David Wood of Newburyport, Massachusetts. A line-inlaid mahogany case tall clock. XXSL-87.
David Wood made many clocks and was likely the largest producer of tall clocks north of Boston. Unlike some makers, he did not stick to one case style. His clocks show a wide range of designs, from country pieces to formal examples like this one.
This clock is a formal example. The case is made from several types of wood, including mahogany, figured mahogany veneers, holly inlays, and New England white pine as a secondary wood. The case has been refinished so the wood grain stands out and catches the eye. It stands on four French-style feet that are tall, flared at the bottom, and delicately shaped. These feet are connected by a double drop apron. Both the base panel and the rectangular waist door have matching line-inlay designs with ovolo corners. The mahogany veneers in these panels show long vertical grain lines, creating a range of reddish-brown tones. The waist door has applied molding along the edge and opens to reveal the inside of the case. The front corners of the waist section have reeded quarter columns with brass capitals and bases, and inlaid panels at the bottom. The bonnet has a traditional New England-style fretwork pattern, supported by three reeded plinths at the top, each holding a brass finial. The molded arch is held up by two finely fluted bonnet columns, which sit in brass capitals and bases. The side panels of the bonnet have large oval windows.
The iron dial is brightly painted and comes from Boston, made by one of the Spencer Nolen dial firms. Each of the four corners shows colorful fruit designs. The lunette features an urn draped with swags. The time track uses both Roman and Arabic numerals. The dial also has five-minute markers, a seconds dial, and a calendar for the day of the month. It is signed "David Wood."
The clock has a quality time and strike movement made of brass with steel pinions. It is weight-driven and runs for eight days on a full wind, striking each hour on a cast-iron bell.
The clock is about 89.5 inches tall. The upper bonnet molding is 20.5 inches wide and 10.25 inches deep.
This fine example was made circa 1810.
Inventory number XXSL-87.
David Wood was born to John Wood (1727–1805) and Eunice (Fellows) Wood (1737–1801) in Newburyport, Massachusetts, on July 5, 1766, during a period of burgeoning craftsmanship in early America. He likely apprenticed under either Daniel Balch Senior or a member of the Mulliken family—both recognized as influential clockmakers in colonial New England. These apprenticeships were critical pathways for transmitting specialized skills and sustaining the region’s reputation for horological excellence.
By June 13, 1792, David Wood had established his own shop in Market Square, as reported in the Essex Journal and New Hampshire Packet. His business was strategically located near Reverend Andrews' Meeting House, a hub of community activity, reflecting the importance of visible, central locations for artisans of the period. Three years later, he married Elizabeth Bird (1769–1846) of Newbury, further cementing his ties to the local community.
Wood’s career coincided with a transformative era in American clockmaking, marked by innovation and expanding markets. In addition to crafting clocks, Wood was an active retailer. His 1806 advertisement for "Willard's best Patent Timepieces"—well-known products of the pioneering Willard family—illustrates his connection to broader networks of American clockmakers and his responsiveness to consumer demand.
In 1818, partnering with local silversmith Abel Moulton, Wood moved his enterprise into the former shop of Thomas H. Balch, another figure in Newburyport’s artisan community. By 1824, he relocated to the west side of Market Square, opposite the Market House, demonstrating both business adaptability and the fluid nature of commercial life in early 19th-century New England towns. After Elizabeth’s death in 1846, Wood moved to Lexington to be near his son David.
David Wood’s legacy as a master clockmaker and retailer is evident in the many surviving examples of his work—wall, shelf, and tall-case clocks signed by his hand. His long career reflects not only personal success but also the broader evolution of American craftsmanship and commerce during the early republic.
