When I saw this listed on an online for sale site and not seeing a picture of the clock I was very curious. Imagine my amusement when I opened up the ad and saw this.
THE AD: Vintage cast iron bango player clock beautiful piece Heavy 16 in tall great condition
Well, it IS a banjo clock or should I say “bango”!
I am not a huge collector of steeple clocks but I was intrigued by one I found in an old barn. I bought 4 clocks as part of a barn find this past winter (2018). Two including this one are salvageable. The two others are for case and works parts only.
$5 for a clock is a real bargain. This antique American Elisha Manross 30 hour time and strike steeple clock is an interesting variant of the sharp Gothic steeple clock. It looks fairly plain today but it was a striking style for its time. The early Steeple clocks of the 1840s influenced the design of later steeple clocks which were produced in large numbers up to the end of the 19th century.
A unique feature is the 30 hour brass movement with 2 brass mainsprings. Brass mainsprings were used in American clocks between 1836 and 1850. When affordable steel mainsprings arrived the brass mainspring disappeared into history. This clock was made in the Elisha Manross factory in Bristol, Connecticut (USA) August of 1843. 30 hour movements are immediately recognizable because of the proximity of the winding holes to the centre cannon. Eight day movements, which are taller, would have much lower winding arbours.
The good and the bad
The good: the movement, coil gong and dial face are original as is the pendulum bob. The label is in very good condition for the age of the clock. The upper glass tablet is original and shows the waviness you would expect with visible imperfections. The movement works but needs a thorough cleaning. The movement looks good though I will know more once I disassemble it for cleaning.
The bad: the mahogany veneered case is in poor condition with nicks, scratches and gouges on the entire surface. The very tip of the left steeple is broken off. There is a large piece of veneer missing on the right side on the clock base but that piece was found inside the clock and later glued in place. The most critical issue is the missing right steeple and base. The lower tablet is missing. There would have been a Fenn or similar design. Clear glass has been installed in its place. It is also missing the minute hand.
Work to be done
My first task is to clean the case and determine how I should approach finishing the clock case. I decided not to strip the case because there is a certain patina I would like to preserve.
My goal is the have a running clock in presentable condition and that includes replacing the right steeple. Ordering the missing parts from a clock supply house would seem to be a simple solution but unfortunately these parts must be hand made. To address the steeple base and spire I had some decisions to make. I took careful measurements of the left steeple base, cut a piece of pine stock to the same dimensions and clad it in crotch mahogany.
A relatively simple task of veneering took three days as I had to veneer each side, clamp, wait till it dried and trim off the excess before tackling the next side. Hide glue was used for this project. Hide glue is appropriate because it is an organic adhesive and it is the type of glue that would have used at the time.
Once all sides were completed the spire was next. I have never made a finial before so this was a very interesting learning experience. The spire was somewhat more challenging since it involved patterning it off the left spire. As I discovered it is much harder than it looks. I do not have a wood lathe so my metal lathe had to do. I bought a set of wood lathe chisels at my local hardware store at a reasonable price though I discovered that they require sharpening prior to use.
The result was something closer than I expected. Not perfect but until I improve my skills this will do for now. Working with softwood is relatively easy but working with hardwood would be a much greater challenge would think.
The grain in the spire is certainly distracting and it is something I did not anticipate. One more application of stain concealed some of the grain but it is still visible at certain angles. Will a clear coat over the stain bring me the result I am looking for? Hmm!
After thoroughly cleaning the case with Murphy’s soap and Orange Oil I applied a very thin coat of red mahogany stain on the entire case, left it on for only one minute and wiped off all the excess residue. Again, my aim was to preserve the original patina as much as possible but hide numerous scratches. The stain filled in the scratches and I am satisfied with the end result. With the addition of the right final base and spire, the clock now looks complete.
Now to address the spire one more time. I decided that Minwax Poly Wipe was not working very well. The clear coat absorbed into the wood after two applications and still left a dull finish. I then selected a clear spar varnish and it finally gave me the results I was looking for.
The screws holding the movement were so loose they had to be replaced with bolts. The coil gong and base were cleaned and stripped of years of rust. I then oiled the movement, put the clock in beat and attached the dial face. The moon hands look good but are not original to the clock. While I have the hour hand the original needle type minute hand is long gone.
With the cased cleaned and with the addition of the right spire base and steeple the clock now looks presentable. Although I was able to make the spire on a metal lathe it it has certain limitations and I now see the value in using a wood lathe. I am also pleased that the movement is running but at some point it must be cleaned and properly serviced. At the moment there are just too many other projects standing in the way.
A great little project and a test of my veneering and woodworking skills.
This Daniel Pratt Jr. reverse Ogee shelf clock was made in Reading, Massachusetts, c. 1832-38. It has a splat-top mahogany case with half (?) reverse Ogee moldings flanking the door, painted wooden Roman numeral dial and mirrored lower tablet.
The label inside states in part.
Clocks manufactured and warranted by Daniel Pratt Jr. Reading Mass, U.S. Sold in any quantities on reasonable terms
The label is a ink drawing of a clock merchants shop and is printed by Dickinson and Co. 52 Washington St. Boston.
Daniel Pratt (1797-1871), Jr., clock-maker, banker, town clerk, legislator, lived in the town of Reading, Massachusetts, in the 1800s. Reading is a suburb twelve miles north of Boston. Pratt did not contribute much to clock-making and was regarded as an entrepreneur rather than an innovator. He made wooden movements in his plant, as well as wooden cases. The clocks they sold during the 1832-35 period were typically wooden movement, weight driven, 30 hour, wood-cased, “looking glass” shelf clocks.
This Pratt clock measures 28 inches high, 14 3/4 inches wide, and has a depth of 5 inches. It is covered with mahogany veneer over pine. The square dial is of painted wood, 9 inches wide by 8 1/2 inches tall, with Roman numerals with floral spandrels. The dial is in good condition for the age of the clock. This clock was produced during the heyday of wood movements which were eventually phased out when cheaper but more reliable brass movements were introduced after 1839.
The memory of this successful man is continued by the quiet, even beat of his many clocks which have survived to this day — truly a great honour indeed.
Clocks historically have numbers on the dial to help people accurately tell time and organize their daily activities. Early mechanical clocks were developed to standardize timekeeping. Adding numbers made it easier for people to read and interpret the time at a glance, particularly as public clocks were placed in town squares and churches for communal use.
Early clockmakers borrowed design elements from sundials, which often had marked divisions for hours. Numbered dials mirrored this system, making mechanical clocks intuitive for users transitioning from sundials.
Roman numerals were commonly used on early clock dials because they were familiar to people during the Middle Ages and Renaissance. Adding numbers also balanced the clock’s aesthetic appeal with its functional purpose.
So, let’s look at a specific difference concerning Roma Numerals. Some clocks with Roman numerals have ‘4’ as ‘IV,’ while most use ‘IIII‘. Why?
There is no definitive answer. There are a handful of competing theories and one of the following seven might just be the correct one.
Theory 1: When Roman numerals were used by the Roman Empire, the name of the Romans’ supreme deity, Jupiter, was spelled as IVPPITER in Latin. Reluctant to put a god’s name on a sundial, IIII became the preferred representation of four.
Theory 2: IV, instead of IIII, which represents four didn’t become the standard until well after the fall of the Roman Empire. It’s likely, then, that IIII was used on sundials (and everywhere else) simply because that was accepted convention at the time, and not for fear of divine retribution.
In the years to follow every clock-maker had to decide whether to adopt IV because it was the new standard, or hang onto the traditional IIII.
Theory 3: IIII might have stuck around because it’s easily recognizable as four. IV involves a little math. it’s a simple subtraction operation. Though subtractive notations really caught on in the Middle Ages, the majority of people were not literate or numerate and IIII was simply easier to visualize. Subtraction involves conscious thought. IV and VI might also have been easily confused by the uneducated.
Theory 5: Using IIII may have also made work a little easier for certain clockmakers. If you’re making a clock where the numerals are cut from metal and affixed to the face, using IIII means you’ll need twenty I‘s, four V‘s, and four X‘s. That’s one mold with a V, five I‘s, and an X cast four times. With an IV, you’d need seventeen I’s, five V‘s, and four X‘s, requiring several molds in different configurations. Or, did they really think in those terms?
Theory 6: King Louis XIV of France preferred IIII over IV, perhaps for the same reasons Jupiter would not want two letters from his name on a sundial, and so ordered his clock-makers to use the former. Some later clock-makers followed the tradition, and others did not. Other monarchs might have felt the same way, and IIII was used also in areas where there was no king with an IV in his title to object to the subtractive notation.
Theory 7: Lastly, IIII creates more visual symmetry with VIII on the opposite side of the clock face than IV does. Using IIII also means that only I is seen in the first four hour markings, V is only seen in the next four markings, and X is seen only in the last four markings, creating radial symmetry.
