I never actually went to this auction but participated online. It is not quite the same as the rush of bidding in a live auction hall but exciting in its own way.
This particular auction had quite a number of clocks but I would say that most were in rough or what I would call “hobby-ready” condition.
I was looking at one particular clock but three more grabbed my attention. A total of four clocks, two shelf clocks, and two wall clocks.
My budget was $300CDN and I stuck to it. I set the maximum I would pay for each item and placed all bids within the last minute of the auction and walked away from the computer. For two of the clocks, I was prepared to let them go if bidding got too high but at the end of the day I won all four. With fees and taxes, the final invoice was $379 (a little over $300US and 240BP).
Bidding online is always a gamble. What the photos reveal does not always tell you what you are getting and I have been surprised more than once. I have a number of other photos from the auction but these are a good representation.
Hamilton Clock Co.
30-hour Ogee clock
Clock number one is a 30-hour weight-driven ogee made by the Hamilton Clock Co. based in Hamilton, Ontario in the late 19th century. This was a clock I was anxious to have since I am in the process of building a small collection of Canadian-made clocks.
I have one other clock from The Hamilton Clock Co., a 30-hour time and strike steeple clock, and one from the Canada Clock Co., a 30-hour time and strike cottage clock.
I am grouping the two companies together because one essentially grew from the other and made clocks within the same factory and with the same machinery.
Those two have etched lower tablets as on this new acquisition.
Canada Clock Co. Hamilton Cottage Extra
Hamilton Clock Co Gothic steeple clock
The Hamilton Clock Co was formed in 1876 and went out of business in 1880, a very short run for a clock company, unfortunately. The exact year of manufacture is unknown but I may know more when I receive the clock.
This clock looks like every 30-hour ogee ever made and that was the original intent, a familiar clock style that appeals to the masses. The dimensions of this Canadian-made ogee are very similar to American-made ogees and the movements, though made in Canada, are essentially indistinguishable (minor differences aside) from 30-hour ogee time and strike movements made by a number of American manufacturers of the time.
The clock appears to be intact, has its own weights and the lower etched glass tablet seems to be in fine shape judging from the auction photos but the case will need a thorough cleaning and some veneer work.
Daniel Pratt Jr
Clock number two is a Daniel Pratt Jr which I’d like to call a reverse ogee with a splat top but the splat top is missing.
I have just one Daniel Pratt Jr clock in my collection and it has an early woodworks movement. The older Pratt clock shows what the splat should look like.
Daniel Pratt Jr with woodworks movement
Reverse ogee and “splat“
According to the label on which the date 1843 is inscribed, one can assume that this is the date of manufacture, approximately.
In any event, it may have a woodworks movement. There were still a few companies who continued with the cost-effective woodworks movement but by that time the rolled brass plate movements were becoming more common.
The loss of the splat top certainly makes the clock less desirable but it was one of the cheaper clocks in this grouping and, who knows, I might have a splat made, we’ll see.
Label, weights and pendulum bob
The green banding on the upper and lower glass sections looks somewhat suspicious and could have been added later. This clock also comes with weights and what looks to be an authentic-looking pendulum bob.
The lower tablet might just be a card-stock image, again, likely not original but old nonetheless. The dial has some losses but what there is of the case looks good.
Unknown gallery clock
Clock number three is an unknown gallery clock. I have no idea of the maker and cannot even guess. I took a chance and I hope the gamble pays off.
Gallery clock
The auction information describes it as 14 inches in diameter so I am assuming the clock face is about 10 inches or so. The hands look very interesting, the case looks well-made (mahogany?) and the clock definitely has a mid to late 1800s English look.
The centrally located winding arbour tells me that it has a time-only mechanical movement.
Back of the clock
The dial looks to have been redone but I am more curious about the movement inside.
A shot of the movement from the bottom
I am not sure what I am seeing in the photo above. Certainly, a homemade door catch on the left and a large gear (perhaps a mainspring barrel), and cylinder-shaped pendulum bob. Fusee movement? I doubt it. I think it has a conventional spring-driven time-only movement but I will know in a few days.
Six-inch gallery or ships style clock
The last is a smaller gallery, ships, or marine-style clock which is spring-driven with a balance wheel. The speed adjsutment lever below the 12 is the give-away.
It is 8 1/2 inches in diameter (6-inch dial), key wound time-only 30-hour clock with a seconds bit. I cannot even guess who the maker is but could be a Waterbury, E N Welch, or some other American manufacturer.
The chunky oak case needs some attention but with a good cleaning and a coat or two of shellac, it should show nicely. Apparently, it is in working order.
Okay, so, two clock makers I am familiar with and two unknowns. I wonder what surprises await me when I open up the two unknown clocks.
In a day or so we shall see what we get. We are driving down to the auction house in the next couple of days but we will make something of our 3+ hour journey and enjoy the sites, have lunch in Annapolis Royal (Nova Scotia) and do some antiquing along the way.
I have had my eye a clock timing machine for a while but I was recently encouraged to accelerate my plan to buy one. My Timetrax model 50 beat amplifier stopped running for some reason. Okay, I dropped it and it made a strange rattling noise when I picked it up. Now it doesn’t work!
Model 50 beat amplifier, now broken
Do I need a timer? Up to now, I got along fine without it and generally speaking anyone repairing clocks can certainly get by without one. But I can now see that this little device can be quite practical and can save a lot of time and frustration.
Timetrax model 185
What does it do?
It is a Timetrax model 185 made by Adams Brown. It works by analyzing the mechanical vibration of a clock and converting the vibration or tick and tock to an electrical signal that is amplified within the timer producing a readout that is compared to an included clock train table.
It also has a beat amplifier and a balance control that will help determine the beat of a clock. It will certainly ease the process of regulating a clock, detect potential problem areas and perhaps eliminate or certainly reduce the lengthy time it takes to adjust a clock beyond a trial and error approach. I will learn more as I explore its many features.
It runs on batteries and unfortunately there is no way of hooking it up to an external power source. Don’t we have enough things that run on batteries in our homes!
I connected it to my Seth Thomas regulator #2, which is weight driven.
Seth Thomas #2
I checked the beat. It is roughly set by ear at first and fine-tuned by the machine. A clock is in beat when the time between ticks is even.
Switch the controller to BAL or “balance” to put the clock in beat.
The screen then displays a magnitude of numbers. I am over simplifying things a bit but a new number positive or negative is displayed as the movement ticks and a clock is in beat when the magnitude of numbers is minimized. The ideal reading is a succession of zeros which is almost impossible but the closer one gets to the zeros the better and the clock is now in beat or as close as possible to being in beat. Values under 20 are the goal.
Now for the beat timing. A Seth Thomas #2 runs at 80 beats per minute. So, 80bpm X 60 is 4800 beats per hour. The escape wheel has 40 teeth, so in this case the best numbers for a preset average is 80 (a doubling) and by clicking the beat cycle plus-minus button one arrives at the required number. The result for the ST2 was 4798 beats per hour. I am losing 2 beat per hour and compounded over one week it means a loss of mere seconds per week which in my view is very acceptable for a mechanical clock. It is not surprising that these clocks were originally designed for train stations.
I am sure I will discover other uses for this machine but for the moment I am pleased with its capabilities.
Tick-Talk Tuesday is about the letters and comments I have received from readers concerning clock issues, challenges faced, a clock you would profiled or advice on your particular clock concern. For those comments and questions that stump even me, I consult within my clock circles for the best possible answer
PN writes:
We bought this wall clock about 30 years ago at an auction. We would like to sell it. Can you tell me anything about it and/or it’s value? I appreciate your time.
Unknown wall clockUnknown wall clock
My reply:
How is the movement mounted in the clock? Is it mounted to rails (so that it can be removed easily by loosening 2 thumb screws) or by screws on the backboard. If it is mounted by screws to the backboard it is not German, French or British. It could be American but I doubt it.
I do not believe your clock is an antique. The ornate carved design is very much a feature of Oriental clocks and possibly Korean from about the 1960s or 1970s. There were some nicely carved antique American clocks but nothing this extensive. I have not seen one exactly like it but ones that are very similar.
These clocks show well and are sought after by some people looking for a unique decorative item but as to value, perhaps two or three hundred dollars or so.
PN writes back:
It is mounted to the backboard with screws. We paid $250 30 years ago and it kept great time. Thank you so much for your time and knowledge.
Note; I have not seen one like it, do not know the maker and if anyone reading this knows more about it, kindly leave a message.
Honestly, an entire book could be devoted to the topic of dating clocks. Some time ago, I published an article titled “How to Date an Antique or Vintage Clock – Part I,” in which I used specific examples from my own collection.
I’d like to explore this topic further, and this post will discuss additional methods for dating an antique or vintage mechanical clock. While there is no one definitive method for dating an antique or vintage clock, there are often clear clues in some cases and more subtle hints in others that can help pinpoint when a clock was made.
Occasionally, the exact month and year are displayed somewhere on the case, and in other instances, the clock by way of serial numbers, date stamps on the movement, style of hands, spandrels, dial design, case design, and so on, establishes the date to within a certain period.
After 1896 foreign clocks (Europe, England) were mandated to have the country of origin on the case, usually on the dial. Any clock made after that date will have the country of origin.
Duration of manufacture
A bit of research into the history of a clockmaker can help you narrow down the timeframe for dating your clock. For instance, the E.N. Welch Clock Company, an American manufacturer, produced clocks until 1903, when it was acquired by the Sessions Clock Company, which continued making clocks until 1970. The E.N. Welch Clock Company made clocks for a 50-year period until its acquisition by Sessions in 1903.
By 1903 German-based clock manufacturer Junghans was the largest clock maker in the world and continued in its quest to bring more companies into the fold. Gustav Becker, founded in the 1860s, and Hamburg American Clock Company, founded in 1883 were absorbed by Junghans in the late 1920s. Although those companies were folded into Junghans in 1926 the Gustav Becker name lived on for another 9 years.
Gustav Becker regulator C.1907, Braunau factory
Clocks with Steel vs Brass platesvs Woodworks movements
Smaller shelf clocks with 1-day (30-hour) wooden movements were produced in fairly large quantities from around 1810 to 1845, after which most clockmakers changed over to brass movements. Wood dials were also popular during this period.
Daniel Pratt woodworks movement with dial removedC.1832-38
By 1860 iron weights were being replaced by springs as the power source, and smaller clocks, many of them 8-day, were becoming increasingly popular. Early American spring-driven clocks used brass springs (late 1830s) until steel became cost-effective.
