Monday, December 29, 2014

A Rare Find (AKA: The "Mystery" Wooden Works Clock)

I try not to overuse the term "rare" since so many people throw the term around meaninglessly, but in this case, it's not an exaggeration.

I bought this clock earlier this year (May 2014), and I meant to post it here sooner. I came across it on eBay, and since it's just barely even a case, it didn't attract too many bidders. I usually AVOID buying this kind of clock because putting it all back together will cost far more than buying a complete original clock. If you assume that a movement will cost around 80-100$ plus shipping, plus a painted dial to fit, at around 50$ plus shipping, in addition to hands, a bob, a pair of weights, recreating a backboard, fitting antique glass, and rebuilding the missing top, it hardly seems worth the trouble and expense. Especially since it's such a plain case.

HOWEVER, what attracted me to this particular clock case is it's incredible rarity. WHY is it rare? That can be a bit hard to explain, but in short, because of the way that the door is divided, and the lack of columns. More on this shortly.

As a quick side note, I just want to point out that just because an antique is rare, it doesn't necessarily make it more valuable. I would think that if this clock were complete, and placed in an auction, it would fetch about the same price as similar wooden works clocks, but I could be wrong.

The original eBay photos were quite decent, so I've included them along with some of my own.

The latch is a typical "key" shaped one from around the late 1830s, and into the 1840s. It has been damaged and bent downwards.

Here are a few of my photos. The case's main body is close to the size of a standard ogee clock, and not the normal height of a wooden works clock. The main case is 26" x 15 1/2" x 4 1/2". The upper door opening for the dial is 9 3/4" square, so the dial would likely have been around 10" x 10".

The inscription behind the central door panel (enhanced below) appears to read W. C. Kilbreath Cumberland Clock Repairer one year (Good). It would have been nice to have a date with this note. I was able to find one mention of a W. C. Kilbreath in Cumberland Ohio in an old National Tribune paper dated Jan 30th 1896, but that's all I could find.

EDIT: News! I think I found him! Unfortunately there's no mention of clock repair, but it's highly possible he worked on clocks after he retired.

Name: William Calvin KILBREATH
Birth: 18 SEP 1828 in Booths Ferry, VA. (W.Va)
Death: 30 OCT 1900
Burial: Cumberland Cem., Cumberland, OH

After an illness of but one week, with congestion of the lungs the venerable Wm. Calvin Kilbreath died at his home north of Cumberland at about 9:00 p.m., Tues. aged 72. He was born near Booth's Ferry, VA (now W.VA) sept. 18, 1828 and was married to Mary Nelson on Sept. 9, 1851. To this union eleven children were born, nine of whom survive. On the 7th of Aug., 1862 he enlisted in Co. B, 97th O.V.I and served 14 months, mostly as a hospital nurse. He was a faithful soldier, doing duty wherever assigned. Mr. Kilbreath was a member of the Presbyterian Church and was affiliated with the O.U.A.M. and G.A.R. His patriotism knew no bounds and upon every occasion he delighted to honor and display the flag for which he fought. He had been a resident of this vicinity many years and was highly esteemed by all who knew him. Beside his aged and grief stricken wife the following named children and 16 grandchildren remain: Peter N. of Cambridge; James C. of Cadiz; Margaret A. Smith of Spratt; Ella M. Moore of Zanesville; Martha E. Fox of Cumberland; U.G. of North Baltimore; C.A. and Dora O. Yerian of Cumberland and Wm. H. of Buffalo, OH. Funeral at the Pres. Church, 1:00 by Rev. H. C. Morledte. Remains laid to rest in Cumberland Cemetery.

Now, as I said, part of the reason this clock is so rare is because of the way that the door is divided into 3 sections. Very few clocks have doors with narrow panels in the centre. Several will have divisions at the bottom, like the clocks made by Silas Hoadley, which usually have a mirror below the dial, and a small painted tablet at the bottom with the "Time is Money" inscription. Almost no other clockmakers used 3 part divided doors. Many clocks have 2 doors, or built-in wooden panels that separate two doors (or a fixed panel under the door), like Putnam Bailey clocks, but none are divided like this particular clock. It's also highly unusual to see a wooden works clock case without turned columns, triangular columns, flat columns, reeded columns, or even flat/carved columns (like some rare Bishop & Bradley clocks).

I have archived (over the past decade) thousands of photos of rare and interesting clocks, both in the form of books (dozens) and from online sources (private collections, eBay listings, online auction houses, etc) and after hours of sifting through these, I found only ONE very similar clock made by Elbridge Atkins (sometimes misspelled Eldridge Atkins). The clock can be seen here:

It's not identical, only similar. It has a centre divided door, plain side pieces (no columns) and has a painted eagle tablet rather than a mahogany panel. Two other differences are the width of the side pieces flanking the door, and the use of an ivory keyhole escutcheon and "Terry" style lock instead of a simple catch. My clock has evidence that it had top chimneys, splat, and return pieces, but I can only guess what they might have looked like.

