The star of the show
incorporates all the best features: a porcelain dial, highly
figured mahogany veneer, and ormolu mounts, including rim,
ring, feet and two houses.
Federal and
Empire Treasures:
By Bob Jackman
GRAFTON, MASS. -- Lighthouse clocks are among the most expensive
examples of early American clocks; they are also are among the
most poorly understood. An exciting and informative exhibition
now on view at the Willard House and Clock Museum sheds new light
to the subject. The exhibition in the museum's main clock gallery
features 12 prime examples of period lighthouse clocks by Simon
Willard and others, along with three reproductions on view for
comparative purposes. "This is the first public exhibition of
lighthouse clocks," stated West Townsend, Mass., clock specialist
and Willard Clock Museum Trustee John Delaney, Sr. "The public
has never had a chance to see so many of these clocks at one
time,"
In a seeming paradox, "lighthouse clocks" were never intended for
use in lighthouses. The Twentieth Century term "lighthouse clock"
merely acknowledges a similarity in form between the shape of a
lighthouse and some of these clocks. Simon Willard's 1818 patent
for these clocks also refers to them as "alarum (sic) clocks,"
and indeed they were the first alarm clocks produced in America.
A significant number of the later clocks of this type were,
however, crafted without alarms.
Willard Museum Curator and Director John Stevens estimates there
are about 200 to 300 extant lighthouse clocks. Delaney and
Brimfield, Mass., clock expert Robert Cheney agree. Cheney
commented, "People used to say there were only about 25 of these
clocks, but that was wrong. In my career, I have seen between 75
and 100 lighthouse clocks."
The strength of the exhibition is the reasonably high number of
clocks on display, their fine condition and the presentation of a
wide range of forms. The exhibition includes an explanation of
the various parts of a lighthouse movement using elements
fashioned by clockmaker John Losch. It also prompts visitors to
make visual comparisons, place the clocks in stylistic periods
and to see the clocks as cultural counterpoints to the Industrial
Revolution.
One lighthouse clock has a painted ship finial engraved on the
back, "Steele 1915," apparently indicating clock painted Danny
Steele.
Planning for the lighthouse clock exhibition began four or five
years ago with Willard Museum founder Dr Roger Robinson, clock
dealer Herschel Burt and Stevens providing the early impetus.
Since Burt's death a couple years ago, Willard President Rick
Currier participated in the organization of the show. The
lighthouse clock exhibit is dedicated in the memory of Burt, a
former Willard House Trustee.
Spanning Decorative Styles
Given the relatively small number of lighthouse clocks available
for the exhibition, they present surprisingly varied appearances.
Some variation is in response to the shift of furniture taste
from the Federal (Neoclassical) style to the Empire (Classical)
style. Some of these clocks, however, are less formal and reflect
the vernacular interest in painted furniture, particularly
Windsor chairs. The influence of all three decorative styles is
clearly denoted within this exhibition.
An appealing feature of all lighthouse clocks is the action of
the brass movement seen through a glass bell jar (dome with
handle) at the top of the clock. The observer's eye can be
captured by the mechanism keeping time, winding string on the
weight drum and operating the alarm. It may have been that early
Nineteenth Century Americans were enthralled with the action of
the mechanism since the clock was the only common domestic object
with an extended gear train. The exposed movements that are the
featured decorative elements of lighthouse clocks appeared to
work magically.
The most basic role of the lighthouse form case is to conceal the
drive weight, the alarm weight and the pendulum. The case also
provides physical and artistic support. The use of a circular
bell jar dictated that the upper case have a complimentary
circular unit. Most lighthouse clocks have a columnar section
beneath the movement and often the column accounts for about 40
percent of the overall height of the clock, although there are
examples where the column is as short as a couple inches.
The more expressive unit of the case is usually the base. Today,
one would expect the base to be a second columnar unit consistent
with the most typical lighthouse form. Actually the column over
column configuration is less common than the column over an
octagonal base arrangement or the column over rectangular
cupboard arrangement.
Stylistically the earliest clock in the exhibit is painted white
and that makes an immediate Neoclassical statement. The overall
ivory color with simple gold stripes highlighting the edge of the
molding is distinctly Federal. Centered on the column is a
Wedgwood blue cartouche bearing the gold inscription "Simon
Willard's Patent, Roxbury," a Neoclassical motif. A large picture
on the base depicts visitors admiring sculptures and building in
Classical Rome. The clock oozes with the beauty, grace and
refinement of the Neoclassical style.
Artistically interesting, one clock in the exhibit features a
circular scene on the door of its base of a harbor landscape is a
refined, professional image that captures the play of light
across sky and water. The four figures toward the foreground have
remarkable natural poses with one of the standing figures hunched
slightly forward and toward the right as he leans on a staff
length cane.