This information is important for dating a clock because it highlights key transitions in clockmaking technology and design, which can help pinpoint the era in which a clock was made. For example, the use of wooden movements and wood dials can indicate a clock was produced between 1810 and 1845. The shift from iron weights to springs by 1860 helps us understand why spring-driven clocks became popular, which is crucial for narrowing the period of manufacture. Additionally, the switch from brass springs to steel in the early 1840s can provide a more precise date range for early spring-driven clocks.
Understanding these technological changes allows you to make more informed judgments about a clock’s age based on its features.
Brass mainsprings from a Manross steeple clock C.1837
During periods when brass was in short supply such as the World Wars (WWI and WWII), makers often made steel plate movements with brass bushing inserts. However, some companies such as Arthur Pequegnat used either steel plates or brass-plated steel plates throughout their operating years (1902 to 1941).
Steel plates on a Pequegnat time and strike clock
Other clock companies switched to steel as a cost-cutting measure when brass prices were high, not necessarily during wartime.
Screws and nails, chime rods, coiled gongs
In older clocks, nails, and screws were made of iron and hand-forged, with screw heads being slotted. Hand-forged nails can be found in clock cases dating from the earliest examples up to the mid-19th century, after which machined screws and nails started to replace them.
An ogee clock, like this example made by George H. Clark in 1865, was constructed with hand-forged nails.
George H Clark 30-hour Ogee shelf clock
Robertson and Phillips head screws were introduced in the first part of the twentieth century. Since the Robertson head was invented in 1906 and Phillips screw heads only began to be widely used in the 1930s screws of these types found in older antique clocks are later additions.
Since these screw types were introduced in the early 20th century, their use in a clock that dates from an earlier period suggests that the screws were likely replaced or added during a later restoration or repair. Recognizing these screws helps refine the clock’s dating and can provide insight into its history and any modifications it may have undergone.
The first rod gong, a single striking rod, dates back to patent designation DRGM 108469, granted to Johann Obergfell on December 23rd, 1899. The introduction of the rod gong, as opposed to earlier bell or strike systems, represents a key development in the evolution of mechanical clocks, especially in terms of sound quality and the technology used.
Understanding when this innovation occurred can help date a clock more accurately, particularly those with rod gongs, as it indicates they were likely made after 1899. Rod gongs are typically made from a copper or nickel alloy and are press-fitted into a block.
Thick coiled gong
There are two types of coils: the thick coils, which spiral only a few times and produce a deep, rich tone, and the thinner coils, which spiral many times and often have a higher-pitched, tin-like sound. Thick coils were used well before the mid-1800s. These coils are typically mounted onto a fitting, which is then attached to an iron block. Smaller, thicker coils became more common towards the end of the 19th century.
On the American front, thin wire coils were very common. Some examples had the coil mounted to a dome-shaped base which was said to improve the tone considerately.
Commemorative plaques
Commemorative plaques which display dates are often a good indicator of the age of a clock. However, the clock may have been on a seller’s shelf for years before the date on the plaque. This nevertheless places the clock within a certain range of dates. This photo shows a plaque on a HAC (Hamburg American Clock Co.) time and strike shelf clock.
HAC shelf clock with the date 1926 on a plaque
Type of escapement
Recoil (anchor), half deadbeat, Graham deadbeat, pinwheel, Brocot types are found in older antique clocks while, hairspring, floating balance, lever type escapements are found in newer vintage (less than 100 years old) clocks.
For example, floating balance movementsbegan appearing in mechanical clocks in the early 1950s. The floating balance will tolerate being out of level, unlike pendulum clocks which must be on a level surface, an attractive marketing feature.
This is important because the type of escapement mechanism used in a clock can provide key insights into its age and technological development. Older clocks with recoil (anchor), half deadbeat, Graham deadbeat, pinwheel, or Brocot escapements reflect the horological practices of earlier periods, while newer clocks featuring hairspring, floating balance, or lever type escapements indicate a more modern design, typically found in clocks less than 70 years old.
For example, the introduction of the floating balance in the 1950s was a signifcant advance because it allows for clocks that are less sensitive to being off-level, a feature that made them more convenient for consumers. Recognizing these mechanisms helps in accurately dating a clock and understanding the technological shifts over time.
floating balance escapementC. 1950
Style of case
The style of the case, such as ogee, box clock, steeple, cottage, or gingerbread, can help date the clock to a specific period.
The style of a clock case can offer valuable clues about its age, as different case styles were popular during specific periods in history. Here’s a breakdown of some common clock case styles and their associated timeframes:
Ogee Clocks: These clocks, named for the distinctive curved, “S”-shaped design of their cases, were popular from the early 19th century, especially between 1825 and 1850 but continued to be made into the 1880s. They typically have a simple, symmetrical shape, often with a painted or paper dial, and were mostly made with wooden movements in the early years.
Box Clocks: This style features a simple, rectangular or square case, often with a hinged door or glass front. Box clocks were common in the early to mid-19th century (1920s to 1940s), with their plain, functional design making them relatively inexpensive to produce.
Steeple Clocks: Steeple clocks are characterized by their pointed, “steeple” shape at the top of the case. This design became particularly popular from the 1840s through the 1870s. Steeple clocks were typically more decorative and were often used in homes and churches, with some having more ornate carvings or decorative elements.
Cottage Clocks: Cottage clocks, with their simple and rustic designs, emerged in the mid-19th century, around the 1840s and 1850s. Often smaller in size, these inexpensive clocks were popular in rural homes. They are sometimes characterized by a more casual, handcrafted appearance, with wooden cases and floral or geometric motifs.
Gingerbread Clocks: This style, which features intricate carvings and decorative elements like scalloped edges, ornate moldings, and small, detailed pieces, gained popularity in the mid- to late-19th century (around 1860 to 1880). Gingerbread clocks are often associated with the Victorian era and were typically mass-produced.
The case style is a strong indicator of the clock’s approximate age because clockmakers and manufacturers often adapted their designs to reflect contemporary tastes. By identifying the specific features of a clock’s case—such as the materials used, shape, and any distinctive decorative elements—you can narrow down the period in which it was made, which can then aid in dating the clock more precisely.
E Ingraham Huron C.1878
Knowing the period when a case was made provides a reliable indicator of the clock’s age. Although there are earlier patent dates stamped on the movement of this E. Ingraham Huron time and strike 8-day shelf clock, this style of case was made for only 2 years, 1878 to 1880.
Date stamps on movements or cases& searchable databases
Some makers stamp date their movements or display the date elsewhere on the clock case. The Gilbert Clock Company often date-stamped their movements. Sessions put dates on the door labels.
Some makers such as Junghans stamp a date code on their movements. For example, B19 stamped on the back plate of a Junghans movement refers to a movement made in the latter half of 1919.
Serial numbers stamped on movements can be compared to a database to determine the exact year the clock was made. The Ridgeway clock company used 4-digit codes. For example, serial number 4981 refers to a Ridgeway clock made in 1981.
Gustav Becker clocks were made in both Silesia and Braunau factories, both of which produced clocks but each had a unique serial number convention. The serial number on a Gustav Becker clock will give the exact year of production assuming you know where it was made, Silesia or Braunau.
An online databases such as ClockHistory.com provides invaluable information on companies and models made by them, the years the clock company was in business, and how long the company was in operation.
Searchable databases like Mikrolisk, the horological trademark index help date a clock by comparing a trademark. Some companies revise or restyle their trademarks over the years allowing one to date a clock within a certain period.
At Antique-horology.org keywords or text can be used to search trademarks and identify years they were used.
Scottish tall case clock C.1848
The date 1848 is attributed to the clock above. I arrived at this date because it was made by William McLachlan of Newton Stewart, Scotland. According to an English clock database, Mr. McLachlan was a clock assembler and ran a clock-making business in Newton Stewart until his death in 1848. While the clock could have been assembled as early as 10 years prior, 1848 serves as a conservative estimate.
Other miscellaneous indicators
Plywood began to be used in clock cases starting in 1905. One of the clocks in my collection, a Junghans bracket clock, made around 1913, features a plywood back access door.
Seth Thomas made clocks in marble cases for a short time, from 1887 to about 1895. They also made clocks in iron cases finished in black enamel, from 1892 to about 1895.
Adamantine clocks were most popular through to 1915. Seth Thomas is best known for their “Adamantine” black mantel clocks, which were made starting in 1882. Adamantine is a celluloid veneer, glued to the wood case. Adamantine veneer was made in black and white, and in coloured patterns such as wood grain, onyx, and marble.
Seth ThomasAdamantine clock circa 1911
Final thoughts
My goal for this two-part article was to provide a broad, generalized overview. Each of the sub-topics mentioned above could be explored in much greater detail, and I hope this serves as a useful reference for some of you. I welcome any corrections to the dates, and if there’s anything I’ve missed or other information that should have been included, please feel free to leave a comment.
As I’ve outlined, there are many ways to date a clock—some methods are quite obvious, while others are more subtle and require a bit of research to pinpoint.
For some collectors and clock fans, dating a clock is crucial, as it adds historical context and value to the piece. For others, however, it may not be as important, especially if the clock serves primarily as a decorative item rather than a functional or collectible piece. In such cases, the aesthetic appeal might take precedence over its exact age.
Ten years have flown by very quickly. Just the other day I was cleaning a clock I serviced over 5 1/2 years ago and it struck me that I have been at this for over 10 years and loving it.
Three years into the hobby I decided to begin blogging and have been at it for close to 7 years. I love blogging and it helps me gauge my progress as I explore new avenues of clock collecting, repair, and restoration and it allows me to marry my photography hobby with writing.
It has been quite the journey, I have learned a lot in that time and have some thoughts I would like to share.
Managing my collection makes me a better collector
In the early days, I would collect just about anything I could get my hands on, the cheapest clocks imaginable, some for as little as $5, generally for practice working on cases and movements but the number of clocks began to build up at a fast rate.
80 clocks is a comfortable number for me. I have adopted a “one comes in, one goes out” rule to control the size of my collection.
I learned to become more discriminatory and concentrate on particular types of clocks rather than any clock at all, selling off or gifting those that did not fit my new criteria. Spring and weight driven wall clocks and American and Canadian shelf clocks from the 1860s and 1870s are my principle focus at this time.
Museum collection
Take your time, there is no rush
Rewards come in small increments. My last major project was an antique 1840s circa banjo clock. Acquired in the spring of 2021 it took me almost a year to complete the project, working on it in stages.
Sawin Banjo clock C.1840
Whether it is restoration or repair, I take my time investigating new (to me) techniques or wait for a tool that I feel would make the job simpler. For example, the bezel repair on the banjo clock above was made much easier by the purchase of a band clamp.
