design of the throat and lower tablets, and so on.

However, two things immediately strike me as odd. First, I have never seen a Willard patented timepiece (banjo clock) with an Arabic dial. Secondly, Willard banjo clocks have simple barbed spear hands, none as ornate as the ones on your banjo clock. Your clock could be a variant or the dial and hands could be replacements or the clock could have been crafted by another maker altogether.

Again, an expert in Willard clocks would provide the answer you are looking for.”

_{Simon Willard Patented Timepiece, C.1810; photo taken at the Simon Willard Clock museum in 2019}

Simon Willard did little to protect his patent and as a result, many copies were made during the Federal period in Boston and in New England. Associates of Willard and apprentices to Simon and his brother Aaron produced clocks by the hundreds. Some of the copies were of high quality though they did not have the desired cache of a Simon Willard clock. And of course, many are fakes.

_{Willard clock; photo was taken at the American Watch and Clock Museum 2019}

According to Robert C. Cheney, executive director and curator of the Willard House and Clock Museum proclaimed that the timepiece is “probably the most faked American clock found today.” Is TM’s clock an original, another maker, or a fake? An expert would immediately determine if it is real.

The photo at the beginning of the article is the only one sent to me and one photo is really not enough to make any kind of definitive judgment but I don’t believe TM has a Simon Willard Patented Timepiece.

December 6, 2022

The time-only clock – simplicity without the noise

People often tell me that they could never have an old-fashioned antique clock in their home because of the noise. And by noise, they are not so much disturbed by the ticking sound as they are about the sound a clock makes on the quarter, half, or on the hour, in other words, a striking or a chiming clock.

But, the ticking sound might also be bothersome. Some of my clocks are loud tickers, they can easily be heard in the next room. Some, on the other hand, are silent tickers, and the only way to determine if they are running is to approach them or observe the movement of the minute hand.

I completed work on a German Jauch time-only clock the other day and could not believe how quiet it was. This is not an expensive clock by any means. So cheap in fact that I only paid $1.65 for it, but that’s another story. It is not rare either, thousands were made but it was engineered to be very quiet.

Of the 90+ clocks I have in my collection, 20 are time-only, that is they are not striking or chiming clocks, they simply tell the time. And it is their simplicity that intrigues me. Many are wall clocks, a couple are calendar clocks, most are antiques and some are vintage. Clocks in and around bedrooms are time-only and all 4 kitchen clocks are time-only as well.

_{Three clocks located in our kitchen that are set to 3 time zones}

Here are eight of my time-only clocks (starting with the Jauch above) and a story behind each one.

This is probably one of the more expensive wall clocks in my collection. It is an unnamed Vienna-style regulator.

It is in its original finish. The finials on top might have been added but it is difficult to tell. Otherwise, the clock is complete. It was found on a local online for-sale site and the seller did not budge much from his asking price but it is one of my favorite clocks. Sadly, I do not know anything about its history.

I picked up this clock while on vacation in the USA. It was found in an antique mall in Michigan. A very simple clock, cheap and it runs very well though because it is spring driven it is not one of my better timekeepers. The ticking is just soft enough to be soothing which is why it is the only clock running in our bedroom.

_{Federal-style banjo clock, possibly John Sawin CA.1840}

This Federal-style weight-driven banjo clock was discovered at a yard sale near my home. The seller was trying to steer me toward a 30-hour clock for an outrageous price that I knew was worthless but they obviously did not know the value of this Federal-style banjo clock so I bought it instead for a ridiculously low price.

It was a family clock held by a collector in Wolfville, Nova Scotia (Canada) for a number of years until he passed away. It is a weight-driven clock, very accurate, very well constructed, and very well preserved. The dial glass was broken and other than that, it came as you see it in the photo.

This 8-day time-only clock came from a business establishment in Toronto, Ontario (Canada). It was well cared for, serviced regularly, and very accurate. The Seth Thomas Regulator #2 was also a popular choice for train stations across North America.