Just recently, I came across a second Elbridge Atkins clock which was sold in 2009, and that looks nearly identical to the one above. The main difference is the dial. The hands are not original.

Elbridge Atkins clocks on their own appear to be quite scarce. I have found only a few examples. This one is a typical column and splat wooden works, but it shows the label, and provides another possible splat design.

Lastly, a very unusual find was this very poor photo of an Elbridge Atkins "Bevel Case" clock, with a 3 section divided door. Bevel case clocks are early versions of Ogee clocks, and often have wooden works movements, and date to the 1830s or 1840s.

And that's all the information I've been able to gather. I'll be able to easily recreate some chimneys for the top based on the shadows, but I will have to guess the correct splat and side return designs unless I can find other similar clocks to work from. I'd appreciate any information you may have about this clock (including any other Elbridge Atkins clocks).

Making Mirrors

It's been quite a while that I've wanted to experiment with Krylon's "Looking Glass" spray paint, but unfortunately due to some restrictions, it wasn't being sold in Canada until very recently when I found some at our local Michael's store (I looked for it every time I visited the store).

Over the past several years, I've seen some amazing mirrored projects using this product, and I thought it might be an excellent product for use on antique clocks. Some of the projects I had seen included old leaded glass windows turned into mirrors, as well as many imitation mercury glass vases and bobbles. I thought it might also be fun to use old glass clock bezels and turn them into convex mirrors. The uses for this product are nearly endless. The only requirement is that it should be applied to the back side of any glass surface.

One other benefit to this product is that you can apply a layer of "antiquing" to your clear glass before the silvering is applied. If you search for tutorials online (as I did) you might quickly find that most effects simply call for a mist of water (or vinegar and water) over the glass, followed by the spray paint, and then cleaning off the water drops once the paint is dry.

On most of the tutorials, the effect is WAY too exaggerated and it doesn't look real. I wanted something more believable. I decided to try several other techniques and experiments on some scrap glass pieces. All the samples are backed with flat black paint.

In the photo above, you can see the 5 samples I made (and there are endless other variations or combinations you can try). Each will be explained individually below.

Since mirrors are notoriously difficult to photograph, I did my best to catch a few angles.


In this first sample, I mixed some black and brown acrylic paint, and thinned it with water. I then used a stiff bristle brush to "flick" paint onto the glass. This gives a subtle, yet realistic spotting effect.


Sample 2 is one of the most interesting and visually striking experiments I tried. It's simply a very diluted black watercolour wash. Because the water doesn't easily stick to the glass surface, you're left with a very random pattern of shapes. The effect is transparent, but also has a fairly strong "matted" appearance depending on the angle (see reflection photos above). An entire mirror done with this technique would be pretty unusable, but definitely very interesting (and very old/damaged looking).


This is the standard water mist method, using a very fine sprayer. What's so nice about this method is that it creates very realistic "peeling" edges around each "hole". The only problem with this technique is that it's very hard to create a realistic wear pattern. Either there's way too many spray droplets everywhere, or the droplets are too small, or too large. For this technique, you just spray water onto the glass, apply several thin coats of mirror paint, and then you wipe (pat down) the water drops where the paint hasn't adhered. The paint dries extremely fast, so you only need to wait a few minutes to do this, but be careful not to smear the water around. If you do, there's no way to fix it, and you'll need to start over.


Samples 4 and 5 were the least successful of the 5. This one shows how the glass might look with the water droplet technique from sample 3, with just another light spray of mirror paint applied after wiping off the water (to make the effect more subtle). It might be nice to try this effect on a larger surface. It would likely give pale ghostly dots all over the surface.


This sample was trying to imitate mirrors that have a darkened gradient around the exterior edges. I used spray paint for this, but it didn't come out quite as I had hoped. The spray was too wide, and it may have needed to be darker. This effect might work better on a larger area, and using a better spray paint or nozzle.

Armed with these samples, I decided that the most realistic effect would be a simple pattern of painted dots (sample 1). I had one particular clock in mind, and I decided to go ahead and try it out. The glass had already been cut and prepared for the clock (antique glass), and I just had to clean it. Here are the final results.

As you can see, the painted effect looked much better on the smaller samples. The effect is quite foggy, and not quite as reflective as I had expected. The dots also didn't show up as much as I had expected.

Here's a fairly good close-up of the glass. You can clearly see the spots, as well as the distinct "painted texture" that the mirror paint produces.

One of the only other methods I've tried for making hand-made mirrors is the technique that uses actual sheets of silver leaf (it can be fake silver leaf as well). That method gives much better results, but it's also a lot more time consuming, more difficult/delicate, and the main reason I didn't like that method was that all the edges of the silver sheets show up in the finished mirror. This method follows instructions from Tom Temple's "Extreme Restoration" book. It's an excellent book for learning to properly (and invisibly) repair clocks and other antiques. You can also find other tutorials online for this method, so I'm only going to give a very brief overview on this method.

