Two New Purchases

I recently acquired these two clocks locally. One was clearly a run-of-the-mill gingerbread clock (in rather nice shape), and the second one was for a plain looking mantle clock. This was for sale locally through Kijiji (similar to Craigslist) with a single photo, and a rather brief description:





I was almost tempted to buy only the gingerbread clock, but the price was so cheap I decided it may well be worth it to get the mantle clock for parts. Since the seller was just on the outskirts of town (and I have no car), I asked him if he'd be willing to drop them off, and I sweetened the deal by offering 40$. He counter-offered 45$ but I felt this seemed a bit greedy as I had already doubled his asking price, so I didn't reply. A week later he responded and said he'd take the 40$ and he could deliver them.

When he dropped them off, he mentioned that they had recently come out of either a barn or an attic recently. The first one he pulled out was the mantle clock, and as soon as he handed it over to me, and I saw that it was solid 1/4 sawn oak, I knew it was not going to be "junk" or "for parts". After he left, I took a closer look at both clocks. The plain mantle clock had an ill-fitting modern dial stuck to the original dial plate (hiding the winding holes), but the clock had its original CHROME PLATED movement, and a telltale gong block, and the original pendulum bob. My suspicions were confirmed when I turned the clock over and saw the original label.

The clock is an Arthur Pequegnat!

Pequegnat clocks are highly prized and collectible (especially up here) as he was one of the only few Canadian clockmakers to exist here in Canada. We certainly had lots of clocks here, but they were all largely Connecticut made USA clocks with overpasted labels. There were primarily only two major clock companies that were Canadian. One being Pequegnat, and the other being the Hamilton Clock Co. As a result, these clocks are much more scarce, and collectible. In all my years collecting (since 2004) this is the first one that I happen to come across (other than online).



Pequegnat clocks have this specifically shaped gong block/stand and I don't believe any other company used this pattern:



This particular model is the Pertoerboro (the name of a city in Canada):



It is not a very early Pequegnat clock, however (which would be more desirable). It bears the name "Kitchener Ontario", which was formerly known as Berlin Ontario. The city changed its name shortly after the war, as Germany was not popular at that time for obvious reasons.

I thought that the chrome-plated key might be original, because it matches the chrome plated movement, but it's not a good fit.



The gingerbread is a New Haven, and it also has a complete and intact label which identifies it as the DUXBURY model. However, even with the model name, it doesn't appear to be in any of the catalogues from the company. The fact that it uses a multicoloured glass (mainly gold, but with added sections in black and blue) would make me think that it's before 1900, since this detail was largely on earlier clocks, and phased out in later ones to save time, materials, and money.





Someone had added a nail with a plastic tube into the base as a pendulum fastener (I ended up removing this -not because it doesn't work, but because it's just plain ugly). The original hands are with both clocks.



Seems like this movement had the option for an alarm, but one was never fitted.





The gingerbread needs to have the crest reglued to the body, and a new triangular glue block on top behind the crest. The latch tip is also broken, and the movement needs cleaning. The main issue with it is the dial. This is the original painted dial, but 90% is flaked off. A paper dial is not a good option, as this dial is recessed and curved (it's not flat).

The Pequegnat has similar condition issues. The case, movement, and parts are all there, it's just the dial. It originally had a white-painted zinc dial with silk-screened fancy numerals. The shadows from the original numbers are still faintly visible on the zinc, so I can tell exactly which design it used to have, which is this:





This is a rather specific "Fancy Arabic" pattern, with more of a Gothic type font (square zero) and 4-dot hour markers. No paper replacements match this, and hand-painting this would be exceptionally tedious and time consuming. The closest pattern commercially available is also only available with the Ansonia label slapped on it:



I will likely custom-make a printed dial for this to match the original style.

Stay tuned!

11 Clocks Update

Some of you may be wondering what has been going on with the new acquisitions. Well, so far I have done many of the case repairs on the bulk of them, but none are completed yet. Here's a quick summary of what's done and not done on the clocks I've started to restore.