_{Arthur Pequegnat Moncton; 15-day clock CA.1930}

This mahogany-cased gem is an Arthur Pegugant Moncton 15-day double spring time-only clock that was a popular choice for business establishments. It is also from the Toronto area.

_{Gilbert Admiral with calendar CA.1895}

Found in a local antique shop locally this Gilbert Admiral calendar clock looks great on any wall. Unfortunately, I know nothing about it. It could have been either an office or a schoolhouse clock.

Highly sought after this Kienzle World Time clock commands high prices on auction sites. This example is in pristine condition and runs but has not been serviced. It was found in an antique shop in Kazabaszua, Quebec. The clock was designed by Heinrich Möller, chief designer for Kienzle Clock Co. of Germany, and it was considered a higher-end big desk office clock that displays world time zones. I can only imagine an important import-export dealer with this on their desk barking orders to send things here and there.

From a repairer’s point of view, time-only clocks are the simplest clocks to work on since there is not much to them. There is only one train and any repairs are straightforward and far less complicated than clocks with two or three trains. On the whole, they are more accurate, particularly weight-driven varieties because they lack the complexity of all those additional wheels and levers which only serve to add friction to any movement. Perhaps its simplicity is its greatest attraction.

My advice. If you are looking for an antique clock and plan to run it but might be bothered by the noise, consider a time-only clock. You will thank me.

Simplicity without the noise.

November 18, 2022

Repairing a loose hour hand on a weight-driven banjo

The hour hand is loose on my unmarked circa 1840s banjo clock. It is an unusual problem and I can’t say I have ever come across an issue like this in my years of clock repair. It is supposed to friction fit on the hour pipe but the hand is definitely quite loose.

I have attributed this fine precision-made weight-driven banjo timepiece to John Sawin or one of his apprentices or associates. John Sawin, who apprenticed under Simon Willard, made clocks in the Boston area in the early 1800s and it appears that this clock was made in or around 1840.

It is not the usual ornate clock with reverse-painted tablets, gilt features, and an American eagle finial that one would envision as a classic banjo clock. This mahogany-cased clock is simple with timeless lines.

Back to the hour hand. I posted the issue on an online clock forum site and the consensus seems to be that I must stake the hour hand in several places on the inside so that it would fit tightly on the hour pipe.

On most American clocks the hour hand has a collet and the hour hand/collect friction fits onto the hour pipe. No so on early banjo clocks.

The staking went well, the hour hand fits snuggly and I am pleased.

October 17, 2022

Maintaining your mechanical clock – it’s simpler than you think

Maintaining your antique clock – a discussion

How do I know if my antique mechanical clock is keeping good time? While it may be important today, years ago people had a different concept of time. Back in the 18th and 19th centuries common folk had little need to know the time of day precisely. There were no cars, TVs, or the Internet. There was little demand for careful timekeeping and clocks, whether they be spring driven or weight-driven, that were accurate to within a few minutes a week were considered excellent timekeepers. Astronomical clocks were certainly available to scientists and better regulators were made for commercial purposes (the railroads for example) but for the common man, the emphasis was on cost rather than absolute accuracy, and to-the-second time was neither sought nor desired.

_{The weight-driven ogee was a very popular clock for the home}

The common mechanical clock for the home was a wonderful invention and by the mid-1800s, with a clock in every home people could regulate their lives whether it be sending the children off to school, attending church, or working in the fields.

In those days if the family clock stopped and usually there was only one in the home, the priority was to have it serviced often by backyard tinkerers. For those who could afford it, reputable repairpersons were available and professional repairs were provided.

Clockmaker's shop — _{Clock-maker’s shop from about 1900}

Today professional repair shops are disappearing at an alarming rate and with it, knowledge is lost forever. There is no going back. Mechanical clocks are still with us and require periodic maintenance, after all, they are machines, and machines are not meant to last forever though they can last an incredibly long time if cared for properly.