The painting at the top of the short columnar section is equally
interesting decorated with a broad red band above a broad blue
band whose surface has oxidized to a near-black shade. Under
close examination, gold lines emerge within the blue band that
follow an arrow and parallel line motif similar to that seen on
some strongly painted Windsor chairs. One is compelled to recall
a set of red-seated Windsors with blue spindles, trimmed with
chrome yellow and green lines, and painted gold motifs. This
clock would be a marvelous decorative compliment to such a set of
polychrome Windsor chairs and it is reasonable conjecture that
this clock was commissioned for just such a setting. The clock,
with a paint decorated iron dial, is considered by many to be a
wonderful example of vernacular painted furniture.
A regal clock in the exhibition features a
column-over-octagonal-base configuration. The clock radiates more
volume and punch than the previous examples and is clearly in the
high Empire or Classical style. Surfaces of the case are covered
with highly figured mahogany veneers, and the face of the clock
is a French porcelain dial with a brilliant, pure white field. A
gilded brass bezel encircling the dial depicts a series of
sunflowers and roses. Under magnification, one sees that the
flowers are separated by two oak leaves, each topped with an
acorn. Consistent with the Classical style, the clock is
decorated with the finest fire-gilded brass mounts. A wide gilded
brass ring serves as the transitional molding between the
columnar and octagonal sections and the clock stands on fancy paw
feet, a popular motif in the Classical style. The largest boss is
on the base section and depicts a sprig of oak leaves and acorns,
a symbol of longevity that was repeatedly used on Willard
lighthouse clocks. A smaller boss on the columnar section
incorporates a flame and quiver, probably intended to represent
the flame of liberty and the willingness to fight in defense of
liberty.
Delaney commented, "Most lighthouse clocks were produced between
the mid-1820s and the mid-1830s, which was a time when the Empire
style was strong. Therefore, many lighthouse clocks have Empire
cases." While a high percentage of lighthouse clocks have similar
Empire forms with a column over octagonal base, the clock above
incorporates about all of the finest features.
Historical Placement
Delaney placed lighthouse clocks into their historical context.
"In the 1830s the nation was deeply into the Industrial
Revolution and mass production. Manufacturers who were able to
sell clocks for $2 were forcing individual clockmakers out of
business. Lighthouse clocks were handmade objects created in an
age when the vast majority of the clocks were commercially
manufactured. The lighthouse clocks were going against the
Industrial Revolution. They were continuing the tradition of the
handmade clock and the workshop of an individual craftsman," he
said. "They were something the carriage trade could afford as
something special. There is no definite recorded price for
lighthouse clocks, but I think they probably sold new for $45 to
$75."
For Delaney, the carriage trade origin explains the variation
among lighthouse clock cases. He commented, "I think these clocks
were never widely produced for the market. They were a custom
product that a clockmaker could produce if a customer requested
it. In that situation, the person who pays the dollars gets to
determine the outcome. I think clients describe the clock that
they wanted and clockmakers produced custom clocks for them."
Delaney lamented that there are too few lighthouse clocks to tie
together the pattern of tradesmen working in concert. He stated,
"With banjo clocks there are still thousands of them around, and
there are documents such as invoices and bills. Scholars have
been able to tie together a clockmaker with a dial painter, case
maker and a case painter. With lighthouse clocks, there are no
documents, and there are far fewer clocks."
In today's world the most common place for alarm clocks is the
bedroom, but Cheney thinks it was different in the early
Nineteenth Century. He noted, "In reading early inventories I
have found surprisingly few that have listed clocks of any kind
in the bedchamber. I think those people went to bed when it got
dark and rose when it got light. They did not need an alarm clock
to know when to get out of bed."
Cheney continued, "I think lighthouse clocks were prominently
displayed in the front parlor. Look at the design and fancy
mountings. These clocks have the same highly figured mahogany
veneer as the finest Empire parlor furniture. They have the same
gilt brass mountings. That brass mechanism was intended to dazzle
people. Classical lighthouse clocks are totally consistent with
the finest Classical parlor furniture. Beyond decoration, I think
these clocks were useful for regulating some of the social
activity in the home, such as the time that tea was served."
Discussion About Makers
In the Willard Museum exhibition, all the clocks have a Willard
connection. Most have dials that state "Willard Patent" or "Simon
Willard's Patten" or "Simon Willard and Son's Pattent"; others
have signed cases or tags with similar wording. In the larger
market, however, there are a significant number of lighthouse
clocks without a name on the dial, and even a few clocks with the
names of other makers.
