Tag: clocks

Interesting steeple clock from the short-lived Hamilton Clock Co. (Canada)

Hamilton Clock Co. 30 hour time and strike
Hamilton Clock Co Gothic steeple clock
Hamilton Clock Co Gothic steeple clock
I wasn’t on the lookout for another steeple clock but when I discovered this on a local online for-sale site I just could not pass it up.
Let’s clear something up from the outset. The Hamilton Clock Co in the United States and the Hamilton Watch Co were probably associated with each other in some way but the Hamilton Clock Co. located in Hamilton Ontario, Canada which operated between 1876 and 1880 was not in any way affiliated with the American company.
I bought his Hamilton Clock Co. 30-hour time and strike steeple clock from a local seller. I am sure the seller thought he did well with the sale as he did not budge from the 100CDN he was asking. However, I consider this a win-win situation. We were both pleased because clocks from the Hamilton Clock Co. are sought after by Canadian collectors and this example would easily fetch much more than the price I paid. I was particularly intrigued by the etched tablet with, “Cling to the Cross” a religious phrase that was popular at the time. It is the larger of two versions at 19 ¼”. The Hamilton Clock company made the only true steeple clocks and very few survive.

The 30-hour time and strike movement is appropriately stamped HAMILTON CLOCK CO. HAMILTON ONT. The suspension spring is mounted higher up than a photo I saw on the Canadian Clock Museum site which shows the suspension spring mounted below the hour cannon. There is also a pin through what looks like the intermediate gear on this movement. There had to be some variations over the period the movement was made.

The clock is not without issues, after all, it was made between 1876 and 1880 and some wear and tear is expected for a 140-year-old clock. Everything seems to be there and it is in good shape including the “Cling to the Cross” inscription on the tablet. The etched glass tablet was the result of an association with glass factories in the Hamilton area and unlike anything offered by other companies. There were a whole series of clocks made with similar religious messages.

30-hour time and strike movement with clock company inscription on the bottom of the front plate
30-hour time and strike movement with clock company inscription on the bottom of the front plate

The original dial face is faded/worn, the hands are original and the 30-hour movement has the correct pendulum. There are minor veneer losses here and there consisting mostly of chips. The right steeple is also missing its tip.

Veneer chips on left side of base
Veneer chips on the left side of the double-curved base

The label is not complete but is quite readable.

Loss on the clock label
Loss on the clock label
Half the label is missing but enough to identify the clock.
Half the label is missing but enough to clearly identify the clock-maker
A complete label should look like this better example
The clock runs surprisingly well but requires a thorough cleaning and repair work on the time side ratchet click which slips when the arbour is wound. Generally, the clock appears to be in reasonably good shape.
I am always intrigued by clocks made entirely in Canada. The following information is taken from the Canadian Clock Museum located in Deep River Ontario (Canada). A must visit if you are in Canada, love clocks and are especially interested in Canadian makers.
“This company was established in 1876, after the failure of the Canada Clock Company in Whitby, Ontario.
The machinery and other tools and equipment were purchased and moved to Hamilton by two business men, James Simpson and George Lee.  Simpson, born in Scotland, had been active in Hamilton for years as a partner in a wholesale grocery business.  He assumed the title of President of the clock company.  Lee, born in Ireland, was also active in food wholesaling, and the operation of hotels, and restaurants.  He became the Business Manager.  Neither man had any prior experience with factory operations or clock making.
Technical expertise was provided by John F. Collins, who had previously acted as Manager of the Canada Clock Company in Whitby and had been instrumental in equipping and operating that enterprise.  He was brought from Whitby along with the equipment and given the title of Mechanical Superintendent.
Collins utilized tools, dies and designs he had created at Whitby, so the Hamilton company was really a continuation of his previous efforts. He was able to broaden the range of movements and case styles, and hence to offer a more complete line of merchandise.  Unfortunately, after a few years, he appears to have fallen out with the new owners and left the company in 1879.
George Lee, in turn, suffered health problems and was obliged to leave around 1880.
This left James Simpson as sole proprietor.  He ended production under the name Hamilton Clock Company and proceeded to make major changes.  The factory and equipment were retained, but a completely updated product line was developed.  Simpson found new investors and incorporated the firm as a public company that was renamed The Canada Clock Company Limited.
The Hamilton Clock Company appears to have made a valiant effort to provide clocks for the Canadian market, in competition with the huge U.S. clock factories that already dominated the market.  Hamilton clocks matched competitive products in appearance and their quality was quite adequate.  The volume achieved, however, was never very large and the product line was simple and limited.  No catalogs or printed material have ever been found from the company and our opinions can only be based on an examination of surviving clocks.  Perhaps, like the attempt in Whitby, the available capital and ‘know-how’ were insufficient to ensure a major success.”
There is nothing novel or unusual about Hamilton Clock Co. clocks. They had movements and cases similar to American made clocks but since the production was limited to 4 years, fewer were made, they are rare and therefore more desirable for collectors.
Overall I am pleased with this acquisition.

Kundo 400 day oval anniversary clock – let’s get this thing working!

Dial face of a 400 day clock

Of the five anniversary clocks in my collection, none have cost me more than $30. It’s unfortunate because these clocks are truly fascinating devices. They are well-crafted, delicate, and ornamental, driven by spring mechanisms. While many thousands were produced, their abundance is reflected in their low value today. My focus is on collecting the older mechanical models, the last of which were manufactured over 35 years ago, and steer clear of the battery-operated anniversary clocks still being sold.