The tradition of numbered dials persists today because of its practicality and historical significance, even as digital timekeeping has become the norm,
Which theory do you prefer?
I bought four clocks at an estate auction several weeks ago, this and three other Ogee clocks plus a parlour clock. This clock is no less interesting than the others but I was lucky enough to research its maker and date it fairly accurately. I wish I knew its provenance but nevertheless it is an excellent example and has been well cared for over the years.
It is a Chauncey Jerome 30 hour Ogee weight driven time and strike clock. No-one can deny that Chauncey Jerome had made a historic contribution to the American clock industry in the 18th century when he substituted brass works for wooden works and was said to be “the greatest and most far-reaching contributor to the clock industry.” Although he made a fortune selling his clocks, and his business grew quickly his company failed in 1856.
The number 11 Ogee was the last of the Jerome clocks made in 1855. Mike Bailey, a Chauncey Jerome clock collector has an excellent blog in which he meticulously details and dates Jerome cases and movements. After researching his site I was able to determine that my clock is a number 11 Ogee made just before the Jerome bankruptcy, 1855. It has the Jerome patent 30 hour brass movement number 1.314 which is likely original to the case.
There were some issues with the movement as you would expect from a 156 year old clock. There were a number of punch marks here and there, but specifically on the first wheel and the second wheel time side. The movement had years of dirt. The repairs over the years are typical for this type of clock. Punching to close pivot holes would have been the preferred approach to repairing a worn clock. With the advent of the modern bushing machine repairs are much simpler.
Eight bushings were installed. The first wheel strike side, the second wheel strike side plus the fly, the lower gear off the centre cannon, rear plate and 3 bushings on the time side.
A piece came off the wood support for the movement when I disassembled the movement. Dry-rot perhaps. I had leftover hide glue from a previous project, applied the glue and clamped it for 24 hours.
The retainer clip for the count wheel was riveted in placed and prevented me from taking it apart.
Some were punched very close to the pivot hole as you can see in this next photo. I left that as-is and decided to take a second look in a year or two.
After eight bushings were installed (4 in the front and 2 in the rear) and an ultrasonic cleaning, the parts are test fit to check the smooth running of the gears. The rope for the weights looked re-usable, they were not replaced. The suspension spring also looked to be in good shape. The crutch wire has had bending and twisting over the years but it was also re-usable.
Now to regulate the movement. The clock is ticking away nicely and in beat. There are always challenges setting the strike side and this movement is no exception. However, through trial and error the strike side is functioning as it should.
These are very simple clocks to service and a great movement to hone your clock repair skills.
This is a fine example of a Seth Thomas column and cornice clock with sleigh front made prior to 1867 and sold by the R.W. Paterson Company of Canada West. Both the lower and upper tablets appear to be original and are in very good condition. Unfortunately this antique American column and cornice time and strike Seth Thomas clock is not mine and if it were I would proudly display it.
My clock, though similar is missing its upper tablet and a few other items that I wish to address in stages.
This blog article concerns one aspect of the clock, it upper and lower tablets. The lower tablet appears to be original and shows a cluster of fruit. Not as stately or ornate as the one in the first photo but quite appropriate for this style of clock. A quick online search shows that there were an endless number of reverse tablet painting designs ranging from birds, flowers, pastoral scenes, stately structures, eagles, parrots, berries, flags, drapery, crests and the list goes on.
Because there is a missing top tablet, the clock does not look complete. The clear glass is certainly not correct. As is typical for most clocks this age, things go missing over the years.
To address the missing upper tablet there are a number of options to consider;
Finding a decent quality reverse painted set from that era is quite difficult and a search would take a long time. I am no artist, so, painting a tablet is out of the question. Buying a reproduction set online is a possibility but how much am I prepared to spend on something I could potentially do myself. After analyzing the options my first thought was to explore the possibility of buying a reproduction set online.
A search on EBay revealed sellers who make reproductions of the original tablets. They are essentially a “replacement picture set” of the clock tablets. They are as one ad put, “Exact copies of a set of Seth Thomas 8 day “Column” model sleigh front clock ca. 1880. They are printed on photo stock and mounted on mat-board that when put behind antique glass they are very hard to tell from the original and make a Seth Thomas column clock with plain or damaged pictures into a super looking clock.” I have seen them offered from 15USD to 45USD + shipping.
Hmm, I can do this myself!
Following a search of my photo collection I found a cluster of hanging fruit that complimented the lower tablet. Using PaintShopPro X6 by Corel I chose a water-colour effect, removed some fruit, changed the orientation of the image, adjusted the back lighting to match the tone of the lower tablet, cloned the deleted areas and darkened the stem and black-berries.
The first photo shows the source photo converted to a water-colour. The next shows the adjustments made to the “water-colour”. The third shows my first attempt without back-light darkening.
Using my wide carriage Epson Stylus 1400, here is my first attempt.
Colour-matching the lower tablet is a real challenge. More adjustments are required to get the right effect but I think I am on the right track.
If you have any suggestions on how I can improve my workflow I would love to hear from you.
I acquired four old clocks in a barn find. Two, a 30 hour Ogee and a mantel clock were totally unsalvageable although I managed to take off some veneer, case parts, a movement, boards, case hardware and a few other items.
Two others were worth a second look. One is an Elisha Manross 30 hour Gothic steeple clock that is worth restoring and the other, an Ansonia Drop Extra wall clock, the subject of this article.
There are a number of variations of the Ansonia Drop Extras and the one most sought after is the time, strike and calendar version. This is merely a time-only version and would fetch a price in the lower end of the range.
The largely intact label says,
Eight-day and thirty hour brass clocks, pendulum clocks, a variety of……., Also sole manufacturers of Jeweled Marines and eight-day gilt time pieces, Ansonia Brass and Copper….Ansonia Conn.
This clock was manufactured by the Ansonia Brass & Copper Co. around 1880. It is 26 inches high, 16 inches wide and 5 inches deep. It has a 16 inch round wood door bezel on a large 2 inch hinge. The drop section has serpentine sides and teardrop finials. The bottom access drop door opens downwards. Other Drop Extra access doors open to the side.
Much has been written about the Ansonia clock company. The company history can be found here. Formed in 1844, the Ansonia Clock Company went into receivership just before the stock market crash in 1929. The machinery and dies were sold to a Russian Company in 1931 thus ending the long reign of a glorious American clock manufacturer.
The Lima (Ohio) News gave this account in a March 12, 1931 news report:
“…there came an order to supply the Soviet union with men and machines to make watches and clocks, neither of which products ever had been manufactured there. Representatives of Amtorg went to the Ansonia Clock Company in Brooklyn and to the Duber Hampden Watch Company of Canton, Ohio, and bought them lock, stock and barrel. Then they hired most of the skilled employees of the plants to go to Russia and operate the familiar machines. These have been installed in a new, many-windowed building in Moscow, where Russian apprentices are beginning to master the trade.”
The time-only movement appears unusual because of the oversize 2nd and 3rd wheels. The dial glass is original as is the painted dial which is 11 1/2 inches wide. The painted zinc dial has black Roman numerals, is flaked in some areas and requires stabilization. The flaking dial could use some work if only to arrest the deterioration of the finish. In the meantime the numerals have been touched up with black metal paint.
The clock is in generally poor shape, what I would consider a diamond in the rough. A challenging project? Yes, because there are so many missing parts. Missing are the brass dial bezel, clock hands, pendulum bob, verge, drop access door with its hardware, right tear drop finial and 3 hinges. The finish is completely gone, down to the bare veneer. The veneer has some minor losses that are in hidden from view but for the most part the case is in good condition.
The movement was rusty and the wheels were seized. Obviously the clock had not been running in a number of years. After applying some WD-40 I managed to free the gears. In addition, two bent wheels (2nd and 3rd) had to be straightened. The rust was removed and the movement cleaned up surprisingly well. Only one bushing was required on the escape wheel bridge. The movement is presently installed in the clock and running well with the addition of a new verge, pendulum rod and bob.
There is nothing special about bringing the veneer back to life. After a thorough cleaning with Murphy’s soap I applied three coats of shellac lightly sanding after each coat. The photo shows the clock after the third application of shellac.
A section on the right side of the backboard was missing. I salvaged a piece of board from a donor Waterbury Ogee from about the same period and traced a pattern to fit the missing piece. Replacing the entire backboard might have been an option but I felt it necessary to preserve most of the label. Hide glue was used to bond the two boards which were then clamped for 24 hours. The gaps were filled with a combination of hide glue and sawdust one day later.
Unfortunately, this is as far as I can go with this project. Unless the previous owner finds the missing pieces which is doubtful or I find another clock to marry the two together this clock will simply be a curiosity on a wall. In the meantime I have contacted some clock suppliers and have had no luck so far. My inquiries on clock oriented social media sites have also produced no results.
The movement has been running reliably for a full 8-day cycle and has run for the past 4 weeks. Despite not having the parts I require to complete the project there is a certain satisfaction in making a clock run that has not run in years.