These are OLD photos from nearly a decade ago. I thought I had them already uploaded to an online photo album, but I couldn't find them, so I dug through my old files and found them again.

The first steps involve laying two layers of silver leaf onto the glass using a special sizing/gilding water.

Second layer:

Once it's dry, the back is polished using soft cotton and gentle pressure.

The back of the mirror is then painted to protect it, and to prevent the silver (or imitation silver) from tarnishing or degrading.

The finished mirror is quite beautiful, highly reflective, and gives a realistic appearance of a mercury glass mirror. As I said before, the only drawback is that the lines between the sheets of silver leaf are visible. Also note that this mirror was done on antique wavy glass.

Saturday, August 16, 2014

New Purchase - John Birge & Co. 1848 Column & Cornice Clock

Here is a stunning clock I was lucky enough to find for a decent price on eBay.

The clock is a John Birge & Co. column and cornice clock. This is a rather large 8 day weight driven clock. I already own a nearly identical Birge & Fuller clock, and I adore it. This clock would have been made in 1848, following Mr. Fuller's death in 1847, and just before John Birge partnered-up with Ambrose Peck (forming Birge & Peck in 1849). It's rare to have an early clock that can be dated to exactly within a one year span.

I purchased this clock mostly because of 2 factors. 1: It had amazing original glass tablets, and 2: It had a low price. Otherwise, the clock has several problems. It has no weights (these are expensive to replace because of the shipping costs), the original hands are missing (and very hard to find), there's no pendulum bob, the movement has several botched repairs, there are lots of veneer repairs and case work that needs to be done (one of the first things you might have noticed are the incredibly crooked columns), and the bottom part of the label is completely gone (however the large company name is still there).

That said, I think that the tablets and beautiful mahogany veneers make this a clock well worth restoring.

One problem that I had when I purchased this clock was the jerk who was selling it parted it out. He sold the hands, dial, case, and movement separately, and it appears that the original weights weren't with it.

What made it even more annoying was that the seller sold the hands first, followed by the dial, then the case, and finally the movement. I didn't know if I would win the case, so I didn't want to pay "insane money" on the hands, and they sold for 26$ USD. The dial was marked as just a "wooden works dial" but having seen a LOT of Birge clocks (having done research on them for my Birge & Fuller restoration) I was 99% sure this dial went with the clock (which it does). I won the dial (20.51$), then won the case (154.50$), and finally the movement (76.00$). If the hands had been sold AFTER the case, I would have bid much more on them to keep them with the clock.

Birge Clock Hands (used by Birge & Mallory, Birge & Fuller, Birge & Peck, John Birge, as well as a few other companies like William S. Johnson):

Everything together, including shipping came up to 360$ CAD (321$ USD), which is an excellent price for an early Column & Cornice. I love my Birge & Fuller column clock so much that I've always thought that if I could get another one for under 500$ I'd go for it, so I'm extremely pleased with this purchase.

I was worried that the glasses might break during shipping, but the clock arrived safely.

As a side note, I will say that in over a decade of clock collecting, and hoarding images of original painted tablets, I have never come across this particular design (centre tablet). The bottom tablet is a typical freehand design around a Fenn stencil in silver, but the centre glass is entirely freehand, and just gorgeous.

This clock will be getting the royal treatment, and I've already started working on it. The entire crown is messed-up, and the entire case will be taken apart. Luckily there's only very minor work needed on the doors, so those will be easy fixes. The dial is also largely perfect, except for a dark spot which I will try to clean off.

Stay tuned!

Thursday, June 12, 2014

New Purchase - Wag on the Wall Clock

I have been wanting to add a Black Forest "Wag on the Wall" clock to my collection for quite some time. The examples that I found online (the ones I liked) usually went for too much money, or weren't in good condition. They are hard to find in good shape for under 100$.

This little beauty, however, turned out to be an excellent purchase, and probably slipped through the cracks, since I paid under 100$ for it.

The clock is in completely original (unmolested) condition, and it appears to only be missing the original pendulum (a new replacement pendulum was included with the clock).

These are a few of the photos from the listing, but I'll be taking some new ones when I get the chance.

Original weights, chains, hands, dial, bezel, side doors, bell, and even the hand cut wooden taper pins that secure several of the clock's components.

The dial is painted wood.

The dial surround is decorated with faux (painted) Rosewood, Mother of Pearl inlay dots, and pressed foliage decorations, which are highlighted with some gold paint (not too visible in this particular photo, but if you look at the first one, some of the gold highlights are visible over the XII numeral).

The movement is in great shape, and works fine (though I will be cleaning it). It uses a cast (slotted ring) count wheel on the back (similar to early brass plate cuckoo movements), and it uses lantern pinions throughout (even on the motion works). This is a 30 hour clock.

Note the wood dial, and wood dial surround. The bell sits on a turned wooden post, and is held in place loosely by a wooden taper pin.

More photos and details as soon as I'm able.

Sunday, June 1, 2014

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.


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.