That a mechanical clock can last a long time is partly because of clever engineering, robust construction, and periodic maintenance. Indeed, I have clocks in my collection that are over 150 years old that still work daily and not because of sheer luck. They are properly maintained.

^{180-year-old weight-driven banjo clock from Boston}

Any clock repairperson will tell you that friction is a clock’s worst enemy. Worn clock parts that lack oil or dried up and dirty oil cause friction that can interfere with the running of a clock. Mitigating friction is the key a clock’s long life.

Several things happen to clocks as they run year after year. Oil contaminated with dirt and dust build-up, the oil turns black and parts moving with one another generate wear, gradually at first and accelerates as grime builds. In time wheels that are unable to properly mesh with one another cause a clock to stop. In some cases, weakened or tried mainsprings become set, lose their ability to completely unwind, cannot maintain their rated cycle (One-day, 8 days), and must be replaced. Wear is reversible in most cases but occasionally replacement parts are the only option.

When to oil and when to service

There is no absolute timetable with respect to periodic maintenance and servicing. there are many opinions among clock repairers but a cycle of between one to five years is considered reasonable. If a periodic inspection reveals that the clock is clean and the pivots well-oiled the period between servicing can be extended, assuming that the clock is running well, to begin with.

Routine maintenance should always include careful inspection and if necessary, disassembly of the movement, cleaning, addressing wear issues, reassembly, oiling, and testing. Even the simple task of reoiling a clock movement involves taking it out of its case in order to access all the oiling points.

When a clock stops

When a clock acts up it is sending out a clear message. When a clock is acting up one might be tempted to add more oil or spray the movement with either a lubricating oil or WD-40 (which is actually a water dispersant rather than oil). Doing so will actually turn the clock into a dust magnet and the combination will turn the oil or other questionable lubricant into a grinding paste around the pivots and exacerbate wear.

Those new to antique clocks will go to great lengths to avoid taking a clock movement apart but experienced clock repairers know that proper cleaning can only be done when a movement is taken completely apart. There are no shortcuts. Dunking a movement into a solution, drying it, and calling it clean is no substitute for complete disassembly. Dipping a movement into an ultrasonic cleaner also does not equate to a clean movement. Other than sending the clock to a shop which entails a fee for servicing one should either learn this task or establish a relationship with someone who knows how.

If one is mechanically inclined and comfortable working with small parts, learning to repair clocks can be a joyful and rewarding experience. Simple tools can be easily acquired and once the basics are mastered specialized tools can assist with more complex repairs.

Needless to say, one does not become an expert overnight.

August 26, 2022

Restoration work on a 181 year old weight driven banjo clock

There are basically three types of banjo clocks with mechanical movements. Those with lever escapements which are usually in the $75 to $100 range, spring-driven ones that are generally $100 to around $300 and up but weight-driven banjo clocks occupy the upper end of the range and are normally between $300-$500 in fair condition and upwards of thousands for desirable clocks made by Simon Willard or E. Howard.

When my wife discovered this particular clock on Facebook Marketplace for $100 I suggested she make an offer for $75 and the seller immediately accepted. It is always a risk buying or accepting an offer without first examining it but this, I believe, was an excellent prospect and for the price I was willing to take a chance.

It is weight-driven federal style cased banjo clock from the 1840s. I have since learned that the clock was very likely made by John Sawin in 1840 (Boston) by himself or one of his apprentices or associates.

Unfortunately, there are no identifying markings on the movement or the case but there are strong indicators that this is a Sawin clock. John Sawin apprenticed under Simon Willard and was a journeyman under Aaron Willard, famous clockmakers of the day and makers of the original patent timepiece.

Everything is intact except for the dial class which was broken at some point in the clock’s life.

The broken glass is convex which prompts an interesting question. Is the glass a replacement and if so, did these clocks originally come with flat glass?