Among clock repair enthusiasts (horologists), opinions on anniversary clocks vary—some enjoy working on them, while others struggle to develop an affinity for them. I fall firmly into the former group, finding these clocks both intriguing and enjoyable to work on.

Kundo 400 day torsion clock
Kundo 400 day torsion clock

Gustav Becker, Haller, and Schatz 400-day clocks are certainly more desirable, better made, and fetch higher prices. While I don’t have any of these makes in my collection, I am always on the lookout for more desirable and collectible models.

Movement before cleaning
Movement prior to cleaning and showing verdigris on the spring barrel

I picked this up for $5 at a local antique store. When buying one of these clocks, regardless of the price, it’s crucial to check that all parts are present, as sourcing a missing part can be nearly impossible unless you purchase an identical clock for parts. Often, the only issue is a broken suspension spring.

Fortunately, this Kundo clock was complete and in generally good condition. However, the suspension spring had clearly been snapped off due to improper transport. Many people either forget about or are unaware that these clocks feature highly effective pendulum locking mechanisms.

These are called torsion clocks because there is a weighted disk or wheel, often a decorative wheel with 3 or 4 chrome or brass balls on ornate spokes, suspended by a thin wire or ribbon called a torsion spring (otherwise known as a suspension spring). The torsion pendulum rotates about the vertical axis of the wire, twisting it, instead of swinging like an ordinary pendulum.

These clocks operate very slowly—in the case of this Kundo Junior, just 10 beats per minute compared to 100 beats per minute or more for a typical pendulum mantel clock. Due to the slow movement of the gears, wear is minimal, and it’s quite common to find these clocks with a broken suspension spring as their only issue.

Front plate removed
Front plate removed

The movement was disassembled and cleaned in an ultrasonic cleaner. The mainspring was removed from the barrel, cleaned, and serviced. Otherwise, there was minimal wear to the pivot holes. In fact, I have never needed to install a bushing in an anniversary clock because their slow operation results in very little friction.

The old spring was very twisted

Now, it’s time to install the new suspension spring. The suspension spring is a very thin piece of steel running down the back of the clock, designed to twist back and forth while suspending the pendulum balls. It’s crucial not to kink or bend it, as a bent or crimped spring is the most common reason these clocks fail to function properly.

You can purchase pre-assembled suspension springs in kit form—springs already fitted with blocks and a fork—but I’ve found it far more cost-effective to buy the springs separately and re-use the blocks and fork. To ensure accuracy, I consulted my Horolovar manual (I eventually purchased one) to find the exact template—Kundo 5E, in this case. I then unscrew the blocks and fork to install the new spring. Here is an example of a suspension spring from a Kern 400-day clock.

suspension spring installed on a Kern
A new suspension spring was installed on a Kern

Installing the suspension spring requires a little patience. While it is a delicate process, it’s relatively easy to do. It’s best to work on a flat surface. There are screws on both the top and bottom blocks that must be loosened before the new spring can be inserted. The bottom block was a bit stubborn, and a jeweler’s screwdriver is essential—you don’t want to strip those tiny screws.

Use the template in the Horolovar manual as your guide. For the Kern clock mentioned earlier, I had to rely on some guesswork while waiting for the manual to arrive, but once it did, I was able to confirm the measurements. After positioning the blocks, attach the fork and secure it with screws.

Install the bottom block first. Attach the spring block to the 4 pendulum balls with the pin then lock the pendulum balls in place using the locking lever. Some 400-day clocks use a simpler bottom block solution that simply hooks the block into place. Because this one uses a pin it is a bit more frustrating. After the bottom block is secured and locked in place install the top block to the top mount by first slipping the fork over the verge post. In the case of this Kundo it is a small side screw that secures the top block to the mount (saddle?).

I then attached the dial face and the hands then gave the pendulum a gentle 360-degree spin. Not surprisingly the clock failed to maintain its spin. An adjustment was required.

Looking at the top of the clock, you’ll see a screw that can be loosened to adjust the fork in one direction or another. Be very careful not to kink the suspension spring when loosening this screw. Loosen it gently, just enough to allow movement, and make small, incremental adjustments when setting the beat. While you can buy a beat adjustment tool for 400-day clocks, with a bit of trial and error—observing the verge’s action and fine-tuning the beat setter—you’ll eventually find the correct beat. You’ll know it’s “in beat” when the time between the tick and tock is the same. At that point, the clock should run smoothly. Since the ticking is so quiet, it helps to turn off any background noise in the room while making adjustments. I have several loud-ticking clocks in my office, and I stop them to assist with the process.

If you work on enough torsion clocks, a Timetrax or similar beat amplifier will make the task much easier.

The clock has been running for several weeks and is in the process of being regulated. Above the pendulum balls in a regulating adjustment dial. You will see a “+” and a “-“.  Adjusting towards the plus side speeds up the clock and the minus slows it down. I recommend minute turns for either adjustment.

There’s some debate about whether or not to oil these clocks, given the slow movement of the gears. While polishing the pivots to reduce friction can certainly be beneficial, I believe a bit of pivot oil is never a bad idea.

As I mentioned earlier, I’m part of the group that enjoys working on 400-day clocks, appreciating their delicate mechanisms and the satisfaction that comes with restoring them to working condition.

Cast Iron Banjo Clock

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.

Banjo clock
Banjo clock

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”!

Blackforest shelf clock (Canadian made) gives me grief but decides to run again

Blackforest movement on the test stand
Blackforest shelf clock
Blackforest shelf clock

The clock is a 1937 Blackforest Royal Tour commemorative edition shelf clock with an 8-day time-only “plate” clock movement. Plate clock movements are so-called because they were typically used on kitchen clocks with Dutch Delft plates such as this one in the next photo.