8 Day Sperry Ogee:
- Veneer repairs done
- Case corners reglued
- Dust covers stained and ready to use
- Loose label fragments reglued
- Gong screws antiqued and reinstalled
- Piece of brown paper tape on backboard darkened to match (I didn't want to remove it but I wanted to hide it)
- Additional dial holes and movement mounting block holes patched

Still to do:
- Shellac touch-ups/wax polish
- Find and fit a wood dial (or make and paint one)
- Clean and repair the movement
- Make a minute hand to match the hour hand
- Fit missing parts (weight lines, hooks, weights, bob, etc)
- Painted stenciled glass


8 Day New Haven 2 Door Ogee:
- Veneer repairs to case
- Centre bar rebuilt, veneered, and installed
- Case corners reglued/repaired
- Bottom of case flattened and stained
- Extra dial holes filled
- Pulley repair

Still to do:
- Repair the doors (reglue, square-up, veneer patches, reinstall hinges properly, etc)
- Fit dust covers
- Shellac touch-ups/wax polish
- Find/fit a correct movement, dial, weights, hands, etc
- Painted tablet


Sperry & Shaw 8 Day Column Clock:
- Case repairs
- Veneer repairs

Still to do:
- Shellac touch-ups/wax polish
- Clean and repair movement
- Fit dust covers


E. W. Adams Wooden Works:
- Case repairs (reglue/clamp several pieces)
- Veneer repairs

Still to do:
- Shellac touch-ups/wax polish
- Fit dust covers
- Find/install movement, dial, and parts (this is still largely an empty case)


Jerome & Co. Column & Cornice Clock:
- Veneer repairs

Still to do:
- Shellac finish entire case/wax polish
- Clean and repair movement
- Fit dust covers
- Painted glasses
- Fit hands


C. & L. C. Ives Triple Decker:
- Veneer repairs & case touch-ups
- Cut and fit ivory escutcheon to lower door
- Tint lower door darker
- Cut, veneer, and fit top returns and glue blocks
- Chipped column repair
- Fit hands

Still to do:
- Fit mirror or tablet in centre
- Fit dust covers
- Shellac touch-ups/wax polish
- Clean and repair movement
- Cut, fit, and install rear crest stiffener strips
- Cut and install new (old) dial glass


Wadsworth Pillar & Scroll:
- Patterns cut and prepared (top scroll, base, side returns, etc scaled on the PC from an original)
- Front damaged veneer band pieces removed (wire nails removed) and reglued

Still to do:
A lot. I only just started this one.

An Amazing Visit - 11 New Clocks!

I'm not even sure exactly how to start this post, or what details I should include or omit, but: long story short, my good friend Jim (from Texas), whom I've known for years now, decided that he would be driving down near-enough to me to make a detour and come visit. This trip had been mentioned numerous times over the past several months (maybe since April? I can't remember), and a bunch of planning and scheduling went into it. All I knew was that he was going to bring down a "whole bunch of stuff" for me. Jim has (in the past) mailed me several items (clock books, tools, and the occasional clock), and I've always been very excited and grateful for them. Some of the tools he's sent me, like the Swiss files, are ones I use almost every day.

Jim repairs clocks, specializes in wheel-cutting, has bought and sold many clocks. I believe he makes at least two big clock-related trips across the US every year (visiting friends, seeing other collectors, and stopping by clock shows). The most recent one was in Syracuse New York (3 hours south-east of me) on August 4th. I believe he said that on this particular trip, they covered over 4500 miles, and made numerous stops across the US (as well as myself in Canada).

Anyhow, I was pretty excited to see what Jim would bring down, but I was also told not to get my hopes up too high. I wanted it to be a surprise, so I didn't really ask him any questions. There were only 3 clocks that I knew he was bringing me, because we had discussed them before hand (the pillar and scroll, the 8 Day Jerome 2-door ogee, and the Marshall & Adams). Some of these clocks had been dropped off (donated) at his shop last summer and most of them need a whole bunch of work done on them (the kind of work I do all the time).