Thoughts on where else to search?
I acquired four old clocks in a barn find. Two, a 30 hour ogee and a mantel clock were salvageable only that I was able to take veneer, case parts, one movement and a few pieces.
The two other clocks are worth preserving. Though it is missing some case parts one of them is an Ansonia Drop Extra wall clock. It is the subject of a future article.
Steeple clocks of the 1840s signaled the design of later steeple clocks
The fourth clock is an American Elisha Manross 30 hour steeple clock which is the subject of this article.
This is an interesting variant of the sharp Gothic steeple clock. These early Steeple clocks though simple in style, influenced the design of later steeple clocks.
The clock has accumulated years of dust and grime. The movement though dirty runs remarkably well. The case is scuffed, has a myriad of marks and scratches and one or two deeper gouges. This clock has seen its share of abuse and neglect over the years.
I took the access door off and found the bottom door pin to be original but the top pin has been replaced with a finishing nail. A piece of pinion wire was fashioned and glued in place. It is missing the right side steeple base and the spire. It is also missing the minute hand which appears to have been snapped off at some point and lost. Also missing is the bottom tablet with plain glass fixed in its place. The pendulum bob appears to be original as is the coil gong. The dial face has a nice patina and is in good condition with some losses. It has readable Roman numerals but covered with shellac or varnish at one point. The numerals have also been touched up.
Exotic woods were used to cover the pine case. Elisha Manross clocks were either clad in Rosewood veneer or Mahogany. The Mahogany veneer on this clock is much thicker than the veneers typically used today. Manross clocks are produced with the Mahogany veneer in a vertical orientation and Rosewood veneer in a horizontal orientation. Manross made two steeple clocks. One is 20″ high and 10″ wide, the other is 19 1/2 inches high by 9 1/2 inches wide. The larger case would have made for other labels but the smaller size (this is the smaller mahogany clock) was produced in the Manross factory.
On the back of the door, left side of the upper tablet is the inscription 8/43, not once but twice. My first thought was an inventory or part number but if this is the month and date the clock was made it would be consistent with the brass mainsprings on the movement which makers used between 1836 and 1850. The label on the clock is in remarkable condition for a 175+ year old clock. However, the date (8/43) is inconsistent with the label which was printed by Elihu Geer at his shop on 10 State Street, Hartford Conn. According to one source Elihu Geer operated the print shop at this location after 1850. Perhaps but it seems reasonable that the clock was made in 1843.
Although Elisha Manross had been active in Bristol clock-making since 1812 or earlier he shows in the Bristol tax records as making clocks from 1842-1851. His business was dissolved in 1854 and the factory was purchased in 1855 by E.N. Welch.
Brass springs were invented and first used in 1836 by Joseph Shaylor Ives. Brass for mainsprings was evidently cheaper and more accessible than steel in the mid 1830s and 1840s. Silas B. Terry developed steel springs for clock use in the Bristol area circa 1847, and as steel improved and became cheaper brass springs quickly disappeared. In the history of the American clock brass springs had a very short life. The brass springs on the movement have survived a very long time which is unusual since most clocks of this age have had replacement steel springs.
The movement will be cleaned up and the case will be reconditioned including the replacement of the right steeple and base. I do not foresee the clock as being a daily runner.
Have you brought an old antique back to life be it a clock or a piece of furniture? Leave a comment about your own experiences.
I bought four wonderful clocks at an estate auction several weeks ago, this and three other Ogee clocks plus a parlour clock. This clock is no less interesting than the other three but I was lucky enough to research its maker and date the manufacture to within a year or two.
Noble Jerome’s invention showed that with the one-day brass movement, clocks could be mass produced economically and in great quantities
I wish I knew its provenance, how many hands it passed through, where it has been, what homes it has been in and even its last owner. All that is a mystery to me, nonetheless this clock is an excellent example of the classic Ogee weight driven shelf clock and a well-cared-for time-keeper.
Chauncey Jerome: The greatest and most far-reaching contributor to the clock industry
Chauncey Jerome 30 hour Ogee weight driven time and strike clocks are not a rarity. Thousands upon thousands were made. However, no-one can deny Chauncey Jerome’s historic contribution to the American clock industry in the 18th century when he substituted brass works for wooden works. He was “the greatest and most far-reaching contributor to the clock industry.” Although he made his fortune selling his clocks and his business grew quickly his company eventually failed in 1856.
Chauncey Jerome (1793–1868) was one of many pioneer American clock-makers. Jerome began his career in Waterbury, Connecticut (USA), making dials for long-case clocks. Jerome learned what he could about clocks, particularly clock cases, and went to New Jersey to make seven-foot cases for clocks. In 1816 he went to work for Eli Terry making “Patent Shelf Clocks,” and learned how to make previously handmade cases using machinery. His venture into business for himself eventually led to making cases and trading them to Terry for wooden movements.
In 1822 Jerome moved his business to Bristol, Connecticut opening a small shop with his brother Noble, producing 30-hour and eight-day wooden clocks. By 1837 Jerome’s company was selling more clocks than any of his competitors. A one-day wood-cased clock with wood movement sold for six dollars and had helped put the company on the map. A year later his company was selling that same clock for four dollars. As profits began falling combined with a general malaise in the manufacturing sector, it was not long before Noble Jerome’s patented clockwork innovation, the 30 hour brass weight driven movement introduced in 1839 changed clock making in America. The design was proposed by Chauncey in response to the 1837 nationwide depression that closed many clock factories. Noble’s invention showed that with the one-day brass movement, clocks could be mass produced economically and in great quantities.
Jerome also made clocks according to what he termed the “systematic approach” where selected workers made one part of a clock while other workers simultaneously constructed other parts in the same factory, a precursor to the assembly line method of manufacture.
In 1842 Jerome moved his clock-case manufacturing operation to St. John Street in New Haven, Connecticut. Three years later, following a fire that destroyed the Bristol plant, Jerome relocated the entire operation to Elm City. Enlarging the plant, the company soon became the largest industrial employer in the city, producing 150,000 clocks annually. In 1850 Jerome formed the Jerome Manufacturing Co. as a joint-stock company with Benedict & Burnham, brass manufacturers of Waterbury. In 1853 the company became known as the New Haven Clock Co., producing 444,000 clocks and timepieces annually. Jerome’s future should have been secure but in 1855 he bought out a failed Bridgeport clock company controlled by P.T. Barnum, (a good read, it is a very tangled story) which wiped him out financially, leaving the Jerome Manufacturing Co. bankrupt in 1856. Jerome never recovered from the loss. By his own admission, he was a better innovator and inventor than a businessman.
In the years following he traveled from town to town and took jobs where he could, often working for clock companies that had learned the business of clock making using Jerome’s inventions. Returning to New Haven near the end of his life, he died, penniless, in 1868 at age 74.
The ticking of a clock is music to me, and although many of my experiences as a business man have been trying and bitter, I have satisfaction of knowing that I have lived the life of an honest man, and have been of some use to my fellow men
Chauncey Jerome 1860
This the number 11 Ogee was the last of the Jerome clocks made no later than the fall of 1855 when Jerome Manufacturing Co. failed. Mike Bailey, a Chauncey Jerome clock collector has an excellent blog in which he meticulously details and dates Jerome cases and movements. After researching his site I was able to determine that my clock is a number 11 Ogee made just before the Jerome bankruptcy in 1855. It is the Jerome patent 30 hour brass movement number 1.314. The movement appears to be original to the case.
The clock has a zinc dial and an image of JC Brown’s house in the lower tablet. Jerome was the first to introduce the zinc dial. It might have originally had a mirrored lower tablet. However it now features the JC Brown’s home. The J.C. Brown home in Forestville was featured on the tablet of many of his (Brown) Ogee clocks and it is unclear why it is on this clock. From 1847-1855 Brown conducted business without partners as the Forestville Manufacturing Company or the Forestville Clock Manufactory.
On the back of the zinc dial are inscriptions that I can barely make out. It says 1860 April 9??? on the top of the dial and 1866, Feb 2 and UPO 477 on the bottom. I tried to enhance it as best I could. Could this dial be a later replacement?
Overall the veneer is in excellent condition though it has been covered at some point with a clear coat of varnish. The weights appear original with the strike side having the slightly lighter weight as one would expect. The pendulum bob is consistent with the age of the clock and the label is largely intact. This was the last label Jerome used before his company went bankrupt.
The movement is not running reliably. It is very dirty and long overdue for a cleaning, plus, the movement has had some poor repairs over the years.
Much of the information for this post is from Chauncey Jerome’s autobiography entitled History of the American Clock Business for the Past 60 Years, a free copy which you can find here.
Next up is servicing the movement which I will cover in a separate post.
This is Part III and the final part of a three part series on my first venture into veneer repair on an antique clock. Prior to beginning this project I spent many hours researching veneer repair, watching YouTube videos and seeking advice from my knowledgeable colleagues at NAWCC.
