CLOCKS FOR SALE

  Antique clocks are 'green'.    No batteries, no plastic, no overseas manufacturing or resource consumption.  Your own energy powers these clocks every time you wind them up.

  Clocks may be viewed and purchased at my shop and at area antique shows.  All clocks are professionally serviced by Bell-Time Clocks and are in good running order.   They are guaranteed to be as described.

 Please view these photos of fine antique clocks currently on offer.  Below the photo section are text descriptions of each clock, keyed to their inventory number.  Larger and more detailed photos can be provided by email.   When at all possible, pre-purchase inspection is strongly recommended.  Packing and shipping, as noted on the "Ordering and Shipping" page, are available only on smaller less-fragile items; otherwise, pickup or delivery is required.

Also below are some helpful thoughts on originality, restoration and refinishing.

   DESCRIPTIONS -  CLOCKS FOR SALE

       (listed dimension is the approximate height of the clock)

1337  Jared Arnold Floor Clock, c.1832.  Unique, unusual and early conversion of Amber, NY triple-decker shelf clock to mahogany long-case.  Original reverse-paint tablet, gilt column caps & crest, paper label & painted wood dial. 8-day 2-weight strap-brass works with hour striking on bell.  77".

1423  Jn.Walker (1836-1880), London, Ship Chronometer, c.1850.  High-quality marine clock.  Gimbaled brass-bound mahogany box.  Silvered dial with up-down indicator.  Proper one-way winding key.  Jeweled 2-day movement with detent escapement.  6.5"

1509  Smiths Astral, Britain, c. 1935.  Brass-case marine clock.  Hinged bezel, beveled glass.  Signed dial.  8-day time-only movement, jeweled balance platform. 7"

1520  Postal Telegraph, Hammond, c.1925.  Large Deco-style internal-lights electric wall clock powered by high-quality original manual-start motor.  Brief competitor to Western Union selling standard time to government and industry.  21" diameter.

1543  John Kimball Boston Banjo, 1831.  Gold-front mahogany case with colorful reverse-paint glasses showing the god Mars in his chariot.   Solid brass sidearms.  Weight-driven 8-day movement inscribed on back plate "Made by J. Kimball Jr. to pay old debts 1831". 42"

1547  National Calendar Clock Co., c. 1890.  Rarely seen double-dial column&cornice solid mahogany shelf clock with distinctive gold/black dials.  Manufactured by the New Haven Clock co.  8-day signed movement with hour striking on deep-tone gong.   27"

1549  Seth Thomas Regulator No.1, c.1865.  Classic early weight-driven mahogany 8-day wall clock.  Rare embosesed pendulum and complete original blue paper label and beat scale.  Designed by Silas Terry who sold patent to Seth Thomas in 1859.  34"

1582  Goldsmiths Co. Newcastle on Tyne Desk Clock, c.1900.  Solid inlaid mahogany portable timepiece retailed by venerable British horological firm.  Signed porcelain dial.  Convex beveled glass.  8-day time-only movement with jeweled balance platform, cylinder escapement, walking-lion trademark.   9"

1592  Column Clock, New Haven, c.1878.  Rare small size column-and-cornice rosewood shelf clock. Colorful reverse-paint glass and floral dial.  Original inside paper label.  8-day movement strikes hours on gong.  16".

1595  Seth Thomas Corsair-8, 1944.  WWII large marine clock.  Solid cast-brass hinged-door case.  First-quality 8-day 11-jewel movement no.5160, dated 6/42, with sweep seconds.  Signed 8" silvered dial.    10"

1637  Welch, Spring & Co. Regulator No.5, c.1875.  Solid walnut case, gold leaf pendulum and side-window frames, 8-day time-only 2-weight movement, fancy cast beat scale.  52".

1654  Crystal Regulator, Seth Thomas c.1900.  Bow-front polished brass and beveled glass mantel clock sold by Smith Patterson, carriage-trade Boston jewelery store.  Multi-color floral signed porcelain dial.  8-day signed movement striking hours and half hours.  Simulated mercury pendulum.  11".

1661  English Skeleton Clock, Smith of Clerkenwell, c.1860.  Cast-brass 8-day fusee timepiece with silvered dial.  White alabaster base.  Oval glass dome.  14".

1666 "Levant" Parlor Clock, Gilbert Clock Co., c.1885.  Solid walnut case.  8-day movement patented 1879 with strike on hours.  Fancy reflector pendulum.  Reverse-paint glass with two active birds.  Old sticker on back from Noank, Conn. shop.  19".

1671  English Long-Case, c.1790.  Solid oak arched-top case in desirable shorter size.  Osborne hand-painted colorful dial with bird in arch.  8-day 2-weight movement strikes hours on bell.  80".

1689  Ansonia Mini O.G., c.1855.  Strong-grained rosewood-veneer classic shelf clock in scarcer small size.  Bold reverse-paint glass tablet.  Floral painted dial.  30-hour hour-striking movement.  Original factory label by Ansonia Brass Company from earliest days of this important company's history.  19".

