Henry Griffen tall clock. New York, New York. Case attributed to John & Thomas Seymour of Boston. 213003.

An important Hepplewhite tall case clock with a colorfully painted dial signed by “Henry Griffen / New York.” The inlaid mahogany case is attributed to the Boston cabinetmakers John & Thomas Seymour. 

This veneered and inlaid mahogany formatted case is attributed to Charlestown cabinetmakers John and Thomas Seymour. It exhibits wonderfully figured selections of veneers and is constructed on a grand scale while maintaining excellent proportions. The case also retains what may be considered an original, now mellowed surface. The base proudly stands on an applied bracket base. This version features large flared French feet. Please note the subtle shaping or flare incorporating small pads into the form. These feet are gently splayed in a manner consistent with documented Seymour construction. The feet and the central drop apron are visually separated from the base by a complicated line inlay pattern and molding that steps back into the base section. The front of the base panel is veneered with a highly figured selection of mahogany. An inlaid framing of mahogany and light wood stringing defines a cross-banded outer border. The waist is long and features a rectangular-shaped waist door. The door provides access to the case’s interior, where one will find a brass-covered pendulum bob and the two original tin can drive weights. The perimeter of the door is fitted with an applied molding. The center panel is also veneered with a figured mahogany panel. This is framed along the outer edge with a cross-banded border. Brass stop-fluted quarter columns are mounted in the front corners of the waist. These terminate in brass quarter capitals. The bonnet features an open fretwork design surmounted by three cast brass ball-and-spiked finials. The supporting plinths are decorated with line inlay and capped at the top. Fully turned and brass stop fluted bonnet columns support the upper bonnet molding. These are mounted in brass capitals and flank the bonnet or hood door. The arched bonnet door is decoratively lined with inlay, and the opening is fitted with glass. It is interesting to note that the mask board behind this door is painted white and is trimmed with a brass border.

This colorfully painted iron dial is oversized, measuring 14 inches across and almost 20 inches in height. It was manufactured in England by the Osbourne firm. The cast iron false plate that facilitates the mounting of the dial to the works is signed at the top. In the arch of this dial, one will find the automated feature of a moon phase mechanism or lunar calendar. Interestingly, one painted scene between the moons is a ship burning at sea in the dark of night. This scene is a recurring theme that can be found in a small number of moon dials. The significance currently needs to be discovered. Each of the four spandrel locations is decorated with a colorfully painted representation of the four seasons. Each depicts a woman dressed appropriately for the specific season represented. Winter is illustrated in the lower right corner. The woman is warmly dressed and sitting beside a fire. Large Roman-style numerals indicate the hours. The five-minute markers are each indicated in an Arabic format. A subsidiary seconds dial and a calendar date dial is displayed in the traditional locations. The information to be displayed on these dials is indicated by small separate hands. This dial is signed.

The signature is now “ghost signature.” In good light, it reads “Henry Griffen” in block lettering to the left of the center arbor. His working location of “New York” is written in an old English font and is positioned to the right of the center arbor. Ghost signatures appear today in some frequency. We speculate that when this dial was painted at the Osbourne shop in England, it was imported to this country for sale as an unsigned dial. All of the artwork was prepared and fired at the factory. In this case, the clockmaker would purchase it at a supply store as needed. He would then have his name put on it before it was delivered to his customer. Because this dial was signed at a later time, the signature was most likely not fired like the rest of the decoration. As a result, it is more fragile and generally does not wear well. It tends to wear off with cleaning. One interesting point is that when a dial is signed this way, the signature paint often raises the painted surface underneath it. This allows one to read the ghost version.

The weight-driven movement is constructed in brass and is of good quality. Four turned pillars support the two brass plates. Hardened steel shafts support the polished steel pinions and brass gearing. The winding drums are grooved. The escapement is a recoil format. The weight-driven movement is designed to run for eight days on a full wind. It is a two-train or a time-and-strike design, having a rack and snail striking system. As a result, it will strike each hour on the hour on a cast iron bell mounted above the movement. This movement may be Boston-made.

This wonderful clock was made circa 1810 and stands approximately 8 feet 9 inches ( 105 inches) tall to the top of the center finial. This is a very impressive height.

For a more in-depth study on the Seymour Brothers, please read THE FURNITURE MASTERWORKS OF JOHN & THOMAS SEYMOUR, written by Robert D. Mussey Jr.

Inventory number 213003.