A recent acquisition, this is an 8-day Seth Thomas column and cornice time and strike shelf clock with sleigh front. It has a Plymouth (Hollow) lyre movement with a Thomaston Conn. label which means that the clock was made shortly before the incorporation of Thomaston in the early 1870s.
I assessed this clock in Part I and described the steps in preparation for the veneer repair. In Part II I described the process of applying veneer. Part III concerns the final finishing. Once the case work is complete I will focus my attention on servicing the movement, addressing the dial issues and replacing the clear glass with a floral pattern in the upper tablet.
The lighter coloured sections in the next photo are new veneer pieces. New veneer is found on the top of the cornice, the left cornice base, the right column support and sections of the bottom base.
Finishing is the final phase of this project. In many respects this can be the most challenging phase of the project because once the hard work of applying veneer is complete the job means nothing if the new veneer does not match the old veneer. Although it can never be a perfect match the goal is to come as close as possible.
One finish seemed to stand out above the others
I conducted an experiment on leftover Brazilian Rosewood.
I selected three stains/finishes, Minwax Rosewood gel stain, Wipe-On Polyurethane satin clear coat and yellow shellac. I utilized various light sources to see the effect colour temperature had on the results and came to the conclusion that there was one finish that seemed to stand out above the others.
In the photo below there are three swatches on a piece of leftover veneer; Rosewood gel stain on the left, Wipe-On Polyurethane in the middle and on the right is yellow Shellac. Wipe-On Poly initially struck me as the best of the three; it is subtle while bringing out the character of the Brazilian Rosewood veneer while keeping that “aged” look but it is too muted. Rosewood gel is reddish and quite dark and looked very striking compared to the original Rosewood.
I concluded that yellow shellac was the best choice. Shellac darkens the veneer and accentuates the red tones nicely. Shellac would have been been the original finish when the clock was made and it is still the finish of choice today.
Although veneering is a challenge, it is very rewarding work and I eagerly await my next project
Although veneering is a challenge, it is very rewarding work and I eagerly awaiting my next veneering project.
With the veneer repairs completed and the movement serviced there is still work to be done on this clock. I have decided that the gesso columns will stay as-is. Next is perfecting a tablet design for the access door to replace the clear glass, and finally, making a decision regarding the dial face; whether to leave as-is, find a suitable replacement or buy a new one from a clock supplier.
Lessons learned:
This was a great project and I am confident that my next veneer project will be even better. Time, patience and perseverance are keys to a successful veneering project.
This is Part II of a three part series on my first venture into veneer repair on an antique clock. Prior to beginning this project I spent many hours researching veneer repair, watching YouTube videos and seeking advice from my knowledgeable colleagues at NAWCC.
This is an 8-day Seth Thomas column and cornice time and strike shelf clock with sleigh front. It has a Plymouth Lyre movement with a Thomaston Conn. label. The clock was made in the early 1870s.
Part I explores the steps in preparation for veneer repair.
The focus of this, Part II, is the selection of the correct veneer, working with hide glue, as well as cutting, applying and trimming the veneer.
Although one is tempted to use readily available yellow or white carpenters glue the only authentic product to use is hide glue
The veneer
I am not an expert in wood finishes and determining the type of veneer was my first major task. To do this I had to rely on expertise to tell me that I had Rosewood veneer. Once I discovered the type of veneer, I had to determine the quantity and the specific repairs that are required for this clock. My research revealed that the veneer used at the time was Brazilian Rosewood. An exotic wood, Rosewood would have been used extensively by clock-makers of that era and it is the correct veneer for this project. A clock friend (thanks JC) sent me two 7 X 8 inch pieces of Rosewood veneer, more than enough for the job.
The very worst sections were the top and bottom of the case and the column bases as one would expect given wear and tear over the years. Most of the cornice veneer is in good shape as are the door sections, door surrounds and the sleighs just above the feet.
Hide glue
One is tempted to use readily available yellow or white carpenters glue but the only authentic adhesive for clock case applications is hide glue. Hide glue is the glue of choice and it would have been utilized at the time the clock was manufactured. I chose pearl hide glue which is a type of hide glue rated at 150g Bloom strength. It takes takes a little longer to gel and with the longer working time it is better for applications like this when you need time to fit, but where high strength is not absolutely essential.
If you have never worked with hide glue, it is best to start with a small batch. My first batch was larger than I needed and too thin. Simply put 2 tablespoons (30ml) of glue in a heat-resistant glass container, cover with 1 tablespoons (15ml) of cold water and let soak for about an hour or until the glue softens and becomes gelatinous. Less is more and I recommend making small quantities. For about 20CDN you can buy a supply that will last a long time.
Place the container with the gelatinous glue in a bath of water in a pot especially designed for hide glue or a double boiler which I found worked just as well. Heat to approximately 140°F (60°C) and maintain the temperature. A candy thermometer is ideal to keep the glue at an even temperature.
Tools
Clamps, weights, tweezers, wax paper, a sharp knife, a metal straight-edge, painter’s tape, a micrometer, sand paper, palm sander and whatever you choose to use as a double boiler complete the list of tools.
A micrometer is an indispensable tool for accurate measurements. Accurate measurements ensure a good fit, minimize the use of fillers and lessen waste.
Cutting, trimming & clamping
Cutting veneer can be tricky. Veneer is thin, brittle and can easily tear. Veneer today is different than veneer used 100+ years ago, it is very thin. On some clocks you may need to double-up, that is layer the veneer to approach the height of the original veneer.
Cutting can be a challenge since you must follow the grain and those narrow strips can break very easily. Painters tape is a true friend since it prevents tearing and it is easily removed from the veneer prior to application.
You will never have enough clamps
I chose to work one area at a time moving from the bottom of the case to the top. The next photos shows veneer sections glued and clamped into place. Clamps are essential for veneer repair but when clamps do not work other methods such as weights can be employed. You will never have enough clamps! Although a clamp need only be in place for a few hours, having it on for a 24 hours is best for maximum adhesion.
The upper left cornice presented a unique challenge. A section was missing just above the cornice. Fashioned out of softwood it was glued in place.
In this photo the piece for the curved part of the veneer is applied. The top area of the front cornice is now ready for staining and finishing.
As with any other project there will always be a slight colour variance as one would expect over the course of a century or more but the goal is to come as close to the original finish as possible
As mentioned the worst areas were the very top and very bottom of the case, expected after years of wear and tear. Another area which had veneer loss were the column bases. When possible I used old veneer to repair small areas but I found it very brittle and hard to work with. From my research I discovered that there are methods of softening old veneer but that can wait until the next project.
After many hours the veneer work is now complete The next step is colour matching the new to the existing veneer. As you can see in the following photo the chip held by green tape shows that Rosewood Minwax Gel stain is a close match to the older veneer. My experimentation did not end. Part III explores other finishing options.
As with any other project such as this there will always be a slight colour variance as one would expect over the course of a century or more. The goal is to be as close as possible to the original finish.
Now that the veneer work has been applied the next and final stage is finishing. Stay tuned for Part III in a few days time.
This is Part I of a three part series on my first venture with veneer repair on an antique clock. Prior to beginning this project I spent many hours researching veneer repair, watching YouTube videos and seeking advice from my knowledgeable colleagues at NAWCC.
Repairing veneer on a clock case is inevitable. As much as I love old clocks I will eventually purchase clocks that need a little TLC in the case department. This is that day. Collecting and repairing clocks is not only about cleaning and servicing the movement but the care and repair of clock cases. Aesthetics are equally important in clock work. A clock not only must run as it should but it must be appealing as well. Many of the clocks in my collection are in excellent condition and have required very little case restoration, nothing more than a touch up here and there. I have avoided clocks that need too much work. For example this 30-hour Waterbury Ogee required extensive movement repairs but the clock case was in exceptional condition.
The Seth Thomas case is in generally poor shape, has some crude repairs along with many corner chips and missing veneer sections here and there
One of my latest clocks offered me my first opportunity to learn the art of veneering. I really wanted this 8-day Seth Thomas column and cornice time and strike shelf clock and I was willing to overlook the veneer issues.
The clock is from the American Empire period which defined the early and mid nineteenth century design movement in American architecture. It has a Plymouth lyre movement with a Thomaston Conn. label. It has the two original 8.5 lb weights and pendulum bob. The lower tablet is original but the upper tablet which would have had a complimentary design is missing and replaced by clear glass. The dial is original having been introduced in the late Plymouth Hollow era circa 1862 up to about 1879 according to this site. The clock was made between 1875 when Thomaston was incorporated to 1879.
The case was intact save for one trim missing piece on the top section of the left cornice. There have been a number of crude repairs over the years which made the restoration somewhat frustrating but the veneer work was certainly within the limits of my capabilities.