Buy only the tools you require and more if and when you need them
Tools can be expensive. As in any hobby requiring the assembly and disassembly of mechanical devices, I relied on the tools I had on hand to get started. Once committed to the hobby my next decision was to determine how I wanted to grow it.
Equipment such as a pivot cutter. lathe, a decent ultrasonic cleaner can amount to hundreds if not thousands of dollars.
Bergeon Bushing Machine
It took me four years to justify purchasing a pivot cutter, another year or two to buy a lathe and ultrasonic cleaner and over time I have managed to acquire most of the hand tools that I require. Spreading out the costs over time has also made it financially feasible.
There is always the option of buying used but I live in a distant part of Canada with a low population and there are just not as many people engaged in clock collecting and repair as would be elsewhere.
Antique and vintageclocks are cheap and there are plenty of them
Some clocks are well over 100 years old but are worth almost nothing. A glut of antique clocks offered on the internet have lowered their value. Ogee clocks that were once two and three hundred dollars years are worth a quarter of that today.
I have bought $40 clocks that are now worth, well…$40. There are a rarefied few in the world that are worth a fortune but I don’t have any of those in my collection.
A $5 barn find
Some clocks have crept up in price over the years but I do not have anything that I would call very valuable. Others, such as my collection of eight Arthur Pequegnats mantel and wall clocks are highly collectible in Canada.
At any given time there are literally hundreds of “antique” clocks offered on online for-sale sites. A majority of these clocks are trash and many are not antique though they are offered as such. Sellers often advertise clocks that are beyond repair and unfortunately clocks made in Asia are cheap, dangerous to work on, and were never meant to be repaired.
Choose repair advice wisely – not all advice is good advice
There are experts on clock repair out there, you just have to find them. It is too easy to get swept up by people who do not know what they are talking about and there are a number of well-meaning folk on YouTube that offer questionable clock repair advice. I follow a couple of well-respected YouTube repairers and have seen enough of their videos to convince me that they know what they are doing.
As I am a member of the NAWCC (National Association of Watch and Clock Collectors) and a member of the Ottawa Valley Watch and Clock Collectors Club, chapter 111 of the NAWCC. As such I have access to a wealth of information including online library resources and articles. NAWCC has an online forum presence that anyone can join for free. There are a number of well-respected people on the forum who contribute regularly. They have years of experience and offer excellent advice.
There are few clock Facebook groups but the advice is all over the map. Tinkerers and experts can be found but the expert soon loses patience and many are chased away by the know-it-all.
Collect clocks for profit? The margins are too small. However, I do sell the odd clock to offset equipment purchases. For me, I love the nostalgia, the design, and the fascination of a machine that may be over 150 years old that works perfectly today. Value is not important to me. Hobbies for profit? For some but not for me.
Be prepared to walk away
I have walked away from more than a few clocks over the past 10 years. Sometimes you have to let it go. Whether it is the price of a clock on an auction site that has risen beyond what I am prepared to pay or a clock offered as rare when it is, in fact, quite common.
E Ingraham Huron shelf clock made between 1878-1880
Some would have been perfect to have in my collection but they were priced just a little too high for my tastes. Others had too many things wrong and had suspicious repairs or parts missing that would have been impossible to source.
Just when I say, darn I missed that one, a better clock comes along.
Meeting like-minded peopleopens up a new world
As clock collectors and repairers we are a strange lot. Some of my clock colleagues are quite eccentric. Most are introverts and although they keep to themselves have no trouble sharing with like-minded people. One of the most fascinating things about this hobby is the people and their passion for mechanical clocks.
Final thoughts
These are some of my reflections over the past 10 years. I have learned a lot, met many fascinating people, acquired some very interesting clocks and look forward to more adventurers in the world of clock collecting and repair.
Those of you who work on mechanical clocks regularly must have run into this situation at least once. Everything went perfectly until the very end.
Sessions time and strike movements are very common and I have worked on quite a few over the years. They are reasonably well constructed with the exception of a well-documented poorly designed click.
Worn click on a Sessions movement
The other day I was working on a movement that I had originally serviced 5 1/2 years ago. Back in 2016, I installed 10 bushings, quite a number for any clock but it was very worn. It has run exceptionally well since then but now it was time for an inspection, cleaning, oiling, and correcting any possible issues.
Sessions movement in a wall clock
I took the movement apart, cleaned the plates, wheels, and levers in my ultrasonic cleaner (which I did not have back in 2016), and reassembled the movement. As expected the movement is much shinier than before and looks like it came off the factory floor.
During my inspection, I found minor wear but the only location where a bushing was required was the second wheel backplate. I could have left it but it was worn enough to need a new bushing.
Backward count wheel
It’s back together and being tested. Okay, I had to open up the strike side to reposition the stop wheel to correct warning but that’s about it.
It now runs perfectly and a nice pat on the back for me but oh! oh! wait…..it is not quite perfect, because I don’t think three o’clock follows four.
Dang, the count wheel is on backward. Why didn’t I see that?
You probably expected me to express a few choice words but I looked at it and said, ha, that’s too funny!
5 minutes was all it required to put it right and now it sounds great. Four o’clock now follows three o’clock. Yes!
This banjo clock project has been an ongoing challenge for nearly a year, a very enjoyable one that has taught me so much.
The movement has been serviced, 4 new bushings installed, the case has been cleaned, veneer issues addressed on the two bottom corners, a new post was made for the final, dial glass has been replaced, the hands rubbed down with steel wool to remove rust, the bottom section of the rails on both sides re-glued, some flat-head screws replaced (with smaller flat-head screws taken from old cases) and the old brass cable was removed and replaced. The dial was left untouched.
There is a simplicity about the case design that I really like.
Veneer missing on two bottom corners
The old and tired suspension spring should be replaced. I cannot source the spring alone but I am reluctant to pay for an entire pendulum assembly. It has been straightened and it works well for now.
The last step is addressing the crack in the wood dial bezel.
Cracked bezel
The age crack is just above the number eleven on the dial. It was likely cracked long before I bought it.
Hot hide glue was used to close the gap but the repair did not work. The hot hide glue has a low bonding strength and it separated after just a few weeks (a dry house in the winter does not help).
I had difficulty closing the gap with string and ecstatic bands so, I purchased a band clamp designed for furniture repair, so let’s see how that goes.
Clock sans dial bezel
A band clamp might just be the ticket but there is always the risk of the bezel splitting again, perhaps not in the same place. Option two, which I prefer not to exercise at this time, is to fill in the crack and simply live with a slightly larger bezel that may not fit the dial door catch exactly.
There were many choices on Amazon and I selected one of slightly better quality.
When the clamp arrived, rather than apply the glue immediately I clamped it unglued for about a week theorizing that memory in the wood would be retained when glued. Yep, just a theory! In addition, if it were to crack in a different place that would have been the time it would happen.
Since hot hide glue was simply not strong enough I used glue with a much higher bonding strength, Gorilla glue, because it will hold. Perhaps hide glue with a higher bonding strength might have worked but I just don’t have that on hand. I am usually a stickler for authentic methods but sometimes a more modern glue is the only option.
Wolfcraft band clamp
Wax paper is used to prevent any residual glue from sticking to the band and the surface the bezel rests on. The curing time is 24 to 36 hours, the reason for the sticky note. It cured for almost 48 hours. Enough time I would think.
Two large flat-head slotted screws for the hinge hold the wood bezel in place and on went the bezel.
Completed project
And the result after 10 months of working in stages, is a complete and functional banjo clock that, in my view, looks absolutely stunning.
Tick-Talk Tuesday is about the letters and comments I have received from readers concerning clock issues, challenges faced, a clock you would profiled or advice on your particular clock concern. For those comments and questions that stump even me, I consult within my clock circles for the best possible answer
Mauthe box clock
NT writes:
I was wondering if you could take a look a this clock for me. It belonged to my great grandmothers mothers. My great grandma recently passed at 108. I can only imagine the age and value of this clock. I know it’s called Mauthe.
My reply:
Hi and thanks for your email.
The clock looks to be in fair condition although I would remove the cement/putty(??) on the door frame. These clocks do not have a lot of value, probably the $100-150 range. It looks to be from the 1920s, or 1930s. Some were quite large and ornate with intricate wood carvings but your appears to be at the lower end of a model range.
They are known as box clocks because of their style. Mauthe and other makers made literally thousands of them and they sold very well but the company eventually went out of business in 1976.
The movements are quite robust and they will last for years and are easily repairable unless there are serious problems as parts for them cannot be sourced.
If it has sentimental value I would keep it, have it cleaned and serviced and displayed in a prominent location. Most Mauthe clocks have wonderful sounding strike gongs but are not loud tickers.
There is a thin line between restoring a clock case to its former glory and ruining it forever. While the intent is to make them look like the day they were made, many clocks get stripped and poorly refinished and the results are beyond sad.
Although there is much debate in the world of antique furniture about what is appropriate, in serious antique clock circles, it is never a good practice to remove a finish that has aged well. Original surfaces and their preservation is the concern of every serious clock collector and some clocks must be left untouched.
There are certainly clocks that must be refinished, but that is often a process that is not well understood or practiced.
Clocks that sometimes end up on my workbench suffer from extreme neglect. They are usually found in an attic or barn, covered in filth. My first decision is whether or not they are worth saving and if so, what steps should be taken, what additional parts are required, where can they be sourced and what is the expected outcome.
A $5 barn findwith a finish that is completely gone
Perhaps the best example is a $5 Ansonia Extra Drop wall clock saved from the trash heap.
The same clock, while not perfect, is a survivorand runs daily in my office
Even the movement, complete with rusty mainspring, has found a new lease on life.
A very rusty movement that most would throw out or harvest for parts
The intent was never to save it for re-sale purposes but as a test bed for case refinishing and movement repair.
The same movement,cleaned, wear issues addressed and on the test stand
My approach is to either leave it completely untouched (other than a soap and water cleaning) or go full on, there is no half measure. Some clocks require the full treatment whereas others can be left completely as-is.
This single-weight Vienna Regulator from about 1880 had the movement serviced and the brass polished. Otherwise, the original finish was preserved and that is to be expected of a clock that has been well cared for during its life. There is no requirement to refinish this clock.
Miniature one-weight Vienna wall clock
The value of a clock that has been poorly refinished is severely diminished. When destroyed by well-meaning folks they have little to no value. More is lost in so-called refinishing than many well meaning people realize. However, when the ravages of time, environment, and neglect have taken their toll refinishing is justified.
Another example of a complete restoration.
