Aaron Willard of Boston, Massachusetts. Having the clockmaker's set-up label. A tall case clock. TT-90.
This mahogany line inlaid and cross-banded tall case clock was made in Boston, Massachusetts, by Aaron Willard. This case retains its original set-up label that is thought to have been printed by the American Patriot, Paul Revere. This label lists Willard’s working location as “Boston.”
This is an outstanding Boston-made example. This case is constructed on a broader, more masculine scale to accommodate the expanded size of a 13-inch painted dial. This mahogany case exhibits fine inlay details and excellent wood selections. The grain patterns selected for the construction of this case are nicely figured and accentuate the form. The older finish is stable and somewhat transparent. The result is that the grain patterns exhibited in the wood are on display.
This line inlaid example stands on four applied ogee bracket feet. The mahogany used in constructing the base panel is formatted vertically and visually lifts the case. This crotch pattern radiates with long sweeping lines. The panel is decorated with a thin line inlaid frame. Each of the corners of this box is fitted with inlaid quarter fans. The fans are composed of five individual petals shaded on one side. This helps provide dimension or depth to this detail. The waist is fitted with a large rectangular-shaped waist door. This door features interesting construction. The outer edge is trimmed with a simple molded edge. This steps into a banded detail that features two parallel mahogany bandings. This framing is laid out in an alternating or perpendicular grain direction. A thin light line inlay separates the two bands. The interior corners are fitted with the same quarter fan detail exhibited in the base section. On the back of this door is the Maker’s set-up label. This is the version that is associated with being printed by Paul Revere. As a result, he would have been responsible for engraving the plate the label was printed from. Very few Willard clocks retain their labels today. This is a wonderful additional detail. This label has been wonderfully preserved behind glass and is in good overall condition. It lists the location as “Boston,” which helps date this clock. Brass-stopped fluted quarter columns flank the sides of the case. These terminate in brass quarter capitals. The bonnet features a very fancy and lacy open fretwork design. This is supported by three fluted plinths. Each plinth is capped at the top and fitted with a cast brass ball and spiked finial. Fully turned and brass stop fluted bonnet columns or colonnettes visually support the upper bonnet molding. They are mounted in brass capitals and are free-standing. The sides of the hood are fitted with tombstone-shaped side lights, and they are equipped with glass. The arched bonnet door is lined inlaid and is also fitted with glass. It opens to access the dial.
This iron dial measured 13 inches across and was painted and decorated by a Boston ornamental artist. Each of the four spandrel areas is decorated with a colorful medallion. These are framed with lacy-raised gesso designs highlighted with gilt paint. A lunar calendar or moon phase mechanism is located in the arch of this dial. This dial also displays the hours, minutes, seconds, and calendar dates in the traditional locations. This dial is wonderfully signed by the Clockmaker in a script format. This signature is located below the calendar date and above the Roman hour numeral six. The signature reads, “Aaron Willard / BOSTON.”
This fine 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 designed as 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. This is done on a cast iron bell mounted above the movement. The strike hammer is returned to the ready position via a coil spring. This clock retains its original tin cans, weights, and wooden rod pendulum.
This fine example is nicely proportioned and stands approximately 7 feet 8 inches or 92 inches tall to the top of the center finial. Measured at the feet, this clock is 21.5 inches wide and 10.25 inches deep. It was made circa 1810.
Condition: Retaining its original feet and fretwork, this elegant tall case has no significant condition issues. The dial has had some restoration of losses, including the areas around the dial feet. The movement has been fully serviced and is in excellent working order.
Inventory Number TT-90.
Aaron Willard was born in Grafton, Massachusetts, on October 13, 1757. Little is currently known of Aaron's early life in Grafton. His parents, Benjamin Willard (1716-1775) and Sarah (Brooks) Willard (1717-1775) of Grafton had eleven children. Aaron was one of four brothers that trained as a clockmaker. In Grafton, he first learned the skills of clock-making from his older brothers Benjamin and Simon. It is recorded that Aaron marched with them in response to the Lexington Alarm on April 19, 1775, as a private under Captain Aaron Kimball's Company of Colonel Artemus Ward's Regiment. Aaron re-enlisted on April 26 and was soon sent by General George Washington as a spy to Nova Scotia in November. By this time, he had reached the grade of Captain. He soon returned to Grafton to train as a clockmaker. In 1780, Aaron moved from Grafton to Washington Street in Roxbury along with his brother Simon. Here the two Willards establish a reputation for themselves as fine clock manufacturers. They were both responsible for training a large number of apprentices. Many of these became famous clockmakers in their own right. The Willards dominated the clock-making industry in the Boston area during the first half of the nineteenth century. Aaron worked in a separate location in Roxbury from his brother and, in 1792, relocated about a quarter-mile away from Simon's shop across the Boston line. Aaron is listed in the 1798 Boston directory as a clockmaker "on the Neck," His large shop employed up to 30 people, while 21 other clockmakers, cabinetmakers, dial and ornamental painters, and gilders worked within a quarter-mile radius by 1807.
Some important dates for Aaron Willard include...
1783, Aaron married Catherine Gates. They have two children. The first is Aaron Willard Jr who becomes a very accomplished clockmaker. Catherine Gates dies in 1785.
1789, Aaron marries Polly Patridge. Polly has two sisters that also marry clockmakers Abel Hutchins and Elnathan Taber. Aaron and Polly have nine children. Two work-in-the-clock trades. George Willard 1817-1821 becomes a journeyman clockmaker. Henry Willard (1822-1887) trained as a cabinetmaker and made cases for the Willard operation when he came of age.
1792, Aaron builds a large home at 143 Washington Street in Boston. He lives in this house until he dies. This house is also the location of his workshop. A barn is converted into an area to finish wood. Other spaces in the carriage shop are rented to related artisans.
1802-1804, Aaron is in a business partnership with cabinetmaker James Blake as Willard & Blake. Aaron's position is financial.
1804, Aaron he transforms the carriage house and barn into a workshop space for artists, clockmakers, woodworkers, etc. It is now known as Willard's Compound.
1805-1806, Aaron is a financial backer in the partnership of Willard & Nolen. Spencer Nolen (1784-1849) is an ornamental artist who begins painting clock dials. In 1808, Spencer Nolen married Aaron Willard's daughter.
1823, Aaron Willard retires. He is 66 years old.
1844, Aaron died on May 20 and is buried in the Eustis Cemetery in Roxbury.
We have owned a large number of tall case clocks made by this important Maker. In addition, we have also owned a good number of wall timepieces, some in the form of banjo clocks, gallery clocks, as well as numerous Massachusetts shelf clock forms.