There is a school of thought among most horologists that simple mahogany cased clocks with wood bezels and an absence of ornamentation that were made in this particular style back in the 1840s had flat glass installed. Presentation timepieces, on the other hand, such as those with gilt accents, sidearms, brass dial bezels, a lower bracket/finial and reverse painted glass tablets had curved glass.

Patent Timepiece 1825 by William Cummens with convex glass

My belief is that this clock originally had flat glass.

So, let’s move on with the various case issues beginning with the missing pieces of veneer.

Veneer

The only section that requires veneer work is the left and right bottom corners on the pendulum. Many repairers attempt to hide the missing veneer with touch-up stain but new veneer is the only way to go.

Although the case is made of mahogany I selected rosewood from my collection of harvested veneer. It has the same thickness (modern veneer is much thinner). Although mahogany has a slightly different tonal characteristic and grain, the match was very close. Since I used hot hide glue, the veneer can be easily lifted with heat at a later date but for now my goal is to disguise the missing veneer.

While I was working on the veneer sections I cleaned the case and applied a light coat of shellac. I am not opposed to applying a finishing coat to preserve and improve a clock’s appearance. The added benefit is that it enhances the grains on the case.

In my view there is no clear right or wrong answer and it should be left up to the restorer (and owner) to decide how the clock’s finish should be addressed.

The throat is in perfect condition.

The dial bezel has a crack at the 11 o’clock position which was addressed with hot hide glue. I forced glue into the crack, closed the gap with a number of elastic bands tied together and left it for 24 hours to dry.

The glass

Removing the old putty was a little more involved than I had planned. A heat gun would have been too much and I did not want to ruin the wood bezel but a 30W soldering iron was perfect for this job. I picked away and removed just enough putty to install the glass. I ordered 6 13/16 inch flat glass and it was a perfect fit. Wet putty is always an option but Plaster of Paris is easier to work with, does an equally fine job and secures the glass in place.

Plaster of Paris dries hard in 30 minutes and is stainable/paintable. I applied the plaster with a putty knife and smoothed it out with a wet finger.

Plaster of Paris is easy to work with and dries hard in 30 minutes

After several hours I applied a dark stain to give the plaster an aged look.

The plaster is stained to give it an aged look

The bezel is now ready to be attached to the case.

The finial

The final was in the pendulum box when I bought the clock. It now requires a new post. The peg was broken and a previous owner attempted to secure the finial with glue and, of course, that failed. The finial would originally have been mounted with a piece of dowel.

Using a piece of 3/8 inch doweling I cut off about 1 1/4 inches. I scraped off as much glue as I could from the bottom of the finial and the plinth and drilled out the old doweling on both the finial and the plinth. Once the dowelling was glued in place it was given a mahogany stain. It fits well and looks great.

Other case repairs

Other case repairs involved closing or filling several holes. For these repairs I used yellow carpenter’s glue for maximum adhesion.

Shavings from old veneer are glued into screw holes for the mounting ears and the case hook to ensure that those screws are secure.

The case repairs are complete and the last step is servicing the movement.

November 6, 2021

John Sawin banjo clock CA 1840

John Sawin was a prolific 1840s Boston clockmaker and many of his clocks have survived to this day.

The Key features of the Sawin timepiece share many of the attributes of the original Simon Willard Patented Timepiece. They are:

No striking parts reducing the number of wheels to a minimum for simplicity,
Making the distance between the plates wider allowing sufficient cord on the barrel allowing it run 8 days,
The push-pin catches on the bezel and lower access doors,
Placing the pendulum in front of the weight to ease repair and regulation,
The weight is reduced and made longer and wider,
The pendulum and guide are placed in front of the movement,
An oblong space in the pendulum so that it swings clear of the centre pinions and hour and minute collars,
The method of mounting the movement to the case. Works are fastened by two “ears”, the top right and bottom left backplate,
The calculation of the train in consequence of shortening the pendulum,
No method of securing the pendulum when transporting the clock,
Acorn top finial and wood dial bezel
The shape of the case,

The earliest timepieces from Roxbury had long screws from the front plate into the case in the upper right and lower left. Beginning about 1820 in Boston a single bolt from the back of the case into the movement was used as per Howard & Davis and E. Howard. North Attleboro movements had holes in the backplate in the upper right and lower left for screws into the case.