Literally a box of parts
Junghans Crispi spring driven wall clock circa 1895 .
The same clock, with new parts, refinished, movement serviced
Although some are faded now, many antiques had a near piano finish when new and the finish has simply aged. Like furniture, they are admired for their original finish and polishing brass, like silver, would have been practiced on a regular basis if the clock were still in a home. Antiques must be cleaned regularly and maintained properly so that they may last.
However, correct refinishing of a case is a long and involved process that includes the filling of all the pores in the wood, cleaning sharp edges on corners, the use of traditional glue, fashioning parts from similar wood material used at the time, cleaning the various recesses, staining wood when originally stained, artificially grained when done so originally, painted when originally painted, gessoed gold-leafed details when gold-leafed was present originally, sourcing authentic replacement parts to name a few considerations.
Too many clocks are ruined by well meaning people and that is sad.
I have written about this clock several times in the past 10 months but I am making good progress which I will detail in this article.
This is how it arrived at my house last spring, dull and lifeless but with good bones and most everything original.
Dirty and dusty and ready for restoration
First, some background information about the clock.
This federal-style banjo clock was made in the 1840s perhaps as early as 1840. I am reasonably certain it was made by John Sawin of Boston, by either himself or one of his apprentices or associates.
The movement and case construction bears a strong resemblance to a Willard timepiece and there is a good reason for this as John Sawin apprenticed under Simon Willard and was a journeyman under Aaron Willard, famous clockmakers of the day and makers of the original patent timepiece.
The movement which is based on the patent timepiece by S. Willard
Unfortunately, there are no identifying markings on the movement or the case but key indicators such as the placement of the movement mounting “ears” and the design of the door and bezel catches tell me that there is a very strong connection to John Sawin, enough to say that he is the clockmaker.
So far…
I have completed repairs on the case aside from the wood bezel mentioned later in this post. The repairs include new veneer pieces, harvested from an old mahogany ogee clock, a new post for the acorn finial, and two applications of traditionally prepared shellac.
The hands are attached to measure timekeeping
The movement has been cleaned, serviced and wear issues addressed.
The glass dial was broken and new flat glass was ordered and installed. The old weight cable was replaced.
The dial, with some stains and discoloring, will be left as-is.
Three issuesthat have slowed me down
The three issues are a weight cable that is too short, a twisted suspension spring, and a cracked wood bezel.
Weight cable that is too short: The clock stops when the weight is three inches from the bottom of the case and runs six days instead of the usual eight. I have run the clock several times and the clock consistently stops on the 6th day. I believe that the brass cable was frayed from wear and a previous owner shortened the cable rather than buy a new one. I have various sizes of cable and have chosen a slightly thicker brass cable with a nylon core. The nylon core prevents the cable from snarling and coiling plus the more robust cable is more than enough to carry the heavy iron weight.
However, a thicker cable results in a double layer. The cord will wind down from the top layer and the diameter of the drum has been increased due to the first layer. This means that with each turn more length of the cord will be removed from the top layer. Thus, the weight will reach the bottom of the case sooner than intended, reducing the runtime. A thicker cord makes it even worse. I believe I have struck the correct balance between thickness and length as the clock now runs its full 8-day cycle. Had the cable been any thicker the runtime would increase.
Since it had to be taken apart to install the new cable I cleaned the pivots, pegged out the pivot holes, and re-oiled the movement. Problem solved.
The Keystone
Twisted suspension spring: The keystone is the piece between the suspension spring and the pendulum leader. It very nearly hits the large wheel of the motion works on the left side as a result of a twist in the suspension spring. A bent spring is a consequence of leaving the pendulum assembly on the movement during transport.
A weight driven banjo clock must be partially disassembled when transporting and damage could result if the steps are ignored.
Unfortunately, I cannot source the suspension spring as a separate item and must purchase either the keystone and suspension spring together from an American supplier or the entire spring, leader, and stake for about $55.00 from a Canadian supplier. It does not make much sense but in the meantime, I have managed to straighten the suspension spring and it is functioning better than it was. Problem partially solved.
Cracked wood bezel: The crack is just above the number eleven on the dial. It was cracked initially and I used hide glue to close the gap. I now realize that hot hide glue I am using has a low bonding strength because it separated after a few weeks (a dry house in the winter does not help).
Cracked bezel
I have ordered a band clamp designed for furniture repair and will use stronger glue. However, I run the risk of the bezel splitting again and perhaps not in the same place. Another option is to fill it and simply live with a slightly larger bezel that may not fit the dial catch exactly. Problem not solved, yet.
There are three iron pin hooks that hold the dial in place. The hooks are twisted inward to secure the dial.
In the meantime, it is keeping perfect time.
Clock face is installed, missing is the wood door dial bezel
I am in no hurry for this clock. It is worth moving slowly with the repairs and ensuring that everything is completed correctly.
There is no single method of dating an antique or vintage clock but there are some strong clues in some cases and subtle inferences in others that help determine when a clock was manufactured. Occasionally, the exact month and year is displayed somewhere on the case, and in other instances the clock by way of serial numbers, date stamps on the movement, style of hands, spandrels, dial design, case design, and so on, establishes the date to within a certain period.
This is by no means an exhaustive reference but my thoughts on how to date a clock. I will therefore rely on various examples in my collection.
This is the first part of a two-part article. In the second part, I will explore additional clues for determining a clock’s age.
Elisha Manross steeple clock
This Elisha Manross clock is an attractive steeple design. Steeple clocks were made in the thousands from the early 1830s to the end of the century. A steeple clock is a type of mantel or shelf clock characterized by its pointed, spire-like top, which resembles the steeple of a church. These clocks were particularly popular in the mid-19th century and were produced by various American and Canadian clockmakers, including Seth Thomas, Chauncey Jerome, and others.
Elisha Manross steeple clock
Elisha Manross was an important pioneer of the Connecticut clock and lived from 1792 to 1856 and he was the maker of the steeple clock pictured above. A distinctive feature of this particular clock is brass mainsprings.
Brass mainsprings, Manross clock
From 1836 to 1850 brass mainsprings were used in clocks because steel was considered very expensive. It was not until 1847 that the tempered steel mainspring developed for everyday clocks was introduced and with it, the brass mainspring faded into clock history.
This provides an important clue when dating this clock, that it was made before 1850. The second clue is the label located inside the case. Elihu Gere, the printer was in business at 10 State Street Hartford Conn. The printer’s name and address are located on the bottom of the label And this tells us that the printer was at this location until 1847. Armed with these pieces of information one can date the clock from about 1845 to 1847.
Daniel Pratt Jr reverse ogee columns with splat top
Next, is a Daniel Pratt Jr. shelf clock. A distinctive feature of this clock is that it has a woodworks movement. A woodworks movement is a type of clock mechanism/movement made predominantly from wood rather than metal. These movements were commonly produced in the early 19th century, particularly in the United States, during a time when wood was more affordable and readily available than brass or steel. Woodworks movements were very common before 1840 and were considered the first mass-produced clocks.
Daniel Pratt Jr.
Daniel Pratt (1797-1871), Jr., clock-maker, banker, town clerk, and legislator, lived in the town of Reading, Massachusetts, in the 1800s. Pratt did not contribute much to clock-making and was widely regarded as an entrepreneur rather than an innovator.
This particular Daniel Pratt Jr. reverse Ogee shelf clock was made in Reading, Massachusetts, c. 1832-38, within that six-year period. It has a splat-top mahogany case with half reverse Ogee moldings flanking the door, painted wooden Roman numeral dial, mirrored lower tablet, and wood dial face. The mirrored tablet was considered a luxury at the time.
Woodworks movement
McLachlan tall case clock
It is a classic Scottish design from the mid-1800s. The removable bonnet is 23 inches at its widest point, the waist is 15 3/4 inches wide and the base is 20 inches wide. The bonnet has tapered columns on either side. The dial access door which covers the entire bonnet swings to the right. The solid wood access door on the waist measures 9 X 24.
McLachlan Scottish Clock
The well-preserved sheet iron white dial has painted spandrels, each one depicting an ewe with a lamb and a painted arch top showing a man resting on a rock with two working horses directly behind.
English Bell strike movement
The robust movement is made in the Guild style and movements contained in these clocks are commonly called “English bell strikes” with anchor escapements.
McLachlan was not a clock-maker in the true sense of the word but rather an assembler, bringing the dial, clock case, and movement together to assemble into a tall case clock for a particular customer. Signatures on a clock dial may or may not refer to someone other than the clock-maker. 19th-century retailers and distributors often put their own names on clocks in an attempt to ‘brand’ their products. The actual movement may have been made by someone else likely in Birmingham England. 19th-century clock cases were almost always made separately from the movement and are rarely signed.
The name Wm McLachlan, of Newton and Stewart, is inscribed on the dial. In his book, Clock-makers & Watchmakers of Scotland 1453 to 1900 David Whyte lists McLachlan, William, clock & watchmaker in Newton-Stewart, Wigtownshire as a business advertised for sale on 25 May 1852. McLachlan either retired or passed away before the sale date. Newton-Stewart is a former burgh town in the historical county of Wigtownshire in Dumfries and Galloway, southwest Scotland.
This clock was therefore made between 1848 and 1852. The painted dial which originated in or around 1810, the style of the hands, the style of spandrels, the shape of the arched dial, and the shape of the case are other clues that it was made within that period.
Sessions Beveled #2 tambour style mantel clock
This Sessions tambour style clock represents a very popular style of clock sold in the 1920s and 1930s in the USA.
Sessions Beveled #2
It is a fairly attractive mantel clock featuring a toned mahogany finish with faux inlay below the dial face. Faux inlay was an affordable way to enhance a clock’s decorative details and a common feature of clocks of this type in the 1920s.
Label on the inside of the access door
Sometimes, the exact date of manufacture can be pinpointed down to the year and month, making dating straightforward. In this instance, the clock was produced in September 1927.
Arthur Pequegnat kitchen clock
Dating a clock can sometimes be challenging, and unfortunately, this particular clock is difficult to date with precision.
Arthur Pequegnat kitchen clock
In Canada, the Arthur Pequegnat Clock Company produced clocks from 1903 to 1941. Before the First World War, the company operated in Berlin, Canada. During the war, the city’s name was changed to Kitchener in 1917 due to anti-German sentiment at the time. This small piece of information helps to approximate the date of a Pequegnat clock.
Below the six on the dial is the inscription “The Arthur Pequegnat Clock Co. Berlin, Canada,” but neither the case nor the movement provides any clues to narrow the date beyond the period between 1904 and 1917.
