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Tall Clock
circa 1810curly maple, bird's eye maple, rosewood and satinwood
100 in. x 22 1/4 in. x 10 1/2 in. (254 cm x 56.52 cm x 26.67 cm)
Currier Funds, 1962.1
Unknown American
American
Innovations in clock making during the late eighteenth century revolutionized the production and distribution of timepieces throughout New England. The Willard family of clock makers in Massachusetts was responsible for many of these changes, most of which had the effect of making the business of clock manufacture more efficient and therefore more profitable for the maker. The Willard family attracted clients from all over New England, where it became known for dependable clocks in the latest fashions, sold at a reasonable cost. The Willards' reputation set the stage for the next generation of clock makers who were both directly and indirectly influenced by the famous family.
Following his apprenticeship to Simon Willard in Grafton, Massachusetts, Levi Hutchins returned home to Concord in 1788 and built a successful clock-making business with his brother Abel (also a Willard apprentice). In Concord, the Hutchinses carried on their business in the Willard tradition, primarily making tall and shelf clocks. The brothers dissolved their partnership in 1806 but continued to make clocks-Levi until 1824, excluding a five-year foray into the textile business, and Abel until 1819, when he turned to the hotel business. Levi Hutchins, like the Willards, was interested in the latest inventions, and in addition to his staples of shelf clocks and tall clocks, was known to carry patent timepieces and is even credited with inventing the first alarm clock.
The tallest and most elaborately cased tall-case clock made in New Hampshire, the masterpiece pictured here is distinguished both inside and out. Since only Levi's name appears on the face of this clock, it is thought to postdate Abel's involvement. A clock with an almost identical case and similarly painted dial bears Abel Hutchins's name, suggesting that the brothers were still collaborating, albeit not formally. The hunting scene painted in the crescent over the face has been attributed to the Boston painter John Ritto Penniman (1782-1841), but there is no documentary evidence to support this claim. Several Willard clock faces are known to have been painted by Penniman, however, and he did paint an oil on canvas of the same scene at about the same time (now in the Atkinson-Lancaster Collection of the New England Historic Genealogical Society). Willard apprentices are known to have utilized their masters' network of craftsmen, a practice that reinforced the Willards' dominance of the New England clock-making business and illustrates their profound influence on a generation of the area's finest clock makers.
The clock's case, made by an unknown cabinetmaker, was probably made locally, in the grandest style available. Notable features include curly maple quarter columns, string inlay outlining all of the major components, and traces of red and black paint, suggesting that at one time the case may have been grained to simulate rosewood. The size of the case has led to speculation that the clock was intended for a public space. Whatever its intended location may have been, this clock's elaborate details were calculated to leave an impression of wealth and power.
WNH and KB
REFERENCES
Carol Damon Andrews. "John Ritto Penniman (1782-1841), An Ingenious New England Artist." Antiques CXX, no. 7 (July 1981), pp. 147-70.
Philip Zea and Robert C. Cheney. Clock Making in New England, 1725-1825: An Interpretation of the Old Sturbridge Village Collection. Sturbridge, MA: Old Sturbridge Village, 1992.
Following his apprenticeship to Simon Willard in Grafton, Massachusetts, Levi Hutchins returned home to Concord in 1788 and built a successful clock-making business with his brother Abel (also a Willard apprentice). In Concord, the Hutchinses carried on their business in the Willard tradition, primarily making tall and shelf clocks. The brothers dissolved their partnership in 1806 but continued to make clocks-Levi until 1824, excluding a five-year foray into the textile business, and Abel until 1819, when he turned to the hotel business. Levi Hutchins, like the Willards, was interested in the latest inventions, and in addition to his staples of shelf clocks and tall clocks, was known to carry patent timepieces and is even credited with inventing the first alarm clock.
The tallest and most elaborately cased tall-case clock made in New Hampshire, the masterpiece pictured here is distinguished both inside and out. Since only Levi's name appears on the face of this clock, it is thought to postdate Abel's involvement. A clock with an almost identical case and similarly painted dial bears Abel Hutchins's name, suggesting that the brothers were still collaborating, albeit not formally. The hunting scene painted in the crescent over the face has been attributed to the Boston painter John Ritto Penniman (1782-1841), but there is no documentary evidence to support this claim. Several Willard clock faces are known to have been painted by Penniman, however, and he did paint an oil on canvas of the same scene at about the same time (now in the Atkinson-Lancaster Collection of the New England Historic Genealogical Society). Willard apprentices are known to have utilized their masters' network of craftsmen, a practice that reinforced the Willards' dominance of the New England clock-making business and illustrates their profound influence on a generation of the area's finest clock makers.