Willard President Rick Currier noted, "An important aspect of
this show is that visitors get to see the tremendous amount of
variation among lighthouse clocks. For example, there are
variations among the springs used to hang pendulums. There are
even pendulums that are hung directly without a spring. One clock
has a pendulum hung with a silk string in the French manner. The
bridges that support the pendulums are just as varied. There are
full bridges, half bridges and T-bridges. Clocks with similar
cases have significant differences in their movements. The extent
of variation is striking."
Delaney stated, "I do not think any lighthouse clocks were
produced outside New England. I think they were a Boston product.
Many have a Willard origin. Variation is seen in other Willard
lines so I am not surprised to find variation in among the
lighthouse clocks. For example, Simon Willard produced three
different types of works for his tall case clocks and within
those types there are smaller variations."
For Cheney, the extent of variation in clock movements is too
great to be consistent with production by a single master
clockmaker and his apprentices. He argued, "There have been some
extensive studies of shop practices of early clockmakers, such as
the Dominy family on Long Island and Burnap in East Windsor,
Conn. These studies indicate that a set of designs and patterns
were passed down from master to apprentice, generation to
generation, a practice that is consistent with other trades such
as with chairmakers and cabinetmakers.
"These clocks vary hugely in quality of the design and in
workmanship," stated Cheney. "The cases were custom-made to suit
a client's needs, but the client probably had very little input
about a clock movement. If a clockmaker had a set of patterns
hanging on the wall, why would he create an entirely different
design? Incidentally, these designs demonstrate a wide range of
problem-solving approaches. The many movement designs could
indicate there were many different makers or that some works were
being imported from Europe."
Reproductions
Three Twentieth Century reproduction lighthouse clocks are on
display and each is considered to be a fine example of an
Empire-style clock. These clocks also provide visitors with an
opportunity to compare originals to reproductions, and to develop
a set of characteristics that distinguish period clocks from
later works.
Two of the reproductions have brass dials engraved "Simon
Willard's Patent." Period lighthouse clocks either had porcelain
dials with brass backs or painted iron dials, never brass dials.
The movements of the three reproductions rest on round wood seats
recessed in wells about an inch deep. In contrast, original
lighthouse clocks sit on felt-covered thin iron seats about a
quarter-inch below the lip of the molding at the top of the
column.
The reproduction clocks have circular holes drilled in the
molding of the column where winding keys can be inserted. This
type of winding hole enables the clock key to be placed over the
winding shaft without moving the bell jar (dome). In contrast,
period clocks were wound by tilting the bell jar backwards to fit
the key over the winding shaft. Period clocks on display either
have no break in the upper molding or a shallow semicircular
depression.
On the reproduction clocks brass mountings such as finials,
bosses and feet are good, with an acceptable amount of detail. In
contrast, mountings on period clocks have been cast with
extraordinary detail -- some only seen with magnification.
A strong Neoclassical design consistent with Federal taste is
presented by this elegantly painted white clock that includes a
Classical scene on the door.
There are also more subtle differences between reproduction and
period clocks. In their 1980 book, A Study of Simon Willard's
Clocks, Richard Husher and Walter Welch noted, "More recent
ones [reproductions} are recognizable from the use of rolled
brass, good homogeneous steel and screws made to current
standards. In addition, marks characteristic of modern machine
tool cutters can be found and short cuts showing unfamiliarity
with Willard's approach to clockmaking are prevalent."
Cheney noted that during the 1930s clockmaker James Conlon of
Charles Street in Boston made a number of lighthouse clocks and
that clocks with Condon movement castings continue to appear on
the market.
Visitor Information
The Willard House and Clock Museum displays seven rooms furnished
as an Eighteenth Century residence, three galleries of clocks and
a clockmaker's shop. The earliest section of the building was
constructed in 1718 for Joseph Willard, the first
European-descent resident of Grafton, Mass. The home was enlarged
with significant additions in 1755 and 1812. The clock shop was
erected in 1766. The premises opened as a museum in 1971. Clock
galleries were erected in 1976, 1981 and 1991.
A hardcover catalog with 36 pages presenting information gathered
from the exhibition is in preparation, and a December publication
is planned. John Losch is writing the text and Paul Foley is
doing the photography. The exhibition will also be commemorated
with a calendar featuring pictures depicting lighthouse clocks.
The calendar will be available in December, and can be ordered
for $12. Shipping and handling are an additional $2.50.
All of the clocks will continue on display until October 15 when
a couple clocks will be removed for exhibitions at other museums.
Most of the lighthouse clocks will continue to be on view at the
Willard Museum until November 15.
The museum is at 11 Willard Street. Hours are 10 to 4, Tuesday
through Saturday, and 1 to 4 on Sunday. The museum can be reached
at 508-839-3500 or www.willardhouse.org.