I hope the examples I’ve shared provide some helpful insights into dating a clock. This is the first part of a two-part article; in the second part, I will discuss additional clues for determining a clock’s age.
Is it worth the time and expense to have a clock professionally serviced?
That is the question of the day.
I receive many letters from people who ask whether a clock handed down to them is worth repairing/preserving. It is not an easy question to answer. Shared history and stories connected with the clock can be passed down from generation to generation and it is fond memories that keep it alive and consequently, there is a desire to have a clock in running condition. Sometimes it is better to do nothing and simply remember the stories associated with the clock.
If the decision is made to do something, the first consideration is whether or not the cost of preserving or restoring the clock is worth it. If the clock has deep sentimental value, the cost of repair cannot be compared to its resale value.
In the early days of clock collecting, I sent out clocks to be serviced and happily absorbed the cost. I knew then that some clocks cost more to repair than they are worth but I wanted to preserve some and have them operate daily, so, professional repairs were necessary.
Junghans clock before restoration
A case in point
In January 2017 I bought a box of old clock parts (above photo). I was determined to make my German-made circa 1895 Junghans Crispi wall clock into what it is today. It was my first huge restoration challenge. It was a steep learning curve for me but in the end, I was pretty happy with the results.
During the course of restoration, I attempted to repair the movement, which hadn’t run in over a hundred years and made some rookie errors. I had no other course of action than to bring it to a professional in order to correct my mistakes. At the end of the day, the total cost was $475 for the initial purchase plus the servicing.
Last year, after 4 years of reliable running the clock developed an errant strike which required investigation and disassembly (and a good cleaning while I was at it) but I would not blame that on the professional repair. Perhaps it is the nature of that particular Junghans movement requiring the odd adjustment every now and then.
Junghans Crispi wall clock
In the years since then, I have acquired the skills and necessary equipment to perform my own repairs.
Twenty-three of the clocks in my collection are daily runners, all serviced from time to time by myself over the years. I am not a professionally trained clock-maker and some procedures are clearly beyond my capabilities, things such as teeth replacement and repair and fashioning new parts from stock brass. 95% of repairs I can comfortably handle on my own.
Rare E Ingraham Huron professionally repaired
Should you bring your clock to a professional? This is a decision you will have to make after weighing all factors. Know that by relying on a professional you can be assured that years of knowledge and experience go into the repair of your precious clock which becomes part of the cost.
Reputable repairers have the correct equipment to tackle just about any repair, offer a warranty period, and will correct any problems that arise after servicing, often without an additional fee.
Clocks are machines and machines do not last forever, parts will wear and from time to time they, like any machine, require attention. If, after some years, the clock that you had professionally repaired stops, I would have no hesitation suggesting that you return to the same repairer for servicing unless, of course, you had a negative experience.
This clock was bought at auction in Ottawa, Ontario, and hung on the wall of the kitchen at our cottage in Quebec for 4 years. The clock was imported from Germany and sold by the Forestville Clock Co. of Toronto, Canada.
It was never a great timekeeper probably because it had never been properly cleaned. I brought it home to Nova Scotia to give it the attention in now deserves.
The word Delft is not a model name but refers to the design and composition of the dial face and surround. According to one source, Delft is “tin-glazed Dutch earthenware with blue and white or polychrome decoration”. Delft also refers to a place in the Netherlands, famous for the manufacture of pottery.
Delft clocks typically had a nondescript Dutch scene as one would expect but since this is not a delft clock by strict definition, it is, instead produced in a German factory (made in Germany stamped on the back) in the Delft style.
Mother and child
Many of these clocks were produced and were quite popular as kitchen clocks in Canada in the 1950s and 1960s perhaps a salute to Canada’s close association with Holland during the war years. There is a number stamped on the back (1054) which may refer to its year of make, 1954.
This clock is only required to run two months a year so, I am not concerned about future wear but a cleaning now will keep the clock running for several more years
Although this clock is from the Forestville Clock Co. other manufacturers produced similar styles. Most if not all of the movements are German-made and called, appropriately enough, “plate clock” movements.
A common Dutch scene
It is a small and simple time-only movement with a hairspring balance similar to what might be found on an alarm clock movement.
With tin dust cover removed
Some Delft clocks are pendulum driven and must be level on the wall to operate correctly whereas a hairspring escapement is more tolerant of placement.
Movement removed showing the mainspring
The mainspring may appear tiny by mechanical clock standards but it is as powerful as it needs to be in a movement this small and designed to run for 8 days.
Disassemblyand cleaning
The front plate is affixed to a tin plate and the two cannot be separated unless the rivets are broken. This is a serious issue if bushing work is required on the front plate. To expose the bushing holes one must break the rivets with no guarantee that the tin plate and movement plate would be successfully pressed back together again.
There is some wear in the pivot holes but not enough to warrant concern at this point in time. There is also some pivot hole wear in the back plate but, again, not enough to require bushing work.
Back plate and mainspring removed
At some future point bushing work will have to be done and that would be a challenge for two reasons. One, the back-plate is difficult to access (as described above) and two, any bushings installed would be very tiny. I don’t have anything that small and they would have to be hand made. The designers may not have had servicing in mind when they made the clock and sadly, we are witnessing the beginnings of the throw-away generation.
All the parts, including the mainspring, are cleaned in the ultrasonic, dried thoroughly, inspected and pivots polished. Just a good cleaning and oiling this time around.
Since I decided not to do any bushing work, the movement was put back together. The wheels are installed plus the pallets leaving the escape wheel the last to position. There is an adjustment screw on the bottom plate for the escape wheel which can be Loosened allowing the escape wheel to be installed separately.
On the test stand
Feeding a very minuscule hairspring into its post is always a little tricky and quite often it takes several attempts. Manipulating small clock parts can be frustrating if you are used to working on American clocks with large wheels and pivots.
It is on the test stand and I will run it for about two weeks. If everything is satisfactory the remaining parts will be attached and the clock will be stored until the summer.
This clock is only required to run two months a year so, I am not concerned about future wear but a cleaning now will keep the clock running for several more years.
A century ago, clock manufacturers understood the power of marketing, and the word “Regulator” became a key tool in their strategy to boost sales. By simply labeling a clock with “Regulator,” they could make it appear more precise and desirable, even if it wasn’t a true regulator. But did this marketing gimmick work? Let’s take a closer look.
Seth Thomas #2, typically used as a railroad time clock
By definition, a regulator clock was, and still is, a clock used as a standard for setting other clocks. Regulators were commonly found in businesses, railroad stations, public buildings, even churches and tower clocks, where townsfolk would adjust their personal clocks based on a clock that was trusted to be accurate. Early regulator clocks played an essential role in keeping communities synchronized in their daily routines.
Take, for example, the Gilbert calendar clock shown below. Advertised as a “Regulator,” it does not fit the true definition. With a spring-driven, time-only movement, it is accurate to within a minute or two per week, which is typical for spring-powered clocks. While the calendar feature is useful and the clock is attractive, it lacks the precision of a true regulator and would not be relied upon for setting other clocks. Still, it had the appearance of an accurate clock.
This Gilbert calendar clock is not a Regulator
Are there exceptions to this rule? As always, there are exceptions. The Welch Spring and Company produced a clock from 1874 to the mid-1880s certified for use in train stations. This double-weight, time-only clock, reminiscent of the well-regarded Seth Thomas Regulator #2, was stenciled with “Regulator” on its access door.
Given its constant weight-driven power and deadbeat escapement, it was likely a very accurate timekeeper and well-suited to any environment where accuracy was critical, such as a train station, business office, or public square.
Double-weight time-only Welch clock– is it a regulator?
This particular Welch clock, now a museum piece at the American Watch and Clock Museum in Bristol, Connecticut, has been meticulously restored. When it was received, the lower tablet was missing, leading to questions about whether it originally came with the word “Regulator” on the access door. The answer is yes, some did, and some didn’t—there was a tick box on the order form for this feature.
So, while the use of “Regulator” on a clock often served as a marketing tactic to imply precision, there are instances where it genuinely signified accuracy. As a general rule, though, it’s safe to assume that many clocks labeled “Regulator” were more about selling an image than offering precise timekeeping.
In the world of clocks, the term “Regulator” was often used as a clever marketing strategy to sell more timepieces by suggesting greater accuracy. While some clocks with this label were indeed precise, many were simply designed to look the part.
As a buyer, it’s important to look beyond the label and evaluate the clock’s true functionality and history before assuming it lives up to its name.
I love this clock. It is one of my favorites. Bought in the fall of 2018, it has been on the kitchen wall and running ever since. Arthur Pequegnat clocks have a solid construction, robust movements, conservative designs, are among the most dependable and reliable clocks in my collection. this model is called the Moncton.
The Moncton was a regular fixture in offices and was then considered a “high-end” office clock. Many also found their way to rail stations across Canada. There were two variations of the Moncton, a short and a long version.
Those made before 1917 were known as the First Issue and had a tapered bottom piece. The second issue had a rounded bottom with a middle cut-out.
They are attractive clocks inspired somewhat by the Seth Thomas #2 although the Moncton has a 15-day double spring driven movement instead of the single weight of the #2.
I knew it required servicing but with so many other clock projects in the way I never got around to it. In my last post I took the movement out of its case and discovered that there is not a lot wrong with it.
The time-only movement is stamped Arthur Pequegnat Clock Company
It was dirty as expected and long overdue for a cleaning.
The movement is pretty simple with 4 wheels and an escape wheel plus the motion works. The two springs apply power simultaneously but one side can be wound if the other spring fails though the clock will run but for a shorter period.
The mainsprings are not what I expected, They are half the width of a typical time-only American clock. There is a reason for this. The Graham deadbeat escapement requires between one fourth to one half the driving power than the same clock using a recoil escapement. Less drive power means less wear over time. Having very few gears and little friction in the gear train also improves efficiency and time-keeping.
The Movement
Seth Thomas Regulator #2
The movement is attached to a support frame bolted to the case.
There are two screws holding the movement on the bottom that must be loosened and two long screws that go through both plates that hold it on top, much like a Seth Thomas #2.
Once disassembled I inspected the movement for wear.
I discovered the lantern pinions and pivots to be in very good condition for the age of the clock.
Time-only movement
The movement might have been cleaned at one point but there is no evidence of past repairs. The bushing holes are a little worn but not enough to warrant bushing work at this time.
Consequently, cleaning parts in the ultrasonic, polishing the pivots, cleaning the mainsprings and pegging out the bushing holes was the extent of servicing.
The movement was assembled and mounted in the clock for testing.