The clock's case, made by an unknown cabinetmaker, was probably made locally, in the grandest style available. Notable features include curly maple quarter columns, string inlay outlining all of the major components, and traces of red and black paint, suggesting that at one time the case may have been grained to simulate rosewood. The size of the case has led to speculation that the clock was intended for a public space. Whatever its intended location may have been, this clock's elaborate details were calculated to leave an impression of wealth and power.
WNH and KB
REFERENCES
Carol Damon Andrews. "John Ritto Penniman (1782-1841), An Ingenious New England Artist." Antiques CXX, no. 7 (July 1981), pp. 147-70.
Philip Zea and Robert C. Cheney. Clock Making in New England, 1725-1825: An Interpretation of the Old Sturbridge Village Collection. Sturbridge, MA: Old Sturbridge Village, 1992.
made movement Levi Hutchins
American
1761–1855
Innovations in clock making during the late eighteenth century revolutionized the production and distribution of timepieces throughout New England. The Willard family of clock makers in Massachusetts was responsible for many of these changes, most of which had the effect of making the business of clock manufacture more efficient and therefore more profitable for the maker. The Willard family attracted clients from all over New England, where it became known for dependable clocks in the latest fashions, sold at a reasonable cost. The Willards' reputation set the stage for the next generation of clock makers who were both directly and indirectly influenced by the famous family.
Following his apprenticeship to Simon Willard in Grafton, Massachusetts, Levi Hutchins returned home to Concord in 1788 and built a successful clock-making business with his brother Abel (also a Willard apprentice). In Concord, the Hutchinses carried on their business in the Willard tradition, primarily making tall and shelf clocks. The brothers dissolved their partnership in 1806 but continued to make clocks-Levi until 1824, excluding a five-year foray into the textile business, and Abel until 1819, when he turned to the hotel business. Levi Hutchins, like the Willards, was interested in the latest inventions, and in addition to his staples of shelf clocks and tall clocks, was known to carry patent timepieces and is even credited with inventing the first alarm clock.
The tallest and most elaborately cased tall-case clock made in New Hampshire, the masterpiece pictured here is distinguished both inside and out. Since only Levi's name appears on the face of this clock, it is thought to postdate Abel's involvement. A clock with an almost identical case and similarly painted dial bears Abel Hutchins's name, suggesting that the brothers were still collaborating, albeit not formally. The hunting scene painted in the crescent over the face has been attributed to the Boston painter John Ritto Penniman (1782-1841), but there is no documentary evidence to support this claim. Several Willard clock faces are known to have been painted by Penniman, however, and he did paint an oil on canvas of the same scene at about the same time (now in the Atkinson-Lancaster Collection of the New England Historic Genealogical Society). Willard apprentices are known to have utilized their masters' network of craftsmen, a practice that reinforced the Willards' dominance of the New England clock-making business and illustrates their profound influence on a generation of the area's finest clock makers.
The clock's case, made by an unknown cabinetmaker, was probably made locally, in the grandest style available. Notable features include curly maple quarter columns, string inlay outlining all of the major components, and traces of red and black paint, suggesting that at one time the case may have been grained to simulate rosewood. The size of the case has led to speculation that the clock was intended for a public space. Whatever its intended location may have been, this clock's elaborate details were calculated to leave an impression of wealth and power.
WNH and KB
REFERENCES
Carol Damon Andrews. "John Ritto Penniman (1782-1841), An Ingenious New England Artist." Antiques CXX, no. 7 (July 1981), pp. 147-70.
Philip Zea and Robert C. Cheney. Clock Making in New England, 1725-1825: An Interpretation of the Old Sturbridge Village Collection. Sturbridge, MA: Old Sturbridge Village, 1992.