Delft Clock from Forestville
Delft Plate Clock from Forestville

The movement is likely German and could have been made by a number of companies. There are no stamps or markings on the movement to give any indication of the maker. Canadian companies such as the Blackforest Clock Company of Toronto (the Forestville Clock Company after the war) imported German movements before the Second World War and installed them in Canadian made cases.

Grimy movement prior to cleaning
Grimy movement prior to cleaning

This clock had been happily running for about a year and then last week it suddenly stopped after a winding. I nudged the pendulum in an effort to make it go, checked to see if it was in beat and level but no luck. I nudged the pendulum a few more times, left it for a day or so, tried it again and still no luck. I was at the point of disassembling the movement to investigate the problem. Two days later I wound it tight and gave the pendulum a push and it sprang to life. I think I know what happened.

I thought I did a good job of servicing the movement including the mainspring over a year ago but apparently not well enough. You may have heard the expression, “you overwound the clock so that’s why it stopped”. There is a grain of truth in the expression because if you wind the spring till it winds no further the mainspring is at it tightest. If there are dirt, grime and rust on the mainspring the mainspring will actually cease in place, hence the clock stops. I believe this is what occurred in this case. Although it is running now it will need to be properly cleaned. In the meantime, I will let it run and see if it completes its full 8-day cycle.

Featured article on Chelsea Clock blog about my blog

The following is an article that was featured on the Chelsea Clock blog

I have always had a fascination with clocks. As a young boy I can remember the schoolhouse clock in my grandparents’ kitchen and the ticking sound it would make that echoed through the entire house.

Seth Thomas Adamantine time and strike mantel clock, circa 1913

We all have busy lives and despite my interest in clocks over the years it was not until the year 2000 that I started building my collection, first with a Seth Thomas Adamantine clock and later with more mantel clocks, wall clocks and finally a grandfather clock in 2012. My collection has expanded to include virtually every style of clock though my interest lies specifically with American and European wall and shelf clocks. As I write there are about 35 clocks ticking away in my home.

In my blog I stress that I am not a trained horologist but have accumulated enough knowledge over the years that I feel capable of addressing general clock issues

Clock repair came a little later. I began with general understanding of the cleaning and oiling of clock movements in order to keep my little collection running. As I acquired clock repair tools and equipment I progressed to servicing pinions, bushings, verge repairs, cleaning of mainsprings and case restoration.

In 2015 I decided to write a blog about collecting and servicing vintage and antique clocks. There are some excellent clock blogs but many are commercial sites or professional horologists selling their services. I decided to design a blog that would appeal to the amateur clock collector/repairer. In my blog I stress that I am not a trained horologist but have accumulated enough knowledge over the years that I feel capable of addressing general clock issues. Therefore, my blog is not aimed at the professional repairer or restoration expert but the individual looking for specific information about a certain clock, those who have a particular problem with their clock and finally those who have a general interest in clock collecting and repair.

Junghans Crispi wall clcok with compensating pendulum
Fully restored Junghans time and strike wall clock, circa 1899

Cleaned, bushings replaced and tested
Time and strike movement on a test stand after servicing

I publish an average of seven blog articles per month on a variety of clock topics. I appeal to a wide change of subjects; some articles have a philosophical perspective, some detail the challenges of working on a specific clock, some present simple repair techniques for the beginner, general maintenance tips as well as articles of general interest. As a history buff I try to include a background history or provenance of the specific clock I am profiling or information about its maker.

Using a micrometer to check pivot
A micrometer is used to size a bushing for an escape wheel pivot

Blogging has also allowed me to combine my other interests, that of photography and traveling. My wife and I have had many interesting adventures seeking out unique clocks for my collection.

Clocks we saw while on a visit to Spain and Portugal

In the early spring, my wife and I travelled to Portugal and Spain. We attended our daughter’s destination wedding in Sintra, Portugal and we decided to expand our stay, visit Spain and see the sights in Barcelona and Montserrat. Spain has always been on our bucket list and it did not disappoint.

Being a clock enthusiast I did a little research beforehand to find out if there were any clock museums along our travel route. Alas, we travelled to places that were very distant from the well know clock museums. Clocks in Europe were made in specific regions and that is where you will find clock museums. Here are a few clocks that I found in various places in Spain (Barcelona) and Portugal. I will let the photos tell the story.

Tall case clock in a cathedral
Tall case clock in a Barcelona cathedral

Little card on the side simply said "High box clock, school clock"
Little card on the side simply said “High box clock, school clock”, Barcelona

Marriage of movement and case found in a shop in Porto.
A marriage of movement and case found in a shop in Sintra, Portugal

Town clock in downtown Sintra, Portugal
Town clock in downtown Sintra, Portugal

Very ornate clock in poor condition, Pena Palace, Sintra, Portugal
A very ornate clock in poor condition, Pena Palace, Sintra, Portugal

Pena Palace, Sintra, Portugal
Pena Palace, Sintra, Portugal

Tivoli Hotel, downtown Sintra. Unknown tall-case clock
Tivoli Hotel, downtown Sintra. Unknown tall-case clock

The most ornate clcok is this working example at the Porto basilica
The most ornate clock I found is this working example at the Porto basilica

Unknown mantel clock, Tivoli Hotel, Sintra, Portugal
Unknown mantel clock, Tivoli Hotel, Sintra, Portugal

Unknown gallery clock. I could not find an opening on this clock. No arbor holes on the clock face.
Unknown gallery clock. I could not find an opening on this clock. No arbour holes on the clock face. Found on an estate in Sintra, Portugal

Flea market clock. Time and strike English or German clock, 1960s
Flea market clock. Time and strike English or German clock, the 1960s

Flea market clock. Time and strike French clock with matching candelabra
Flea market clock. Time and strike French clock with matching candelabra

Used goods store, time and strike wall clock, possibly French
Used goods store, time and strike wall clock, possibly French

I was not specifically looking for these clocks but as we visited churches, museums, shops and public places I photographed any I discovered in our travels.

