It's About Time

QUESTION: I have inherited a very plain tall clock made in Philadelphia. How can I tell how old it is?

ANSWER: To tell the age of a tall-case clock, or grandfather clock as it’s more commonly known, you need to first look at the dial. The early ones at first showed 24-30 hours. Owners wound them at the end of that time by pulling the driving cord down.

In the earliest clocks—those dating from the 17th to early 18th centuries—the hour circle appears in a silvered ring with a doubled circle appearing within the numeral circle.

Many old clocks have only an hour hand. Some have both an hour and a minute hand. Even though clockmakers had used minute hands since 1670, most clocks, except the most expensive ones, didn’t have them. Early tall-case clockmakers gave their hands a fine finish and often made them the most decorative part of the clock. The hour hand was often the most elaborate and the second hand, if the clock had one, was sometimes long and graceful. Later, when clockmakers introduced white dials, the hour and minute hands became even more ornate and some even had a smaller second hand.

Originally, tall-case clockmakers made their dials of metal with a matt center circle. By the mid-17th century, they added ornamentation around the edge of this matted center, engraving birds or leaves to form a border showing the days of the month. They brightly burnished this date ring as well as the rings surrounding the winding holes. Silvered dials, containing no separate circle for the hours and minutes, appeared in 1750. Instead of a matted center circle, these dials featured an engraved overall pattern in the center circle. Many early tall-case clocks also had a small separate dial showing the days of the week.

Dials remained square until the beginning of the 18th century, at which time clockmakers introduced the arched dial. Dutch clockmakers found good use for this extra space, filling it with decorative figures and animated devices such as a see-saw or a shipping rolling at sea. They also added a moon dial, thereafter common on many tall-case clocks, which displayed the phases of the moon under the dial’s arch. English clockmakers, mostly in Yorkshire, went one step further, creating a globular rotating moon dial.

Clockmakers usually only made the works of tall-case clocks. They subcontracted the making of the cases to coffin makers, who used this as supplemental income when business was slow. During the second half of the 17th century, casemakers employed walnut to build mostly plain cases. The Dutch introduced marquetry to the fronts of the clock cases, using woods of different colors and grains.  Mahogany didn’t come into general use for tall-case clocks until about 1716. At first, casemakers imported it from Spain, then after that supply ran out, from Brazil.

Before 1730, the doors of most tall-case clocks were rectangular, but around that time casemakers included an arch in them to match the arched dials. The earliest clocks didn’t open with a door. Instead, the entire hood–the top part of the clock–slid backwards revealing the works.

For more information, read “Grandfather Time” and also visit the Web site for Bowers Watch and Clock Repair and read about the works of tall-case clocks in their clock section.


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History in a Jar

QUESTION: I’ve just begun to collect old jars and bottles. Recently, I found an old blue Mason jar at a church sale. Embossed on the front of it are the words “The Clyde.” The letters “CGW” appear on the bottom. I haven’t been able to find any information about this jar. Can you help me out?

ANSWER: It appears that you found an old Mason jar made by the Clyde Glass Works of Clyde, New York, in 1895.

When New York Governor DeWitt Clinton proposed the Erie Canal that would cross the state, linking the Hudson River with the Great Lakes, people sarcastically called it "Clinton’s Big Ditch." A construction project of that magnitude, completed entirely by hand labor, seemed impossible. But by July 4, 1817, construction of the canal had begun. It wasn’t until October 26, 1825 that a canal boat made the first full-length voyage on the new canal.

Frederick Augustus Dezeng, an immigrant from Saxony, Germany, who operated a window glass factory near Geneva, New York, was a good friend of Governor Clinton. He understood the importance of being able to transport goods by water from Lake Erie all the way to New York City via the Hudson River. But more importantly, he realized that shipping his glass by canal boat would be safer and cause less breakage.Even carefully packed, glass didn’t  travel well in horse-drawn carts over bumpy dirt roads of unpredictable condition.

Dezeng saw the potential of doing business via the Erie Canal. Access to firewood to fuel the glass furnaces was a major reason, as was the ease of packet boats bringing in sand from Oneida, New York, along with quantities of potash lime via the Canal. He encouraged his  youngest of five children, William, to set up a glassworks along the Canal in nearby Laurelville, which later changed its name to Clyde.

