A Willard Banjo Clock, circa 1982

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A Willard Banjo Clock, circa 1982 When Old Becomes New Again by David Sperling (NJ) The golden age of handcrafted clocks in America began in the eighteenth century and ran through the end of the

1 A Willard Banjo Clock, circa 1982 When Old Becomes New Again by David Sperling (NJ) The golden age of handcrafted clocks in America began in the eighteenth century and ran through the end of the first quarter of the nineteenth. The golden age for mass-producing clocks by machine was certainly the last half of the nineteenth century. But meeting the needs of a more diverse and technologically more complicated society made the twentieth century the golden age of horological accuracy. Within this framework there remain decorative, technical, and educational threads that connect the past with the present. For most people who love the form and elegance of the Willard patent timepiece, current high prices make the acquisition of top-of-the-line examples difficult indeed. However, because of a collaborative effort between the Chelsea Clock Company (CCC), Colonial Williamsburg (CW) and the Kittinger Furniture Company, there was an attempt in 1982 to recreate this clock, one of America s most beloved horological forms. The construction of this replica brought together knowledge from all three eras: handcrafting, mass production, and accuracy. This article attempts to relate how that effort was accomplished. The story of the Chelsea Clock Company was recounted in The Maine Antique Digest in an October 2005 article by Jeanne Schinto. She traced the knowledge and training that passed from Aaron Willard Jr. ( ) to Edward Howard ( ) and then to Joseph H. Eastman ( ), the founder of the Figure 1. Subject clock. A reissue of an Aaron Willard patent timepiece by Chelsea Clock Company. Eastman Clock Company. The last firm mentioned, founded in 1894, changed ownership in 1897 when Charles H. Pearson purchased it and renamed it the Chelsea Clock Company (CCC). In the twentieth century Chelsea grew in prestige, creating fine timepieces for use at sea and on land for both the military and civilian sectors. The quality of their product was unsurpassed. The precursor of the Kittinger Company began to take shape in Buffalo in The work force was composed of immigrants from Poland, Germany, and Ireland. But it was not until 1913, when Irvine Kittinger became president and manager, that it began to flourish as an upscale furniture company. The organization grew and by 1929 it had outlets across the country. In 1937 Kittinger was chosen by Colonial Williamsburg as the sole furniture company to recreate many of the fine Period pieces in the Williamsburg collection. The company became a part of the Williamsburg Restoration project. Between 1969 and 1972 Kittinger employees helped to recreate early furniture for the presidential quarters in the West Wing of the White House. Kittinger pieces were given as gifts to visiting dignitaries. Presidents from FDR to Bill Clinton sat in their chairs. John D. Rockefeller Jr., along with others, led the early twentieth-century restoration of the homes of Colonial Williamsburg in Virginia. The mission of the project was the preservation of the physical environment, as well as to foster the concept of America, a land where diverse people come together, bound by their desire for peace, equality, and freedom. The project mission was to educate so that the future may learn from the past. The subject clock (Figure 1) recently appeared on the auction market in Pennsylvania. Having studied Willard patent timepieces over the years, I was initially impressed by the quality of this reproduction. The form and proportions of the original were captured quite nicely and piqued my interest. Upon looking more deeply, it became clear that very few of these Williamsburg/Chelsea reissues had ever appeared at NAWCC shows or auctions. Williamsburg issued a 1982 catalog listing several clocks that were reproduced. The Chelsea Clock Company was involved with only two: a Terry & Sons pillar and scroll mantel clock and a circa 1820 Aaron Willard gilt presentation banjo wall clock. 388 August 2010 NAWCC Watch & Clock Bulletin

Figure 2. Subject clock. Aurora in her chariot. Figure 3. A. Willard Jr. patent timepiece, ca. 1820. Mars in his chariot. Figure 4. Waltham banjo clock, ca. 1930. Aurora in her chariot. Feeling motivated to look further, I contacted Andrew Demeter, author of Chelsea Clock Company: The First Hundred Years.

Taking inflation into account, that s roughly $8,000 today. In addition, the clock came on the market during an economic recession. As a result, sales of the clock were poorer than expected.

According to CCC ledger books in the possession of Demeter, the serial numbers 854661 through 854811 were seemingly reserved for the sales of the Willard banjo and Terry shelf clocks.

unused, and it appears that only 42 banjo clocks and 39 pillar and scroll clocks were actually produced.