Tick Talk Tuesday #13 – Mauthe wall clock circa 1960s

Tick-Talk Tuesday
Tick-Talk Tuesday is about the letters and comments I have received from you, the reader, concerning your clock, issues you might have had, challenges you face or a clock you would like me to profile and my responses to your questions with 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.

Modern Mauthe wall clock circa 1970S
Modern Mauthe wall clock circa 1970S

DK writes, “I just received this clock.  I’m hoping you can help me identify it and maybe help me to fix it. I’d like to see if I can repair it if possible. Hope to hear from you.”

I write back, “Can you send a photo of your Mauthe clock with the door closed?”

An attractive wall clock by Mauthe
An attractive wall clock by Mauthe

DK, “I seemed to have fixed it so it is working, however the Lewis girl at the bottom of the pendulum I turn it to increase a time or decrease the time how does it go or work?”

Me, “Your Mauthe clock is from the 1960s. It is a time and strike and should run reliably for years. To adjust the rate, turn the thumbscrew at the bottom of the pendulum clockwise to speed the clock up or counterclockwise to slow it down.”

DK, “Thanks Rockin Ronnie. Does this clock have any value?”

Me, “Not especially. Depends on the market but perhaps upwards of 100US in top condition.”

DK, “Thanks Ron I kind of figured as much. Have yourself a good day and thank you for everything!”

Note: In 1970, Mauthe struggled for survival, and in 1975 the company was in receivership and forced to close in 1976.

Elisha Manross Steeple Clock – addressing spire issues and other things

Elisha Manross 30 hour steeple clock
Elisha Manross 30 hour steeple clock, as found

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 dial faces is in good shape with some losses
The dial face is in reasonably good shape with some losses on the edges and corners

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.

This side piece of veneer was found inside the case but there is still a small section that needs veneer
This side piece of veneer was found inside the case glued in place but there is still a small section that needs veneering

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.

Pine cut and test fit
Pine cut and test fit for right steeple base

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.

The steeple base is the middle block of wood
The steeple base is the middle block of wood

Sides and top are done, now to do the front
Sides and top are veneered, now the front

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.

Taig lathe with 1/4 hp motor
Taig lathe with 1/4 hp motor

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.

Steeple and base but how to get rid of the wood grain!
This is the first application of red mahogany stain on the steeple but how to get rid of the distracting wood grain!

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!

Second application of red mahogany stain
Second application of red mahogany stain, grain is disappearing

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.

The clock is assembled and running
The clock is assembled and running

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.

I have good luck finding a great deal on a clock

Loss on the clock label

I seem to be one of those people who manage to find a great clock deal. I don’t think it takes a special talent but patience, research, and timing are three key elements in finding a bargain.

I often cruise the online for-sale sites for interesting clocks. In Canada, we have something called Kijiji. In the States Craig’s List is quite popular and I am sure other countries have something very similar.

What makes Kijiji (and similar sites) interesting and fun is that you can connect with people locally or in my case our province of Nova Scotia. There are a wide variety of sellers. Some know what they are selling and price items accordingly. Some have really no idea and either price items clearly for much more than they are worth or conversely for far less than their actual value.

It is nice to be able to meet the seller, find out the history of the clock, learn something about the seller, and their motivation for selling, negotiate a price, and bring the item home. There is no post office or courier service to “screw” things up. No “oh crap” sigh when you open the package. With online auction sites, you often get a “pig in a poke” which means that something is sold or bought without the buyer knowing its true nature or value, especially when buying without inspecting the item beforehand. This does not happen with Kijiji. You find the item advertised, connect with the seller several times electronically or personally if necessary, see the item beforehand, ask questions about it, inspect it for any immediate issues or potential problems and you have the choice to walk away if you are not completely satisfied. All transactions are cash with no pesky sales tax.

Clocks are interesting items to collect and prices are all over the map as you would expect. However, I have found a few gems in the last few years. Let me tell you about my latest experience.

A few weeks ago I saw this clock advertised on Kijiji (photo below). Now, this looks like any ordinary Gothic steeple clock but what grabbed my attention was the unique tablet inscription. The acid-etched glass tablet says “Cling to the Cross”, a religious expression not often found on this style of clock. I knew immediately that this was a very special Canadian-made clock.

Seller's photo
Seller’s photo

Why, because several months ago I watched a video presentation by Jim Connell. Jim Connell is well known in Canadian clock circles. According to the introductory remarks found at the aforementioned site “He has amassed a large collection of clocks of all types with an emphasis on those with a Canadian origin. As his collection and knowledge grew, Jim prepared and presented numerous articles, talks, and displays on Canadian clocks and their history.  He is the respected author of the Charlton Standard Catalogue of Canadian Clocks and he co-authored Early Canadian Timekeepers and The Canada and Hamilton Clock Companies with Jane Varkaris.”

In his presentation, he described this exact clock and mentioned in his presentation that there were very few copies left, a very rare Canadian clock indeed.

I wanted to confirm that this was the clock I thought it was and asked the seller to photograph the label. He did so and sent this to me.