The case is in relatively good shape but has some crude repairs along with many corner chips, missing veneer pieces here and there over the entire case save for most of the front cornice veneer and the sleighs which have stood up very well. The gesso columns have some finish loss but they will be left as is. The dial face has loss on the corners, barely visible floral designs on each corner, loss around the chapter ring and a large area of missing paint on the lower left bottom. There are three options for the dial face; a replacement dial, a repaint or leave as-is though this is a decision to be made at a future date. The clock did not come with hands but I have a spare set of Ogee hands that are appropriate for this clock.
Structurally the case is sound with no loose or moving parts save for a left side cornice which has let go and held on loosely by a small screw. The back panel looks secure though Robertson screws were used to re-attach it, a later repair since Robertson screws were not invented until 1908.
The photos show that a previous owner tried unsuccessfully to hide the damaged veneer by applying a “matching” paint. I found wood filler beneath the paint which was used to raise the painted area to the level of the veneer. An appalling attempt at a repair.
The bottom left foot had corner veneer damage as one would expect after years of wear and abuse. On the left edge of the foot you can see the same dark paint used to hide the cornice damage.
Having reviewed the work to be done it is now time to move to the next step in the restoration of this clock case.
The art of veneering is a steep learning curve
The art of veneering is a steep learning curve. Part of that requires acquiring new skill-sets and acquiring an understanding of protein adhesives and finishes.
Part II, in one weeks time, will describe the steps in the application of veneer, trimming and sanding. Part III will detail the final finishing.
Clocks have been more than just timekeepers throughout history; they are reflections of art, culture, and technological innovation. Whether for practical use or decorative appeal, clock styles have evolved to match the tastes, craftsmanship, and technologies of their times. Here’s a look at some of the most iconic and varied clock styles.
The clock is an instrument designed to keep and indicate time. It is one of the oldest human inventions. The clock has evolved through the ages from sundials in ancient times to early tower clocks of the 14th century weight-driven clocks and finally spring-driven clocks from the 1840s to the 1970s.
The world of mechanical clocks encompasses a wide variety of styles, and distinguishing between them can often be confusing—such as understanding the difference between a shelf clock and a mantel clock. In this article, I’ll navigate through these terms and highlight the most common styles or types, using examples from my own clock collection to illustrate them.
Many auction sites and even professional websites use the word mantle. The correct terminology is “mantel”. A mantle is a shawl or coat worn by women, an important role passed on from one person to another or the earth’s crust. A mantel is the top framing of a fireplace or a shelf above a fireplace opening.
A mantel clock is designed to fit on top of a fireplace or shelf. A mantel clock can be time only, time and strike, or a chiming clock. Generally, if there are 2 winding arbours it is a time and strike clock, if the clock has 3 winding arbours is it a chiming clock that is, it will play a tune on the quarter hours, the most common being the Westminster chime.
Mantel clocks might also be referred to as shelf clocks or buffet clocks.
Kitchen clocks are often referred to as gingerbread clocks or parlour clocks. At times, it can be difficult to differentiate between a kitchen clock and a parlour clock. Gingerbread clocks are distinctive because their designs are typically created by steam-pressing the wooden front face. However, some clocks, like the one above, are made using a powered cutting saw but are still classified as kitchen clocks. Additionally, some of these clocks included alarm mechanisms. The terms gingerbread, kitchen, and parlour are often used interchangeably.
Another type of kitchen clock is shown below. This is an 8-day time-only delft wall clock made by Forestville.
A parlour clock is generally considered more ornate than a kitchen clock, although it may still be referred to as a kitchen clock. It is placed in front hallways, entryways, and so on. The designs are always cut and there may be finials, a mercury-filled pendulum or very ornate design, garish trim pieces, and a decorative tablet.
There are many styles but most are of the single-weight or two-weight variety. The definition of a Vienna regulator is always open to debate but the consensus among collectors is that they are weight-driven, made in Austria/Germany, ornate in design, have porcelain dials, decorative crowns, large pendulums, and finials on the top and bottom.
The broad definition of Vienna Regulator includes those that are spring-driven. Though not defined as “regulators” it is acceptable among collectors to refer to them as a Vienna style.
Sometimes called a mantel clock or a shelf clock, they are usually diminutive in size to occupy a smaller space. They are found in bedrooms and kitchens and are sturdily built since they are often designed to be portable. They come in time only, time and strike, or may have an alarm function.
Carriage clocks are portable and were very popular around the turn of the 20th century. French-made carriage clocks are more collectible and fetch generally higher prices although American ones can be quite desirable. Carriage clocks are designed to be portable and are time-only but some are time and strike (with a repeater function) while others may have an alarm function.
Crystal Regulator clocks are identified by a brass case with 4 crystals or glass panels. Porcelain dials, Roman or Arabic numerals, ornate in design but sometimes quite garish. Most are 10-12 inches in height though some are smaller. Makers are American and French though French crystal regulators are called four-glass clocks and tend to have higher value. Distinctive by their mercury or faux mercury pendulums. Some have visible Brocot escapements and the time and strike movements are always visible.
These clocks are pendulum-regulated and make an automated sound like a cuckoo when it strikes the hours. Some can be very intricate with several animated characters. Desirable ones are antiques from the Black Forest region of Germany. Modern ones are generally frustrating to repair, cheaply built, and are poor timekeepers.
A lantern clock is a type of antique weight-driven wall clock, shaped like a lantern. They were the first type of clock widely used in private homes. They probably originated before 1500 but only became common after 1600 and in Britain, around 1620. They became obsolete in the 19th century. The one pictured above has been converted into a fusee movement.
Alarm clocks are wound once per day and designed to do two things, wake you and display the time. They are cheap, and are average timekeepers but have long-lasting and reliable movements.
These sat on fancy office desks or credenzas in office locations. They are either time-only or time-and-strike. Most were time-only to minimize distractions in the office environment. Some are very attractive and have unique designs and are more decorative than utilitarian. This one above is called a World Time Clock by Kienzle.
A wall clock is broadly defined as any clock designed to be hung on a wall, making it a practical and visible timekeeping solution. Wall clocks come in various styles, from simple and functional designs to highly decorative pieces. This one by Mauthe is often described as a German “box” clock which became popular after the First World War and made into the 1940s.
They are known as schoolhouse clocks because they hung in many schoolrooms in North America. Usually distinctive by their octagon shape and short or long drop feature with a glass door displaying a swinging pendulum. Many thousands were made; they had cheap mass-produced softwood cases and robust movements. Most were time-only though some were time and strike and others even included a calendar function.
When they were marketed years ago they were not called “schoolhouse clocks” but rather, clocks made for the schoolroom.
These clocks are designed for the tourist trade with interesting features. In the case of the above clock, a smiling Mao Zedong has his little red book in hand and is waving “to the masses” as the clock ticks.
It is so-called because of the curved molded wood case. It might also be referred to as an OG clock. The design originated in the United States in the 1830s, distinguished by a case (usually pine) the front outer edges of which are curved into an S-shape (Ogee). This shape is formed by the union of a convex and a concave line. A mass-produced variant of the shelf clock, the Ogee clock typically stands about 30 inches (75 cm) high and is usually weight-driven. The movements were generally made of brass (earlier ones were made of wood) and ran for 30 hours or eight days. This is a 30-hour weight-driven version from the 1870s.
Tall case clocks are known by various names depending on the region. They are referred to as tall-case clocks in American terminology, long-case clocks in British terminology, hall clocks in Canada, and sometimes as floor clocks. However, the most commonly used term is “grandfather clock.”
They are usually weight-driven, with the weights on chains or cables, and are distinctive by their obvious height. They are always 6 feet or over but can be as high as 8 feet high (1.8 to 2.4 meters). They often feature elaborately carved ornamentation on the hood (or bonnet), the frames, the throat, and the dial or clock face. Older ones have 30-hour movements but all modern grandfather clocks run on an 8-day cycle.
Smaller clocks are called grandmother and granddaughter clocks. They are under 6 feet.
These clocks are also called torsion clocks or 400-day clocks. 400-day clocks are torsion driven having a long suspension spring to which a weight oscillates back and forth. Typically these clocks operate at 8 beats per minute and run for long cycles on a single wind, up to 400 days. These clocks were popular as wedding gifts or gifts to mark special occasions. They are relatively simple to repair but can be finicky to set up. The newer quartz clocks are very accurate but do not replace the charm and curiosity of the older mechanical ones.
Some might call them purely decorative.
In the early 14th century large mechanical clocks began to appear in the towers of Italian cities. There is no record of any working models preceding these public clocks that were weight-driven and regulated by verge-and-foliot escapements. They are referred to as Turret clocks in the UK.
In conclusion, while there are sub-categories for some of the clocks described above, this overview provides a general understanding of the commonly used terms. Having this knowledge can be especially helpful when shopping for a special gift or identifying the style of clock you may have in your possession.
This spring driven 30 hour New Haven Ogee clock is a loud ticker and rapid striker so distinctive that I can hear the ticking outside the room it is in like a mischievous puppy who wants to remind you where it is.