2 Figure 2. Subject clock. Aurora in her chariot. Figure 3. A. Willard Jr. patent timepiece, ca Mars in his chariot. Figure 4. Waltham banjo clock, ca Aurora in her chariot. Feeling motivated to look further, I contacted Andrew Demeter, author of Chelsea Clock Company: The First Hundred Years. Demeter stated, The quality of the cabinetry was very traditional and in the case of the banjo, it was outstanding. Because of cost overruns, the retail price in 1982 had to be set at $3,500. Taking inflation into account, that s roughly $8,000 today. In addition, the clock came on the market during an economic recession. As a result, sales of the clock were poorer than expected. Demeter was aware of only one or two of these banjo clocks and Terry shelf clocks (initial offering price $3,450) surfacing since their creation a quarter century ago. According to CCC ledger books in the possession of Demeter, the serial numbers through were seemingly reserved for the sales of the Willard banjo and Terry shelf clocks. Many of these serial numbers went Figure 5. Attleboro, MA, banjo clock, ca Aurora in her chariot. unused, and it appears that only 42 banjo clocks and 39 pillar and scroll clocks were actually produced. John McCarthy of the CCC provided information about the Chelsea banjo clock shown in Figure 1, serial number This particular clock was shipped on January 28, 1983, to the Bailey Banks and Biddle retail store. In the past 15 years only one of these banjo clocks has been returned to the Chelsea factory for repair. One of the most impressive features of this wall clock is the color and quality of its reverse glass paintings (Figure 2). Although one can differentiate these glasses from those of a Period timepiece (Figure 3), they certainly match or exceed the quality that one sees produced in fine Waltham banjo clocks (Figure 4). The Chelsea glasses also compare very well to those found earlier, such as on an Attleboro, MA, banjo NAWCC Watch & Clock Bulletin August

clock, ca. 1850 (Figure 5). The ornamental artist who initially recreated the scene of Aurora for Chelsea was Marianne Picazio of Arlington, MA, now of Sagamore Beach, MA.

The carved wooden eagle is finished in 22k gold (Figure 6) and the gilding on the case in 23k gold leaf.

with wooden dowels (used in later nineteenth and early twentieth-century banjo clocks).

3 clock, ca (Figure 5). The ornamental artist who initially recreated the scene of Aurora for Chelsea was Marianne Picazio of Arlington, MA, now of Sagamore Beach, MA. She, along with her husband Edmund, painted glasses and dials for Chelsea for several years, starting in the mid-1970s. The construction of the casework is extremely fine. The carved wooden eagle is finished in 22k gold (Figure 6) and the gilding on the case in 23k gold leaf. The beading created for the banjo clock frames copied the original form precisely, and the small gilt spherules that line the pedestal are attached with wire (in the traditional manner), rather than with wooden dowels (used in later nineteenth and early twentieth-century banjo clocks). The movement of the banjo clock (Figure 7), rather than being attached to the backboard of the case, is designed in such a manner that it attaches to a heavy brass plate (seen behind the movement) that is screwed to the case head. The brass plate serves a dual purpose in that it also is the point of attachment for the signed white painted dial (Figure 8). Chelsea used their 4M brass movement, an eight-day spring-wound house strike version, which was very similar in design to their 1899 movement serial number 3439 (Figures 9A and 9B) that used a balance wheel. These movements, modified for pendulum escapements, were Figure 6, left. Subject clock carved gilt wooden eagle, white painted/signed dial. used in both the 1982 pillar and scroll and the banjo clock models. The innovation was the creation of A. J. Leone, Chelsea s own horological genius, who came out of retirement to accomplish this work, after 47 years of service to the company (Figure 10). This springdriven mechanism has maintaining power (the clock continues to keep time during winding) and the strike Figure 7, above. Subject clock, round brass movement attached to heavy brass plate (seen behind the movement). Note: Pendulum rod is seen between front plate and round brass attachment. Figure 8, left. Subject clock, heavy brass plate screws onto head of case. Dial attached to front of plate; movement attached to rear of plate. 390 August 2010 NAWCC Watch & Clock Bulletin

mechanism, a rack and snail, self-corrects to keep the chime in tune with the hour. It is accurate within a few seconds per week.

In 1938 he invented the model 12E, which one of his associates, John McCarthy, called one of the most accurate mechanical timepieces (clocks) ever mass produced.

The clock and movement had to pass many strenuous tests using water, temperature, and shock. It proved just about indestructible.

4 mechanism, a rack and snail, self-corrects to keep the chime in tune with the hour. It is accurate within a few seconds per week. This appears to have been Jim s last of numerous contributions to the CCC. James Leone had been Chelsea s director of engineering. In 1938 he invented the model 12E, which one of his associates, John McCarthy, called one of the most accurate mechanical timepieces (clocks) ever mass produced. The clock movement resulted in a quarter million orders from the U.S. Armed Services for use in World War II, as well as the conflicts in Korea and Vietnam. The clock and movement had to pass many strenuous tests using water, temperature, and shock. It proved just about indestructible. In addition, Leone made improvements to Chelsea s famous ship s bell clock movement renamed the model 4L, which remains essentially unchanged to this day. In 1973 Leone developed a new Figure 9A, above. Chelsea Clock Co. movement from 1899 (rear plate). Figure 9B, below. Movement above (front plate). Shows balance wheel escapement. Figure 10. A. J. Leone, Chelsea Clock Co. chief engineer. Chelsea clock that not only told the time very accurately (within one minute/month) but also told the time of high and low tides. This feature was of immense value to the individual sailor or yachtsman. He received a patent for this invention in From the mid-1970s and certainly by the early 1980s, the name Chelsea was reserved primarily for the finest CCC clocks. In the years , the CCC created the Boston Clock Company to produce items that Chelsea did not make (one was an artillery fuse for the government) and produce them at a lower cost. Boston components were nickel-plated brass, while in similar Chelsea mechanisms the same parts had either a natural finish or were goldplated. The Boston Clock Company firm was reintroduced by Chelsea in 1971 using shipstrike models with German movements and selling at a lower cost. In this manner they could sell a Chevrolet when the consumer was unwilling to pay for a Cadillac (Demeter, p. 77). The early Chelsea movements ( ) were limited primarily to pendulum models (wall regulator type) and NAWCC Watch & Clock Bulletin August