William S. Dezeng and his brother-in-law, James R. Rees, went into partnership to open a glass factory to make cylinder window glass in 1827. They laid the cornerstone for their new enterprise on March 27, 1828, and the factory began production that year. A newspaper advertisement from 1833 promoted the firm’s glass as  first quality and free from imperfections. This was a major achievement in itself since up to that time window glass had many imperfections. In the process, a glassblower blew molten glass into a cylinder, then cut it it open and annealed it to flatten it out. However, ripples and small bubbles in the finished glass were almost unavoidable.

Though Dezeng and Rees’s glass factory in Clyde, New York, began operation in 1828, the plant didn’t begin producing bottles until 1864. Over the years, the company reorganized periodically—mostly due to retirements, deaths, and new partners— although it maintained a continuity of ownership. In 1880, the owners incorporated as the Clyde Glass Works.  The firm made soda and beer bottles, liquor flasks, and fruit (Mason Patent) jars marked with the Clyde logo.

The G in the logo is very distinctive. The wide-angled G included a downward slash as the serif or tail of the letter, tilted at a much greater angle than most. The “Clyde” embossment on the front of the jar is in a upwardly slanted cursive style.

The firm probably made these jars in 1895 to commemorate the anniversary of the incorporation of the Clyde Glass Works. Originally hand blown, they were eventually made by machines by 1903 but only for a short time. In fact, there are more hand-blown jars on the market today because the factory produced more of them. Workers at the plant ground some of the lips of these jars while leaving others unground. It’s unclear why.

Lackluster sales caused the Clyde Glass Works to close in 1915.

While the Clyde Glass Works’ Mason jars sell on ebay for $15 to $75, those embossed with the words “The Clyde” usually sell for a price at the higher end of the range.

Beauty and Collectibility Are in the Eye of the Collector

QUESTION: How do I determine an artist’s most collectible works? Are they the ones that sell for the most money? And, if so, are they the ones I should be collecting?

ANSWER: Collecting art can be tricky. More than any other collectible, the popularity of certain artists and their works ebb and flow with the trends in the art world. An artist that’s extremely popular one year may fall to the bottom of the heap the next.

An artist's most collectible works usually depict subject matter that has gained popularity among art collectors. If more people collect the works of a particular artist, those works will go up in price and value. In this case, outside forces play a large role in the determining what type of  subject matter looks like, not necessarily the artists, themselves. One year, it could be landscapes and seascapes, another year city scenes, abstracts, portrait, or interiors. The only way to discover  what an artist's most collectible works look like is by talking with dealers, collectors and others familiar with that artist's body of work.

The farther a particular work departs from favored subject matter, the less collectors of that artist’s works will be interested in it. You might compare this to a musician who becomes famous for one or two songs because his or her fans insist on hearing those songs over and over regardless of what direction that musicians career takes. That doesn't mean that artists or musicians have only one or two noteworthy moments in their careers, but rather that tunnel vision of fans affects what’s perceived to be popular or collectible. The same holds true for writers who become successful based on a particular style of writing or subject matter. When they deviate from that, their fans find someone else to read.

Art work featuring the best, most collectible subject matter usually sells for the most money. But determining whether or not a work falls into the "most collectible" category based purely on how much it sells for isn’t how the art business works. Instead, an individual piece of art must be evaluated by experts in terms of the artist's entire output, his career evolution, and with respect to what was going on around him at the time. Price does not enter into that evaluation—it’s the consequence.

Works of art can also sell for high prices even though they may not fall into an artist's"most collectible" category. For example, a piece might be valuable because an artist produced it during an important time in art history. It then becomes more collectible by fans of the movement rather than by fans of the artist.

As for what art work you should or should not collect, follow the golden rule of collecting— collect what you like. If your tastes center around pieces that don't have that "most collectible" look, fine. Go ahead and buy them. Just know the artist's market well enough so that you pay the going rate for that type of art, not the going rate for the most collectible types.

Also, pay attention to collecting trends in the art world. Subscribe to publications that offer news about recent auctions or sales of art. Know which artists are hot and which are not. And know if a scam may be afoot. One woman hid her late artist husband’s work from the public for a number of years so that it would appear to be rare and pristine—translation: never appeared on the market before. She thought that doing so would raise the prices of the works when they did appear. When she did begin selling his works, she did so in dribs and drabs, so as not to flood the market with his works, thus lowering the price.