1696  Barograph, L.Maxant, Paris, for Manhattan Marine.  Unusual small size mahogany instrument for weekly recording of barometric pressure. 7-jewel 8-day movement.  6".

1700  French Bracket Clock, A.Stowell, Boston, c.1860.  Rare-style inlaid mahogany case with oversize silvered dial.  Vincenti 1855 8-day movement strikes half hours on deep gong.  15"...  8-day pendulum movement.  37".

1702  Sperry & Shaw, NY, OG shelf clock, c1848.  Early larger-size mahogany case, good factory label, colorful hand-painted tablet.  30-hour weight-driven movements strikes the hours on a gong. 28".

1709  Mini O.G., Brewster & Ingrahams, c.1850.  Very early small-size shelf clock.  Rosewood veneer.   Reverse-paint tablet of Hartford statehouse.  Original inside label.  30-hour movement with hour-striking and original brass mainsprings.  18".

1711  Column & Cornice Clock, Seth Thomas, c.1850.  Mahogany shelf clock with R.W.Patterson, Toronto, dealer label.  Rare 3-weight alarm movement with hour striking.  Colorful reverse-paint glass.  26".

1713  Ansonia "Standard Regulator", c.1920.  Solid dark-oak commercial / industrial wall clock.  8-day weight-driven movement with maintaining power.  Signed painted dial.   36".

1715  Attleboro Banjo, c.1850.  Rosewood-grain-painted cherry case, black/gold reverse-paint glasses. 8-day weight-driven movement.  Early Lowell, Mass. dealer papers inside.  29".

1717  Boston Clock Co. "Queen Anne" carriage clock, c1890.  Rare American high-quality portable clock, with original leather carrying case. Gold-plated case, 8-day 7-jewel works, low serial number 883.  6".

1733  Ansonia Mini O.G., c.1880.  Less-comon small shelf clock in classic style.  Mahogany case with colorful reverse-paint glass tablet.  Original inside paper label.  8-day movement strikes hours on gong.  Floral dial.  19".

1737  Seth Thomas Cottage Clock, 1911.  Classic mahogany case with colorful reverse-paint tablet.  Complete inside paper label and rear date code.  8-day movement strikes hours on gong.  Separate alarm works rings on bell.  14".

1739  F.Kroeber Vandalia Enameled Iron Mantel Clock, c.1888.  Porcelain dial, brass columns & accent panels.  8-day movement with unusual patterned plates.  Strikes hours and half hours on gong.  16".

1742  Chelsea Ship's Bells, 8" Special Dial, 1921.   Fully restored silvered dial, with raised bronze numbers, and lacquered-brass case with hinged bezel, 8-day striking movement 144171, on mahogany cradle. 13".

1744  Chelsea Ship's Bells, 4" Dial, 1926.  Sold by Gorham & Co., NY.  Old patina on heavy brass case with screw bezel over silvered dial.  8-day jeweled movement 172988. Naval gongs every half hour.  5.5".

1755  E. Howard No.70 Regulator, c.1890.  Boston classic walnut commercial wall clock.  Distinctive red/gold/black reverse-paint tablet.  Signed 8-day "59" movement powered by "70" weight.  31".

1758  Sessions Clock Co. Mission Wall Clock, c1910.  Forestville CT dark oak case with applied bronze numbers.  Brass hands & pendulum.  8-day moement gongs horus and half hours.  25".

1764  Inlaid French Mantel Clock, c.1890.  Well-made and unusual walnut case.  Cast-brass feet and pineapple finials.  Porcelain dial, convex beveled glass.  8-day movement gongs hours and half-hours.  11".

1773  Seth Thomas "Queen Anne" wall clock, c.1880.  Impressive large ebonized wall clock with detailed turnings and carvings.  Original factory label.  Painted metal dial with seconds hand.  Large 8-day movement, with deadbeat escapement, gongs the hours.  36".

1775  Timby's Solar Timepiece, c.1865.  Extremely rare clock patented in 1863 by Theodore Timby who also invented the Monitor's revolving gun turret.  Fewer than 600 were manufactured by L.E. Whiting of Saratoga Springs, NY, with globes provided by Joslin of Boston. 8-day balance-wheel movement turns mintue dial in lower window as well as globe and time indicator above it.  26.5".  

1777  Baird Advertising Clock, Plattsburgh NY, c1890.  Bold red case made to promote an unusual product.  Extra inside label provides company's London location.  Original paper dial.  8-day movement.  31".

1788  Steeple Clock, Wm. Gilbert, Winchester CT, c1880.  Mahogany case, colorful beehive reverse-painted tablet.  8-day movement strikes hours on gong.  20".

1789  Waltham Deco Desk Clock, 1932.  Gold-plated swivel timepiece with jeweled 8-day movement serial number 27665366.    Waltham Watch Co. model 8075.  4".

1790  E.Ingraham "Monterey" Mission wall clock, c1911.  Bristol, CT dark solid oak case with brass numbers, hands and pendulum.  8-day movement gongs hours and rings a bell on half hours.  28".