Jim's visit was on August 5th. He arrived with his good friend George, and I gave them the tour of the house and my collection. It was nice to spend some time with other clock collectors (I have only met a few), and also meet a friend whom I've (so far) only known over the internet.

Note: Jim was the one who made the custom mirror-clock movement for my reproduction New Hampshire mirror clock: http://jcclocks.blogspot.ca/2015/07/mirror-clock-project-part-9-finished.html

Without further ado, here are the goodies he dropped off. These next several photos were taken just after the visit, and before I really looked at the clocks and unpacked the boxes:











Since there's so much to see (and too many photos and details to share for each of them), I've limited this post to ONE photo per clock. When I work on them as individual restoration projects, I'll share the other photos and details that go with them (labels, movements, dials, etc).

This first clock was a bit of a mystery for about a week. It has a Sperry lyre movement (fancy plate 8 day weight movement), but the case has a Forestville Manfg. Co. label. I could not find any matching Forestville clocks (with swivel hinges, and with this particular movement). After 5 days of research, I removed the gong base, and discovered that the Forestville label is an OVERPASTE on top of a Sperry & Shaw label. This made so much more sense. The current dial is beautiful, but it does not fit (hand shaft and winding squares aren't aligned). The mahogany on this clock is absolutely stunning. It has a sort of rich, buttery, smooth finish, and wonderful patina. All it needs is a few veneer patches, and a wax polish (and a dial, pendulum bob, key, dust covers, etc).



This 8 Day ogee might be one of the worst in the lot (condition-wise), but I was actually really looking forward to working on it. I have a pretty serious love of ogee clocks, and I don't yet own a 2-door example. This one is a Chauncey Jerome 8 Day. The centre bar between the doors is missing, it needs veneer repairs to the case, and the doors are both in terrible shape, but it's all fixable. Another funny note on this clock is that the bottom board is so rounded that the case rocks back and forth like a rocking chair (see paper wedges in the photo). This is definitely not something you want on an already fairly tipsy weight driven clock.



This is a petty rare Wadsworth, Lounsbury & Turners pillar and scroll clock. I've wanted a pillar and scroll clock for probably over 10 years now, and I came close a few times to buying one in similar condition for a few hundred dollars. This one looks like it's in pretty rough shape, but it should clean-up fairly well, and I might even be able to save some of the original finish on it. It will obviously need an entirely new top and base, several minor case repairs, and some sensitive refinishing. I don't plan to do anything with the tablet. It's obviously damaged, but you can still see what it's supposed to be, and it *is* almost 200 years old by this point (1820s). The dial, sadly, doesn't fit the movement, however, I have a 95% flaked-off dial plate in my spare parts that does fit, and I may try to do a repaint on it. The spare dial that I have can always be swapped out later.



Also fairly rare is this transitional wooden works clock by Elisha Hotchkiss. It has a lovely original tablet, original finish, and a nice label. The unfortunate back story on this one is that the entire backboard was marked-up with pencil lines and drilled full of holes (15 holes!) The original dial was also completely butchered and thrown away. The entire dial centre (with all the numerals) had been cut away. All of this for fitting this clock with a kitchen clock movement. This doesn't really affect the case too much, but it will always be permanently scarred with all the holes (even if I fill them). Fortunately the movement and dial will hide the holes, so normally none of them would be visible. All it needs is a few veneer patches, and a movement, dial, and parts (hands, weights, key, etc), and those can just be popped into it at any time. The trouble will be to find the correct short-drop movement. I believe Jim said that this clock was out of George's collection.



This next one is a really beautiful Sperry & Shaw 8 day column clock. I really like this one. It has the original dial (and special hands), fancy lyre movement, and original tablet. The dial glass is also original. It just needs veneer patches, holes filled, and touch-ups (and weights and a bob). The label on this one is in mint condition. The case has the original finish. I think once this one is done it will be one of the highlights of my collection. Everything about it is great!