A John Sawin movement is distinguished by brass ears attached to the movement back plate in the upper right and lower left. Other Boston area clockmakers might have used the same casemakers so their cases probably would look similar to his.

Cases came from one of several casemakers in the Boston area. Case construction is helpful in identifying where the clock was probably made and movement for the maker, however by the 1830’s movement construction had become so generic that was really difficult to identify the maker. It is probable that were many small workshops run by former apprentices and/or journeyman clockmakers that supplied movements to the trade as needed by the existing makers in the various cities so it makes things even more complicated.

The real differences were how the movement was attached to the case and that gives us information on where it was manufactured.

The John Sawin Banjo headpiece is carved out. With the dial off, the headpiece of the case looks like two crescent moons facing each other, thin at the top and bottom and thick in the middle. There is a piece of cloth glued to the inside top of the case to hold the 2 crescent moons together.

*Two crescent moons make up the headpiece*

Unfortunately this clock has no identifying markings which means that it is quite possible that while it may not have been made by John Sawin himself but one of his associates or one of his apprentices. Still in all, it is a nice-looking clock and looks great on any wall.

October 29, 2021

Sessions Lexington Banjo Clock: 1928

Once the Sessions Clock Co acquired E. N. Welch assets in 1902 (for the history of E. N. Welch go here) the company was well on its way to becoming one of the biggest clock producers in America. Production began in 1903 and between that time and 1933 Sessions produced 52 models of mechanical clocks, ranging from Advertisers, large and small clocks with logos of various businesses, to wall, or regulator clocks, and shelf or mantel clocks, designed for the home. Some Session clocks from this period are prized by collectors but most others are of the generic kind that have limited value today.

Continue reading “Sessions Lexington Banjo Clock: 1928” →

October 9, 2019

The quest for an authentic banjo clock

Searching for a weight driven time-only banjo clock can be a challenge and acquiring an authentic example would go a long way to completing my collection. Securing an authentic Willard would certainly be the icing on the cake.

The style was widely copied by other members of the Willard family of clock makers and many others clock-makers

I was fortunate to have seen several Willard banjo clocks during my visit to the Willard Museum in Grafton Mass. in June 2019.

Banjo clock, circa early 1800s, Macdonald Museum, Middleton, Nova Scotia. Notice the location of the winding arbour

Few American clock-makers at the beginning of the 18th century were innovative. One of the most notable achievements was the small 8-day, weight-driven clock developed by Simon Willard. The Willard clock is a uniquely American wall clock with a banjo-shaped case designed and constructed by Simon Willard. Willard was originally of Grafton, Massachusetts, later of Roxbury, Massachusetts, and patented his unique clock in 1802.

The Willard banjo clock has no striking mechanism and indicates time only by its hands and dial. It is correctly defined as a timepiece.

Continue reading “The quest for an authentic banjo clock” →

August 30, 2019

Buying an antique clock – how to

Rare Ingraham Huron found on a local online for-sale site

This post explores buying tips for novice antique clock buyers. Those looking for an antique clock in general rather than a specific type or model of an antique mechanical clock will find the following tips very useful.

Vintage versus antique

According to the United States Government publications, the term “antique” is reserved for valuables that are over a century old. Webster’s dictionary defines an antique as a work of art, piece of furniture, or decorative object made at an earlier period and according to various customs laws at least 100 years ago. Wikipedia defines the word antique as applying to objects at least 100 years old.