Seller's photo of the label affixed on the back of the clock
Seller’s photo of the label affixed on the back of the clock

I attempted to negotiate a price. The seller wanted 100CDN and I offered 80CDN. He replied that he would not accept anything less than 100CDN. In the meantime, I checked with the curator of The Canadian Clock Museum to confirm its authenticity. Upon discovering that this was a Hamilton Clock Co. clock made between 1876 and 1880 I decided that, yes, this was a good find and in my email reply to the seller I said, “100CDN it is”.

It is what I would consider one of those happy win-win situations. The seller got more than he thought the clock was worth and I got a clock that is worth much more than I paid for it. My motivation, however, was not to celebrate a great deal at a great price but to acquire a piece of significant Canadian horological history at an affordable price.

Hamilton Clock Co Gothic steeple clock
Hamilton Clock Co. Gothic steeple clock
30-hour time and strike movement with clock company inscription on the bottom of the front plate
30-hour time and strike movement with company inscription on the bottom of the front plate

We met and settled the deal. I am now the owner of a Canadian-made 30-hour time-and-strike Hamilton Clock Co. Gothic steeple clock.

In a later blog article, I will profile this clock and describe my strategy to address some of its issues.

Daniel Pratt Jr. reverse ogee and splat clock with mirrored tablet

Daniel Pratt Jr. reverse ogee and splat clock

Daniel Pratt reverse ogee and splat clock
Daniel Pratt reverse ogee and splat clock with mirrored tablet

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.

Clocks, manufactured and warranted by Daniel Pratt Jr
Clocks, manufactured and warranted by Daniel Pratt Jr

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.

Wooden movement, time and strike
Wooden movement, time and strike

Wooden Roman numeral dial
Wooden Roman numeral dial with missing grommet on right arbor hole

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.

antiquevintageclock.com – a new name

Piecrust bezel

From this day onward the new domain for this site is antiquevintageclock.com.

I have been thinking about name change for some time. My reasons are fourfold, to increase viewership, make my site more accessible using search engines, gain more storage space for my photos and have more creative freedom in the design of the site.

In the months to come I hope you, the reader, will appreciate the changes as I offer more content and features.

There may be some growing pains for the first while as I experiment with new templates so I ask for a little patience as I make the new transition to an improved site.

My email address will continue to be ronjoiner@gmail.com although I will explore the benefits of aligning my email address with the site.

Let me know what you think.

My Forestville mantel clock looks like yours

Tick-Talk Tuesday

Forestville mantel clock
My Forestville mantel clock

Tick-Talk Tuesday is about the letters and comments I have received from you, the reader, concerning your clocks, issues you might have had and challenges you face and my responses to your questions with advice on your  particular clock concern(s). For those comments and questions that stump even me, I consult within my clock circles for the best possible response to your question

AM writes, “I am writing in hopes you can help me figure out how to safely set and wind my clock !

It looks pretty much identical to this one of yours I found online. Exactly same roman numerals. Forestville name in gold appliqué at top. GERMANY appliqué near the VI at bottom. Two key holes. Wing shaped box. Mine has darker brown wood glossy, and only one gold trim line. Same little feet. It has a silver colour key. I tentatively tried winding the left side clockwise, and it wound, but seemed tight. So I only wound it twice.  Scared to try the left side. Please let me know if you would – what each wind is for, and whether to go clockwise or counterclockwise. Thanks in advance for any clues you can give me.”

Roman numerals, Forestville name

Over winding a clock is a myth

My response, “Hi, These Forestville clocks have German movements. The movements are quite robust and will last for years. The left side is the strike side and the right side is the time side. You should be able to wind each side as tight as possible. Over winding a clock is a myth. If the clock does not run after you have wound each arbour to the limit, the springs are rusty and have seized the clock. However you should be able to safely wind each side several turns. The strike side will not function unless the time side is wound fully. You can get a feel for how the clock is wound. These clocks wind clockwise and the strike side might be a little tighter than the time side, I know mine is. The clock sounds like an old wristwatch because it has a hairspring or a floating balance wheel escapement not the usual pendulum ( I gather yours is the same). Anyway, do not be afraid of your clock. Wind it and enjoy it.

AM writes back and says, “Hello and thank-you for your reply. I took the plunge and wound each side about 4-5 X. No ticking as yet !  It must be seized at you said…Not sure what to do now cuz we live in the XXXXXXX and I doubt a clock expert nearby (within 300 km). Prince George is 3 hr drive west, and Grande Prairie Alberta 2.5 hr east. Will start asking around for sure. It is quite funky and reminds me of my Aunty Jane… so I will use as décor for the interim.”

My reply, “Open the access door. Locate the escapement at the top of the movement. If it is exposed give the wheel a little push. If it is in a plastic enclosure, tap on the plastic a few times. That might be enough to free the escapement. If it runs you have power through the clock. If it does not your power issue might be elsewhere i.e. seized springs, bent wheels etc. Unfortunately a repair would be far more than the clock is worth but that is a decision you will have to make.”

Hairspring escapement in my clock

AM managed to get the clock working but it will not strike despite plenty of whirring.