Another really amazing clock is this C. & L. C. Ives triple decker. This one dates to around 1835, I believe. This is now the largest and tallest shelf clock in my collection (37.5" tall). It has a beautiful strap brass Ives movement with roller pinions, and the circle-cut-out wheels with square teeth. It will need a bell, weights, and a few small case repairs (bone escutcheon, a few small veneer chips, side returns on the top, etc.) The centre glass will probably be a reverse painting (or less likely a mirror), but I'll need to find a very thin piece of antique glass to fit the old grooves.



This one is a Marshall & Adams (Seneca Falls New York), wooden works shelf clock. This is (so far) the only clock I have with carved columns. This one is also in pretty good shape, but it will need a lot of parts for it (it is just an empty case). There are just 3 or 4 veneer chips, and the whole case is loose, but otherwise I won't need to do very much on this one. The key in the door is one of my spares. This one should have an antique mirror in the base. It's hard to gauge the size from this photo, but this is a very large clock. 32" tall, 21" wide at the crown.



This is yet another beautiful column clock. This one is by Jerome & Co. (New Haven). 8 Day, rosewood veneered, with gilt column tops and bases (I believe they were regilded since I found loose flakes of gold leaf in the case). The finish seems to have been stripped off this one (pretty well, too), so I will just need to do veneer patches, and add a few coats of shellac to it. It should have a pair of "decal type" tablets, so I'm not exactly sure what I'll do for them yet. The label in this one is also mint. There is just one small tear near the top, but aside from that it's pretty crisp and white considering the age (around 1870).



This one is a bit sad. It's an early (and really nice) Waterbury beehive case in crotch mahogany veneer, but the back board has had a huge rectangular hole cut into it. Jim bought this clock just for the glass tablet, which I've since transferred to the Brewster & Ingrahams clock (which was missing its original cut glass tablet). I will likely see if I can re-convert this one, but it will probably be a bit of a Frankenstein, and it won't be very high on my to-do list.



A lovely E & A Ingraham gallery clock. This one had been painted with gold paint, and Jim stripped it. A lot of the original gold leaf (80-90%?) is missing. I may try to re-gild it (sympathetically), and try to keep a bit of the wear and tear. It just needs a key (which I have in my spare parts) and I may try to match the hands. Either replace the hour hand to match the minute hand, or vice versa.



This is the saddest one in the lot. It's a large size Brewster & Ingraham gallery clock. The gesso finish over the wood frame is badly damaged in places, and the dial is pretty toast. And speaking of toast, there is also what looks like a candle burn-mark through part of the edge in one spot. This one will likely get a complete restoration. Dial repaint, case rebuilt (puttied/patched/repainted), full refinish, etc. It has all the parts except the hands and a key.



Jim also included some boxes of parts and movements. Some rare and interesting ones (like the Acorn Lyre Forestville movement, and the Lenderman banjo movement). The wooden works is actually a Boardman & Wells, which is what I needed for my clock in the living room (which just had a placeholder movement in it for the past 5-10 years). There are also blank ogee dials under the painted antique one on the left.



So there we are. I was absolutely blown-away by all this. My expectations were far lower, but these are largely all really nice mid 1800s clocks in pretty decent condition. I've already started repairing 5 of them, so expect more posts soon.

Quickie Update

A few things to briefly mention:

- The John Birge column & cornice clock is nearly finished. I just put a few more hours into the crown moulding over the past 2 days, and it's NEARLY finished. I still need to cut and install two triangular glue blocks, as well as drill the screw mounting hole on the replaced left crown piece. Once that's done, I can glue and install the crown, and the clock will be done. I also had to entirely re-make the fan wheel a second time (more details on this later).



- I've been working on the Rosewood Seth Thomas clock (from this clock haul). The rosewood case is restored (and looks fantastic), the dial has been repainted, the movement is repaired (and fully functional), all that is left is to finish working on the reverse glass painting (tablet). The clock originally had a very thin old mirror, but I really didn't want to have a mirror in it.