Following his apprenticeship to Simon Willard in Grafton, Massachusetts, Levi Hutchins returned home to Concord in 1788 and built a successful clock-making business with his brother Abel (also a Willard apprentice). In Concord, the Hutchinses carried on their business in the Willard tradition, primarily making tall and shelf clocks. The brothers dissolved their partnership in 1806 but continued to make clocks-Levi until 1824, excluding a five-year foray into the textile business, and Abel until 1819, when he turned to the hotel business. Levi Hutchins, like the Willards, was interested in the latest inventions, and in addition to his staples of shelf clocks and tall clocks, was known to carry patent timepieces and is even credited with inventing the first alarm clock.
The tallest and most elaborately cased tall-case clock made in New Hampshire, the masterpiece pictured here is distinguished both inside and out. Since only Levi's name appears on the face of this clock, it is thought to postdate Abel's involvement. A clock with an almost identical case and similarly painted dial bears Abel Hutchins's name, suggesting that the brothers were still collaborating, albeit not formally. The hunting scene painted in the crescent over the face has been attributed to the Boston painter John Ritto Penniman (1782-1841), but there is no documentary evidence to support this claim. Several Willard clock faces are known to have been painted by Penniman, however, and he did paint an oil on canvas of the same scene at about the same time (now in the Atkinson-Lancaster Collection of the New England Historic Genealogical Society). Willard apprentices are known to have utilized their masters' network of craftsmen, a practice that reinforced the Willards' dominance of the New England clock-making business and illustrates their profound influence on a generation of the area's finest clock makers.
The clock's case, made by an unknown cabinetmaker, was probably made locally, in the grandest style available. Notable features include curly maple quarter columns, string inlay outlining all of the major components, and traces of red and black paint, suggesting that at one time the case may have been grained to simulate rosewood. The size of the case has led to speculation that the clock was intended for a public space. Whatever its intended location may have been, this clock's elaborate details were calculated to leave an impression of wealth and power.
WNH and KB
REFERENCES
Carol Damon Andrews. "John Ritto Penniman (1782-1841), An Ingenious New England Artist." Antiques CXX, no. 7 (July 1981), pp. 147-70.
Philip Zea and Robert C. Cheney. Clock Making in New England, 1725-1825: An Interpretation of the Old Sturbridge Village Collection. Sturbridge, MA: Old Sturbridge Village, 1992.
Exhibition
1964 Currier Gallery of Art, Manchester, NH, "The Decorative Arts of New Hampshire: 1725-1825." July 1 - Sept. 16, cat. no. 92. 1979 Currier Gallery of Art, Manchester, NH, "Eagles, Urns and Columns: Decorative Arts of the Federal Period." Sept. 16 - Nov. 25, cat. no. 99.
1981-1982 Museum of Our National Heritage, Lexington, MA, "American Tall Clocks." May 3, 1981 - Jan. 10, 1982.
1982 Currier Gallery of Art, Manchester, NH, "Masterworks by Artists of New England." April 3 - May 16.
1988 Currier Gallery of Art, Manchester, NH, "New Hampshire Clocks, Silver and Furniture: A Salute to Charles S. Parsons." Aug. 25 - Oct. 23.
1990 New Hampshire Historical Society, Concord, NH, "Concord, New Hampshire: A Furniture-Making Capital." May 1 - Dec. 31.
1993 Currier Gallery of Art, Manchester, NH, "Celebrate America! Three Centuries of American Art from the Currier." June 19 - Aug. 29.
1995-1997 "American Art from the Currier Gallery of Art." Organized by the Currier Gallery of Art and the American Federation of Arts. Traveled to: Orlando Museum of Art, Orlando, FL, Dec. 3, 1995 - Jan. 28, 1996; Society of the Four Arts, Palm Beach, FL, Mar. 15 - Apr. 7, 1996; Art Museum of Western Virginia, Roanoke, VA, Aug. 10 - Oct. 13, 1996; The Dixon Gallery and Gardens, Memphis, TN, Feb. 2 - Mar. 30, 1997; Frye Art Museum, Seattle, WA, Apr. 25 - June 22, 1997; Currier Gallery of Art, Manchester, NH, July 18 - Sept. 8, 1997, cat. no. 43.
Provenance
Isreal Sack Inc., American Antiques, New York, NY Purchased by Currier Gallery of Art, 1962
Additional Images
1962.1_01.tif
1962.1_02.tif
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