Balance wheel or floating balance escapement

Closer look at the floating balance escapement

AM says, “Well now I’m thinking maybe I can fix the chime myself ?  Particularly with your help.  So this one last attempt will show you how it sounds.  I also need to know:

  1. During the weekly wind, if I just do not wind the chime… will it stop the click and whirr without affecting the clock time?
  2. Here’s what I see at the back during non-chime time – one hammer is a ‘two in one’, and it was up, but the one at the back was down touching the rod.  So I tried lifting it, and realized that the little black metal stopper that holds the ‘two’ works well, but the front stopper wouldn’t hold the back hammer.  I gently bent that front black stopper (horrors? !) so it will hold it up. But still no chime.
  3. Then I decided to take a wee video of the strike during chime time.  At 11:00 that morning, this is what happened in the back of the clock:
  4. It seems to me by the length of whirring, that the chime is out of whack in that sense also.  Not sure tho how much whirr = one chime.”

I took a look at the video and the strike rods are way too high above the rods.

My reply, “There are three hammers. Your clock is not a chiming clock – it is a striking clock. A chiming clock makes a musical sound and typically the musical sound is the Westminster chime on the quarter hour. You have what is called a striking “Bim-bam” clock. The rear hammer hits first followed by the two front hammers to make that bim-bam sound. The hammers should be just above the strike rods. Yours are too high to strike the rods therefore you are not getting the sound of the strike. Lower the rods by slightly bending them past the rods to the side and bend them so that they are just barely above the rods leaving a gap of about 1/8 inch. They should now work as designed. I can only surmise that someone in the past bent the rods upwards to quiet the clock.”

AMs Forestville clock
AMs Forestville clock, a very attractive Art Deco clock

AM replies, “Ok!  Well that makes sense, and even the bending of the hammers.  I can hear and see my Uncle Bill … first swearing, then getting in there and bending those hammers!  He was dear soul really. Thanks for all your help”.

IIII or IV on a clock dial face? Why the difference

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.

Possible Scenarios

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.

9:04am - 100 years ago
The number IIII

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.

Which do you prefer , IV or IIII?
Which do you prefer, IV or IIII?

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.

Kienzle World Clock with the four as IV

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?

Clock face in good condition
Parlour clock with Roman Numerals

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?

Chauncey Jerome 30 hour ogee – servicing a #1.314 time and strike movement

C Jerome 30 hour movement testingin the case

Chauncey Jerome 30 hoir Ogee clock
Chauncey Jerome 30 hour Ogee clock

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.

Chauncey Jerome one-day movement type 1.314
Chauncey Jerome one-day movement type 1.314

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.

Type 1.314 movement, very dirty
Type 1.314 movement, very dirty

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.

Punch marks on first wheel
Punch marks on first wheel, strike 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.

broken movement support
Broken movement support

The retainer clip for the count wheel was riveted in placed and prevented me from taking it apart.

Retainer clip for count wheel riveted in place
Retainer clip for count wheel riveted in place, not nice!

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.

Looks like a large pivot hole but actally punched close to the hole
Looks like a large pivot hole but actually punched very close to the hole

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.

Test fitting parts
Test fitting parts after cleaning

30 hour movement servicing
30 hour movement servicing, oiled, movement in the case

C Jerome 30 hour movement testingin the case
C Jerome 30 hour movement testing in the case

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.

Addressing an upper tablet replacement on a Seth Thomas column and cornice clock

Seth Thomas column and cornice

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.

Missing upper tablet
Missing upper tablet on an American Seth Thomas clock

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;

  • Do nothing,
  • Attempt to find a decent quality reverse painted set from the same period,
  • Try my hand at painting a new tablet,
  • Buy a photo reproduction set online
  • Find a complimentary design and reproduce it on my home photo printer.

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.

First attempt, a little lighter than what I was looking for
First attempt, a little brighter than what I was looking for but close

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.

 

The challenges of restoring an Ansonia Drop Extra wall clock when the clock is rare and parts are hard to come by

Cleaned up time only movement

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.

Elisha Manross 30 hour steeple clock
Elisha Manross 30 hour steeple clock

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.

Ansonia Extra short drop wall clock
Ansonia Extra short drop wall clock

Siezed time-only movement
Seized time-only movement

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.

Ansonia backboard with partial label
Ansonia backboard with partial label & movement mount blocks

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.

Ansonia movement in case
Ansonia movement running and installed in the case

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.

Rosewood veneered dial bezel in position

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?

 

Elisha Manross Steeple Clock – the early days of the American clock

Elisha Manross 30 hour movement

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

Ansonia Extra short drop wall clock
Ansonia Drop Extra wall clock

The fourth clock is an American Elisha Manross 30 hour steeple clock which is the subject of this article.

Elisha Manross 30 hour steeple clock
Elisha Manross 30 hour steeple clock on right

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.

Veneer could use some cleaning
Veneer could use some cleaning, right steeple is missing, door is off

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.

Nice aged patine, numbers have been touched up
Nice aged patine, numbers have been touched up

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.

8/43 inscribed on the back door
8/43 inscribed on the back door

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.

Well preserved label
Well preserved label

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.

If clocks could tock – the stories they could tell

one-weight Vienna wall clock

I wish I knew the stories of all of my clocks.

Antique and vintage clocks evoke a time when life was simpler than the hectic times we live in today. Those nostalgic times when the things we bought and cherished were living memories of people and places that are gone but not forgotten. Antique clocks should be passed down from one generation to the next. Judging from the online marketplaces unfortunately many are not handed from father to son at all as so many have left their original owners. Is sentimentality lost on this generation?

Two such clocks have a story

Not including the the nine clocks I have in my home office there are 35 clocks displayed throughout our home. It saddens me to think that for many of my clocks I know absolutely nothing about them though I wish they all could talk. What stories they could tell.

Two such clocks have a story.