- I recently completed (99%) the restoration of a wonderful and cute miniature wag-on-the-wall clock. This one mostly just needed cleaning and new side doors, but during the cleaning and restoration, I had to repair/reshape the dial mounting hooks, and I also made a custom wall shelf for it. The only reason it isn't 100% finished is that the chains on the clock are too short. The clock runs and strikes fine, but there is only enough chain for about 10 hours (both chains are less than 3 feet, and they need to be at least 5 feet long). The chains needed are 50 links per foot, which are not commercially available. The closest match are 49 LPF, so I may try those.

- I may also be painting the tablet for the rare 8 day Seth Thomas column clock. The stencil has already been cut for it.

Mirror Clock Project - The Completed Dial

Here is the completed dial after small touch-ups, antiquing, and a clear topcoat.

I went fairly light with the antiquing, and the main areas that were darkened were: around the edges, and around the winding hole and centre hole. Also note how far from "white" the dial was painted. The dial is photographed over a sheet of white paper for comparison. It is much closer to grey. Also visible in these photos are the 3 filed reference notches on the dial edges.

Clock Haul - 4 New Acquisitions

Yesterday was quite a fun day for me. I woke up somewhat early (9ish?) and decided to check the online classifieds to see if there were any nearby yard sales (ones I could walk to). In the process, I noticed that one of the yard sales I had missed last week was being done again this weekend. The reason I wanted to go to this particular yard sale was that there were several antique clocks for sale! A whole shelf full! You can see some of them in this photo from the ad:



The sale was NOT nearby, though. Technically out of town. But it was within a 15 minute walk from the nearest bus stop, so I was still able to go.

When I got there, several had been sold (the Art Deco looking ones from the photo above), but many remained, and the asking prices were rock bottom. Most were either 25$ or 30$ each. At first, I was extremely excited, but when I started to look at them, I could see why they were so cheap. A bunch of the black mantle clocks on the shelf were missing bezels and glasses, had no back panels, a few were empty cases, and others had no hands. Still worth buying at 25$ each, but I have too many projects already, and black mantle clocks aren't really my favourites.

The ogee clocks (which I bought) were also basket cases so no one wanted to touch them.

While I was browsing, there was another couple browsing around, and the husband pointed to the ogee clocks, and looked to his wife saying "Remember those?" "God they were terrible timekeepers." This followed with a short conversation with one of the sellers (the owner's son), and he told him that he couldn't even get it to keep time to within 10 minutes a DAY.

I didn't say anything, but from my own experience, I've found that ogee clocks are some of the best timekeepers in my collection. They are weight driven, which automatically makes them superior to spring clocks, and most of mine run to an accuracy of 30 seconds per day or better. If I really tweak them with the seasons, I can generally get them accurate to within a minute a week.

This same yard sale browser also complained that they only run for 24 hours. While this is definitely true (24-30 hours), I don't find that it's a big deal to wind them daily. I understand why a lot of people are turned off by 30 hour clocks, and a lot of collectors completely avoid them, but that's their loss. Some of my nicest clocks are 30 hour ones. I currently have 6 clocks running that need daily winding, but back when I was still at the apartment, I had about a dozen. I just wound them right before bed every night. It took maybe 5 minutes, but it was part of my daily routine.

Anyhow, I was sifting through boxes filled with broken cuckoo clocks, small uninteresting wall clocks, and other miscellaneous items, and I eventually introduced myself to the clock collector when I spotted him coming out from the house. He was a nice friendly guy, and he also invited me inside to see some of his other clocks. He had a beautiful mahogany longcase clock: probably Scottish, with a period 3 dial (after 1800) in the living room. The rest of the house was very plain with modern decor, but his small room was something else entirely.

His main clock/display room was about a 10'x10' study at the front of the house, and it was like walking into a Victorian fantasy. As you walked into the room from the left corner, there was a large oak roll-top desk directly in front, with a huge oak store regulator hanging above it.

Immediately to the left was a MASSIVE 1850's bonnet chest. I would try to link to a photo of a similar one off the web, but this one had a very unusual layout with deeply curved drawer fronts on the top row. It had beautiful bird's eye maple drawer fronts, while a lot of the other flat pieces (drawer/cabinet edges) were in curly maple. I think it had turned posts/legs but now I can't remember. I just remember it was gorgeous, and not quite like any others I've ever seen.