Judging from other New Haven clocks I have researched from this period, 1875 seems to be the approximate date of manufacture. The case measures 18 1/2 by 11 3/4 inches (47cm X 30cm) and the movement measures 3 1/2 by 5 inches (9cm X 12.7cm); a small ogee styled clock some would call a mini.
The clock is a mere reflection of its former self but not unattractive
The New Haven clock Co. has had a long and illustrious history. In 1853 the Haven Clock Company was founded in New Haven, Connecticut by Hiram Camp (1811‑1892) and other clock-makers. The company’s mission was to mass produce inexpensive brass clock movements for use in clocks. In April, 1856 The New Haven Clock Company bought out a competitor’s company, the Jerome Clock Company. They moved their production to the former Jerome factory and New Haven began making clocks under their own trademark. In 1870 some of New Haven’s clocks were marketed under the Jerome & Co. brand.
In 1885 the company stopped selling clocks other than their own New Haven brand. In 1890 the company developed serious financial problems and efforts were made to keep it solvent until 1897 at which time the company emerged after reorganization. In 1902 Walter Chauncey Camp (1859-1925) began to turn the company around. In 1923 Walter Camp stepped down as head of the company and is succeeded by Edwin P. Root.
In 1929 Richard H. Whitehead replaced Root as president of the company but New Haven again faced financial difficulties compounded by the Great Depression in November, 1929. Whitehead was able to keep the company afloat during these troubled times and the firm regained profitability. From 1943 to 1945 the company turned to the war effort, producing products almost exclusively for military use. In March of 1946 The New Haven Clock and Watch Company became the new name of the firm after it reorganized once again. It returns to what it did best before the War, making clocks and watches.
The 1946 reorganization eventually leaves the company vulnerable to foreign investors and it lost control to a consortium of Swiss watchmakers. The man who had successfully shepherded the company through the hard times of the Depression years, resigned as president. In 1956 the New Haven Clock and Watch Company filed Chapter 10 bankruptcy in a U.S. court. Its fortunes have declined precipitously since Whitehead’s departure and it never recovered. In 1960 the company went out of business and the production lines closed. The facilities were sold through a combination of public auction and private negotiation in March of 1960.
This 30 hour New Haven Ogee looks good from a distance but closer inspection reveals a number notable issues. The movement appears original to the case and the case is in fair condition having been reconditioned at one time. Although the sides of the clock are veneered, the veneer on the front has been stripped off presumably because there was too much loss/damage. There is also some veneer loss on the top right side. Crude chisel marks on the left front indicate that the veneer in that area might have been more difficult to strip off. Unfortunate, but I have no intention of re-veneering the front. From a distance it still looks good and the casual observer will hardly know the difference.
The coil gong is a replacement and is in a slightly different location than the original gong judging from screw holes to the right. I can only surmise that the original gong somehow broke. This gong is probably from an E. N. Welch or a Gilbert.
There are oil sinks on the front but not the back plate. The sinks on the front plate are stamped by the factory and were made to look like a more expensive clock since most would not see the rear plate. An odd decision by the manufacturer but a common practice.
The plates are pinned (rather than the newer bolts or screws) and there are two solid gear wheels suggesting that it is an earlier version of this particular 30 hour movement. The suspension spring and leader are a replacement as expected given the age of the clock. The pendulum bob is a replacement and so is the dial face.
I took the movement from its case, inspected it for wear and applied clock oil. The clock is running well and does not require immediate servicing.
The clock is a mere reflection of its former self but not unattractive.
This 30 hour Ogee clock was purchased in the fall of 2017. I was eager to add this clock to my collection as it is the one particular style of clock that I do not have. From my research on Waterbury clocks I determined that it was made in or around 1870.
I decided to turn the worn trundles inward and seal them with Permatex (medium strength thread-locker) so they are fixed rather than rolling; not ideal but reversible
While the case is in remarkable condition for the age of the clock the movement has suffered the ravages of time.
Testing over the course of a day or so revealed that clock would not run for more than a few minutes. The movement was taken out of its case and inspected to determine what needed to be done to get it to running condition.
I expected punch marks and there were a number. In the old days clock-makers would attempt to address pivot wear by closing the pivot holes with a stake or punch. Not ideal but a common practice. Bushing work was definitely required. The pivots, on the other hand, were in very good shape and polished up nicely.
My first task was to address the bushings. Ten bushings were installed, 5 on each plate. The front bushing work included the escape wheel bridge, always a challenging spot to bush. Next I addressed the other serious wear issue – the trundles on all of the lantern pinions.
The trundles on the lantern pinions were in bad shape as you can see in the photo above. The wear seen here was identical on all 4 lantern pinions. Notched trundles were not what I expected.
The trundle work was certainly the most interesting part of the repair. My experience with lantern pinion work is zero. After some research the method I selected was to hand drill through the top shroud to release the worn trundles.
After releasing the worn trundles I used 1.10mm pivot wire which is ideal for this purpose and matched the worn trundles precisely.
I began with the fly. I drilled into the top shroud. I then cut 1.10mm pivot wire into the required lengths then rounded the ends with a cut-off disc on a Dremel. After the fly was completed I addressed two more lantern pinions in the same way. I staked the shroud ends to seal the trundles inside.
With three done the escape wheel lantern pinion was next and that is when I ran into a snag. The escape wheel shroud is reversed (see photo below), so I cannot drill into the top shroud without a lot of guess work. Using needle nose pliers I decided to turn the worn trundles inward and seal them with Permatex (medium strength thread-locker) so they are fixed rather than rolling. This is not ideal but it is reversible.
There does not appear to be a definitive answer as to whether the trundles should be free-moving or fixed although I suppose they are designed to roll with the gear teeth. At some future point the trundles on this wheel will need to be replaced.
The clock did not come with a pendulum bob so, a new one was attached. The suspension spring and leader was replaced to address a crimped spring that resulted in a wobbling pendulum bob. I used .09mm suspension spring in the correct length. The clock now runs well and it has completed a number of 30-hour cycles.
I suspect that this will be a clock that will not be run daily, the inevitable hassle of constantly winding a 30 hour clock but I am pleased that it is back in running order and I will ensure that is runs on special occasions.
You can still buy a brand new Westclox today and few people realize that the company was a pioneer alarm clock manufacturer.
This is a nondescript Baby Ben clock; thousands were sold but unlike older alarm clocks made in the USA and made and/or assembled at the Peterborough plant in Ontario (Canada), this one was made in China.
The Baby Ben has had a long and interesting history. The Baby Ben movement was originally marketed in 1910 and first nationally advertised in 1915. The 5-year delay occurred because the company was going through organizational changes and it took 3 years to improve the reliability of the Baby Ben movement.
In 1912 Westclox opened a sales office in Toronto, Canada as part of its policy to establish world markets. Between 1920 and 1922 production began at the plant in Peterborough, Canada. At that time parts were shipped from the LaSalle-Peru plant for final assembly in Canada. Unfortunately, there is no information on which clock parts were made in Canada and which parts were manufactured in the Peterborough plant through the years.
Thousands of Baby Ben alarm clocks were manufactured and sold through the 1920s to the 1970s. In the early 1980s production in Canada ceased. “Westclox” and “Big Ben” trademarks were acquired by Salton Inc. in 2001. In October 2007, Salton sold its entire time products business, including the Westclox and Ingraham trademarks, to NYL Holdings LLC, which, to this day sell clocks under the Westclox name. In addition to clocks the company’s line of business also includes the wholesale distribution of jewelry, precious stones and metals, costume jewelry, watches, and silverware.
I have not had the chance to look inside this alarm clock but from its style and other design elements it is from about 2001 when production shifted to China under General Time Corporation, parent company of Westclox, just prior to the sale to Salton and before quartz clocks entered the mainstream. It is the Style 10 Baby Ben with radial numerals and a sweep second hand.
This example is still working and keeping good time. I bought it to study the Baby Ben movement.
Though every bit as reliable as the older American and Canadian alarm clocks it is unfortunate that we lost this segment of the industry to the Chinese. For more information on the history of Big Ben and Baby Ben clocks you can go here called appropriately enough, Westclox History.
You’ve decided on a new location for your grandfather clock. Now it is time to set it up.
Before you do anything ensure that the clock is level and preferably on a hard surface. Wood floors are great but carpeted floors are not optimal. There are 4 leveling wheels or points on the bottom of the clock. Using a spirit level spin the leveling wheels or points counterclockwise or clockwise to achieve a perfectly levelled clock. If you wish to screw the case to the wall to stabilize it, this can now be done as long as it is standing straight up and not leaning backwards. Stabilizing the case also reduces sympathetic vibration.
Steps for setting up your clock
Consult your owner’s manual for setting special features not covered above.
Enjoy your new or relocated grandfather clock.