One of my clocks survived the Halifax Explosion in 1917. I know this because the people I bought it from had the clock in their family for over 100 years. It was certainly not in the condition you see here. It was a box of parts and I imagine they felt they had held onto it long enough and it was time to let it go. After I restored the clock I called back the previous owner and told him what I had done with the clock and would I kindly send him a photo of it restored to its former glory. I did and heard nothing afterwards. Sellers remorse, perhaps. I often look at the clock and try to imagine that fateful day when it fell of the wall in a modest home in North Halifax on December 6, 1917.

Junghans Crispi wall clock
Junghans Crispi wall clock

Story number two. You have to feel something for some of the previous owners. This Ingraham Huron shelf clock (circa 1878) is a real gem and fairly rare, you just do not see it come up for sale very often. Some would call it a balloon clock. It was bought in a little village outside Bridgewater, Nova Scotia. My wife and I are about 2 hours away and we decided to make a trip out of getting the clock, having lunch nearby and doing a little shopping.

Do you know anyone who wants Jeff Gordon memorabilia?

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

We arrived at the sellers home, a modest nondescript bungalow. I was greeted at the door by an elderly couple. They had previously told me on the phone a day earlier that after consultation with their son they had decided on a fixed price for the clock and the price seemed very fair to us.

I asked how long they had the clock and the gentlemen who I would say was in his early seventies said that he could remember the clock in this grandmother’s home when he was quite young. He extended his hand palm down to about a meter from the floor and said, “I was this tall when I can first remember it in my grandmother’s home”. After a conversation with the couple I had discovered that they were parting ways, an amicable separation it seemed and the wife had decided to live in an apartment minutes away in Bridgewater. The husband was left with the home and his workshop in the back of the property. “He spends a lot of time out there anyway and besides, we need to get rid of stuff”. “Do you know anyone who wants Jeff Gordon memorabilia?” “No”, I said and left with the clock. It is sad that they had to part with such a memory but people change.

Seth Thomas column and cornice "Empire" style time and strike shelf clock
Seth Thomas column and cornice “Empire” style time and strike shelf clock

I guess sentimentality has a dollar value or people live with things so long that they eventually tire of having them. Deciding to get rid of things is about relieving yourself of all the stuff you’re hanging onto from past relationships and past memories. Secondly, our desire to hold onto piles and piles of old mementos can often be blamed on nostalgia. That’s because reminiscing about the past makes us feel good. It can lead to increased feelings of familial or social connectedness. If I have an old clock, looking at it can elicit positive emotions. Or, perhaps it was not an especially happy memory and getting rid of it expunges that memory.

I often wonder what will happen to my collection when I meet my fellow clock-makers in the sky. My wife knows that I have no real attachment to some of my clocks since I merely purchased them to learn how to repair them and to grow my hobby. Yes, you can have too many mantel clocks!

However, there are about ten clocks in my collection that I hope will be passed down to my kids. My four Arthur Pequegnats, two Vienna regulators, a Seth Thomas Empire style clock, my Sessions Beveled No. 2, my Ingraham Huron shelf clock and my Junghans Crispi wall clock. For some I appreciate their history and admire the folks who had them and for others they have become sentimental attachments because I spent so much time restoring them.

Pequegnat Canadian Time office clock

I think my kids will appreciate them.

 

Chauncey Jerome 30 hour Ogee – a 156 year old American clock that is a tribute to the man himself

Chauncey Jerome movement #1.314

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 30 hoir Ogee clock
Chauncey Jerome 30 hour Ogee clock with J.C. Brown house in lower tablet

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.

Coil gong
Coil gong, polished, incorrect position in this photo

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.

Chauncey Jerome one-day movement type 1.314
Chauncey Jerome one-day movement type 1.314, yes, very dirty

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.

Rear of zinc dial
Rear of zinc dial

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.

Label showing Benham Printer, 56 Orange Street, New Haven
Label showing Benham Printer, 55 Orange Street, New Haven at bottom center

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.

Crazy clock ads – needs guts

Red color wood, in nice shape, not working, needs guts. $5.

Maybe I’d get it just for the case!

Mauthe mantel or “buffet” clock – can you tell me more about the maker?

Tick-Talk Tuesday

Mauthe Westminster chime mantel clock
Mauthe Westminster chime mantel clock similar to LL’s clock

Tick-Talk Tuesday is about the letters and comments I have received from you, the reader, concerning your clocks, issues you might have had and challenges you face and my responses to your questions with advice on your  particular clock concern(s). For those comments and questions that stump even me, I consult within my clock circles for the best possible response to your question

LL writes, “I just had my Mauthe 3-train Tambour mantel clock cleaned and repaired. This is the first I’ve heard it chime in decades! I know my brother bought in England in the eighties but that is all I know about it. Can you tell me any more about the maker?”

Mauthe would have called your mantel clock a “buffet clock”.

Mauthe clocks have an interesting history. In 1844 Friedrich Mauthe and his wife Marie founded a company in Schwenningen, Germany to produce watch parts. At the end of the 1860’s Mauthe began to produce their own wall clocks (and movements). Some have been produced by home-work by so called “Gewerblern”, others have been produced in a more “industrial” way.

The Mauthe sons Christian (1845-1909) and James (1847-1915) took over in 1876. In 1886 Mauthe began manufacturing its own spring mechanism.

Around 1900, alarm clocks, pendulum wall clocks, grandfather clocks, office clocks and so called “Buffet Uhren” “Buffet clocks” were offered. The number of employees at that time went up to about 1,100 people. In 1904 the 3rd generation took over (Eugene Schreiber (1877-1939) – son of Christian Mauthe, Dr. Fritz Mauthe (1875-1951) – son of Jacob and Mauthe Alfred (1879-1911) – son of Jacob Mauthe.