On top of this dresser, he had 3 clocks. 2 Eastlake/Victorian gingerbreads, and in the centre, a really nice (tall) Seth Thomas (Plymouth Hollow) column style #2 (the harder-to-find one with the squared narrow top mouldings similar to the column style #1, as opposed to the easy-to-find ones with the ogee top moulding). There were also some fantastically beautiful and very fancy glass oil lamps on this dresser with the clocks. They weren't brightly coloured, but the pressed glass patterns in them was very detailed, and (if I remember correctly) they were older 3-piece ones with the brass collars in the centre.

Side note: He had over a dozen plainer looking oil lamps for sale.

On the right side of the room was a window, and then in the corner next to the door, he had a tall oak barrister's bookcase, with (I think) a fancy black mantle clock, and another gingerbread, and another oil lamp or two.

The entire room just had this wonderful historic feel.

He also showed me a few of the other clocks he had downstairs on some shelves. He said they would also likely be for sale, but at around 125$ each (a bit more than I want to pay for some average looking gingerbreads). He told me that he had bought-out a jeweller/clock collector a while back, which is where most of these clocks had come from.

During all this, he said that he might want to have me clean several of them, because he's been looking for someone to do the work for quite a while. He didn't seem to know a huge deal about clocks (he had lots of them but none were working, and he also didn't know what the alarm mechanism was on one of the gingerbread clocks he had).

I ended up wanting to buy 2 of the ogee clocks, and he convinced me to get the third one, and knocked down the price to 20$. He also gave me a few of the spare parts (a few pendulums and loose hands). Apparently someone had beat me to a bunch of clock hands (a whole box full) which was sold for "something like 5$". Ugh. Oh well.

We exchanged numbers and info, and I planned to come back for the clocks Sunday (since I was on foot). I ended up returning that same evening because my Mom had plans today (Sunday), and she happened to be off yesterday.

When I returned, I ended up also buying one of the black mantle clocks. There was one in particular that I had been eyeing earlier that day, and I couldn't decide of I wanted it or not. It was only 25$, so I HAD TO. I liked it because it was marbled, and still had the original (and deeply crackled) finish.

All told, I bought 4 clocks for 105$, and also got a few odds and ends (which included a slightly damaged gingerbread clock pendulum which I can probably repair and use).



Clock #1 (30$) is a rather nice and typical ogee clock. This one is by Jerome/New Haven, and it has the original dial, tablet, bob, and finish. What I found that's really odd, however, is the veneer, but I'll get to that in a second.



The tablet is in pretty good shape, and it shows "Sailors Home Liverpool".



The dial is pretty faded, but won't be restored (possibly touched-up, but probably not).



The finish is original as far as I can tell. It looks super old, it's grimy, flaky, crackled, and chipped. What's odd, though, is that under the finish, it looks like pine? You can clearly see knots, and it has been finished to look like mahogany (or mahogany colour anyway).



Prior to having seen this case up-close and in person, I had always assumed that pine cases had been stripped of their veneer. Some of the times that's the case, but I suppose there are always exceptions. If you look at the photos, you can see that the edge banding and door veneer are veneered in typical "short grain" direction, but in pine. This just boggles my mind. I'm going to need to do a bit of research there and see what I turn up.

While this is the best clock in the bunch (as far as condition), the movement seems suspect. I will need to check this, but from what I can remember, the only maker who used curved wheel crossings like these is Gilbert. I've seen exceptions, but I don't think Jerome or any of the other major companies used this design. If it's a Gilbert movement, the clock is definitely a marriage, but I can likely find the right movement for pretty cheap if I want to.



The labels in all 3 ogees are quite deteriorated/damaged but it can clearly be identified as reading Chauncey Jerome New Haven, Conn. and it shows the factory.



The label is the same as this one:



Clock #2 (30$) is a Seth Thomas that I wanted strictly because of the stunning rosewood veneer case. The ogee mouldings are particularly deeply cut, and for the most part, the veneer is in good shape (rosewood is particularly prone to flaking, peeling, and chipping since it is an oily tropical wood that doesn't glue very well). This will also be the FIRST rosewood ogee in my collection.



