A wonderfully inlaid tall case clock attributed to the Sturbridge, Massachusetts cabinetmaker Oliver Wight. 222148.
Many of the design elements exhibited in the construction of this clock case are closely related to those in the signed Oliver Wight case we sold to Old Sturbridge Village (OSV) in 2012. That clock is now prominently displayed in the OSV collection. In addition, that clock case is one of the cornerstones of the Oliver Wight and Nathan Lumbard school of cabinetry, recorded in "Crafting Excellence. The Furniture of Nathan Lumbard and His Circle" written by Christie Jackson, Brock Jobe, and Clark Pearce.
This Wight attribution is based on the similarities between the cabinet discussed here and the one at OSV and other known examples. These similarities include the ogee-bracket feet, lower base molding profile, feather banding along the perimeter of the base, waist door, and bonnet door, the composition of the inlaid star, half-star, and full oval paterae, fret patterns, and glue block placement.
This nicely decorated example exhibits very good country proportions and eye-catching inlays. This tall clock case is constructed in cherry, applewood, and New England white pine is used as a secondary wood. The inlays are comprised of mahogany and maple. The case features an appropriate orange shellac finish that promotes the texture, contrast in color and grain exhibited in the selected wood. This case stands on boldly formed ogee bracket feet. The profile of the knees and returns are nicely exaggerated. The four feet are applied to a molding secured to the base. The base panel is framed with a narrow feather-banding of mahogany and a lighter maple banding. An eight-pointed star constructed with sixteen pieces of alternating wood comprised of darker mahogany and lighter-colored maple is centered in the panel. The design of this star and the choice of woods provides a visual illusion of being three-dimensional. The waist section is long and is fitted with a tombstone-shaped waist door. This door features the same banded border featured on the base panel. This pattern is also used on the bonnet or hood door. The center of the waist door is inlaid with a full oval patera constructed with twenty individual segments. In the top portion of the door is an eight-pointed star. This is formatted like the one featured in the center of the base panel. One can access the original tin can weights and brass-faced pendulum bob through this door. The front corners of the waist are fitted with inset columns. These are unusual form. They are long rectangularly shaped rods with flat surfaces lined inlaid. They terminate in wooden quarter capitals. Above these is an inlay pattern that looks like a tri-fold panel. The bonnet or hood is equipped with a New England-style pierced fret. This somewhat unusual pattern has design elements seen in other Central Massachusetts examples. Three fluted chimneys or final plinths support this fretwork. Each plinth is capped and supports a turned wooden finial finished in gilt paint. Fully turned and lined inlaid bonnet columns visually support the upper bonnet moldings. These are mounted in brass capitals and are free-standing. The sides of the hood feature oval-shaped side windows. The arched bonnet door is also lined inlaid. It is fitted with glass and opens to access the painted iron dial.
The imported English dial has a Wilson false plate. The time track is formatted with Roman-style hour numerals separated from the Arabic five-minute markers by a dotted minute track. A subsidiary seconds dial and month calendar are inside the time ring. The four spandrel areas and the lunette are colorfully paint-decorated with floral themes.
This fine movement is constructed in brass and is of good quality. Four-turned pillars support the two brass plates. These pillars are unusual because they incorporate a cone design in their structure. This may be a clue as to the origin of the movement. Hardened steel shafts support the polished steel pinions and brass gearing. The winding drums are grooved. The escapement is designed in a recoil format. The movement is weight driven and designed to run for eight days. 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 tall clock stands approximately 92.5 inches or 7 feet 8.5 inches tall to the top of the center finial. This case is 21 inches wide and 11.25 inches deep at the upper bonnet molding.
Inventory number 222148.
Oliver Wight was born in Medway, Massachusetts, on September 27, 1765, and died in Sturbridge on October 22, 1837. His parents, David Wight, born August 16, 1733, and Catherine Morse, born March 5, 1737, were both originally from Medfield, Massachusetts, and married on June 19, 1760. They settled just west in Medway immediately after their marriage. Six years later, they erected a house on the great road in that town and opened it for public entertainment. Here they remained until they sold this property in 1773. In that year, they purchased 1000 acres of land in Sturbridge. Approximately 40 miles west, Sturbridge was at that time considered wild wilderness. By 1775, Mr. Wight and his three boys, David Wight 2nd, Oliver, and Alpheus, had cleared enough land to grow grains and grass, and with this move, they became one of the first settlers of this town.
At the age of 21, Oliver married Harmony Child in Sturbridge on July 5, 1786. They had eleven children and enjoyed a brief period of prosperity.
Like his brothers David and Alpheus, Oliver acquired property from their father, who held expansive property holdings. In 1789, Oliver and Harmony were thought to have had the housewright Samuel Stetson build their Georgian-style dwelling. This clap-boarded homestead featured a hipped-gable roof, two interior chimneys, and a ballroom on the second story that spans the front of the building. This impressive building is now part of the Old Sturbridge Village (OSV) complex. It is one of only two buildings on the OSV property that stands on its original site and was added to the National Register of Historic Places in 1982. Here, Oliver also constructed a sizable shop. Oliver was an ambitious cabinetmaker. He is said to have built chairs, tables, chests, bedsteads, and other household furniture. He is recorded as advertising his wares in the Massachusetts Spy, a newspaper published in Worcester, MA. An advertisement placed on June 13, 1793, “Respectfully informs the Publick, THAT he carries on the CABINET and CHAIRMAKING BUSINESS in its various branches...” Another sign of their prosperity is the couple’s portraits which are currently located in the collections of The Abby Aldrich Rockefeller Folk Art Museum at Colonial Williamsburg. These portraits are thought to have been painted by Beardsley Limner. Financial troubles soon followed the Wight family sometime around 1793. Deputy Sheriff James Upham took out an advertisement placed on September 5, 1793, in the Massachusetts Spy. This notice claims that Oliver had absconded and that on the 23rd of that month, He was going to sell “A PRETTY affortment (assortment) of Cabinet Work, Houfehold Furniture, Hard Ware, and many other Articles, too numerous to Mention...” in order to eliminate three hundred and fifty (British) pounds of debt. In 1795, the family was forced to sell the house. Oliver relocated to Providence, Rhode Island, and in April of 1802, the Massachusetts Spy reported that Oliver was to face the court and was bankrupt.