In 1925 Mauthe announced a new trademark. It shows a right-looking eagle with outstretched wings, holding in its talons a three-part round plate with the letters F, M and S. My Mauthe mantel clock is unmarked. Early in 1930 the company produced about 45.000 clocks per week (with 2000 employees). About 60% were produced for export markets, England for example was one of those export markets.

Mauthe mantel clock sitting atop a Stromberg Carlson console radio
Mauthe mantel clock sitting atop a Stromberg Carlson console radio

In the mid-1930’s Mauthe started to manufacture their first wrist watches, some were even supplied to the German Army (“Wehrmacht”).

From 1946 on Mauthe re-started with the production of wrist watches. Though largely successful during the post war years, sales began to decline and the company eventually declared bankruptcy closing in 1976.

These precision German movements keep very good time and are certainly worth keeping and repairing. Enjoy yours now that it chimes.

The art of veneering – Part III – staining and finishing

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.

ST column and cornice , as found
ST column and cornice, as found

An example of veneer loss

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.

Veneer repairs are complete
Veneer repairs (light areas) are complete

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.

Comparing three stains
Comparing the three stains

Although veneering is a challenge, it is very rewarding work and I eagerly await my next project

New veneer above cornice, base of cornice is original though it looks like it was replaced
New veneer above cornice. The base of right cornice is original though it looks newer

Most of the base was replaced with new veneer
After two coats of shellac

After three coats of shellac, the case is complete

With dial and doors re-attached
With dial and doors re-attached, movement is out of the case at this stage

Although veneering is a challenge, it is very rewarding work and I eagerly awaiting my next veneering project.

Movement serviced and oiled
Lyre movement serviced and oiled

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.

Seth Thomas column and cornice "Empire" style time and strike shelf clock
Seth Thomas column and cornice “Empire” style time and strike shelf clock

Lessons learned:

  • Allot a significant portion of time for the project, it is time-consuming and meticulous.
  • For an authentic repair hide glue must be used; avoid white or yellow carpenters glue though I would think there are rare times when it would be considered.
  • Hide glue:
    • must be a certain consistency to work properly. It should drip off the brush like honey. My hide glue was too thin at the start of the project.
    • will last a while in the fridge. Don’t cap the glue while it cools; condensation will hasten mold growth
  • Stay away from plastic based modern stains and finishes and go with shellac or any finish that would have been used at the time.
  • Some use filler to smooth the gaps between pieces of veneer, I did not use filler for this project; it is something I might consider next time.
  • A light sanding of the veneer is all you need, aggressive sanding will destroy the veneer (lesson learned).
  • Apply painters tape on the veneer before cutting; doing so eliminates ripping and tearing.
  • Use a sharp hobby knife
  • In future I would consider replacing larger sections rather than a patchwork of small pieces though that largely depends on how much veneer you have to work with.
  • Clamps are essential. Get various sizes of clamps and use wax paper between the clamp and the veneer, you will thank me!
  • Leave the area clamped for 24 hours. Although hide glue bonds quickly clamping for a day will ensure maximum adhesion.

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.

The art of veneering – Part II – veneer work

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.

Home-made double boiler with temperature maintained on a hot plate

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.

A micrometer ensures an accurate cut

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.

Painters tape ensure a rip free cut
Painters tape ensure a rip free cut

Painters tape easily peels off

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.

Clamping cornice veneer
Clamping cornice veneer

Door piece and corner base piece is clamped
Door piece and corner base piece is clamped

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.

A piece of pine was cut to fit
A piece of pine was cut to fit

strip of veneer applied
Strip of veneer glued in place;  prior to trimming and sanding

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.

Small angular cornice piece on left is glued in place

Top section almost complete and ready for staining
Top section is almost complete except for a left side cornice section (not visible in this shot)

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.

Right column base
Right column base, prior to sanding and trimming

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.

Colour matching test: the green tape is holding a chip that has one coat of Rosewood stain

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.

The art of veneering – Part I – general assessment and the work to be done

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.

Waterbury OG clock
The veneer on this Waterbury 30 hour Ogee is in excellent 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.

Seth Thomas 8-day column and cornice with sleigh feet
Seth Thomas 8-day column and cornice with sleigh feet

Plymouth ST 6-day lyre movement
Plymouth ST 8-day lyre movement

Cornice trim piece
Cornice trim piece made from pine

New piece to replacing missing top section
New pine piece replaces missing section

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.

Dial in generally poor condition
Dial in generally poor condition

Loss of veneer on the cornice
Loss of veneer on the cornice

Different angle of the same cornice
Another view of the same cornice showing a poor attempt at a repair

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.

Chipped veneer below sleigh foot
Chipped veneer below sleigh foot

Closer view of left foot
Closer view of left foot with veneer chipped off

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.

What! How does that work again??

This weeks goodwill find. It was 10.00 but it had a blue sticker on blue tag day so it cost 5.00
 

Unknown mantel clock
Unknown mantel clock

Clock owner posted his excellent find on a popular social media site. Here is the conversation.

  • Person 1, “ Can’t lose at that price. Hermle movement I presume.”
  • Clock owner, “Yes with a quartz battery operated time train. The gong and chime are wind up”.
  • Person 2, “ Cool. What do you mean ?? Pic of movement ?”
  • Person 3, “Yes, how does that work? very curious.”

No answer from clock owner and no photos of movement but there are two arbour holes.

In defense of the seller it could be electro-mechanical as Hermle made a few such clocks in the 1950-60s. Any thoughts or ideas? I think it has been converted.

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