The glass has a tag that identifies it as a Seth Thomas Plymouth piece, but that may or may not be entirely accurate.



The dial is a joke. I found it funny that my Mom said it was quite pretty, and then I told her it's a bad repaint job. It looks like the original embossed dial pan, but it's been completely stripped, spray painted, and repainted. Whoever did the numerals had some skill (with nice fine lines in the minute track) but the V numerals are too wide, and the floral corners are quite amateur.



I was pretty sure that the broken mirror was a replacement, but two points have me second guessing this. Point 1: this jeweller's label is from a jeweller in London Ontario, and dates to between 1866-1877 based on the info I was able to dig-up. Point 2: is that the glass is VERY thin. Thin mirrors are usually a good indication that they are old. This one is almost just 1/16" thick (which is super thin), there also doesn't seem to be any marks on the wood retaining strips that hold the glass in place. On the other hand, the mirror isn't wavy. Not even a little.

I will probably do a stencilled tablet though.



The movement is stamped Plymouth Hollow.



Lots of ugly solder, but otherwise, it doesn't look too bad. I didn't think Plymouth movements ever used screws for the plates... Hmmmm. More digging to do.



The label is Thomaston. This tells me that either the movement is wrong, or that the clock dates from right around 1865 when the town was renamed from Plymouth Hollow to Thomaston after Seth Thomas' death.



The label is the same as this one:



Clock #3 is the worst of the bunch, and the one I originally passed on, but was knocked down to 20$. It is also a New Haven, and it needs a lot of help.



The dial is just the worst. It is original, and the original paint is under this cartoon effort. The problem, though, is that the original paint is 60-70% flaked away. There's enough peeking through to get an idea of what it looked like though. It's a pretty plain/standard dial nearly identical to the first clock.





I think this is my first ogee clock with a detailed knob. All my others have a plain zinc one, or a bent brass wire type.



The movement seems to be in great shape except for the verge. The exit pallet has been re-soldered in place.



Oddly the best label of the 3. "American Extra ??? ment Clocks, New Haven Clock Company, New Haven, Conn. I always find it funny when the label designers don't take into consideration the large gong base that will cover it.



The main problem with this case are two large and terrible veneer repairs on the left side. If I can peel most of this off, it could potentially be a somewhat easy fix, but it looks truly awful. While I like some old repairs, they need to be well done to be worth keeping. There's a fine line between "charming" and hideous.

These two photos are actually a bit blurry and make it look "not that bad" but trust me, it's bad. The veneer isn't even the same thickness, and it's lifting in sections.





A last note about the ogees: I have 5/6 weights, 2 bobs, and 2 minute hands. There are 2 spade hour hands, but they don't belong to these clocks.

The last addition, clock #4 (25$), is a Waterbury Duane. I found this clock in my 1912-13 catalogue (p. 51) and right next to it is the Duluth, which I also have (a gift from my aunt, and sadly it was heavily refinished, and with bun feet since the cast feet are missing).

What drew me to this clock was the original finish. The finish is in what most people would consider "awful and unsalvageable" condition, but I love it. It's the original green marble paint, with a very thick layer of shellac or varnish that has become very crackled. There are some scratches, and I hope I can camouflage them.

I was not able to find any other examples of the Duane model (not that I necessarily need any).



The bezel and glass are missing, but since I have the Duluth, I can measure it and get an exact one to match (hopefully). I also noticed that the Duluth's existing bezel is horribly mangled from some kind of glass replacement botch job, so I may replace both.



I LOVE the lion head side pieces. I haven't seen these often. It looks like they might have been repainted, since I see paint smears on the edges.



Perfectly aged feet.



Labels:





The movement looks extensively rebushed, but in generally good shape. The back door and pendulum bob are missing (but I can copy the door from the Duluth, which is a very simple design)



So that's it for now. I'm not sure if I'll be working on any of these anytime soon, but you never know.