My hope was that it would be a relatively straight forward exercise
This is Part 1 of servicing this 30 hour Waterbury time and strike movement. I honestly thought it would be relatively straight forward exercise. Dis-assemble, clean the parts, polish the pivots, do a little bushing work and voila! Not so.
I have worked on many clock movements but I have never seen quite the extent of wear that I found on this movement. 150 years certainly takes its toll.
Some time ago I profiled this Ogee clock. To reiterate, in 1839 the first prototype movement was produced for Chauncey Jerome by his brother Noble in Connecticut, USA. Jerome thought that a simple one-day clock could be produced far more cheaply than those with wooden movements at the time. Brass movements were more robust, could be transported easily and were unaffected by humidity. The simple case added to the movement was the Ogee named for its “S” shaped moldings. The success of the Ogee clock convinced other makers that there was money to be made in clock production.
This particular 30 hour time and strike Waterbury Ogee clock was produced at the height of Ogee clock production (1870s) and many thousands were sold. This is a very fine example. Absolutely nothing needs to be done to the case; it is in exceptional condition. The movement, well, that’s another story. This was not a working clock when I got it.
After disassembling the movement I discovered two things. One, there was evidence that it had been worked on before – as expected. There were punch and stake marks on the movement plates to close pivot holes and there was considerable wear in the lantern pinions.
Four of the wheels have lantern pinions, with 5 trundles apiece. Trundles are the loose wires within the 2 shrouds. Dust and dirt as well as misalignment of wheel and pinion due to worn pivot holes can exacerbate the wear issue. The trundles on all 4 lantern pinions are very worn as you can see in the next two photos. I discovered why this clock does not run. When the gear teeth hits two worn trundles at precisely the right angle it locks the gear and stops the clock.
Professional clock-makers encounter these issues fairly regularly. Indeed, one of the most common operations in clock repair is replacing bent, broken or worn trundles. There are different methods of performing this service and the method I will employ is to drill into the shroud, extract the worn trundles, cut new ones out of pivot wire, insert them and re-knurl the shroud.
In the meantime bushing work was performed; 10 bushings were installed, 5 on the back plate and 5 on the front, including one on the escape wheel bridge. I re-assembled the movement knowing that the trundles had to be replaced, but despite new bushings the movement ran only marginally better.
Part II (Jan 2nd) details the procedure I followed to replace the trundles in the lantern pinions. Stay tuned.
Having moved modern grandfather clocks these are some useful some tips when transporting your clock. If you are unsure, a professional will certainly perform the service but consider the cost before you decide since you will pay travel time plus disassembly/set-up time, shop supplies and tax.
A call to a professional is unnecessary if you follow these simple steps.
Never lift up or carry your grandfather clock without first partially disassembling it. This is very important as you risk damage to your valuable clock. Moving your clock just a few inches from one area of a room to another requires that you do it carefully and correctly.
To preserve its finish, use cotton gloves to handle the weights, pendulum and other brass clock parts.
The weights are not all the same although they may look identical
Follow these steps:
You should now safely transport your grandfather clock.
Part II – setting up your tall-case clock
Why are these clocks so cheap? Discounting the wild prices some seem to be asking on online for-sale sites, a good example can be had for almost nothing. Why? Allow me to explain.
This 30 hour time and strike Waterbury Ogee clock was discovered at an antique store an hour’s drive away. The store has a well-deserved reputation for pricing items for a quick sale and each time we visit there is always a new selection of interesting clocks as well as plenty of other fascinating antiques.
Ogee clock, clock design that originated in the United States in the 1830s, distinguished by a case (usually pine) the front outer edges of which are curved into an S-shape (ogee). This shape is formed by the union of a convex and a concave line. A mass-produced variant of the shelf clock, the ogee clock stands about 30 inches (75 cm) high and is usually weight-driven. The movements were usually made of brass and were made to run for 30 hours or eight days. (Brittanica.com)
The Ogee clock – the beginning
In 1839 the first prototype movement was produced for Chauncey Jerome by his brother Noble in Connecticut, USA. Jerome thought that a simple one-day clock could be produced far more cheaply than those with wooden movements at the time. Brass movements were more robust, could be transported easily and were unaffected by humidity. The simple case added to the movement was the Ogee named for its “S” shaped moldings. The success of the Ogee clock convinced other makers that there was a lot of money to be made in clock production.
My new acquisition
The seller knew nothing about clocks and his only interest was to move the item. The proprietor said it was not working. Just as well, I bought the clock for almost nothing. In my opinion these clocks are terribly undervalued.
It came with a winding crank and both weights but no pendulum. A 2.2oz pendulum bob was later fitted to the movement.
The dimensions are 4 1/4 deep X 15 1/4 wide X 25 3/4 inches high. The clock strikes on the hour to conserve the weight drop. The coiled gong on the Waterbury stamped base is loud, and the striking is frantic.
The movement will run and stay in beat (relatively!) but stops after about 15 minutes. That is to be expected and a thorough servicing is in order. Stake and punch marks throughout the movement tell me that the movement has been worked on more than once.
The Rosewood veneer is in remarkably good condition though the outside four corners have been compromised. The label is in very good condition with two small pieces missing at the bottom edge and water staining on the right side. The painted zinc dial with Roman Numerals has some flaking and the numbers are somewhat faded but it otherwise looks very good for the age of the clock. Both spade hands and Ogee hands are on similar dials I have seen so I do not know if these are correct/original. The lower reverse painted tablet is silk screened, looks to be marred around the centre area and the entire scene has minor crackling but it is vivid and largely intact.
This is a Type 2.411 movement introduced by the Waterbury Clock Co. when Chauncey Jerome worked for them briefly in 1856-1857 after he went bankrupt. Found in Chauncey Jerome-labeled clocks with movement stamped, “C JEROME.” and also stamped “Waterbury Clock Co. CT” in later (1870) Waterbury clocks. This movement has the Waterbury stamp.
There is a Canadian connection to this movement. The Canada Clock Co. of Whitby, Ontario 1872-76 made 30 hour weight driven, time and strike movements based on an American design. Research indicates that the Collins Brothers (there were three: William, John, and Edward Collins) made a close copy of the OG movement used by the Waterbury Clock Company in Connecticut, a testament to the excellent design of this movement.
Why are these clocks so undervalued?
Ten years ago an Ogee in good condition would easily sell for $200 to $300. Today I see prices all over the map but none close to the prices they once commanded.
Expect a report on the servicing of this 30 hour Waterbury Ogee in the weeks to come.
Clock collecting and repair allows me to combine my other hobby, photography with the world of horology.
I have seen so many poor photos of clocks that I thought I would cover one small aspect of photography, macro photography. The following is a generalist approach to macro photography that is intended to allow the hobbyist to take more interesting photos of their clocks. You can make macro photography as basic or as complex as you wish it to be. Here we are talking about normal macro as opposed to true macro when you are creating an extreme close-up image of an insect, for example. Normal macro is a sharp image of a tiny object requiring the lens to be positioned much closer to the object. You do not have to be a studio pro to take macro images but you should have a macro capable lens.
Most photos on my blog are taken with an 8 megapixel Olympus E330 SLR which I have had for about 10 years. It is coupled to a 50mm F2 lens macro lens purchased around the same time (equivalent 35mm focal distance of 100mm). For photo enthusiasts the lens has has 11 elements in 10 groups with a minimum focusing distance of 0.2m. In 2008 DPReview called the 50mm a “Superb image quality (lens) even wide open – sharp, distortion-free with no lateral Chromatic Aberration”.
I do not use a cellphone when taking clock pictures. Simply put, it is NOT the resolution, it is the lens
The 50mm lens is a true macro and it permits shots that would be otherwise impossible to take on a typical cellphone camera. I do not use a cellphone when taking clock pictures. It is NOT the resolution, it is the lens. There are occasions when I will use a more up-to-date camera such as my Panasonic G85 when taking some clock shots and all videos as the E330 is not video capable.
In some of the shots you will notice a purposely blurred out background. This is known as Bokeh. The degree of blurriness or Bokeh is an indicator of the quality of the lens but more importantly Bokeh allows the viewer to concentrate on the object in question without the distraction of a background. The decrease in sharpness is gradual on each side of the focused distance. This is accomplished by setting your camera lens to the widest possible setting (lower F stop, F2 for instance) and then focusing on one particular part of the frame. The contrast between in and out of focus portions of the frame concentrating around the subject and relative distance to other things in the frame creates a deeply enriched image.
A flash attachment like the Olympus FL-36 allows you to tailor the light for the scene. Make sure your camera has a hot-shoe for an external flash. Invest in an external flash unit with a 90 degree swivel (bounce) head. Buy the flash that is correct for your camera. You don’t need to spend a lot of money, external flash attachments can be very inexpensive.
When taking a flash picture indoors, turn off the camera’s built-in flash. Point the bounce flash head at the ceiling (rather than at the object) and take the picture. This will provide a soft, diffused light and it will cut down on reflections. Bouncing light creates a more natural effect rather a direct flash on an object which can be harsh and unattractive. Bouncing also works best with light coloured ceilings, white being the preferred colour. When there is no light to bounce off, a diffuser works well. The photo below shows the FL-35 with a diffuser (white rectangular shaped plastic top) attached.
