An elaborately formatted, inlaid American cherry case tall clock of Vermont origin. 225068.
This nicely proportioned tall case clock is made primarily of cherry, with New England white pine as a secondary wood. Additional woods used for the inlays include various grades of mahogany, birch, holly, and maple. The case has an orange shellac finish that enhances the texture, color contrast, and grain in the panels. This clock and case were likely made in Vermont.
A small number of cases are known to us that are closely related by their complex inlay formatting. This incredible example is the most detailed of the group.
The cabinet is undoubtedly a New England form. The case is raised on applied French-style feet, is nicely proportioned, and has a distinctive molded swan's-neck top. These are all features employed by New England cabinetmakers. In addition, the case is crafted from cherrywood, suggesting its origin is off the coast, where mahogany would have been the wood of choice. The inlay patterns are complex and include multiple fans, a variety of bookend inlay patterns, and cevron patterns, suggesting that it was made in southwestern Vermont. Oliver Wight worked in Sturbridge, MA, and trained a small number of cabinetmakers, including Nathan Lumbard, who later moved to Sutton, MA. Lumbard's work is well documented in Crafting Excellence. The Furniture of Nathan Lumbard and his Circle, written by Christine Jackson, Brock Jobe, and Clark Pearce. The complexity of the inlay that is identified as belonging to Lumbard is often more complex than the inlay work presented in this small group of cases. But the formatting is very similar. As a result, this region is my best bet for the case's origin. Perhaps it was made by one of the many workmen associated with the Wight/Lumbard orbit. Possible candidates include Ebenezer Howard, Amasa Blanchard, Daniel Laisdel, Nathan Hines, Clark Dalrimple, Daniel Tenny, Solomon Sibley, Nathan, and Simeon Stockwell.
This case is elevated on four unusual flared French feet. The form has excellent height and a long spur or return. The feet are delicate, and it is remarkable that they have survived. They are applied to a molding secured to the base. The base panel is framed with a narrow band of ebonized wood. This black border contrasts sharply with the rich reddish tones of the primary cherry wood. A line of string inlay is laid inside this banding. Each of the four corners has a fan comprised of three petals. The three blades alternate in color and are positioned in reverse, with the sharp point angled toward the inlay pattern in the center of the panel, where an inlaid pinwheel, colored like the quarter fans, is located. The waist section is long and fitted with an access door. The door features an unusual design at its top. The apex has a fan with seven light- and dark-colored petals radiating upward and outward. Below this, an inlaid line pattern frames the door's shape. In each of the four corners of this pattern is a small, unusual inlay. These patterns are best described as the planet Saturn with its rings. A large, vertically oriented oval is centered on the door, incorporating additional fan and circle designs in light and dark veneer selections. The key escutcheon is also decorated with inlay. The door is trimmed with a simple molded edge. Open the door to access the two drive weights and the brass-faced pendulum bob. The front corners of the waist have smoothly turned quarter columns ending in brass quarter capitals. The columns are diagonally striped with equal segments of natural wood and painted black sections. Above the waist door and below the upper waist molding is a panel with inlays. The perimeter has a bookend patterns, each comprising seven alternating light and dark parallel bands. Centered in this section is an unusual pattern of upward-pointing arrows. The bonnet, or hood, has a swan's neck pediment above a molded arch. The corners have additional bookend inlay patterns extending under the upper moldings and from finial plinths. The center of the hood features another upward-arrow design forming a central final plinth between the two arches. The arches end in inlaid pinwheels. Three brass-and-ball finials surmount the hood. Fully turned and fluted bonnet columns or colonnettes visually support the bonnet moldings. These are mounted in brass capitals and are free-standing. The sides of the hood have oval-shaped sidelights. The arched bonnet door is also decorated with inlay. This door has glass and opens to access the painted iron dial.
This imported English painted dial is fitted with a false plate. The time track is formatted with Arabic five-minute markers. These are separated from the Roman-style hour numerals by a dotted minute ring. A subsidiary seconds dial and month calendar can be seen in their traditional locations inside the time ring. Colorfully floral patterns decorate each of the four spandrel areas and the arch of this dial. The arch is also decorated with a colorful bird.
This fine movement is constructed in brass and is of good quality. Four turned pillars support the two brass plates. Both plates have a rectangular cutout at the bottom. The top corners of the backplate are cut at a forty-five-degree angle. The backplate is also embellished with an engine-turned design, possibly added by a repairman who previously serviced the clock. Hardened steel shafts support the polished steel pinions and brass gearing. The escapement is a recoil design. The winding drums are grooved. The movement is weight-driven and designed to run for eight days. It is a two-train, time-and-strike design with a rack-and-snail striking system. It strikes each hour on the hour on a cast-iron bell mounted above the movement.
This clock was made circa 1800. It stands approximately 7 feet 8 inches tall, or 92 inches tall to the top of the center finial. This case is 20.5 inches wide and 11 inches deep at the upper bonnet molding.
Inventory number 225068.