Cleaned and returned to the case for testing; notice the two top mounting screws
It will run for a cycle or two before I re-attach the dial and hands.
A pretty simple servicing requiring less than half a day of my time.
Canadian clock collectors are very familiar with the name Arthur Pequegnat and associate the maker’s clocks with a solid construction, robust movements, conservative designs, and nationalism since many clocks were named after towns and cities in Canada. The Moncton was named after the City of Moncton in New Brunswick, Canada.
The Moncton was often found in offices and train stations across Canada and was known for its accuracy. This clock is originally from the Toronto (Ontario, Canada) area but I have no idea where it spent most of its life.
Arthur Pequegnat Moncton
For an 80+-year-old clock, it is in exceptional condition. A double spring time-only movement with a Graham deadbeat escapement running at 80BPM means that it is very accurate despite being spring-driven.
It has a 12-inch Arabic dial with simple, bold numbers. The pierced spade hands are attractive and are a common feature on many Pequegnat wall clocks. It has a fumed quarter-sawn oak case, is 35 inches high with a hinged 16-inch oak bezel door that swings to the right to reveal the dial.
The pendulum access door is 14 ½ inches high by 10 ¾ inches wide and swings to the right. The clock is 5 inches deep with wall stabilizers on either side of the case. The pendulum bob is brass over iron with an oak pendulum rod. The dial glass is original and has the “waviness” you would expect with old glass.
Assessment of the movement
With solid plates, front and back, and a mounting system similar (but not quite the same) as the Seth Thomas #2 the movement looks solid. I was expecting past repairs and some wear and, of course, a dirty movement, all confirmed when I looked at the movement for the first time.
Heavy-duty time-only movement
I removed the dial first and the movement from the case. The first step is to let down the mainsprings.
The mainsprings are much smaller than and half the width of a typical American clock with a recoil escapement. Not surprising since a Graham deadbeat escapement requires between one-fourth to one-half the driving power than the same clock using a recoil escapement. Less drive power means less wear over time. Having very few gears and little friction in the gear train also improves efficiency and time-keeping.
Even in its unserviced state, it would easily run 16 or 17 days.
I am not seeing a lot of wear, an indication that the clock has had a good life. The verge arbours may need bushing work otherwise I cannot see any other wear that is problematic. The lantern pinions are also in very good condition.
Next is to inspect the movement more closely and look for anything out of the ordinary.
In Part II I will cover the servicing of the movement.
I frequently cruise the online for-sale sites for interesting clocks and I could not help but chuckle at this one.
Would you buy a Cucuko clock?
Online ad
If you are going to sell a cute Black Forest clock take a little time to find out how to spell the darn word. It is not choochoo or cucko, or CooCoo, or Coockoo, or Cucuko, it’s Cuckoo!
The word is Cuckoo and theCuckoo is actually a bird found commonly in Europe. That little birdie that comes through the top hatch door the hour and half-hour on so-called clocks is a Cuckoo, plain and simple and they are a real thing.
Dave’s cuckoo clock
I don’t know how many times I have seen the word misspelled. How much more would a seller know about the clock if they can’t even spell the name correctly?
The name is not the only thing to snicker at, look at the price.
I got mine for free. I call it Dave’s clock, the name of the previous owner. It is a lot nicer than the one offered for sale and I’d sell it for a whole lot less than $300…… if I sold it!
Ah, the holiday season is upon us, what to buy? Are you are looking for a unique gift for a friend or family member. An antique clock may not be anything you have considered but wouldn’t it make a terrific gift.
Mauthe time and strike wall clockfrom 1895
If you know a little about antique or vintage clocks or you know nothing at all, you may need some help finding the right clock for that special person. I will give you a few pointers plus an explanation of some of the terms you may come across.
Why buy an antique or vintage clock?
A year ago I sold a clock to a young woman who was looking for a unique gift for her father. She responded to my advertisement by saying that it was exactly the clock she was looking for because it reminded her of the family clock when she was young.
Sentimental reasons, satisfying the need to acquire anything antique, or the uniqueness of an old mechanical clock top the list for reasons to buy an old clock.
What is the difference between antique and vintage?
It is not easy to tell the age of a clock, or, for that matter, anything in an antique store and, ads for clocks seldom tell the year it was produced although it might hint at the period it was made, for example, “mid-century”. A quick trip through the world of Google will give you a general sense of how old something is give or take a few years.
Vintage Kienzle wall clock from the 1930s
An antique is anything over 100 years old and vintage is less than 100 years but more than 30 years old. Anything that is less than 30 years old may be considered vintage but more often called collectible.
Mechanical or something else
This article focuses on mechanical clocks but there are a lot of different types of clocks out there and online auction sites are filled with every type imaginable. It can be confusing to the shopper.
As a general rule quartz clocks have limited value and very few would be considered collectible.
Electro-mechanical clocks have a traditional mechanical movement, which keeps time with an oscillating pendulum or balance wheel powered through a gear train by a mainspring but uses electricity to rewind the mainspring with an electric motor or electromagnet. Something quite different is the electro-magnetic clock, popular in the 1950s. Both types can be highly desirable but leave that to the professional collector who knows specifically what they are looking for.
In the 1930s electric shelf, desk and wall clocks were introduced into homes everywhere. Some have value but most are not worth the trouble.
Sessions 3W electric table clock 1927
They are great timekeepers but are often quite worn, dangerous to work on, and can be difficult to repair. I would not give one as a gift unless you know that it was serviced by a competent professional.
My advice is to stick to an antique or vintage mechanical clock.
One last note; beware of conversions, clocks where the mechanical movement was taken out for whatever reason and replaced by a quartz movement. They are worthless but some people fall for this sinful and deceptive practice.
Type of clock and placement
Space is the biggest consideration.
Antique Seth Thomas alarm clock from around 1910
In the trend towards smaller homes, there is not always space for a clock. Mantel clocks require a shelf or table to put them on.
Simple time-only or time and strike clocks can be quite small but others may have more a complicated Westminster chime movement in a larger case. Alarm and desk clocks occupy the least space.
This 1917 Gustav Becker Vienna Regulator is 51 inches long
Wall clocks are easier to place. Wall clocks come in all shapes and sizes from the diminutive cuckoo clocks to large box clocks and Vienna regulators.
Floor clocks, otherwise called grandfather or grandmother clocks, tall case, long case or hall clocks are the most difficult to place. Unless the person in mind would appreciate one and has sufficient floor space I would not recommend one.
Working or non-working clock?
A working clock that has been recently serviced by a competent clock repairer is the most desirable. However, if the clock will be a decoration or part of the decor and a working clock is unimportant, you might find them less expensive to purchase. Perhaps one with a replacement quartz movement might be okay as long as you know that’s what you are getting.
Clockbuying tips
1990s Ridgeway grandfather clocktakes up space
Look for a working clock over a non-working one. Chances are it has been better cared-for over its life span.
Facebook Marketplace, eBay, your local online for-sale site (we have kijiji in Nova Scotia), reputable estate auction sites, antique stores and word of mouth are among the best sources.
Most common clocks are priced reasonably. Clock prices have generally fallen over the last 5 years but expect to pay more for rare clocks or those with a special provenance.
Stay away from Chinese made or Korean clocks or most anything that has directional arrows around the winding points. They have very powerful mainsprings and will potentially harm the user if the springs break.
The maker of the clock is largely unimportant. For example, all American clock producers made cheaper and more expensive lines of clocks.
A little research is always helpful before you make the purchase. A little knowledge might be a dangerous thing but knowing nothing is worse.
It may or may not be important to you if the clock has been altered in any way but it is nice to know. For example, many old ogee clocks are attractive but have had a replacement movement installed when the old one failed. In the clock world these are called marriages and it makes a difference to some people.
Try to inspect the clock in person before you buy. Surprises are never nice when you discover something sent to you is not what you expected.
Well, if you are looking for a clock for that special person I hope I have given you something to think about before you put your money down.
I should say that I am not in the business of selling clocks but will sell the odd one locally to keep my collection manageable.
Every clock enthusiast has their own way of doing things and each has a different approach to clock restoration. Am I different? Not really, but I have put some thoughts to paper that you might find interesting.
Like everyone I started out knowing virtually nothing about clock restoration but learned as I went. As I gained confidence and improved my skillset I took on greater challenges.
Not long ago I bought a nice 30-hour non-running Chauncey Jerome ogee. I would not consider this clock a huge challenge but it will help explain my approach to clock restoration.
The case is from the 1840s and based on my research, the movement is from the same period. There are a few things wrong with it and that is expected from a 176-year-old clock.
Four Options
The clock case and movement are very dirty and the clock certainly has some issues but I am happy to report that a lot is original. It is on my bench. Now, what do I do with it?
I have four options:
Do nothing. Leave everything as-is, preserve the patina and display the clock without servicing the movement or cleaning the case.
Service the movement so that it is in running order but do nothing to the case, again preserve the patina.
Clean and refresh the case but leave the movement as-is.
Service the movement and clean the case, making small repairs if necessary.
Option 1. There are very few clocks where I would do absolutely nothing. If the movement is beyond my capability or requires a complex repair and the case requires extensive repairs or any intervention on my part will potentially make it worse, I will leave it alone.
Option 2. Not a good option for me. There is no point in servicing a movement if is going back into a dirty case and risk the movement becoming contaminated with dirt and debris.
Option 3 If the movement is beyond my capability or requires a complex repair I will leave it alone and proceed with cleaning the case.
Option 4. This is my preference. My end goal is minimal invasive intervention which means that I will service a movement and address wear issues where necessary. I will refresh the case if it is grimy and requires a good cleaning. I am not a strong believer in patina which one reader opined is just another word for dirt. As much as possible, I use original materials and techniques when working on the case. This includes the use of hot hide glue, traditional shellac (flakes mixed with shellac lacquer), and fasteners like old slot head screws, and square nails.
In rare cases where I am met with a significant challenge, I will perform a complete restoration with the goal of bringing the clock back to its original condition. I call this extreme restoration.
Here are two examples. Both of these clocks are running daily.
I believe that some amount of intervention is not only necessary but desired by collectors and I also believe that there are situations where a wholesale ground-up restoration is the only option.
In the case of this miniature Vienna Regulator cleaning and oiling the movement, and polishing the brass was the only intervention.
Miniature one-weight Vienna wall clock
My position regarding changes to a clock
My end goal is a functional clock that presents well. As far as I’m concerned a non-working clock must become a working clock because that is the nature of its existence.
If a clock has important provenance and extensive repairs to the movement and/or case alter it in a negative way and I will leave it alone.