Restored Seth Thomas antique column and cornice “Empire” style time and strike weight driven shelf clock circa 1865

According to eBay, vintage is a defined period from 1920 to 1969. The use of the word vintage in online auctions and elsewhere is becoming more and more like the word “rare”. Some may define “vintage” as anything that was purchased less than 24 hours ago, is dirty and worn, or looks like it might be old if you know nothing about its history. Sellers often do not know anything about what they are selling and often describe the item as “vintage”.

Arthur Pequegnat Canadian Time wall clock circa 1930

The word “collectible” is also used, just like the word vintage has been misused. Just about anything sold these days is marketed as a collectible if not vintage. Most serious buyers would agree that when it comes to clocks younger than 100 years old but older than 30 they are considered vintage and collectible is anything within 30 years.

Antique clock buying tips

Buying a clock without actually touching and inspecting it is always a gamble and making a judgment based on online images, most of which are of poor quality, complicates the decision-making even further. The sad stories of people who thought they bought an antique clock with a mechanical movement only to find a quartz one when the clock arrived at their door are not fiction. This and other examples are the many challenges facing the antique clock shopper in today’s online world.

I am not a firm believer in purchasing an antique clock online based on images unless one is very familiar with and respects the reputation of the seller. Although you may find that special clock online my advice is to see the clock in the flesh prior to making your final decision.

Questions you might ask yourself prior to the purchase

Will I get my money’s worth? Will I be “ripped off”?
Will it work when I get it home?
What do I have to do to fix it if something is wrong and what could I pay to fix it?
What did the seller not disclose? What are the little surprises that await me when I get home?

“Life is a box of chocolates….you never know what you are going to get”, Forest Gump

3 Simple rules for antique clock buying

Here are 3 simple rules on how to buy that special antique clock you’ve always wanted.

1. Locate the antique clock

The style and type of antique clock is a personal preference. I prefer wall clocks over mantel clocks, parlour over gingerbreads, and Ogees over cottage clocks.
If it is a local online inquiry meet with the seller to finalize the sale. If the clock is found in an antique shop or antique mall you will not be dealing with the seller (there are exceptions) but an agent who may know absolutely nothing about the clock.
Avoid Chinese or Korean clocks often advertised as “31-day” clocks. Although they are normally reliable runners, clock-makers will tell you that they are not worth fixing. None are antiques.

2. Ask a lot of questions

Does the clock run?
- A running clock has more value than a non-running example. Ask the seller to demonstrate a running clock.
Who is the maker (manufacturer)?
- Manufacturers make both inexpensive and quality clocks (there are exceptions). Seth Thomas, a respectable American clock-maker manufactured inexpensive clocks that have little value and higher-end models that are very desirable by collectors. The name alone does not always equate to value.
Has the clock been altered in any way?
- Newer case pieces, decorations, new glass, refinished case, a replacement movement, a replacement pendulum, etc. will reduce the value and sometimes significantly.

If it does not run, are all the parts intact?
- If it has all the parts, can it be repaired either by you, the buyer, or a competent repair person? I know of a time and strike clock that was missing the strike side gears.
How old is it?
- Again, vintage or antique. A clock made in 1919 is now an antique.
- Does the clock have provenance, an interesting and verifiable history?
How long has the seller had it?
- A cherished family heirloom has more value than an item recently acquired for a quick profit.
Would you accept a lower price?
- Point out specifically why the price should be reduced, missing pieces, non-running, poor condition.

3. Deal directly with the seller

By dealing with the seller in person you will always have the opportunity to walk away if you are not satisfied.

Junghans Crispi time and strike wall clock Ca. 1899

Not every antique clock is rare or valuable and some clocks are more desirable than others. That 150-year-old 30-hour Ogee is not as valuable as you might think but a much younger vintage French figural style clock may be worth a lot more.

If you are looking for a very specific type or model of antique clock you will find that it takes time and research to find it but there will be a satisfying reward once found.

June 29, 2019

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Old Is Not Gold

Final Thoughts

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The style was widely copied by other members of the Willard family of clock makers and many others clock-makers

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“Life is a box of chocolates….you never know what you are going to get”, Forest Gump

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