5 yacht models (marine type). In 1899 they added the aforementioned housestrike movement. (This movement would be modified over the years to become the Chelsea 4M eight-day housestrike movement, and would ultimately serve as the basis for the movement in the subject clock.) Because of slow sales, the CCC made a decision to place their clocks in jewelry stores. According to Demeter, by late 1899 CCC had established dealers in every major eastern port and by 1905 there were dealers in every major American city. Demeter states that from its earliest days the CCC had a Jewelry line (retail sales through jewelry stores to private individuals), a Marine line (sold to ship builders), a United States government line (sold to all branches), and a Specialty line (clocks, instruments, and parts for commercial use). The banjo clock strikes on a heavy coiled gong and has quite a resonant sound. A. J. Leone wrote an article in the December 1965 issue of Precision Metal Molding devoted to a major change in the creation of a brass clock case. Up until that time metal cases for CCC clocks were sand cast. This resulted in metals that always had a degree of porosity, with most castings having microporosity. Leone wrote that forging brass cases, instead of sand casting them, produced several benefits in addition to cost savings. The forged metal had zero porosity. Thereby parts would fit together more precisely, the finish was finer and longer lasting, and the gong produced a better-quality more resonant sound. Recall that the movement of the subject clock screws into a heavy brass plate (see Figure 7) that attaches to the head of the case. The painted brass dial is screwed into the front of this plate, which prevents the usual loosening of dial screws over time. The movement attaches to the rear of this brass plate with several small screws. As it relates to the movement, I believe one of the reasons to use such a plate is to amplify the lovely resonance of the chime. (Being familiar with Leone s 1965 article, I would imagine the brass plate was forged, not cast.) James Leone, born on Hurricane Island, ME, in 1909 became superintendent and chief engineer for CCC between 1929 and Jim s inventions were used in boats, above and below the surface of the water, and in airplanes. No doubt, his timepieces played a significant role in World War II. He remained a consultant engineer for the company from 1976 until his death in 1990 in Quincy, MA. At CCC his coworkers knew Jim Leone as a compassionate human being who was also a wonderful teacher to all those around him. John McCarthy, who joined the firm in 1956, was a colleague who considered himself one of Jim s students. McCarthy s relationship to his mentor was always characterized by courtesy and grace. Leone was a member of at least five service organizations that served his profession and his community. He was a man deeply devoted to his work, his wife of more than 55 years, and his family. The CCC has been called the last great American clock company and one of Chelsea s own brochures claims that their clocks were the last great American clocks. Certainly their copy of an old masterpiece wall clock was created in that very mold. I find myself considering Jim Leone s ingenious creations during the twentieth century alongside some of the nineteenth-century giants of the American clock industry, such as Willard and Terry. In fact, this beautiful wall clock (along with the Colonial Williamsburg Terry shelf clock) figuratively brings the three men together. In this banjo clock exists a direct connection to past American greatness in the clock industry. In the creation of this fine wall clock something old has indeed become new again. Acknowledgments I thank Andrew Demeter, Chelsea, MA (coauthor with David Demeter), Chelsea Clock Company: The First Hundred Years (Chelsea, MA: Demeter Publications, Ltd., 2001); Jim Dyson at for use of early Chelsea movement photos; John McCarthy, Winthrop, MA (Chelsea Clock Company); Marianne Picazio, Sagamore Beach, MA; and John Sullivan, Braintree, MA (Starling Furniture Company). About the Author Dr. David Sperling received his B.A. from Columbia College with a dual major in science and art history. He received his M.D. from New York Medical College. He had a full-time private pediatric practice in Morris County, NJ, for 30 years. David became interested in Americana and clocks in 1966 while serving in the U.S. Army Medical Corps in Tacoma, WA. During the years of practice he was primarily a collector. In the early 1990s he joined with his son, Ed, to form Father & Son Antiques, specializing in the buying, selling, and appraisal of fine American timepieces. After retiring in 1997, David became a regular horological feature writer for the Maine Antique Digest. He has also written several articles for the Arts and Antiques Weekly and the NAWCC Bulletin. David has done clock appraisals for antique dealers, insurance firms, and appraisal firms, as well as for private individuals. He has also done arbitration appraisals, mediating between individuals and insurance firms. What began as an avocation has grown, in retirement, to become a multifaceted and most enjoyable vocation. 392 August 2010 NAWCC Watch & Clock Bulletin

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