And what does the ogee clock i mentioned in the beginning of this article look like now?
Restored Jerome ogee
I am sure you will agree that it is not a dramatic change at all but it is now a working clock that presents well.
There are basically three types of banjo clocks with mechanical movements. Those with lever escapements which are usually in the $75 to $100 range, spring-driven ones that are generally $100 to around $300 and up but weight-driven banjo clocks occupy the upper end of the range and are normally between $300-$500 in fair condition and upwards of thousands for desirable clocks made by Simon Willard or E. Howard.
When my wife discovered this particular clock on Facebook Marketplace for $100 I suggested she make an offer for $75 and the seller immediately accepted. It is always a risk buying or accepting an offer without first examining it but this, I believe, was an excellent prospect and for the price I was willing to take a chance.
The day it was purchased
It is weight-driven federal style cased banjo clock from the 1840s. I have since learned that the clock was very likely made by John Sawin in 1840 (Boston) by himself or one of his apprentices or associates.
Unfortunately, there are no identifying markings on the movement or the case but there are strong indicators that this is a Sawin clock. John Sawin apprenticed under Simon Willard and was a journeyman under Aaron Willard, famous clockmakers of the day and makers of the original patent timepiece.
Everything is intact except for the dial class which was broken at some point in the clock’s life.
The broken glass is convex which prompts an interesting question. Is the glass a replacement and if so, did these clocks originally come with flat glass?
There is a school of thought among most horologists that simple mahogany cased clocks with wood bezels and an absence of ornamentation that were made in this particular style back in the 1840s had flat glass installed. Presentation timepieces, on the other hand, such as those with gilt accents, sidearms, brass dial bezels, a lower bracket/finial and reverse painted glass tablets had curved glass.
Patent Timepiece 1825 by William Cummens with convex glass
My belief is that this clock originally had flat glass.
So, let’s move on with the various case issues beginning with the missing pieces of veneer.
Veneer
The only section that requires veneer work is the left and right bottom corners on the pendulum. Many repairers attempt to hide the missing veneer with touch-up stain but new veneer is the only way to go.
New veneer pieces
Although the case is made of mahogany I selected rosewood from my collection of harvested veneer. It has the same thickness (modern veneer is much thinner). Although mahogany has a slightly different tonal characteristic and grain, the match was very close. Since I used hot hide glue, the veneer can be easily lifted with heat at a later date but for now my goal is to disguise the missing veneer.
While I was working on the veneer sections I cleaned the case and applied a light coat of shellac. I am not opposed to applying a finishing coat to preserve and improve a clock’s appearance. The added benefit is that it enhances the grains on the case.
In my view there is no clear right or wrong answer and it should be left up to the restorer (and owner) to decide how the clock’s finish should be addressed.
Veneer work is finished
The throat is in perfect condition.
The dial bezel has a crack at the 11 o’clock position which was addressed with hot hide glue. I forced glue into the crack, closed the gap with a number of elastic bands tied together and left it for 24 hours to dry.
Cracked bezel as foundThe bezel crack is all but invisible
The glass
Removing the old putty was a little more involved than I had planned. A heat gun would have been too much and I did not want to ruin the wood bezel but a 30W soldering iron was perfect for this job. I picked away and removed just enough putty to install the glass. I ordered 6 13/16 inch flat glass and it was a perfect fit. Wet putty is always an option but Plaster of Paris is easier to work with, does an equally fine job and secures the glass in place.
Enough of the putty is chipped away for the glass to fit
Plaster of Paris dries hard in 30 minutes and is stainable/paintable. I applied the plaster with a putty knife and smoothed it out with a wet finger.
Plaster of Paris is easy to work with and dries hard in 30 minutes
After several hours I applied a dark stain to give the plaster an aged look.
The plaster is stained to give it an aged look
The bezel is now ready to be attached to the case.
The finial
The final was in the pendulum box when I bought the clock. It now requires a new post. The peg was broken and a previous owner attempted to secure the finial with glue and, of course, that failed. The finial would originally have been mounted with a piece of dowel.
New finial peg
Using a piece of 3/8 inch doweling I cut off about 1 1/4 inches. I scraped off as much glue as I could from the bottom of the finial and the plinth and drilled out the old doweling on both the finial and the plinth. Once the dowelling was glued in place it was given a mahogany stain. It fits well and looks great.
Other case repairs
Other case repairs involved closing or filling several holes. For these repairs I used yellow carpenter’s glue for maximum adhesion.
A clamp is used to close a gapShavings from old veneer are glued into screw holes
Shavings from old veneer are glued into screw holes for the mounting ears and the case hook to ensure that those screws are secure.
View of faceMounted on the wall
The case repairs are complete and the last step is servicing the movement.
What is ideal is one clock stand for servicing and testing all clock movements but unfortunately, there are so many different types and styles of movements that one size does not fit all.
I have written an article or two on test stands in the past but consolidating all my testing stands into one article might help the reader decide which one would work best for them.
Testing the Kienzle movement on a makeshift test stand
For the first one, I made a makeshift test stand out of scrap wood and what I like about this one is that if I require more holes to mount a movement, I could simply drill them where I need them. But I also like the idea of using it for those mantel clocks and small wall clock movements with seat boards.
HAC movement
This particular one has clamps so, mounting a movement is very easy since each clamp has a center horizontal groove. Once the height has been set, simply screw the clamps into the vertical rod. It takes seconds to mount a movement. The brackets are adjustable to about 10 inches.
Junghans B11 movement on the test stand
This test stand, called “Gene’s clock testing stand”, is very versatile. The movement can be mounted as I have done in the photo or bolts can be inserted through clock plates and into the cutouts as in the photo below.
Same as above with an extension
This is the same Gene’s stand as above but made for longer pendulum leaders. The home-made extension measures 18 1/4″ high by 9″ deep by 9 1/4″ wide. The bottom part is adjustable and fully detachable.
Clock stand for tall case movements
Finally, this is a 48″ stand for hall clocks or grandfather clock movements. It can accommodate two or three movements but I do not work on more than one tall case movement at a time. When used for testing purposes I anchor the stand to a wall to help eliminate sympathetic vibrations.
Clock stand rails
The stand is made of pine while the rails are constructed of yellow oak.
Every horologist should have at least one or more sturdy clock stands for testing clock movements.
Once you begin working on clock movements in earnest you will learn that a testing stand is indispensable and as you repair more movements one type will not be sufficient.
John Sawin was a prolific 1840s Boston clockmaker and many of his clocks have survived to this day.
The Key features of the Sawin timepiece share many of the attributes of the original Simon Willard Patented Timepiece. They are:
No striking parts reducing the number of wheels to a minimum for simplicity,
Making the distance between the plates wider allowing sufficient cord on the barrel allowing it run 8 days,
The push-pin catches on the bezel and lower access doors,
Placing the pendulum in front of the weight to ease repair and regulation,
The weight is reduced and made longer and wider,
The pendulum and guide are placed in front of the movement,
An oblong space in the pendulum so that it swings clear of the centre pinions and hour and minute collars,
The method of mounting the movement to the case. Works are fastened by two “ears”, the top right and bottom left backplate,
The calculation of the train in consequence of shortening the pendulum,
No method of securing the pendulum when transporting the clock,
Acorn top finial and wood dial bezel
The shape of the case,
The earliest timepieces from Roxbury had long screws from the front plate into the case in the upper right and lower left. Beginning about 1820 in Boston a single bolt from the back of the case into the movement was used as per Howard & Davis and E. Howard. North Attleboro movements had holes in the backplate in the upper right and lower left for screws into the case.
Upper right mounting “ear”
A John Sawin movement is distinguished by brass ears attached to the movement back plate in the upper right and lower left. Other Boston area clockmakers might have used the same casemakers so their cases probably would look similar to his.
As found
Cases came from one of several casemakers in the Boston area. Case construction is helpful in identifying where the clock was probably made and movement for the maker, however by the 1830’s movement construction had become so generic that was really difficult to identify the maker. It is probable that were many small workshops run by former apprentices and/or journeyman clockmakers that supplied movements to the trade as needed by the existing makers in the various cities so it makes things even more complicated.
The real differences were how the movement was attached to the case and that gives us information on where it was manufactured.
The John Sawin Banjo headpiece is carved out. With the dial off, the headpiece of the case looks like two crescent moons facing each other, thin at the top and bottom and thick in the middle. There is a piece of cloth glued to the inside top of the case to hold the 2 crescent moons together.
Two crescent moons make up the headpiece
Unfortunately this clock has no identifying markings which means that it is quite possible that while it may not have been made by John Sawin himself but one of his associates or one of his apprentices. Still in all, it is a nice-looking clock and looks great on any wall.
Yes, a weight-driven banjo clock for a surprisingly low price!
There are essentially three types of mechanical banjo clocks. Those with lever escapements are usually in the $75 to $100 range, spring driven ones are $100 to around $200 and up but weight-driven banjo clocks occupy the higher end of the range and normally cost between $300-$500 in fair condition to upwards of thousands for Simon Willard or E. Howard clocks.
My wife discovered this particular clock on Facebook Marketplace for $100. I suggested she offer the seller $75 and the seller immediately accepted. I think they just wanted to get rid of it. However, it is always a risk buying a clock sight unseen but this looked like an excellent prospect and for $75, why not take a chance!
From the photos provided it is a weight-driven federal style mahogany-cased banjo clock from the 1800s. The movement is intact because the seller sent a video showing the pendulum bob moving from side to side.
Looks like the original dial and original hands
It has a top acorn finial which appears to be original to the clock. I thought it was missing the carved reverse scrolled side arms and the bottom base piece but not all of these clocks had bottoms or side arms.
The original banjo styled steel hands and the painted face appear to be in good condition. The broken glass bezel can be easily replaced. The case is dirty and requires a small amount of veneer work. I also see the winding crank in the bottom of the case.
Could be a diamond in the rough
I picked it up in late June 2021.
The day of the pickup
We arrived at the garage sale and met the sellers. My wife was curious as to the provenance of the clock and we were told that it had been in the family for more than 60 years having spent most of its life in Wolfville, Nova Scotia.
The clock was heavy which meant the weight was inside the case. Had the weight been missing, sourcing one would have been a problem but it is best to have the original weight.
We had few errands to run in the city and did not return home till late in the evening. Minutes after coming through the door I had the clock on the kitchen table and a screwdriver in hand taking it apart.
ABoston made banjo clock
After studying it further and comparing the clock to others online and through my inquires with members of a clock forum site I learned that the clock was very likely made in 1840 in Boston by John Sawin who apprenticed under Simon Willard and was a journeyman under Aaron Willard, famous clockmakers of the day and inventors of the original patent timepiece.