        Originality, Restoration and Refinishing:

Largely due to the PBS Antiques Roadshow and a steady drumbeat from ultra-high-end antiques dealers, even buyers and sellers of 'affordable' antiques struggle with whether an antique is "all original", and what it means if it isn't.

First of all, determining originality is a vague science, since none of us is old enough to have owned an antique since it was made  (unless it is a recently made fake).   So nobody can state with 100% certainty that the object is entirely original.  A good example is the reverse-paint glasses of period banjo clocks.  One of the country's leading experts on these timepieces estimates that only about 1% of these clocks retain their first glass tablets, since they are so prone to breakage when the weight cord snaps and the 6-7 pound cast-iron weight crashes to the bottom of the case.   If this happened 10 or 20 years after the clock was made in 1820, and a newly painted glass was installed at that time, that new glass now is nearly two centuries old, and probably impossible to distinguish from the one it replaced.  And you certainly would not want the original frayed and dried-out weight cord still holding up that weight in your own prize banjo timepiece, so some components of antiques cannot and should not bear the maker's fingerprints upon them.

However, the main point is whether this truly matters, and whether a restored antique should be debased and devalued after a skilled craftsman has returned it to the condition envisioned and executed by the maker.  Certainly, Simon or Aaron Willard would be horrified to see some worn, beat-up clock case of theirs being extolled for its "original surface", and priced at some multiple of another of their clocks which, with proper restoration, appears as it did when they delivered the clock to its first owner.  And who now, except perhaps for the most avid collector or museum curator, wants that beat-up clock standing in their living room?

Of course, there are antiques which truly have been "messed with" or suffered from improper attempts at repair and restoration.  The clock cases sprayed with gloss plastic varnish, the clock dial numbers crudely strengthened with Magic Markers, the aluminum Phillips-head screws poking out; these kinds of "muddlings" are all offensive and require significantly lower valuations.  Also, many of us do appreciate a decent old patina or surface, prefering our antiques to show some age, so these could sometimes deserve to be valued higher.   And we do respect and reserve the term "museum quality" for the rare piece with a provable history of never having had more than a dusting or wipe with an oiled cloth.

As a dealer of good and affordably-priced vintage clocks, I want my customers to have enjoy examples that anybody would be proud to display and run.  If the finish or face has been expertly restored, that will be noted but not condemned.  If it all is original as can be reasonably determined, that will be noted as well, but not as an excuse to double the price.  But unless the clock is headed for the Smithsonian, the key issue for me is whether the clock looks correct and shows respect to its original maker's vision.

I believe that this misplaced emphasis on "all original" is damaging to collectors and casual owners of antiques.  It forces them to pay more than they should for alleged originality, it encourages deliberate forgery by unscrupulous dealers, and it discourages many potential owners from making purchases of antiques, in the fear that they they will buy something that will later by condemned by some expert for some evidence of restoration.

I would like as many people as possible to buy and appreciate all kinds of objects (especially clocks) from our past.  I want these antiques to be appealing and bring pleasure to their owners, even if some loving hands along the way have revived them.  As we say, we are only the trustees of antiques, holding and preserving them for future generations, and these antiques certainly must include the ones we have carfully restored to their former glory.

In 2006, my wife Jeanne Schinto wrote an article for Maine Antique Digest about the 10th anniversary of the PBS show.  The following excerpt addresses the issue of "refinishing".

"The origins of only one phenomenon, it is agreed, can be traced absolutely to the Roadshow. Skinner's Stephen Fletcher said he and company colleague Karen Keane were giving a lecture in Newport, Rhode Island, about their Roadshow experiences when they asked their audience what they'd learned from the series. "Fourteen people in unison said: 'Don't refinish!'"
The "don't-mess-with-it" lesson may have been learned too well to suit Professional Refinishing Magazine (now called Finishing & Restoration). In its June 2002 issue, the Roadshow's then executive producer, Peter Cook, published a conciliatory article in response to a letter WGBH had received from Bob Flexner, the magazine's editor. It voiced what was recently said to us by Leslie Keno: "If you have a pressed oak rocker that has been painted several times, I think you can go ahead and strip it. It all depends on the piece. It doesn't apply to every single piece in the world." The Keno twins, of course, delivered the famous bad news about the refinished Boston high chest to its owner on the Roadshow's debut in Concord, Massachusetts, which aired on March 6, 1997. Value: $100,000 to $200,000 if she'd left it alone; $50,000, since she hadn't."

Finally, the eminent British horologist, Derek Roberts, in his classic book British Longcase Clocks had this to say:  "The question 'Won't I reduce the value and originality of a clock if I restore the dial?' is often asked.  The answer to this is that the dial will almost certainly already have been restored several times during its lifetime, so the finish you are looking at is not original anyway... Brass and silver, when they do tarnish, often do so unevenly, possibly becuase they have been handled or the protective lacquer has broken down in places.  They gradually turn a brown/black color which can only be regarded as unsightly.   Nothing is to be gained by retaining this any more than you would leave a pair of brass candelsticks unpolished."