The top photo (Westclox LaSalle alarm clock) was shot with a white cloth background and a bounce flash.
Use auto white balance (AWB) in your camera settings. Shooting in JPEG is perfectly fine but for more control over the final result, shoot in RAW to correct colour temperature and exposure in post processing.
Rather than explain each shot I will allow the photos speak for themselves.
Having a capable camera with a high quality macro lens is essential to clock repair.
In a future article I will explore lighting, exposure and other techniques to enhance your clock photos. If you have any questions please leave a comment.
In a previous article I described some of the challenges I had with this E.N. Welch clock movement.
The clock ran for about 48 hours and suddenly stopped. It seems that every time I think everything is going well, something else crops up. I dis-assembled the movement (again) and installed three more bushings, one of which is on the escape wheel bridge which I noticed had a fair amount of play. Perhaps the vertical motion of the EW was causing the clock to stop. The other two bushings were installed on the third wheel, back and front. I have decided to hold off addressing the EW teeth if the bushing work I have done has solved the stoppage issue.
I was hoping to wrap the servicing up fairly quickly but unanticipated problems continued to crop up. Having completed the work mentioned above I could see that things were beginning to change for the better.
The time side ran strongly for eight days after which I reinstalled the strike train. Here is the movement running on a test stand.
Setting up the strike side required manipulating some of the lever wires which were moved out of position by the previous owner, for whatever reason. A previous repair/adjustment resulted in the lifting levers bent back into the case and the count lever pushed in an upwards orientation. As a result I had to bend the levers back into their original positions.
Here is the movement installed back into its case.
It should now run reliably for years to come. A frustrating project with a satisfying ending.
The Westclox Clock Company is better known for various versions of Big Ben and Baby Ben windup alarm clocks produced from 1900 to the mid 1980s. But there were other windup models one of which is the Art Deco styled LaSalle series. This is the model 61-C (401) otherwise known as a Dura clock because they have nickel-plated, die-cast zinc cases made by The Dura Casting Corporation in the United States. There are 6 models in the LaSalle series and all use the Westclox type 61 Baby Ben, one day movement.
Gee that old LaSalle ran great….those were the days! (a line borrowed from the theme song to All in the Family)
I have a modest collection of alarm clocks and if something interests me I will buy it. My wife found this Westclox Alarm clock at an antique store in Halifax (Nova Scotia, Canada). At $20 the price was right. It is solid, well made, attractive and partially assembled in Canada.
There is no information on which clock parts were made in Canada and which parts were manufactured in the Peterborough plant through the years
The LaSalle 400 series ran from 1930 to 1934. This is model 61C. The clock measures 3 1/8 inches high. The base is 3 1/4 inches and the depth is 1 3/4 inches.
Inside is a Baby Ben movement. The Baby Ben movement was first marketed in 1910 and first nationally advertised in 1915. The 5-year delay occurred because the company was going through organizational changes and it took 3 years to improve the reliability of the Baby Ben. The patent date on this clock is 1914.
In 1912 Westclox opened a sales office in Toronto, Canada as part of its policy to establish world markets. Somewhere between 1920 and 1922 production began at the plant in Peterborough, Canada. At that time parts were shipped from the LaSalle-Peru plant for final assembly in Canada. Unfortunately, there is no information on which clock parts were made in Canada and which parts were manufactured in the Peterborough plant through the years. Thousands of Big Ben and Baby Ben alarm clocks were manufactured and sold through the 1920s to the 1970s. In the early 1980s production in Canada stopped.
I avoid clocks with radium dials. Since radium has a half-life of hundreds of years even old radium dials are very hazardous. If working on a clock with a radium dial care should be taken to prevent the inhalation or ingestion of flakes or dust which may contain radioactive materials. In the past several years radium dials have largely been replaced by phosphorescent – or occasionally tritium-based light sources.
I took the back cover off and found an inscription indicating that it was last serviced in 1955. The markings are unusual because alarm clocks rarely see servicing and once they stop they are simply discarded or used as paper weights.
That LaSalle may have run great at one time but not now. I can hear it ticking but once set down it abruptly stops. A thorough cleaning is required.
It is a nice piece of Canadian Horological history.
This is perhaps the dirtiest movement I have ever worked on
This is perhaps the dirtiest movement I have ever worked on. The case, tablet and dial face are in beautiful condition and nicely preserved requiring little or no work at all to restore to its former glory but the movement is another story. A past owner either sprayed oil on the movement or dipped it in some kind of lubricant on more than one occasion. The oil was gooey, sticky and seemingly baked on. It required several washings, vigorous scrubbing with a brass brush, ultrasonic cleaning and even #0000 steel wool. I finally got most of the grime, dirt and rust off the movement.
Having so much solder on a movement is a little discouraging and I often wonder what problems lie beneath. There was solder on the centre plate nut, solder on the front and back plate, 4th wheel on the strike side and solder around the hour cannon. I decided to leave the solder on the hour cannon for now. However unsightly, I may not remove it.
The solder was removed with a butane torch. Expecting bad bushing repairs and/or punch marks I found nothing! I also removed the solder around the centre nut and found that the nut was not stripped as I initially suspected. I am puzzled.
Here is a video describing my plan to address bushing work.
In the video I mentioned the installation of eight bushings. I installed seven bushings initially but installed more later on as I discovered other power issues. One is always tempted to bush everything in a movement. Some clock-makers tend to bush everything because the one thing they do not want is the clock coming back. I understand that but I decided to take a cautious approach for this movement and bush what I felt was absolutely required.
After cleaning the movement the pivots were polished and pivot holes pegged. Next is assembly. I have mentioned this before that I do not have much luck getting the strike side to function on the first go-around. It usually takes me two or three attempts.
Day 2
Although I was unable to set up the strike setup correctly the principle problem was the poorly running time train. After 5-10 minutes it would stop. Suspecting a power issue I looked for bent arbours, troublesome trundles or worn gear teeth and found nothing.
However, I found considerable play in the centre arbour. Suspecting poor meshing of the main wheel with the centre arbour gear I installed the 8th bushing (back plate) then removed the strike side entirely to focus on the time train issue. The movement immediately ran but the beat was inconsistent.
A “drifting” beat (in beat and then drifts out of beat, then in-beat) usually indicates an issue with the escape wheel teeth or the escape wheel arbour. Some of the EW (escape wheel) teeth have slightly bent tips but before I straighten them I wanted to determine if there were other reasons for the stoppage.
Day 3
The clock ran for about 48 hours and suddenly stopped. I dis-assembled the movement (again) and installed three more bushings, one on the escape wheel bridge which I noticed had a fair amount of pivot wear, the other two on the third wheel, back and front mostly for insurance. I surmised that vertical motion of the EW might be causing the inconsistent beat leading to the eventual stoppage. Addressing the bent tips on the EW teeth may come later if these measures do not cure the problem.
Day 4
The time side is settling down and I am now able to get several days running without a stoppage. The beat is now consistent.
Day 5
I am going to let this clock run for a week or so before I reinstall the strike train just to be sure that there are no other power issues. I was hoping to wrap this service up fairly quickly but unanticipated problems are slowing me down.
I’ll give my final thoughts in a post in Part IV, two weeks time.
The Whittier Model
This is the Whittier model from Welch’s Authors series. Tran’s 2d ed. shows it from the 1893 catalogue. It is a half-hour strike clock. Though an alarm could be ordered this clock came without one.
It is solid walnut in construction, deep brown in colour and darkened by age. It stands 22 inches tall by 14 ½ inches wide and 5 inches deep. The crown is an ornate machine-cut design with a single bulls-eye. The Roman numeral dial face with inner brass ring is original but has been covered with a clear varnish.
The spade hands with circular cut-outs also appear to be original. The tablet is in remarkable condition and features an embossed gold colored scene of two female child warriors on each side presumably guarding an older female warrior (laurel and spear), reminiscent of Greek or Roman mythology.
There are two labels on the back panel, the top designates the model name which is barely readable; the bottom label has generic operating instructions for several types of clock models. Both labels appear to have been varnished over at some point. The upper area of the back panel has a hook for hanging the clock, added by a previous owner. However, this is a shelf or mantel clock, not meant to be hung on a wall. I doubt that the pendulum bob was this colour originally.
Though incorrectly termed a kitchen or gingerbread clock it is commonly referred to as a parlor or hall clock. Since the company last produced clocks in 1902 I would comfortably date this clock at between 1893-96 or perhaps a little later, 1901-02. The E. N. Welch Clock Company has a fascinating history (detailed in Part I of this series) and unfortunately not many of these well-made American clocks are still around.
In Part III I will describe the challenges of servicing the clock movement.
Antique and Vintage Mechanical Clocks 
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