Later, I will profile the clock with detailed images of the movement, dial face and aspects of the case and more information on clockmaker John Sawin.
Is this the find of the year? I certainly believe so!
I have just one other Kienzle clock in my collection and it is a rather unusual one, the World Time desk clock from the 1940s. I do not come across Kienzle clocks very often. They are no lessor quality than most German clocks, I just don’t see many around this region.
Kienzle World Time clock
The latest is a German styled round top box clock. It was a an auction buy. I knew it was German at the time but did not know the maker. After a little research I discovered that it is made by Kienzle Uhren.
Kienzle Uhren GmbH is a well-respected German clock company that has a long history.
The company was founded in Schwenningen in southern Germany, in the Black Forest, by Johannes Schlenker, in 1822. In 1883, Jakob Kienzle became part of the family by marriage, and took control of the company, becoming its sole owner in 1897.
Jacob revolutionized production by mass-producing individual components and then assembling them. This modern manufacturing approach led to a massive expansion, and by 1939, Kienzle had over 3,500 employees and was making about 5 million wall-clocks and table clocks per year.
The company continued on through the years, changing hands a few times and gradually shifted production to wristwatches. It continues in business to this day as a watch maker.
The movement
In many respects it is a typical well-engineered German movement from the 1930s. The movement is compact in design and anyone who has worked on German movements will feel right at home. It has a 43 cm pendulum length and runs at 104 beats per minute as per the stamping on the back plate.
Kienzle movement, back showing pendulum leader and strike hammersFront plate showing rack and snail mechanism
Unfortunately, the spring barrels cannot be removed separately, the movement must be completely taken apart to replace the mainsprings if they break.
The 4 hammer strike assembly can be taken apart separately. One advantage is that once the plates are back together the strike paddle can be easily positioned on the star wheel. The strike has a repeater function which is handy.
With top plate off and showing the placement of the wheels
All parts are hand-cleaned before putting them in the ultrasonic cleaner. Taking excess oil and grime off the movement prior to cleaning ensures a longer life for the cleaning solution. When the solution gets dirty enough I discard it.
The movement has a combination of leaf and lantern pinions, leaf pinions on the second wheels and lantern pinions up both trains. I expect the ultrasonic will do a great job cleaning the lantern pinions.
Taking the mainsprings out of their barrels
The mainsprings must be taken out to be cleaned and the barrels cleaned in the ultrasonic. The springs are quite powerful and mainspring troubles account for many problems with German clocks.
When the mainspring breaks movement damage can result. Teeth are torn form the barrel and the first leaf/lantern pinion is destroyed or the second arbor is bent. I have had movements go both ways from severe damage to simply a broken mainspring (which is easily replaced).
Cleaning of springs and barrels is therefore essential not only to ensure they are free from old oil and dirt but to inspect them for cracks, breaks, and tears. These mainsprings appear to be in very good condition.
Parts are sorted into containers
I typically preheat the Polychem Deox 007 solution and run parts for 20 to 30 minutes in the ultrasonic, switching off the heat midway through the cycle. I dry all the parts by hand and for the lantern pinions and some parts that seem to hide water, I use a hairdryer to ensure that everything is free of any potential rust build-up.
The mainsprings, which are cleaned of old oil are done separately in the ultrasonic cleaner.
All parts except mainsprings are placed in the ultrasonic cleaner
The next step is putting the re-oiled mainsprings back into their barrels and for that a spring winder is a must. Polishing the pivots come after that.
Olie Baker spring winder. Cleaning the strike side mainspring
Bushing work
This movement might have been cleaned at one point in its life based on pivot scratches on the inside of the plates and worn screws on the back cock but it has never been bushed. When I tested the wheels in the movement I found the time side ran relatively freely while the strike side seemed stiff and sluggish. So, the movement is worn but the wear would be no more than typical for its age.
Following my first assessment I have determined that the movement requires as many as 10 bushings, 6 on the backplate and 4 on the front or, 5 on the strike side, and 5 on the time side. As expected there is more wear lower in the trains.
On the front plate are:
The second wheel time side, third and fourth wheel on the time side and the verge.
On the rear plate are:
Second wheel on the time side, second and third wheel on the strike side, third and fourth wheel on the strike side and the verge.
I always like to start with the most difficult, the pivot hole on the back cock which supports the suspension spring, crutch and pendulum.
In total 12 bushings were required, including the escape wheel. The escape wheel was pretty sloppy both front and back, and better to do those while the movement is apart. 12 is probably the most I have installed in a German clock in quite a long time.
Reassembly and testing
I generally perform a power test prior to the final assembly of the verge, rack and snail, and all outside pieces. It is a good check against my bushing work and if anything is tight or stiff I can address it without taking everything apart. Everything looked good at that point.
Both trains are moving and being tested before the other parts go on
However, with verge installed, pendulum leader, crutch and pendulum, the movement consistently stopped after a few minutes. I took it apart and discovered that the 4th wheel on the time side was moving stiffly. As that wheel had a new bushing installed all it took was reaming out the pivot hole to free it up. Now the movement is running well.
Testing the Kienzle movement on a makeshift test stand, beat amplifier is attached
Onward to the strike side and attaching the levers, snail and rack. The levers, rack and snail and gears are attached and finally the strike hammers are installed. The strike hammer posts must be bolted in from the inside of the back plate, something to remember when reassembling the movement.
When I got the clock only one strike hammer functioned but with all hammers repositioned all 4 strike hammers are doing their job and producing a melodic bim-bam strike.
The case does not require much attention other than a cleaning with soap and water.
There is absolutely nothing on the movement, gong block or case that tells me who the maker is though I now know it is definitely a Kienzle.
I have a growing collection of clocks with upwards of 85 in my collection. My focus is on clocks made in Canada that are entirely manufactured in this country or companies such as Fleet and Forestville, that assembled clocks with foreign/domestic cases and movements. In addition, I have many other clocks that were made in France, Briton, Germany, Austria and so on.
In terms of style, my particular interest is wall clocks. Within my collection, I have 21 wall clocks, the oldest around 1870, and the newest is from the 1930s.
I would like to add one more to my collection but it is sitting in an auction house awaiting my bid. This post will describe my experience bidding on a clock at an online auction. Did I win the clock? Read on and the answer will be revealed at the end of the post.
During pandemic times it is probably safer purchasing a clock online. There remains a risk however. Unknowns are the condition of the case, who the maker is, the state of the movement and what time and money it will take to service it. At this point I only have photos to go on. This is an estate auction and the auction house is located 1 1/2 hours drive from my home.
The clock appears to be a vintage oak-cased German time and strike from about the 1930s. I am guessing Mauthe as the maker since there is no indication from the auction information as to who made the clock. Many German makes have the company name or logo on the dial face; there is nothing on this one. Nevertheless, It looks like a good prospect and I will chance it.
Box clocks were all the fashion in the 1920s and 1930s but those with round tops were less common. Many German tall case or hall clocks of that era had round tops so it is unusual to see a round top on a wall clock. Nevertheless, it is a very attractive clock with simple lines in the Art Deco style.
The three tall panes of beveled glass look good. There appears to be a scratch or a crack on the right hand section of the door about halfway up, but nothing is showing on the inside of the door in that area.
There are no pictures of the movement but one can see the movement seat board thumb screws and the winding arbours in the next shot. The rod gong is visible behind the pendulum rod and it looks like a rod lock at the midway point.
The item description does not say it is running and it does not come with a key. The pendulum is crooked on the auction photo which might mean the connecting hook is broken or it is hooked incorrectly.
This is an online auction called a “Lockdown Live Auction” that, as of this writing, closes in one day.
I have a good feeling about winning this item for four reasons.
One, it is the only clock offered which means that clock collectors will not be drawn to this auction,
There is no reserve bid, the opening bid is $5.00 A reserve is off-putting because auction houses that seldom have clocks for offer, price them higher than they are worth,
There has been no pre-bidding yet and,
It is offered without a key which means that it may or may not be running and might or might not need adjustment or repair. The casual collector might avoid this one.
The auction house allows all bidders to set up a “watch list” and I will be monitoring the bids on this item until the item hits the “auction floor” tomorrow.
A Google search reveals that this style of clock is uncommon but I found one that sold at auction for $100. It was described as an unknown German wall clock.
What would I bid? I am going no higher than $75 but winning it for less would be nice. The final price includes a buyers premium of 15%, 15% sales tax and shipping.
The next day
At 10:30 AM there have been a couple of pre-bids and the clock is now at $12.50. I held off bidding until 8 minutes before it came up for sale at 8:00 PM. At the 8 minute-to point the bidding was $22.50. I placed a “high bid” of $60 which means paying only a small amount more than the next highest bid. Not wanting to get caught up in last second bidding, I walked away from the computer. I was prepared to let it go if I lost the bid.
I returned later to discover that I had won the item for $52.50. With buyers premium, tax, and delivery the final cost is $73.43.
Who is the maker?
The clock arrived. There is no trademark name on the dial face, and nothing on the outside of the case to identify the maker.
The movement sits on a seat board, typical of most German clocks. I released two thumbscrews at the bottom of the seat board and slid the movement out for further inspection. There is no maker’s mark on either the movement or the iron block of the 4-rod gong.
These two shots are the front and back of the rack and snail time and strike movement.
There are two numbers on the bottom right of the rear plate, 43 (length of pendulum rod) and 104, (beats per minute). Using those two numbers and the search terms “German”, “wall clock” and “round top” I conducted a search on the internet and found a matching clock. I compared the design of the plates on mine with the clock I found and it is a Kienzle from the early 1930s or late 1920s.
Who is Kienzle?
Kienzle is a well-respected German clock company that has a long history.
The company was founded in Schwenningen in southern Germany, in the Black Forest, by Johannes Schlenker, in 1822. In 1883, Jakob Kienzle became part of the family by marriage, and took control of the company, becoming its sole owner in 1897.
He revolutionized production by mass-producing individual components and then assembling them. This modern manufacturing approach led to a massive expansion, and by 1939, Kienzle had over 3,500 employees and was making about 5 million wall-clocks and table clocks per year.
The company continued on through the years, changing hands a couple of times and gradually shifted production to wristwatches. It still exits today.
The most distinctive feature of this clock is the 4-rod bim-bam strike. Probably the nicest sound of any striking clock that I have.
I wound both sides and it runs well but the movement is dirty and requires a servicing. Stay tuned for that.
Antique and Vintage Mechanical Clocks 
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