Thomas Hutchinson of Philadelphia, Pennsylvania. A formal mahogany case tall clock featuring an eight-tune musical movement. II-84.
This is a beautifully figured mahogany case tall clock. This classical design is seldom seen in the tall case form. The intricate case design is typical of some of the finest Metropolitan furniture forms of the period. The exceptional woods used in the construction of this case and the fine quality of the craftsmanship are first-rate and command your attention.
This case stands on carved wooden paw feet. They are wonderfully executed and feature a bold, muscular form. They are applied to the bottom of the base and are original to this clock. Interestingly, we have recently owned two other clocks that share a similar design. The base panel features a mahogany cross-banded border. This frames a large crotch-veneered center panel. The waist section is long and accentuates the case’s proportions. It features a nicely shaped door, an applied Irish panel, and richly veneered mounting blocks for the fully turned and heavily carved waist columns. The waist door features a superior example of a crotch mahogany veneer. The door is trimmed in a cross-banded border. The crotch mahogany veneer located in the Irish panel is positioned in a horizontal format. The columns located on the sides of the case are skillfully carved. The bonnet is a swan’s neck pediment form that terminates in carved wooden rosettes. The arched pediment is supported by fully turned and carved bonnet columns. These are positioned on either side of the arched bonnet door. The door is glazed and opens to a colorfully painted dial, which the Maker signs.
This colorfully painted dial is a local product. It is iron and measures 13 inches across. It is attached directly to the movement without using a false plate. In the spandrel areas, one will find floral decorations. The time ring is formatted with Roman numerals, which mark the hour. Arabic numerals are used to mark the quarter hours. A calendar aperture and a subsidiary seconds dial are inside the time ring. The Clockmaker also signs this dial in the center section. It reads in block lettering, “T. Hutchinson.” In the arch of the dial are a variety of colorful sea shells. Along the upper edge of this arch are the seven musical tunes. These are listed from left to right as “Dead March, White Cockade, Soldiers Return, Robin Adair, McClouds Reel, Roy’s Wife (of Aldavalloch), March and (Auld) Lang Syne.” These tunes are selected by moving the large indicator hand located above the Roman numeral twelve. They also help indicate that this clock has a musical movement.
This musical weight-powered movement is constructed in brass and is designed to run for eight days on a full wind. It is a three-train format. The time train is located in the center. The hour-striking train is located on the left. This train will strike each hour on the hour. The hour is struck on a cast iron bell mounted above the movement. The musical train is located on the right. This train is engaged on the hour after the hour strike. It then plays one of the eight tunes listed on the front of the dial. A pinned barrel rotates and lifts one of eleven hammers in sequence. The hammers then strike one of the eleven graduated bells. The sound is delicate. Musical movements are complicated to manufacture and, as a result, are somewhat rare. However, a fair number of clock makers advertised making them. Few exist today. Their original cost was prohibitive. If a standard eight-day movement sold for approximately $35 in 1800, a musical movement could cost as much as seven times that amount.
This clock was made circa 1830 and stands 8 feet 1 inches tall.
Inventory number II-84.
Thomas Hutchinson is listed as a watch and clockmaker in several horological references. In truth, little is currently known about him. He is listed as working as a silversmith in Lancaster boro in 1773. In 1776, he is recorded as a maker of Dutch-type clocks and was working in Washington, Washington, Co., PA. On February 1, 1800, he applied for the Washington Mechanical Society membership. According to the tax records, he was active in Washington through 1824. In September of 1823, he advertised in The Washington Reporter that he began his clockmaking business again.
We have personally seen a clock that was inscribed on the backplate of the movement that he made in 1815 and, at the time, was working in Philadelphia. This tall clock was made for Rev. James Gray, DD.
Notes: It is reported that a Thomas Hutchinson inlaid tall case clock is in the Carnegie Museum of Art. Late circa 1830.
